1.Johann Strauss - Champagne Polka
2.Johann Strauss - Roses from the South
3.Johann Strauss - Vienna Bonbons
4.Ernst von Dohnanyi - Wedding Waltz
5.Franz Lehar - Merry Widow Waltz
6.Emil Waldteudel - Skaters Waltz

Minneapolis Symphony Orchestra (1-3)
Philharmonia Hungarica (4-6)
Antal Dorati – conductor

Johann Strauss wrote the bubbling Champagne Polka for his 1858 summer concert season in Pavlovsk, where its first performance took place on 12 August (=31 July, Russian calendar) under the title of Ball-Champagner-Polka. He also performed it in Moscow that year. Shortly after arriving back in Austria, Strauss introduced the Viennese to this novelty piece when he conducted it at a ‘Festival Concert on the safe return from St. Petersburg’, held in the Volksgarten on 21 November 1858.

At this stage of his career Johann was constantly seeking to improve his standing with his with those in positions of rank and influence. Thus he dedicated his Champagne-Polka to Baron Carl Ludwig von Bruck (1798–1860), Austria’s Minister of Finance from 1855 1855 until his suicide in 1860. Strauss obviously took great delight in weaving into the Trio section the refrain from Johann Fuß’s popular tavern-song of the day—“Mir is’s alles an’s, mir is’s alles an’s, Ob i a Geld hab oder kan’s!” (What do I care, what do I care, whether I’ve money or not!).

Rosen aus dem Süden (Roses From the South), Op. 388, is a waltz medley composed by Johann Strauss II in 1880 with its themes drawn from the operetta Das Spitzentuch der Königin (The Queen's Lace Handkerchief) inspired by a novel by Heinrich Bohrmann-Riegen.

The waltz was first performed at the regular Sunday concerts of the Strauss Orchestra conducted by Eduard Strauss on 7 November 1880 at the Musikverein in Vienna. Its themes drawn from the operetta are the act 1 "Trüffel-Couplet" and the act 2 romance "Wo die wilde Rose erblüht" ("Where the Wild Rose Blossoms"). The act 2 romance most certainly inspired the title of this waltz.

Wiener Bonbons (Vienna Sweets) op. 307 is a waltz by Johann Strauss II written in 1866. It was first performed on 28 January 1866 at the ball of the Association of Industrial Societies held in the Redoutensaal and was dedicated to the influential Princess Pauline Metternich-Winneburg the wife of then Austrian ambassador to Paris.

The Skaters’ Waltz, Op. 183, also called The Skaters, or French Les Patineurs, waltz by French composer Emil Waldteufel written in 1882. Of Waldteufel’s many compositions—including more than 200 dance pieces—The Skaters’ Waltz is the best-known. In The Skaters’ Waltz Waldteufel set out to capture the atmosphere of a winter day in Paris, with ice-skaters venturing onto the frozen Seine River.

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CD1
1. Overture	Bavarian State Orchestra	7:40
2. Act 1 - Nr.1 Introduktion: "Täubchen, das entflattert ist"	René Kollo	3:14
3. Act 1 - Dialog: Täubchen, das entflattert ist	René Kollo	1:46
4. Act 1 - Nr.1a (Duettino): "Ach, ich darf nicht hin zu dir!"	Lucia Popp	0:56
5. Act 1 - Dialog: Die arme Tante	Julia Varady	1:08	
6. Act 1 - Nr.2 Terzett: "Nein, mit solchen Advokaten"	Hermann Prey	3:47
7. Act 1 - Dialog: Sag mal, also statt fünf musst du acht Tage	Julia Varady	1:50
8. Act 1 - Nr.3 Duett: "Komm mit mir zum Souper"	Bernd Weikl	3:14	
9. Act 1 - Dialog: Seid ihr verrückt geworden?	Julia Varady	1:18
10. Act 1 - Nr.4 Terzett: "So muss allein ich bleiben"	Julia Varady	3:47
11. Act 1 - Dialog: Ach...diese Männer	Julia Varady	1:01
12. Act 1 - Nr.5 Finale: "Trinke, Liebchen, trinke schnell"	René Kollo	10:38

