# Any Operetta Fans Out There?



## zxxyxxz (Apr 14, 2020)

Title says it all folks!

Now I love a good opera, the emotional satisfaction after experiencing a good performance of a good work is hard to beat 

However I do love a good catchy operetta, something about the lively melodies, sparkling waltzes and hummable vocal lines.

Now I have a modest collection, but I find it difficult to discover truly great operettas.

So the answer? Create a thread and hopefully get some love shown to opera's little sibling!


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## zxxyxxz (Apr 14, 2020)

To get the ball rolling my big discovery of 2019 was Gilbert and Sullivan!

Shocking I know, but growing up the common opinion was one of ridicule and naffness. But I took the plunge with Yeoman of the Guard at first and discovered great music combined with very funny and witty lines.

I was thrilled to have new works to listen to, enjoy and laugh at! The benefit to being in my native tongue and culture as opposed to the wonderful German works I normally listen to. My wallet was not happy.


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## Zhdanov (Feb 16, 2016)

i own 'HMS Pinafore' dvd, good production -


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## Tsaraslondon (Nov 7, 2013)

I wouldn't want a diet of it, and I prefer the operettas of Strauss, Lehar and Offenbach to those of Gilbert and Sullivan. Love all the Schwarzkopf recordings and this operetta recital has to be one of the greatest ever made.


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## zxxyxxz (Apr 14, 2020)

I do love the EMI operetta recordings!

The Schwarzkopf Merry Widow is one of my all time favourite recordings!


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## elgar's ghost (Aug 8, 2010)

I have dabbled here and there over the years - I have some works by the usual suspects (Strauss II, Lehár, Offenbach) and enjoy them, but haven't delved further as different listening priorities tend to occupy most of my time. Unfortunately Sullivan has always left me cold.


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## Rogerx (Apr 27, 2018)

This is a good one, from London, with the definitive farewell performance from Dame Joan Sutherland.


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## zxxyxxz (Apr 14, 2020)

elgars ghost said:


> I have dabbled here and there over the years - I have some works by the usual suspects (Strauss II, Lehár, Offenbach) and enjoy them, but haven't delved further as different listening priorities tend to occupy most of my time. Unfortunately Sullivan has always left me cold.


I love Strauss II, one of my all time favourite composers as I love his dance music as well as his operettas.

Offenbach I am always a bit on the fence about. I love orpheus in the underworld but my preferred version is the EMI recording sung in german


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## Tsaraslondon (Nov 7, 2013)

zxxyxxz said:


> I love Strauss II, one of my all time favourite composers as I love his dance music as well as his operettas.
> 
> Offenbach I am always a bit on the fence about. I love orpheus in the underworld but my preferred version is the EMI recording sung in german


My father was an amateur conductor, who conducted for many of the local operatic societies. Offenbach was his absolute favourite composer and he got to to conduct _La belle Hélène_, _Orphée aux enfers_ and _La vie parisienne_. As a teenager, I was one of the dancers in the latter two (shortly before I turned professional), which might explain why I like Offenbach so much.

I like Orpheus, particularly Plasson's recording. I can't really cope with Offenbach in German. My absolute favourite Offenbach operetta, though, is _La vie parisienne_ and, yet again, it is Plasson's recording I like the best.


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## zxxyxxz (Apr 14, 2020)

Maybe I should give Plasson ago, I do struggle with french though.


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## Tsaraslondon (Nov 7, 2013)

zxxyxxz said:


> Maybe I should give Plasson ago, I do struggle with french though.


I love the French language. I was once quite fluent and was told, by Parisians no less, that my accent was excellent. I'm a bit rusty now though, as I haven't spoken it for many years. That said, when following the libretto of an opera in French I find I rarely need to consult the English translation.


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## elgar's ghost (Aug 8, 2010)

Tsaraslondon said:


> My father was an amateur conductor, who conducted for many of the local operatic societies. Offenbach was his absolute favourite composer and he got to to conduct _La belle Hélène_, _Orphée aux enfers_ and _La vie parisienne_. As a teenager, I was one of the dancers in the latter two (shortly before I turned professional), which might explain why I like Offenbach so much.
> 
> I like Orpheus, particularly Plasson's recording. I can't really cope with Offenbach in German. My absolute favourite Offenbach operetta, though, is _La vie parisienne_ and, yet again, it is Plasson's recording I like the best.


This would be my preferred next step with Offenbach - pity it's out of print!


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## Tsaraslondon (Nov 7, 2013)

elgars ghost said:


> This would be my preferred next step with Offenbach - pity it's out of print!


So it would seem. What a shame!


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## Zhdanov (Feb 16, 2016)

Tsaraslondon said:


> My absolute favourite Offenbach operetta, though, is _La vie parisienne_ and, yet again, it is Plasson's recording I like the best.


that one recording is nothing special, and shame about some of its vocals too.

i'd suggest going with a dvd La Vie Parisienne, for that matter -


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## The Conte (May 31, 2015)

I love that Plasson Vie Parisienne and whilst I'm not as fond of French opera as some, I do like French comic musical works.

N.


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## The Conte (May 31, 2015)

If you like Yeoman and you haven't discovered all of the G&S operettas then I would suggest Iolanthe as being well worth seeking out. It has some very fine moments that are on a level with Mendelssohn (Sulivan would have been inspired by his Midsummer Night's Dream).

Most of the others have something to recommend them as well (although I find Utopia Ltd. to be their turkey).

I also like Offenbach, Strauss and the Merry Widow, but the rest of Lehar's works that I have heard I don't like other than the odd aria here and there.

Nobody has mentioned Kalman who wrote at least two superb operettas, The Czardas Princess and Grafin Maritza that have a Hungarian style, although composed in German (presumably so that they would travel across central Europe more easily.)

N.
N.


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## zxxyxxz (Apr 14, 2020)

The Conte said:


> If you like Yeoman and you haven't discovered all of the G&S operettas then I would suggest Iolanthe as being well worth seeking out. It has some very fine moments that are on a level with Mendelssohn (Sulivan would have been inspired by his Midsummer Night's Dream).
> 
> Most of the others have something to recommend them as well (although I find Utopia Ltd. to be their turkey).
> 
> ...


I do love Iolanthe though I rate gondoliers as better. I have never heard Utopia as I was warned to forget it exists. The grand duke is good in the theatre and needs the dialogue to work as the musical numbers are not the best.

I like the 2 Kalman pieces, though how much depends on my mood.

I do love the EMI cologne collection recordings of White Horse Inn and the Blackforest Maid.

