How is 'Hanna Glawari' known in the title of an enormously popular Franz Lehar operetta of 1905?
"afterward and being taken to the hospital. She ultimately left the Met under circumstances which were termed ""creative differences"" with the company's general manager Rudolf Bing. Wilson continued to perform internationally in operas in the early 1960s; appearing in theatres in the United States, Spain, Portugal, Switzerland, Germany and South America. Other roles she performed on stage included Amina in Vincenzo Bellini's ""La Sonnambula"", Hanna Glawari in Franz Lehár's ""The Merry Widow"", Marie in Donizetti's ""La fille du régiment"", Norina in Donizetti's ""Don Pasquale"", Philine in Ambroise Thomas’s ""Mignon"", and the title role in Donizetti's ""Linda di Chamounix"". In 1959"
"Franz Lehár Franz Lehár (; 30 April 1870 – 24 October 1948) was an Austro-Hungarian composer. He is mainly known for his operettas, of which the most successful and best known is ""The Merry Widow"" (""Die lustige Witwe""). Lehár was born in the northern part of Komárom, Kingdom of Hungary, Austria-Hungary (now Komárno, Slovakia), the eldest son of Franz Lehár (senior) (1838–1898), an Austrian bandmaster in the Infantry Regiment No. 50 of the Austro-Hungarian Army and Christine Neubrandt (1849–1906), a Hungarian woman from a family of German descent. He grew up speaking only Hungarian until the age of 12. Later"
"(later reworked as ""Tatjana"" in 1906), premiered in Leipzig. It was only a middling success and Lehár eventually rejoined the army, with service in the garrisons at Trieste, Budapest (1898) and finally Vienna from 1899 to 1902. In 1902 he became conductor at the historic Vienna Theater an der Wien, where his operetta ""Wiener Frauen"" was performed in November of that year. He is most famous for his operettas – the most successful of which is ""The Merry Widow"" (""Die lustige Witwe"") – but he also wrote sonatas, symphonic poems and marches. He also composed a number of waltzes (the"
"of a Jewish family, he studied music in Berlin under Max Bruch, and became an orchestral conductor, working at the Überbrettl cabaret. He went back to Vienna and began writing operettas, becoming a serious rival to Franz Lehár. When Lehár's popular ""The Merry Widow"" premiered in 1905, Straus was said to have remarked ""Das kann ich auch!"" (I can also do that!). In 1939, following the Nazi Anschluss, he fled to Paris, where he received the honour of a Chevalier of the Légion d'honneur, and then to Hollywood. After the war, he returned to Europe, and settled at Bad Ischl,"
"is buried on the Zentralfriedhof. From 1903 to 1911, Günther recorded ten 78 rpm sides of music from ""The Merry Widow"", Heinrich Reinhardt's ""Der liebe Schatz"", Leo Ascher's ""Vergeltsgott"" and Franz Lehár's """". Mizzi Günther Mizzi Günther (8 February 1879 – 18 March 1961) was a Bohemian-Viennese operetta soprano. Günther was born in Warnsdorf, Bohemia (now the Czech Republic). Her debut was in 1897 in Hermannstadt, now Sibiu, in Romania. She achieved stardom in Vienna in 1901 as O Mimosa San in ""The Geisha"". She subsequently sang in England, France and Russia. She created the title roles of Franz Lehár's"
"Brussels, where he was made chief conductor at the Théâtre de la Monnaie and saw instant success with his ballet ""Ispahan"" and several tunes. His wife, Suzy Delsart, was an operetta star (operette divette) and sang the title role of ""The Merry Widow"" by Franz Lehár and also influenced her husband into writing lighter and more popular tunes. In 1907 he completed the music for Marcel Gerbidon's operetta,""Flossie"" or ""Je m'appelle Flossie."" In 1908 he adapted Pierre Veber's comedy ""Loute"", then in 1914 began the musical comedy ""Flup !"" to a libretto by Gaston Dumestre, which had a successful premiere"
"Bartered Bride"" (1940), Minni in ""Die Fledermaus"" (1940), Giulietta in ""The Tales of Hoffmann"" (1941), the Marschallin in ""Der Rosenkavalier"" (1941), a young girl in ""Spiel oder Ernst"" (1941), and Dorabella in ""Così fan tutte"" (1942). In May 1944 Lewis made her Manhattan, New York City debut on Broadway with the New Opera Company as Hanna Glawari in Lehar's ""The Merry Widow"" opposite Jan Kiepura. With that company she was also seen on Broadway in 1944 as the title heroine in Ermanno Wolf-Ferrari's ""Il segreto di Susanna"". In 1948 she returned to Broadway to portray the role of the Female"
