Sound Samples & Downloads
Johann STRAUSS (1825–1899)
Der Carneval in Rom -Operette in 3 Akten (1873)
Isabella Ma-Zach (soprano) – Marie; Michael Heim (tenor) – Arthur Bryk, Maler; Marcus Günzel (baritone) - Robert Hesse, Maler; Bernd Könnes (tenor) – Benvenuto Rafaeli, Maler; Jessica Glatte (soprano) – Gräfin Falconi; Manfred Equiluz (tenor) – Graf Falconi; Jeanette Oswald (soprano) – Therese, Braut; Stefan Trommler (tenor) – Franz, Bräutigam; Jens-Uwe Mürner (tenor) – Toni
Chor und Orchester der Staatsoperette Dresden/Ernst Theis
rec. live, Theater Heilbronn, 22-23 May 2008
No texts but synopsis, historical notes, music analysis and artist bios in German, English and French can be found in the booklet.
CPO 777 405-2 [35:15 + 60:32]
Johann Strauss was not particularly successful in his choices
of librettos for his operettas. His first work in the genre,
Indigo und die vierzig Räuber, premiered at the
Theater an der Wien on 10 February 1871, was praised for its
‘irresistible waltz motifs’ and ‘sparkling dance tunes’ but
the libretto was found unsuitable. Eduard Hanslick called it
‘music to pretty clothes’ since the production was lavish but
the story thin. For his next operetta Strauss spent a lot of
time finding something more worthy of his musical talent. Eventually
he settled for a play by Victorien Sardou, Piccolino,
which was adapted by Josef Braun and with lyrics by Richard
Genée. During the two years that elapsed before a finished product
emerged, several ‘advisors’ were involved. The premiere took
place at the Theater an der Wien on 1 March 1873 and the public
was very positive – it ran for 81 performances – while the critics
were divided. During the next ten years it was also seen in
Berlin, Naples, New York and Prague.
After the composer’s death it was revived as Der blaue Held.
With a new libretto and some reordering and abridgements of
the music it had become a vehicle for nationalism. This was
in 1912 and the Balkan crisis was imminent.
In the early twenties Felix Weingartner took up the original
version at the Volksoper and I believe it has not been totally
absent during years to come either. At least there was a recording
by the Cologne Radio under Franz Marszalek in 1950 with Peter
Anders as Arthur Bryk.
And the plot? We are in a village in the Swiss Alps. A young
girl, Marie, has fallen in love with a painter, Arthur Bryk,
who promised to marry her before he went to Rome. A year later
she meets two other painters who tell her that Arthur is
in Rome and she decides to go there too, selling the painting
of her that Arthur made a year ago, to get the money needed.
There are side plots, but let’s not bother about them, only
mention that there is a Count and a Countess who have relation
problems. In the second act we are in Rome, where the city is
preparing for the annual Carnival. The other characters from
the first act are also there. Marie, disguised as a young man,
finds Arthur, but Arthur has fallen in love with the Countess.
For that purpose he, now disguised as a monk, suggests to the
Count that the Countess stays at a convent. Next to the convent
there is a hotel where Arthur arranges an artists’ party. He
sneaks out and hurries to the convent to meet the Countess,
but Marie, who has been accepted as Arthur’s pupil, follows
him, now in women’s clothes. She pretends to be the Countess
and in the darkness embraces Arthur. The real Countess appears
and is horrified to see her beloved in the arms of another woman
and sounds the alarm. Curtain!
In the third and last act Arthur invites the Countess to his
studio to paint her. Marie, now again disguised, is present
and decides to convince the painter – and the Count - that the
Countess is fickle. After some further complications Arthur
suddenly realises that his pupil is the girl from the Alps,
whom he promised marriage. He declares his love to her. All’s
well and the Carnival can begin.
I have come across librettos that are much worse than this and
Strauss’s music is truly inspired. Far from being a string of
pearls, tied together with spoken dialogue, the backbone of
this operetta is to be found in the ensembles. There are several
duets, a quartet, a quintet, and two extended finales. The chorus
is also given several fine opportunities. On this recording
the spoken dialogue is kept to a minimum and for once the balance
between the musical numbers and the dialogue is such as to allow
the listener to hear every word of the dialogue without having
to turn up the volume. The excellent recording was made live
but there is no sign of an audience – no coughs, no sneezing
and no applause.
The overture is the usual medley with exquisite scoring and
marvellous melodies. There’s some really fine woodwind writing
in the slow middle section. And there is a waltz. But waltzes
are not as much to the fore as in some other Strauss operettas
and Strauss in fact called Der Carneval in Rom his polka
opera. There is little Italian influence in the music, only
Marie’s tarantella near the end of act II (CD 2 tr. 12) imparts
some local colour. Immediately after the overture there is a
long scene with almost nine minutes of continuous music. It’s
also a kind of medley with a fine slow waltz followed by a polka
that introduces us to Marie. The two painters have a charming
short polka duet and then the Count and the Countess sing a
lively and more extended duet. The high standard is retained
throughout but my highlight is the duet near the end of the
work, where finally Marie and Arthur find each other. It is
quite lovely with the soprano soaring above the colourful orchestra.
We can even hear a couple of chords that could have been borrowed
from Die Meistersinger von Nürnberg. The concluding homage
to the Carnival, Carneval, dich preisen wir, is a rousing
The Staatsoperette Dresden has a long tradition and recently
issued a recording of Strauss’s Das Spitzentuch der Königin
to great acclaim. I have yet to hear it but after enjoying the
present recording wholeheartedly I will certainly try to get
hold of it. Chorus and orchestra are very good and conductor
Ernst Theis, since 2003 principal conductor, has the right feeling.
Performing before a live audience often inspires the singers
more than the empty studio and this is very tangible here. The
stars of the performance are the two sopranos. Isabella Ma-Zach,
Marie, has glittering top notes and lively and charming manners.
Her low to middle register initially sounded rather occluded
but either I got used to it or she warmed up. Jessica Glatte,
the Countess, has a grander voice and her coloratura singing
is admirable. Her golden ringing top is especially impressive
in the second act ensemble with chorus (CD 2 tr. 9). The male
singers are splendid actors but that Peter Anders must have
been more ingratiating as Arthur than Michael Heim is here,
though he sings his third act arietta (CD 2 tr. 15) with true
Viennese lilt. By and large, however, the end result is a splendid
performance, greater than the sum of the individual parts.
The story may be slender but the music is anything but. If you
love Die Fledermaus, which was Strauss’s next operetta,
premiered on 5 April 1874, you will adore Der Carneval in
Rom just as much.