A lesser known work I love and I recommended it on one of the general Wagner thread is Oscar Straus's Die Lustigen Nibelungen. A delightful send up of the cult of Wagner and Gotterdammerung. I love the over the top early fifties radio production on Cantus Classics.


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## Tsaraslondon (Nov 7, 2013)

Zhdanov said:


> that one recording is nothing special, and shame about some of its vocals too.


I beg to disagree. I can't hear much wrong with the vocals. All the singers seem perfectly cast to me. It has style and élan and is intrinsically French, which is what matters to me.


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## Tsaraslondon (Nov 7, 2013)

The Conte said:


> If you like Yeoman and you haven't discovered all of the G&S operettas then I would suggest Iolanthe as being well worth seeking out. It has some very fine moments that are on a level with Mendelssohn (Sulivan would have been inspired by his Midsummer Night's Dream).
> 
> Most of the others have something to recommend them as well (although I find Utopia Ltd. to be their turkey).
> 
> ...


I don't know why I've never taken to G & S the way I respond to Viennese and French operetta. I'm actually in the chorus in a couple of videos that were made im the 1980s, with such unlikely stars as Vincent Prince in _Ruddigore_. I'm in that one and _Princess Ida_.


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## NLAdriaan (Feb 6, 2019)

Just out of interest, there was a lot of discussion going on in another thread about the question if film music is 'classical music' or not, resulting into a discussion what an artfilm is en if purely commercial films can be artfilms. I have a quite broad perspective to the matter and will consider John Williams music to Jaws as classic as Prokofiev's Nevsky, and Jaws as much an artfilm as, say, Lars von Triers films.

I just wonder if there are any opinions about operetta? It seems to be a genre like a Steven Spielberg movie, mostly entertaining, probably made with a commercial view and not specifically 'elevating'. Would you consider operetta an artform or not or would you consider this a pointless discussion?


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## zxxyxxz (Apr 14, 2020)

In my mind operetta's are an art form. They are actually funny comedic operas.

The music and voice writing while not as complex as opera are certainly skillful.

Besides didn't Franz Lehar want to elevate operetta to create "low opera"?


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## DavidA (Dec 14, 2012)

G & S is great fun and has the advantage that it can be staged by even a modest opera group or even a school. Stravinsky was a great fan of the Savoy operettas.


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## The Conte (May 31, 2015)

zxxyxxz said:


> In my mind operetta's are an art form. They are actually funny comedic operas.
> 
> The music and voice writing while not as complex as opera are certainly skillful.
> 
> Besides didn't Franz Lehar want to elevate operetta to create "low opera"?


Strauss' Zigeunerbaron comes in that category (or it can). The Harnoncourt recording tried to restore it to an alleged grander work. (How accurate Harnoncourt's conclusions are I don't know, it's a worthwhile recording in any case.)

Sullivan's Yeomen is often considered his finest work and so that comes into the 'low opera' category too.

N.


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## Tsaraslondon (Nov 7, 2013)

The Conte said:


> Strauss' Zigeunerbaron comes in that category (or it can). The Harnoncourt recording tried to restore it to an alleged grander work. (How accurate Harnoncourt's conclusions are I don't know, it's a worthwhile recording in any case.)
> 
> Sullivan's Yeomen is often considered his finest work and so that comes into the 'low opera' category too.
> 
> N.


Now you've made me pull out my Schwarzkopf recording of *Der Zigeunerbaron*; there are cuts of course, but what a glorious performance.


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## Rogerx (Apr 27, 2018)

Romberg: The Student Prince
Harpy watching/ listening.


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## pianozach (May 21, 2018)

zxxyxxz said:


> To get the ball rolling my big discovery of 2019 was Gilbert and Sullivan!
> 
> Shocking I know, but growing up the common opinion was one of ridicule and naffness. But I took the plunge with Yeoman of the Guard at first and discovered great music combined with very funny and witty lines.
> 
> I was thrilled to have new works to listen to, enjoy and laugh at! The benefit to being in my native tongue and culture as opposed to the wonderful German works I normally listen to. My wallet was not happy.


I've been the resident Musical Director for the *Ventura County Gilbert & Sullivan Repertoire Company* for well over a decade.

We put on two G&S Operettas every year, usually a three week run, sometimes four. (We also have a summer concert series)

I've musical directed EVERY G&S Operetta at least twice, some up to a half dozen times.

Questions? I have answers.


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## Woodduck (Mar 17, 2014)

The Conte said:


> Nobody has mentioned Kalman who wrote at least two superb operettas, The Czardas Princess and Grafin Maritza that have a Hungarian style, although composed in German (presumably so that they would travel across central Europe more easily.)


I strongly second your recommendation of the Hungarian Emmerich (Hungarian name Imre) Kalman. I discovered his _Countess Maritza_ decades ago on a Urania LP set in a highly idiomatic, uninhibited performance I prefer to more recent ones, but which I've been unable to find since. I was thrilled by Kalman's engaging melodies - the piece really is one great tune after another - and I love his passionate, bracing Hungarian gypsy flavor, a little spicier than Lehar. _Maritza_ is my favorite operetta, along with Strauss's _Die Fledermaus._


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## zxxyxxz (Apr 14, 2020)

Rogerx said:


> Romberg: The Student Prince
> Harpy watching/ listening.


Thanks Rogerx!

I've never heard of the student prince before.

Really nice from these clips and what I checked out on amazon. I think I know what my next purchase will be!


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## The Conte (May 31, 2015)

zxxyxxz said:


> Thanks Rogerx!
> 
> I've never heard of the student prince before.
> 
> Really nice from these clips and what I checked out on amazon. I think I know what my next purchase will be!


There's quite a few American operettas (although it's difficult to say where operetta ends and musicals started). Blossom Time (or Lilac Time?) tells the story of Schuberts life and the songs are based on his music. Then there was Song of Norway that did the same thing, but with Grieg and Rose Marie is a very well known one (although not to my taste). I don't know these very well and haven't heard them for years (there were also films made of them, but they are forgotten now).

N.


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## zxxyxxz (Apr 14, 2020)

Thanks for the further suggestions.


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## Rogerx (Apr 27, 2018)

Try this one, clips on the Presto site .


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## zxxyxxz (Apr 14, 2020)

Rogerx said:


> Try this one, clips on the Presto site .


I already have Lurline, my memory is of it being just ok.

But I am loving all the talk and suggestions on this thread!


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## SixFootScowl (Oct 17, 2011)

I have probably a half dozen operettas in my collection. My favorite operetta is Land des Lachelns, of which I have four sets on CD plus a highlights set sung in English, and I have three DVDs of it.