"Paganini (operetta) Paganini is an operetta in three acts by Franz Lehár. The German libretto was by and . Lehár composed the work as a vehicle for Richard Tauber, the acclaimed Austrian tenor, though he assumed the role (with Vera Schwarz as the princess) in Berlin on 30 January 1926, rather than the Vienna premiere which was at the Johann Strauss Theater on 30 October 1925 with in the title role. Tauber's contract with the Berlin State Opera required him to be in Stockholm at the time of the Vienna premiere. The operetta was so coolly received in Vienna that"
"stage name of Namara from her mother's maiden name, McNamara. From then on, she was referred to professionally as Madame Namara, and was called by family and friends as, simply, Namara. From 1910 to 1926, she sang with the Boston Opera Company, with the Chicago Opera Company (succeeding Mary Garden in ""Thaïs""), with the Metropolitan Opera, and with Paris's Opéra-Comique. She sang lead roles in ""Cavalleria Rusticana"", ""Manon"", ""Carmen"", ""Il trovatore"", ""Tosca"", ""La traviata"" and ""La bohème"". She also starred in operetta and musical comedy: Her 1915 Broadway debut came in a Franz Lehár operetta written especially for her entitled"
"will lose her fortune only because it will become the property of her new husband. Valencienne assures Baron Zeta of her fidelity by pointing out her reply to Camille's declaration of love written on the fan: """" (""I'm a respectable wife""). All ends happily. The operetta was produced in 1906 in Hamburg's Neues Operetten-Theater, Berlin's (starring Gustav Matzner as Danilo and Marie Ottmann as Hanna, who made the first complete recording in 1907), and Budapest's Magyar Színház in a faithful Hungarian translation. The piece became an international sensation, and translations were quickly made into various languages: in 1907, Buenos Aires"
"most popular being ""Gold und Silber"", composed for Princess Pauline von Metternich's ""Gold and Silver"" Ball, January 1902), some of which were drawn from his famous operettas. Individual songs from some of the operettas have become standards, notably ""Vilja"" from ""The Merry Widow"" and ""You Are My Heart's Delight"" (""Dein ist mein ganzes Herz"") from ""The Land of Smiles"" (""Das Land des Lächelns""). His most ambitious work, ""Giuditta"" in 1934 is closer to opera than to operetta. It contains the ever popular ""Meine Lippen, sie küssen so heiß"" (""On my lips every kiss is like wine""). Lehár was also associated"
"she contributes to his fortune by making him the music teacher of her younger siblings, and appointing him to the post of Hofkapellmeister. Geschwandtner should be blissfully happy, now that his life–long ambition as a musician has been fulfilled, but he remains of course sad. Hoheit tanzt Walzer Hoheit tanzt Walzer (Her Highness Dances the Waltz) is an operetta in three acts by Leo Ascher to a libretto by Julius Brammer and Alfred Grünwald, with a plot loosely based on Oscar Straus' 1907 operetta ""Ein Walzertraum"". It premiered on 24 February 1912 at the Raimund Theater in Vienna. The work"
"P. Herbert was presented by C. B. Cochran at the Lyceum Theatre in London in May 1937, with Tauber as Paganini and Evelyn Laye as Anna Elisa. They recorded seven numbers from the show for Parlophone Records, including the new number 'Fear Nothing' that Lehár had written for the London production. In 1934 the operetta was adapted into the German film ""Paganini"". Set in Lucca, the story concerns the love affair of Niccolò Paganini, the irresistibly charming violinist, with Élisa Bonaparte, the arts and theatre-loving younger sister of Napoleon. Paganini (operetta) Paganini is an operetta in three acts by Franz"
"Star?""), which soon would become her signature tune. In 1930, she participated in four cabarets in the capital, Stockholm, made her first records, including a cover of Marlene Dietrich's ""Falling in Love Again"", and played a part in a film. However, it was as ""Hanna Glavari"" in Franz Lehár's operetta ""The Merry Widow"" that she had her definitive break-through (1931). By then she had divorced Nils Leander. In the following years, she expanded upon her career and made a living as an artist on stage and in film in Scandinavia. Her fame brought her proposals from the European continent and"