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## Dulova Harps On (Nov 2, 2018)

For fans of French Operetta this site is a valuable resource Many MP3 files for listening too: http://comedie-musicale.jgana.fr/index.htm


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## adriesba (Dec 30, 2019)

I like _The Mikado_. It does have many catchy melodies, and several of the jokes, though I've heard them many times, just haven't gotten old yet. I like this recording:

View attachment 136495


It seems if I want the dialogue, I have to stick to videos. No one seems to be interested in recording the dialogue for cd/lp releases. I like this video:






I wish the singers for Nanki-Poo and Katisha in that video were on the CD I listed as the singers for Nanki-Poo and Katisha on that CD have irritating sounding voices though I still think that CD is the best of what I can find.

Next operettas I want to explore sometime are _Die Fledermaus _and _Orphée aux Enfers_. I have this CD of _Die Fledermaus_:

View attachment 136496


Unfortunately, the libretto with it is only given in German. Anyone know where to find an English translation online?


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## annaw (May 4, 2019)

adriesba said:


> I like _The Mikado_. It does have many catchy melodies, and several of the jokes, though I've heard them many times, just haven't gotten old yet. I like this recording:
> 
> View attachment 136495
> 
> ...


Chandos seems to have a PDF of the English libretto: https://www.chandos.net/chanimages/Booklets/TR1201.pdf

_Die Fledermaus_ is super fun to listen to!


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## Rogerx (Apr 27, 2018)

This one is also great.


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## Tsaraslondon (Nov 7, 2013)

adriesba said:


> I like _The Mikado_. It does have many catchy melodies, and several of the jokes, though I've heard them many times, just haven't gotten old yet. I like this recording:
> 
> View attachment 136495
> 
> ...


There are quite a few (better) recordings of _Die Fledermaus_, which do include the libretto. These certainly do.



















Not sure if this one does, but it's very good.








.


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## zxxyxxz (Apr 14, 2020)

I love die fledermaus! 

If you can find it on dvd the 1972 Otto Schenk film from Vienna and the subsequent cd of the musical numbers with abridged dialog is perfection. Its an actual film instead of a telecast.

For me they fix the annoyance of Prince Olorfsky. In my opinion male falsetto or mezzo is rubbish and him being a young man is stupid. In this version they turn the character into a bored, fat old man played masterfully by Wolfgang Windgassen. His presence alone makes it the best version in my books  

However the rest of the cast are superb and Böhm's conducting is swift never letting the performance drag. I tend to listen to the cd more than dvd because of life in general.

In regards to The Mikado I also am annoyed that decca and the other labels stopped recording the dialogue.


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## Zhdanov (Feb 16, 2016)

zxxyxxz said:


> For me they fix the annoyance of Prince Olorfsky.


but make him look like a Hungarian, for some unclear reason...


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## Tsaraslondon (Nov 7, 2013)

zxxyxxz said:


> I love die fledermaus!
> 
> If you can find it on dvd the 1972 Otto Schenk film from Vienna and the subsequent cd of the musical numbers with abridged dialog is perfection. Its an actual film instead of a telecast.
> 
> ...


What is the annoyance of Prince Orlovsky? The role was written for a woman, just as Cherubino, Octavian and the Composer were, and his music sounds better when sung in the right keys. Presumably the decision to make it a breeches part was because they wanted Orlovsky to sound young.

My only problem with the first Karajan recording is that they cast Orlovsky with a tenor (Rudolf Christ), though I almost forgive them as he plays the bored, _young_ man to the hilt, which is surely the point. He is not an old man who has seen it all. He is a young man, so rich he has always had exactly what he wants and _thinks_ he has seen it all.


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## zxxyxxz (Apr 14, 2020)

Tsaraslondon said:


> What is the annoyance of Prince Orlovsky? The role was written for a woman, just as Cherubino, Octavian and the Composer were, and his music sounds better when sung in the right keys. Presumably the decision to make it a breeches part was because they wanted Orlovsky to sound young.
> 
> My only problem with the first Karajan recording is that they cast Orlovsky with a tenor (Rudolf Christ), though I almost forgive them as he plays the bored, _young_ man to the hilt, which is surely the point. He is not an old man who has seen it all. He is a young man, so rich he has always had exactly what he wants and _thinks_ he has seen it all.


I hate trouser parts in general. As female is my least favourite voice type.

I liked the film and the recording so I am going to recommend it.


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## Tsaraslondon (Nov 7, 2013)

zxxyxxz said:


> I hate trouser parts in general. As female is my least favourite voice type.


That must be a terrible problem for you when it comes to both operetta and opera, as the prima donna is regularly the most important role in them. I recommend _Billy Budd_ (no women at all, not even in the chorus) and _Boris Godunov_ (aside from the Marina act, mostly male singers).


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## zxxyxxz (Apr 14, 2020)

Its why I value my chosen recordings highly, they have enjoyable female singers.


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## zxxyxxz (Apr 14, 2020)

I have just brought the EMI Graf von Luxemburg with Nicolai Gedda in. I see that it was rereleased only last month and digital only but with no digital booklet grr. 

Is having a full cast list and cast on each track too much to ask? Even Naxos provide digital liner notes.


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## Tsaraslondon (Nov 7, 2013)

zxxyxxz said:


> I have just brought the EMI Graf von Luxemburg with Nicolai Gedda in. I see that it was rereleased only last month and digital only but with no digital booklet grr.
> 
> Is having a full cast list and cast on each track too much to ask? Even Naxos provide digital liner notes.


I've given up expecting anything of reissues of classical material these days. I usually look for earlier releases that have better documentation.


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## The Conte (May 31, 2015)

Tsaraslondon said:


> What is the annoyance of Prince Orlovsky? The role was written for a woman, just as Cherubino, Octavian and the Composer were, and his music sounds better when sung in the right keys. Presumably the decision to make it a breeches part was because they wanted Orlovsky to sound young.
> 
> My only problem with the first Karajan recording is that they cast Orlovsky with a tenor (Rudolf Christ), though I almost forgive them as he plays the bored, _young_ man to the hilt, which is surely the point. He is not an old man who has seen it all. He is a young man, so rich he has always had exactly what he wants and _thinks_ he has seen it all.


That's an excellent description of the character and now it makes sense. How often have we seen it played in that way? (Joyce DiDonato should give it a go.) Perhaps the annoyance of Prince Orloffsky is that a really good performance of the role doesn't exist on DVD.

I recommend this CD set as it has an excellent cast and also includes the ballet, which is usually cut (ok, it's not great music and in performance it makes sense to substitute it with a shorter, better Strauss polka or waltz), however it is worth hearing the operetta as composed by Strauss.









It comes with a libretto (although the reissue that is available now with a different cover does not). You would have to track down a used set in good condition with the yellow cover I have attached if you must have a libretto. (Alternatively get one of the other sets as well and get the reissue.)

N.


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## The Conte (May 31, 2015)

Tsaraslondon said:


> I've given up expecting anything of reissues of classical material these days. I usually look for earlier releases that have better documentation.


I have done this. Some reissues come with an upgrade in sound, though. What I have managed to do is make sure I have at least one recording of each opera I have with a libretto and then if I get further recordings I don't mind whether they have one or not. I think Vespri Siciliani, Vestale and Medea are exceptions (but I do have the libretto in French and a score of the Italian versions of Vespri and Vestale).

N.


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## Tsaraslondon (Nov 7, 2013)

The Conte said:


> Joyce DiDonato should give it a go.
> N.


Absolutely. I think she'd be terrific.


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## adriesba (Dec 30, 2019)

Tsaraslondon said:


> There are quite a few (better) recordings of _Die Fledermaus_, which do include the libretto. These certainly do.
> 
> 
> 
> ...


I appreciate the suggestions. I'm sure there are better interpretations of the work elsewhere. Would definitely be open to getting more recordings in the future. I got the Naxos recording because, from what I understand, it is the only one that doesn't cut up the score. Can't remember why I chose the Naxos over the Harnoncourt though. Does the Harnoncourt have cuts?


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## Tsaraslondon (Nov 7, 2013)

adriesba said:


> I appreciate the suggestions. I'm sure there are better interpretations of the work elsewhere. Would definitely be open to getting more recordings in the future. I got the Naxos recording because, from what I understand, it is the only one that doesn't cut up the score. Can't remember why I chose the Naxos over the Harnoncourt though. Does the Harnoncourt have cuts?


I'm not sure but, it being Harnoncourt, I somehow doubt it.


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## zxxyxxz (Apr 14, 2020)

I've just finished the CPO recording of Romberg's The Student Prince and what a wonderful and beautiful work!

Just a simple prince falls in love with girl, prince becomes king, prince has to break up with girl story but a truly lovely operetta. 

It's made me tear up a bit.

I heartily recommend it for those unfamiliar.


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## The Conte (May 31, 2015)

adriesba said:


> I appreciate the suggestions. I'm sure there are better interpretations of the work elsewhere. Would definitely be open to getting more recordings in the future. I got the Naxos recording because, from what I understand, it is the only one that doesn't cut up the score. Can't remember why I chose the Naxos over the Harnoncourt though. Does the Harnoncourt have cuts?


No, it's complete (which is another bonus in my book). I listened to quite a few Fledermaus recordings and the only two that really do anything for me are the Harnoncourt and the one with Schwarzkopf.

N.


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## Tsaraslondon (Nov 7, 2013)

The Conte said:


> No, it's complete (which is another bonus in my book). I listened to quite a few Fledermaus recordings and the only two that really do anything for me are the Harnoncourt and the one with Schwarzkopf.
> 
> N.


It's cut of course and it was recorded in London, but there is something that is really _echt_ Viennese about the Schwarzkopf, even if it does have a tenor Orlovsky. In any case Christ is so good he almost makes you forget he is singing at the wrong pitch. The rest of the cast could hardly be bettered, with Gedda a properly tenor Eisenstein (it's Wächter on the Decca Karajan). Even the smattering of dialogue is delivered with such wit and sparkle that you hardly need to understand German to know what's going on.


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## adriesba (Dec 30, 2019)

The Conte said:


> No, it's complete (which is another bonus in my book). I listened to quite a few Fledermaus recordings and the only two that really do anything for me are the Harnoncourt and the one with Schwarzkopf.
> 
> N.


OK. I tend to be finicky about having complete recordings even if I like to also get other recordings that simply are more exciting to listen to. I remember it came down to the Naxos recording and the Harnoncourt recording. I can't remember why I chose the Naxos though. It was a long time ago, and I've been reluctant to listen to the whole thing because it only came with a German libretto. I also have a _Barber of Seville _on Naxos which only came with a portion of the libretto (Italian only) as if they mis-printed the booklet. I don't know what's with Naxos's libretti.


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## The Conte (May 31, 2015)

adriesba said:


> OK. I tend to be finicky about having complete recordings even if I like to also get other recordings that simply are more exciting to listen to. I remember it came down to the Naxos recording and the Harnoncourt recording. I can't remember why I chose the Naxos though. It was a long time ago, and I've been reluctant to listen to the whole thing because it only came with a German libretto. I also have a _Barber of Seville _on Naxos which only came with a portion of the libretto (Italian only) as if they mis-printed the booklet. I don't know what's with Naxos's libretti.


That Naxos Barber is very good. It wasn't quite good enough for me to add to the six I already have, but it is lively and entertaining.

Anyway, back to operetta and Die Fledermaus.

N.


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## SixFootScowl (Oct 17, 2011)

zxxyxxz said:


> I've just finished the CPO recording of Romberg's The Student Prince and what a wonderful and beautiful work!
> 
> Just a simple prince falls in love with girl, prince becomes king, prince has to break up with girl story but a truly lovely operetta.
> 
> ...


Well, the full operetta is a bit expensive, so i decided to dip my toes in with an incomplete performance for $6.41 shipped. No idea if the sound is even good. Will see. *Mostly Act 1 with just a couple bits from each remaining act*. Single disk set.









There is a *2 CD set for about $15 shipped on Ebay*.

The prince suddenly being called upon to become king at the death of his father is exactly what happens to the prince in Land des Lachelens (Lehar).


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## zxxyxxz (Apr 14, 2020)

> The prince suddenly being called upon to become king at the death of his father is exactly what happens to the prince in Land des Lachelens (Lehar).


The same thing happens at the end of Lehar's Der Zarewitsch. Which if you like Land Des Lachelens I recommend you check out, its in the same style. I have the EMI one with Nicolai Gedda and Rita Streich.


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## SixFootScowl (Oct 17, 2011)

zxxyxxz said:


> The same thing happens at the end of Lehar's Der Zarewitsch. Which if you like Land Des Lachelens I recommend you check out, its in the same style. I have the EMI one with Nicolai Gedda and Rita Streich.


Likely better availability of recordings too.


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## zxxyxxz (Apr 14, 2020)

Despite needing to devote all my work time at the moment to gaining accreditation in the new software I have been able to continue my albeit slowly my adventures through my operetta collection of old and new friends.

I am currently working my way through some new to me recordings by the Ohio Light Opera company. I have to say their sound quality once you turn up the volume is very good. Very skillful and immensely enjoyable. 