"as the original short introduction is preferred. The Vienna Philharmonic performed the overture at Lehár's 70th birthday concert in April 1940. The embassy in Paris of the poverty-stricken Balkan principality of Pontevedro is holding a ball to celebrate the birthday of the sovereign, the Grand Duke. Hanna Glawari, who has inherited twenty million francs from her late husband, is to be a guest at the ball – and the Pontevedrin ambassador, Baron Zeta, is scheming to ensure that she will keep her fortune in the country, saving Pontevedro from bankruptcy. The Baron intends that Count Danilo Danilovitsch, the first secretary"
"despised the result, however, calling it ""a putrid ""opera bouffe"" in the worst taste of 1860"", but grew to regret not accepting payment when, despite his opinion of the work, it became an international success. When Shaw heard, in 1921, that Franz Lehár wanted to set his play ""Pygmalion"" to music, he sent word to Vienna that Lehár be instructed that he could not touch ""Pygmalion"" without infringing Shaw's copyright and that Shaw had ""no intention of allowing the history of ""The Chocolate Soldier"" to be repeated."" ""Pygmalion"" was eventually adapted by Lerner and Loewe as ""My Fair Lady"", made"
"him as a special gift a red Morocco leather volume in commemoration of the 50th performance of ""The Merry Widow"". He died aged 78 in 1948 in Bad Ischl, near Salzburg, and was buried there. His younger brother Anton became the administrator of his estate, promoting the popularity of Franz Lehár's music. In 1908, the German branch of The Gramophone Company Ltd (afterwards HMV) issued twelve extracts (mostly ensembles) from Lehár's latest operetta, ""Der Mann mit den drei Frauen"", with the composer conducting. The singers included Mizzi Günther, Louise Kartousch and Ludwig Herold. In 1929 and 1934, Lehár had conducted"
"active as a guest artist with many European opera houses. She remained a frequent performer at the Hungarian State Opera House and appeared often as a guest at the Bavarian State Opera, Berlin State Opera, and Semperoper under such conductors as Karl Böhm, Victor de Sabata, Wilhelm Furtwängler, Hans Knappertsbusch, Clemens Krauss, and Josef Krips. She became internationally famous through her many appearances at the Salzburg Festival where she sang Susanna in Mozart's ""Le nozze di Figaro"" (1937–1939, 1941 with Ezio Pinza as Figaro), Sophie in Richard Strauss'a ""Der Rosenkavalier"" (1937–1939), Donna Elvira in Mozart's ""Don Giovanni"" (1950), and Europa"
"the Teatr Wielki in 1858, in Brussels at the Théâtre Royal de la Monnaie (in a French translation by Alphonse Royer) in 1859, in Paris at the Théâtre des Italiens (in Italian) in 1863, and in London at the Royal Opera House in 1864. By the time it received its Metropolitan Opera premiere on 4 February 1910 with Leo Slezak as Stradella and Alma Gluck as Leonore, the work had nearly been forgotten. It received six performances at the Met that season, but then returned to relative obscurity, never achieving the more enduring popularity of ""Martha"". The most notable 21st"
"of Richard Wagner, he went on to experiment with impressionism in music, atonal music and chromaticism. His most famous works include ""Clair de Lune"" for piano (written ca. 1890, published 1905), ""La Mer"" for orchestra (1905) and the opera ""Pelléas et Mélisande"" (1903-1905). The most revolutionary composer to work in Paris during the ""Belle Époque"" was the Russian-born Igor Stravinsky. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: ""The Firebird"" (1910), ""Petrushka"" (1911) and ""The Rite of Spring"" (1913). The last of these transformed the"
"""""Litanie"""", and other equally secular numbers were billed as """"Prière"""" or """"Hymne"""". The local authorities were not deceived, and the concert did not take place. At Booth's Theatre, New York, Offenbach conducted ""La vie parisienne"" and his recent (1873) ""La jolie parfumeuse"". He returned to France in July 1876, with profits that were handsome but not spectacular. Offenbach's later operettas enjoyed renewed popularity in France, especially ""Madame Favart"" (1878), which featured a fantasy plot about the real-life French actress Marie Justine Favart, and ""La fille du tambour-major"" (1879), which was the most successful of his operettas of the 1870s. Profitable"
"fugue in 1833 and of composition in 1840. He had many notable students, With his opera ""La Juive"", in 1835, Halévy attained not only his first major triumph, but gave the world a work that was to be one of the cornerstones of the French repertory for a century, with the role of Eléazar one of the great favorites of tenors such as Enrico Caruso. The opera's most famous aria is Eléazar's ""Rachel, quand du Seigneur"". Its orchestral ritornello is the one quotation from Halévy that Berlioz included in his ""Treatise on Instrumentation"", for its unusual duet for two cors"