Despite being in english and not french (no issue for me at all. Looks at german language orpheus in the underworld) their recording of Offenbach's Blue Beard is great! Very funny and well played. A B+ from me. I would recommend to anyone who likes G&S and isn't averse to wrong language opera.


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## Rogerx (Apr 27, 2018)

Lecocq: La Fille de Madame Angot
Great music nice sung .


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## gvn (Dec 14, 2019)

Rogerx said:


> Lecocq: La Fille de Madame Angot
> Great music nice sung .


Delightful recording of a delightful work.

At this time it may also be appropriate to remember that the title role was one of the late Mady Mesplé's specialties, and her performance is preserved on an excellent 1972 EMI set.

In fact, Mlle Angot has done well on record: excellent single LPs of highlights were also issued by EMI (with Lina Dachary) and Philips (with Claudine Collart). And it was telecast several times on French TV with good casts during the same period.


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## LouisMasterMusic (Aug 28, 2013)

Tsaraslondon said:


> This operetta recital has to be one of the greatest ever made.
> 
> Just downloaded it on to my phone from PrimePhonic.


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## Rogerx (Apr 27, 2018)

Delightful recording of a delightful work.



> At this time it may also be appropriate to remember that the title role was one of the late Mady Mesplé's specialties, and her performance is preserved on an excellent 1972 EMI set.
> 
> In fact, Mlle Angot has done well on record: excellent single LPs of highlights were also issued by EMI (with Lina Dachary) and Philips (with Claudine Collart). And it was telecast several times on French TV with good casts during the same period.


I agree, just listen to it .


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## pianozach (May 21, 2018)

zxxyxxz said:


> Despite needing to devote all my work time at the moment to gaining accreditation in the new software I have been able to continue my albeit slowly my adventures through my operetta collection of old and new friends.
> 
> I am currently working my way through some new to me recordings by the Ohio Light Opera company. I have to say their sound quality once you turn up the volume is very good. Very skillful and immensely enjoyable.
> 
> Despite being in english and not french (no issue for me at all. Looks at german language orpheus in the underworld) their recording of Offenbach's Blue Beard is great! Very funny and well played. A B+ from me. I would recommend to anyone who likes G&S and isn't averse to wrong language opera.


Unfortunately for G & S fans, pretty much ALL of the D'oyle Carte recordings are not only recorded poorly (old school auditorium/concert hall recordings), but they're quite self-reverential and dull.

Perhaps the only G&S that's worth listening to was done mostly by broadway performers and a pop star (Joseph Papp's Pirates of Penzance featuring Linda Ronstadt and Kevin Kline)


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## zxxyxxz (Apr 14, 2020)

I disagree, I love the Decca stereo G&S recordings, i think i mainly have the first stereo set with the 2nd pirates. I adore the 1950 Yeoman of the Guard.

Wonderfully sung and very funny even today.

My big issue is that you need an english cast capable of proper english accents and perfect diction.


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## The Conte (May 31, 2015)

zxxyxxz said:


> I disagree, I love the Decca stereo G&S recordings, i think i mainly have the first stereo set with the 2nd pirates. I adore the 1950 Yeoman of the Guard.
> 
> Wonderfully sung and very funny even today.
> 
> My big issue is that you need an english cast capable of proper english accents and perfect diction.


I'm with you here (although I am more familiar with the better known second Decca series). My favourite Yeoman is the one conducted by Neville Mariner, but I realise that it's controversial as it presents it more as a semi-serious opera, than as pure operetta. I have three recordings of it and like them all for different reasons.

N.


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## pianozach (May 21, 2018)

The Conte said:


> I'm with you here (although I am more familiar with the better known second Decca series). My favourite Yeoman is the one conducted by Neville Mariner, but I realise that it's controversial as it presents it more as a semi-serious opera, than as pure operetta. I have three recordings of it and like them all for different reasons.
> 
> N.


The last straw for me many years ago was the D'Oyly Carte recording of *Ruddigore*, which has my favorite music of all the G&S operettas. It was a beautiful-looking LP box set. It was a muddy recording that I don't think I ever listened to again.


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## The Conte (May 31, 2015)

pianozach said:


> The last straw for me many years ago was the D'Oyly Carte recording of *Ruddigore*, which has my favorite music of all the G&S operettas. It was a beautiful-looking LP box set. It was a muddy recording that I don't think I ever listened to again.


Maybe it's worth listening to them again now that they have been released on CD, the sound may have been improved.

N.


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## adriesba (Dec 30, 2019)

The Conte said:


> Maybe it's worth listening to them again now that they have been released on CD, the sound may have been improved.
> 
> N.


All I know is that I enjoy the D'Oyly Carte _Mikado _that I have on CD and can't imagine that the other ones would be horrible, though I don't understand the reasoning for including the dialogue with some and not others.


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## zxxyxxz (Apr 14, 2020)

adriesba said:


> All I know is that I enjoy the D'Oyly Carte _Mikado _that I have on CD and can't imagine that the other ones would be horrible, though I don't understand the reasoning for including the dialogue with some and not others.


From what I understand the problem with the dialogue was one of cost. Vinyl sides vs what the public would pay. I guess maybe people were also more familiar with the works?

I love the dialogue on the sets that I have. In fact I tend to like having dialgoue even if its not in english. I find it adds to the story and obviously characterisation. My favourite Mikado is the pristine remaster of the 1926.


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## The Conte (May 31, 2015)

adriesba said:


> All I know is that I enjoy the D'Oyly Carte _Mikado _that I have on CD and can't imagine that the other ones would be horrible, though I don't understand the reasoning for including the dialogue with some and not others.


They included the dialogue for the better known works. I don't know if the thinking was that people wouldn't be interested in it for the lesser works or if they recorded the lesser works later and had had feedback saying that people were only interested in having the music of the numbers for recordings. Most of the recordings that have the dialogue I believe are live ones and the main studio recordings with dialogue are the first stereo series of Doly Carte recordings, although there are some other studio ones with dialogue (the Mariner Yeomen and some of the second series of Doly Carte recordings).

N.


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## adriesba (Dec 30, 2019)

I suppose those could all be reasons for not recording the dialogue. But does anyone know a good _Mikado _recording with the dialogue? I've had some trouble finding one. There's the Ohio Light Opera one, but I'm not crazy about it. Perhaps it would have to be an older performance.


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## zxxyxxz (Apr 14, 2020)

I've really been enjoying a few old favourites of late (I have finally been able to listen at work again).

Benatzky: White Horse Inn - The EMI Cologne collection recording.

Jessel: Schwarwaldmädel (Black Forest Maid) - EMI Cologne collection recording.

G&S The Gondoliers

All three score the highest rank in my ranking system (A*). Which for those interested puts them on a par with Wagner's operas.

I had forgotten how beautifully charming the black forest maid is. With the recording making he most of the big romantic sound. Not musically ground breaking but nearly perfectly put together and never over stays its welcome.


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## zxxyxxz (Apr 14, 2020)

*The zxxyxxz Top 35 Operetta List*

*The zxxyxxz Top 35 Operetta List*

Over the past couple of weeks I embarked on a listening project based upon the Operettas in my collection. I don't know about anyone else but I judge operettas and operas to be of equal worth and skill, any way I decided for fun to rank the works that I would recommend as being a) good and more importantly b) enjoyable.

It turns out ranking was harder than I thought, I normally group things into tiers. But after all the hard work and good fun revisting my collection I thought I would share my personal top 35 list with everyone else. Its a top 35 list because after that I found it difficult to say I actually liked a work and decided against list padding.

1)	Romberg: The Student Prince
2)	Sullivan: Trial by Jury
3)	Strauss, J II: Die Fledermaus
4)	Sullivan: Yeoman of the Guard
5)	Jessel: Schwarzwaldmadel
6)	Benatzky: Im Weißen Rössel
7)	Sullivan: The Gondoliers
8)	Straus, O: Die Lustigen Nibelungen
9)	Sullivan: Iolanthe
10)	Sullivan: The Mikado
11)	Lehar: Die Lustige Witwe
12)	Offenbach: Orpheus in der Unterwelt (Yes I much prefer it in German)
13)	Lortzing: Der Waffenschmied
14)	Lehar: Der Zarewitsch
15)	Sullivan: Pirates of Penzance
16)	Sullivan: Princess Ida
17)	Sullivan: The Sorceror
18)	Sullivan: Ruddigore
19)	Straus, O: Der Letzte Walzer
20)	Strauss, J II: Eine Nacht in Venedig
21)	Strauss, J II: Der Zigeunerbaron
22)	Strauss, J II: Wiener Blut
23)	Strauss, J II: Jabuka
24)	Lehar: Das Land Des Lächelns
25)	Millöcker: Der Bettlestudent
26)	Lortzing: Hans Sachs
27)	Lortzing: Die Opernprobe
28)	Millöcker: Gasparone
29)	Sullivan: The Grand Duke
30)	Sullivan: HMS Pinafore
31)	Strauss, J II: Fürstin Ninetta
32)	Lortzing: Der Wildschütz
33)	Lehar: Friederike
34)	Sullivan: Patience
35)	Kalman: Gräfin Mariza

Honourable Mention Kalman: Die Csardasfürstin


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## Guest (Jul 23, 2020)

I played the part of Sir Joseph Porter when I was 11, and was a lighting technician in an AmDram production of The Merry Widow.

Loved both experiences.


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## pianozach (May 21, 2018)

zxxyxxz said:


> *The zxxyxxz Top 35 Operetta List*
> 
> Over the past couple of weeks I embarked on a listening project based upon the Operettas in my collection. I don't know about anyone else but I judge operettas and operas to be of equal worth and skill, any way I decided for fun to rank the works that I would recommend as being a) good and more importantly b) enjoyable.
> 
> ...


As someone who has been involved in productions of the ENTIRE *G&S* catalog (many more than once, some several times), I find your ranking of *Trial by Jury* so high on the list puzzling.

While it's nice that it's getting some love, it's an obscure short one-act, with some pleasant but mostly forgettable tunes. But, hey, whatever. Just sayin'.

OK, there's some clever stuff embedded in it. _*When I, good friends, was called to the Bar*_ is very clever, although musically it's pretty simplistic. And if you delve deeper into the music, Sullivan almost always includes 'tributes' to other composers, even in this very early collaboration with Gilbert.

So, I'm curious as to why you rank this one higher than the rest of the G&S catalog.


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## zxxyxxz (Apr 14, 2020)

Merely because I find it musically exciting all the way through and very funny with some great vocal writing. As some one who is only a listener I can't speak for complexity only what amuses and engages me for the length of the piece. It never fails to put a smile on my face.

The top 12 were very difficult to order, it became a game of hairs.


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## SixFootScowl (Oct 17, 2011)

zxxyxxz said:


> *The zxxyxxz Top 35 Operetta List*
> 
> Over the past couple of weeks I embarked on a listening project based upon the Operettas in my collection. I don't know about anyone else but I judge operettas and operas to be of equal worth and skill, any way I decided for fun to rank the works that I would recommend as being a) good and more importantly b) enjoyable.
> 
> ...


I think I tried the Student Prince recently after you posted about it. I like it, but getting a complete recording is not easy, at least not if you are cheap like me.

My favorite operetta by far is Das Land Des Lachelns! I have about 6 on CD and 3 on DVD.


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## zxxyxxz (Apr 14, 2020)

I remember you saying about the student prince, which I was introduced to by another member in this thread ;-). 

Didn't you end up with a disc with most of the numbers?

As you can see I like operetta's they make up a out half of my listening time. I like finding new works, if only to make sure I'm not missing out on a masterpiece.

Though I expect others are more knowledgeable as I no nothing about french works as I dislike french works in general and sung french.


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## SixFootScowl (Oct 17, 2011)

zxxyxxz said:


> I remember you saying about the student prince, which I was introduced to by another member in this thread ;-).
> 
> Didn't you end up with a disc with most of the numbers?
> 
> ...


My Student Prince set is all of Act 1 and a couple numbers from each of the remaining acts.

As for French opera, there are few I like. Poulenc's Dialogues of the Carmelites is a very good one, or try an Italian opera written for a French libretto in Donizetti's La fille du Regiment (way better IMO than the Italian version of it).


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## Tsaraslondon (Nov 7, 2013)

I'm the opposite. I like a lot of French opera and I really like French operetta, Offenbach's *La vie parisienne*, *Orphée aux Enfers* and *La belle Hélène* especially. I also like Strauss's *Die Fledermaus*, which was heavily influenced by Offenbach.

Otherwise I know some of the other Strauss operettas from the Schwarzkopf/Gedda/Ackermann champagne recordings, heavily cut but wonderfully stylish and effervescent.

For Lehár I also turn to Schwarzkopf, though I prefer her second recording of *Die lustige Witwe* under von Matacic, which I don't think has been bettered by anyone. I also like her and Gedda's recording of *Das Land des Lächelns*.

I have lots of excerpts sung by the wonderful Fritz Wunderlich and the one recital that never fails to lift the spirits is Schwarzkopf's _Operetta Arias_, a record I've known and loved since my teens.