"in opera houses around the world. Over the following twenty years it received over fifty new productions from Palermo to Paris, Buenos Aires to Moscow, Cairo]to San Francisco, arriving at the Metropolitan Opera on 16 January 1920 in a production directed by David Belasco and conducted by Roberto Moranzoni, starring Geraldine Farrar, Giulio Crimi and Pasquale Amato, and later Giovanni Martinelli and Giuseppe De Luca. ""La bohème"" and ""Zazà"" are the operas of Leoncavallo's which most nearly matched the success of ""Pagliacci."" Sources Zazà Zazà is an opera by Ruggero Leoncavallo, with the libretto by the composer. The story concerns"
"at the Paris Opéra on 17 May 1917 but never became popular. Designated as a ""tragédie lyrique"", the work resists easy categorisation. It was intended to be on a large-scale with spoken and musical sections. Warrack and West call it a grand cantata, arguing that since ""only some of the characters participate in the stage action it is scarcely an opera, though Fauré's conception of the work is at times more operatic than merely choral ... [and] the clearest example to date of Wagner's influence on his music."" The plot on which the opera was based has been deprecated as"
"Mizzi Günther Mizzi Günther (8 February 1879 – 18 March 1961) was a Bohemian-Viennese operetta soprano. Günther was born in Warnsdorf, Bohemia (now the Czech Republic). Her debut was in 1897 in Hermannstadt, now Sibiu, in Romania. She achieved stardom in Vienna in 1901 as O Mimosa San in ""The Geisha"". She subsequently sang in England, France and Russia. She created the title roles of Franz Lehár's ""The Merry Widow"" in 1905 and Leo Fall's ""Die Dollarprinzessin"" (1907), also appearing in the premieres of Fall's """" (1908) and Emmerich Kálmán's ""Der kleine König"" (1912). She died in Vienna, Austria, and"
"1906, as Lisa in the musical comedy ""The Student King"". In March 1907 she began a tour in ""The White Chrysanthemum"", but left by the end of the month following a dust-up over a dressing room issue with co-star Edna Wallace Hopper. That October she played the lead character Sonia in Franz Lehár's ""The Merry Widow"" at the Colonial Theatre, Chicago. ""The Merry Widow"", which ran simultaneously at Chicago and New York, was a huge success, netting an estimated one million dollars over its first year. The New York production was performed initially at the New Amsterdam Theatre and starred"
"in the 1890s, operettas returned to London and Broadway in 1907 with ""The Merry Widow"", and operettas and musicals became direct competitors for a time. In the early years of the 20th century, English-language adaptations of 19th century continental operettas, as well as operettas by a new generation of European composers, such as Franz Lehár and Oscar Straus, among others, spread throughout the English-speaking world. In America, Victor Herbert produced a string of famous operettas (""The Fortune Teller"" (1898), ""Babes in Toyland"" (1903), ""Mlle. Modiste"" (1905), ""The Red Mill"" (1906) and ""Naughty Marietta"" (1910)), often with librettist Harry B. Smith,"
"until Leoncavallo's ""La bohème"" was performed in 1897 in Venice that his talent obtained public confirmation. However, it was outshone by Puccini's opera of the same name and on the same subject, which was premiered in 1896. Two tenor arias from Leoncavallo's version are still occasionally performed, especially in Italy. Subsequent operas by Leoncavallo were in the 1900s: ""Zazà"" (the opera of Geraldine Farrar's famous 1922 farewell performance at the Metropolitan Opera), and 1904's ""Der Roland von Berlin"". In 1906 the composer brought singers and orchestral musicians from La Scala to perform concerts of his music in New York, as"
"der Vogelweide, while Heidenröslein most clearly shows how well Goethe knew to follow the character of the popular ballad and, at the same time, most lively and concisely represents the poet's adventure with Friederike. Friederike was the prototype of the figures of Maria, the sister of the hero of Goethe's drama ""Goetz von Berlichingen"" (1773), and of Marie Beaumarchais in the poet's five-act tragedy ""Clavigo"" (1774). The figure of Margarete in Goethe's tragic play ""Faust"" has even more directly been given Friederike's traits outwardly and inwardly. Franz Lehár has composed an operetta ""Friederike"" on the foundation of the love-affair (1928)."