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## zxxyxxz (Apr 14, 2020)

Tsaraslondon said:


> I'm the opposite. I like a lot of French opera and I really like French operetta, Offenbach's *La vie parisienne*, *Orphée aux Enfers* and *La belle Hélène* especially. I also like Strauss's *Die Fledermaus*, which was heavily influenced by Offenbach.
> 
> Otherwise I know some of the other Strauss operettas from the Schwarzkopf/Gedda/Ackermann champagne recordings, heavily cut but wonderfully stylish and effervescent.
> 
> ...


Maybe its time for a new merry widow, my recording is the old Ackermann one which has served me well.

All the Offenbach one's you've mentioned I have in german on the emi cologne collection ! 

I think my lack of enjoyment other than Orpheus is a language thing, but we all have to be different otherwise the forum would be a boring place!

Or maybe I just prefer a good waltz 

Either way I am enjoying all the talk.


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## vincula (Jun 23, 2020)

Carl Nielsen's _Maskarade_ deserves to be included:









Regards,

Vincula


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## Tsaraslondon (Nov 7, 2013)

vincula said:


> Carl Nielsen's _Maskarade_ deserves to be included:
> 
> View attachment 140218
> 
> ...


I don't know it, but I have wanted to give it a try for some time. I always assumed it was a comic opera rather than an operetta. Am I wrong?


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## vincula (Jun 23, 2020)

You're right, could be considered an _opera buffa_. Give it a try. Here in Denmark's very popular. I'll try to attend this one, if Mr. COVID decides to rest for the Winter season and let's Michael Schønwandt conduct this:

https://kglteater.dk/en/whats-on/season-20202021/opera/maskarade/

Regards,

Vincula


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## zxxyxxz (Apr 14, 2020)

adriesba said:


> I suppose those could all be reasons for not recording the dialogue. But does anyone know a good _Mikado _recording with the dialogue? I've had some trouble finding one. There's the Ohio Light Opera one, but I'm not crazy about it. Perhaps it would have to be an older performance.


I don't know why I remembered this post and I meant to type this yesterday but got distracted.

To cut a long story short I learnt of the existence of the BHE film of The Mikado which looks to be a specifically filmed version of a Savoy production. After watching it on Sunday night, while the film quality is rather dated which given the likely budget and time period is not surprising and the camera men get better as they go on the sound quality is very very good and while I can't vouch for 100% completeness is does contain a lot of the dialogue.

I found it very funny and great fun to see an actual performance.


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## adriesba (Dec 30, 2019)

zxxyxxz said:


> I don't know why I remembered this post and I meant to type this yesterday but got distracted.
> 
> To cut a long story short I learnt of the existence of the BHE film of The Mikado which looks to be a specifically filmed version of a Savoy production. After watching it on Sunday night, while the film quality is rather dated which given the likely budget and time period is not surprising and the camera men get better as they go on the sound quality is very very good and while I can't vouch for 100% completeness is does contain a lot of the dialogue.
> 
> I found it very funny and great fun to see an actual performance.


I believe that video is on YouTube. It's very good!


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## zxxyxxz (Apr 14, 2020)

I've also just recorded the 2012 BBC Proms Yeoman of the Guard from the rebroadcast last week which contains the dialogue. The 1950 Yeoman is still far superior.

Now I have all my favourite G&S with full dialogue!


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## The Conte (May 31, 2015)

I have quite vanilla tastes when it comes to G&S recordings. I have most of the stereo Decca D'Oyly Carte recordings, some of which include the dialogue and all the Telarc recordings conducted by Mackerras (none of which do). I also have the Philips Yeoman under Mariner which includes dialogue (but with cuts) and some of the Glyndebourne series (Ruddigore, Gondoliers, Iolanthe and Patience), which means that I have most of the operettas with dialogue and without. I also have a set of almost all the main works in the first electrical recordings from the 20s/30s which have some of the artists that worked with Gilbert.

I've only listened to a few bits and pieces from the Decca 50s recordings and they haven't grabbed me, but I keep hearing good things about them.

N.


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## zxxyxxz (Apr 14, 2020)

I only have the 50's Yeoman, I do like the 1926 Mikado, and the rest of the Decca Stereo ones.

The best thing for me about G&S is that my opera novice husband doesn't mind listening to them. Unlike Wagner. A good thing I didn't marry him for his musical taste :-D


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## Granate (Jun 25, 2016)

I hate you. First thing I read was xxx Only Fans. :lol:


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## zxxyxxz (Apr 14, 2020)

Granate said:


> I hate you. First thing I read was xxx Only Fans. :lol:


Ha! Made me smile so hats off to you.


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## adriesba (Dec 30, 2019)

So what are everyone's opinions? Is operetta just a type of opera like a comic opera, or is it it's own unique thing intermediate between opera and musical theater? I never really understood this.


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## zxxyxxz (Apr 14, 2020)

I always see operetta as comic operas that are actually funny and perhaps more focused on being fun or catchy numbers as opposed to technical skill or higher musical merit.

Others opinions will no doubt vary.


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## Woodduck (Mar 17, 2014)

adriesba said:


> So what are everyone's opinions? Is operetta just a type of opera like a comic opera, or is it it's own unique thing intermediate between opera and musical theater? I never really understood this.


The iines between opera, operetta and musical are blurry. In general, opera is sung throughout; the German _Singspiel_ and the French _opera comique_ have spoken dialogue, but we call them operas, partly because they date back to when operetta was not yet a recognized genre. To confuse things further, an _opera comique_ needn't be a comedy (e.g. _Carmen,_ which has spoken dialogue in its original form). The term operetta came to be used for operas with spoken dialogue between numbers and light, romantic, amusing plots, and correspondingly lively, tuneful music. Operetta originated in Europe - Paris and Vienna were the principal venues - but was popular in America before and during the emergence of the musical, written in English by American composers (e.g. Sigmund Romberg, Victor Herbert and John Philip Sousa). The American musical began as more of a "show," focusing on entertaining numbers in popular style, but evolved in various directions to the point where some musicals are virtually operas.

In short, some works are definitely operas, definitely operettas, or definitely musicals, but there are plenty of borderline cases.


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## SixFootScowl (Oct 17, 2011)

^  Very helpful. At least now I know my confusion is not the onset of dementia.

But hey, there is also a relation between opera and oratorio. And some oratorios, such as Beethoven's Christus am Olberge, seem to have a very operatic feel to them.


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## Woodduck (Mar 17, 2014)

SixFootScowl said:


> ^  Very helpful. At least now I know my confusion is not the onset of dementia.
> 
> But hey, there is also a relation between opera and oratorio. And some oratorios, such as Beethoven's Christus am Olberge, seem to have a very operatic feel to them.