"III"", ""The Beaux' Stratagem"", ""Love's Labour's Lost"", ""Othello"", ""Lorenzaccio"" (world premiere), ""Macbeth"", ""Cyrano"", ""Five by Tenn"", ""The Winter's Tale"", ""The Silent Woman"", ""The Oedipus Plays"", ""The Duchess of Malfi"", ""Timon of Athens"", ""Don Carlos"", ""Hedda Gabler"", ""King Lear"", ""Coriolanus"", ""Camino Real"", ""A Woman of No Importance"", ""King John"", ""The Merchant of Venice"", ""Peer Gynt"", ""Sweet Bird of Youth"", combined ""Henry VI, Parts 1, 2 & 3"", ""Mourning Becomes Electra"", ""Henry V"", ""Volpone"", combined ""Henry IV, Parts 1 & 2"", ""Richard II"", ""The Doctor's Dilemma"", ""Hamlet"", ""Mother Courage and Her Children"", ""Much Ado About Nothing"", ""Measure for Measure"", ""Richard III"", ""Twelfth"
"Wilhelm Meyer Lutz. George Bernard Shaw's ""Pygmalion"" (1912, staged 1914) owes something to both the Greek Pygmalion and the legend of ""King Cophetua and the beggar maid""; in which a king lacks interest in women, but one day falls in love with a young beggar-girl, later educating her to be his queen. Shaw's comedy of manners in turn was the basis for the Broadway musical ""My Fair Lady"" (1956), as well as numerous other adaptations. P. L. Deshpande's play ""Ti Fulrani"" (""Queen of Flowers"") is also based on Shaw's ""Pygmalion"". The play was a huge success in Marathi theater and"
"other top-class artist, Francesco Navarini (1855-1923), who was considered to be the best Italian bass of the era. The operatic parts that Marconi undertook in Europe and the two American continents included the principal tenor roles in the following works: ""Lucrezia Borgia"", ""Lucia di Lammermoor"" ""La favorita"" (all composed by Gaetano Donizetti), ""I Puritani"" (by Vincenzo Bellini), ""Un ballo in maschera"", ""Rigoletto"", ""La traviata"" and ""Aida"" (all by Verdi), ""La Gioconda"" (by Amilcare Ponchielli), ""Mefistofele"" (by Arrigo Boito), ""Ruy Blas"" (by Filippo Marchetti), ""L'Africaine"" and ""Les Huguenots"" (by Giacomo Meyerbeer) and ""Lohengrin"" (by Richard Wagner). Famed during the peak of"
"the great tenor Leo Slezak. His wife, Leonora Robinson (born Leonore Hahn Edle von Hahnenheim), was also an opera singer. She had been taught by Mrs. Marschner at the Conservatory of Vienna, and in 1869 made her debut at the Court Opera in Vienna. She later came to the opera house of Hamburg and accompanied her husband during his guest appearances in Germany, Amsterdam, London, and the United States, where she sang such roles as Donna Anna in ""Don Giovanni"" and Leonore in ""Fidelio"". She also appeared at the Metropolitan Opera. In 1882–83 she took part in a European tour"