Oratorios are not theater works, though some have been staged.


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## 89Koechel (Nov 25, 2017)

Maybe comic, or "light" operas might characterize operettas, the best. Some are truly "frothy", and many have some, enduring melodies and plots. As far as "higher musical merit", we shouldn't expect a Bjorling, or a Schorr, or a Rosa Ponselle to SING them, but recordings with Gedda, Anneliese Rothenberg and others ... esp. from the post-WW2 years ... we have some FINE examples.


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## 89Koechel (Nov 25, 2017)

Very good, SixFootScowl! ... and Christ on the Mount of Olives is one of the better works of Beethoven. Maybe in the older days, the dividing lines between oratorios, opera and other works ... staged or UN-staged ... were clearer. Maybe in that period, there was a better emphasis on making the abilities of the human voice more-PRESENT to audiences of the day. Bach composed his Cantatas and his religious works (St. Matthew Passion, St. John Passion) with, I think, a BALANCE of orchestral forces and singers. Anyhoo, thanks for your post!


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## SixFootScowl (Oct 17, 2011)

89Koechel said:


> Very good, SixFootScowl! ... and Christ on the Mount of Olives is one of the better works of Beethoven. Maybe in the older days, the dividing lines between oratorios, opera and other works ... staged or UN-staged ... were clearer. Maybe in that period, there was a better emphasis on making the abilities of the human voice more-PRESENT to audiences of the day. Bach composed his Cantatas and his religious works (St. Matthew Passion, St. John Passion) with, I think, a BALANCE of orchestral forces and singers. Anyhoo, thanks for your post!


That Christus does not have the spiel of Fidelio, Christus is more operatic, at least to me while listening on audio only.

The other thing is that some oratorios perhaps would have been operas but, as I have read somewhere, the Church at the time forbid opera, so oratorio was a way of getting around the Church's prohibition.

But I guess I don't want to take us too far off track so on the topic of operetta, I am not all that fond of most, but Lehar's Das Land des Lachelns sure is a good one.


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## pianozach (May 21, 2018)

adriesba said:


> So what are everyone's opinions? Is operetta just a type of opera like a comic opera, or is it it's own unique thing intermediate between opera and musical theater? I never really understood this.


It's both.

Sure, it's opera with dialogue, and it's often comedic.

It's also a link between opera and musical theatre.


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## zxxyxxz (Apr 14, 2020)

Another point, unlike musicals operettas require classically trained singers. A definition I read along time ago was: "An operetta requires opera singers who can act. A musical requires actors who can sing."


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## pianozach (May 21, 2018)

zxxyxxz said:


> Another point, unlike musicals operettas require classically trained singers. A definition I read along time ago was: "An operetta requires opera singers who can act. A musical requires actors who can sing."


There are exceptions, but *that is* generally *true*.

I've worked all my life in theatre, both operettas and musicals.


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## 89Koechel (Nov 25, 2017)

Very good, SixFoot! ... and thanks for the info, about how the Catholic Church could even FORBID opera, in a certain day/age. Even as a practicing Catholic, I, for one, can always OBJECT to the somewhat-backwards edicts of "our" Church, in the past ... and a ban on opera certainly falls into that category. Also, your recommendation of Lehar's The Land of Smiles is a GOOD one, and there've been some decent recordings. Geez, I even have a (dubbed) video of the excellent tenor - Richard Tauber - in the same. As am sure you know, Tauber and Lehar (himself) was a wonderful partnership, in those days gone by - eh? Thanks!


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## Woodduck (Mar 17, 2014)

89Koechel said:


> Also, your recommendation of Lehar's The Land of Smiles is a GOOD one, and there've been some decent recordings. Geez, I even have a (dubbed) video of the excellent tenor - Richard Tauber - in the same. As am sure you know, Tauber and Lehar (himself) was a wonderful partnership, in those days gone by - eh? Thanks!


It's worth noting that one can obtain CDs of some of Lehar's operettas conducted by the composer himself in the early 1940s. At least on the recordings I have (of _Giuditta_ and _Paganini_) the sound is fairly wretched, but they're worth hearing as examples of authentic performance style, which, like many things, ain't what it used to be. I also have _The Land of Smiles_ with Richard Tauber, recorded in 1930.

If anyone is interested in the above recordings, send me a PM. I'm ready to pass them along for a pittance.


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## Tsaraslondon (Nov 7, 2013)

89Koechel said:


> Maybe comic, or "light" operas might characterize operettas, the best. Some are truly "frothy", and many have some, enduring melodies and plots. As far as "higher musical merit", we shouldn't expect a Bjorling, or a Schorr, or a Rosa Ponselle to SING them, but recordings with Gedda, Anneliese Rothenberg and others ... esp. from the post-WW2 years ... we have some FINE examples.


All thoses wonderful "champagne operetta" recordings made by Walter Legge with Ackermann conducting and Schwarzkopf and Gedda in the lead roles, not to mention the beautifully produced second recording of Lehar's *Die lustige Witwe* under von Matacic, surely one of the greatest operetta recordings ever made. It sparkles and fizzes like a great champagne and yet is as meticulously and beautifully sung as a Strauss opera. It may not be complete, but it's a recording that never fails to lift my spirits.


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## Aerobat (Dec 31, 2018)

Tsaraslondon said:


> All thoses wonderful "champagne operetta" recordings made by Walter Legge with Ackermann conducting and Schwarzkopf and Gedda in the lead roles, not to mention the beautifully produced second recording of Lehar's *Die lustige Witwe* under von Matacic, surely one of the greatest operetta recordings ever made. It sparkles and fizzes like a great champagne and yet is as meticulously and beautifully sung as a Strauss opera. It may not be complete, but it's a recording that never fails to lift my spirits.


This is one of the first I ever heard - my parents had this LP when I was a child. I think I can attribute my love of Lehar's music to this exact recording. Sadly this and many other recordings disappeared when my father 'upgraded' his music system to one that didn't have a turntable.


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## Tsaraslondon (Nov 7, 2013)

Aerobat said:


> This is one of the first I ever heard - my parents had this LP when I was a child. I think I can attribute my love of Lehar's music to this exact recording. Sadly this and many other recordings disappeared when my father 'upgraded' his music system to one that didn't have a turntable.


Still available in one format or another though, I think.


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## SixFootScowl (Oct 17, 2011)

I have this one and will have to give it another listen now.


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## Aerobat (Dec 31, 2018)

Tsaraslondon said:


> Still available in one format or another though, I think.


Could well be. I've had the Cheryl Studer recording for ages now, and not got round to looking for another.... may to have to add this to my shopping list


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