CD2
1. Act 2 - Nr.6 Introduktion: "Ein Souper heut uns winkt"	Bavarian State Orchestra	1:21
2. Act 2 - Dialog: Adele, wer hat denn dich hierher eingeladen?	Evi List	1:53
3. Act 2 - Nr.7 Couplet: "Ich lade gern mir Gäste ein"	Ivan Rebroff	3:03
4. Act 2 - Dialog: Durchlaucht, hier ist Ihre Brieftasche wieder	Lucia Popp	0:46
5. Act 2 - Nr.8 Ensemble und Couplet: "Ach, meine Herr'n und Damen"	Ivan Rebroff	1:03
6. Act 2 - "Mein Herr Marquis"	Lucia Popp	3:24	
7. Act 2 - Dialog: Hoheit, ein Chevalier Chagrin ist da	Nicolai Lugowoi	3:04
8. Act 2 - Nr.9 Duett: "Dieser Anstand, so manierlich"	Hermann Prey	4:44
9. Act 2 - Dialog: Ah, da ist ja die schöne Unbekannte	Benno Kusche	0:36
10. Act 2 - Nr.10 Csárdás: "Klänge der Heimat"	Julia Varady	4:02	
11. Act 2 - Dialog: Bravo! Bravissimo!	Evi List	2:12	
12. Act 2 - Nr.11 Finale: "Im Feuerstrom der Reben"	Ivan Rebroff	2:13
13. Act 2 - "Herr, Chevalier, ich grüsse Sie!"	Hermann Prey	5:21
14. Act 2 - Dialog: Wir werden jetzt sehen das Ballett	Ivan Rebroff	0:09
15. Act 2 - Polka "Unter Donner und Blitz", op.324	Bavarian State Orchestra	2:55	
16. Act 2 - "Genug damit, genug"	Ivan Rebroff	4:07
17. Act 3 - Nr.12 Entr'acte	Bavarian State Orchestra	0:57
18. Act 3 - Dialog: Täubchen, das entflattert ist	René Kollo	1:07
19. Act 3 - Nr.13 Melodram	Benno Kusche	3:46	
20. Act 3 - Dialog: Ah, der Herr Direktor ist entschlafen	Franz Muxeneder	1:33
21. Act 3 - Nr.14 Couplets: "Spiel' ich die Unschuld vom Lande"	Lucia Popp	4:12	
22. Act 3 - Dialog: Herr Direktor!	Franz Muxeneder	3:26	
23. Act 3 - Nr.15 Terzett: "Ich stehe voll Zagen"	Julia Varady	7:01
24. Act 3 - Dialog: Also, du willst mir Vorwürfe machen?	Julia Varady	0:40
25. Act 3 - Nr.16 Finale: "O Fledermaus, o Fledermaus"	Hermann Prey	2:39

Julia Varady - soprano
Lucia Popp - soprano
Hermann Prey - bass-baritone
Ivan Rebroff - tenor
René Kollo - tenor
Bernd Weikl - baritone

Bavarian State Opera Chorus 
Bayerischen Staatsorchester
Carlos Kleiber - conductor

The Vienna State Opera has offered an annual New Year's Eve production of Die Fledermaus since the early 1930s, both reflecting and reinforcing the work's status as the representation of all things Viennese. It is curious then, that the piece considered the epitome of Viennese operetta is not at all representative of contemporaneous works in the genre.

Vienna in the middle nineteenth century was one of the premier cities of Europe. The capital of a vast empire, it boasted a vibrant cultural life and had long been recognized as a major musical and theatrical center. The Austrian economy was strong, and Viennese bourgeoisie spent their evenings eating, drinking, and attending the theater. However, on May 9, 1873, the Austro-Hungarian Empire suffered a debilitating stock market crash. Fortunes disappeared overnight, and businesses of all kinds suffered, including theaters. The Viennese, temporarily at least, were condemned to an austere lifestyle. It was in this atmosphere that Strauss' Die Fledermaus took shape.

Die Fledermaus is based on a French vaudeville, Le Réveillon (1872), by Henri Meilhac and Ludovic Halévy, itself based on Richard Benedix's Das Gefängnis of 1851. Karl Haffner created a German rendition of Le Réveillon and sold this to Maximillian Steiner, the director of the Theater an der Wien. Steiner gave Haffner's manuscript to Richard Genée, suggesting he develop from it a libretto. Strauss and Genée began working together, and on October 25, 1873, Strauss directed a benefit concert that included his csárdás für Gesang, with a text by Genée. The number was well received, and would become Rosalinde's csárdás in Act Two of Die Fledermaus. Spurred on by this success, Strauss reportedly completed the music for the rest of the operetta in 42 days. The premiere took place in the Theater an der Wien on April 5, 1874 (Easter Sunday).

Die Fledermaus departed in several ways from previous Viennese works. Conceived in three acts, Die Fledermaus requires only three stage settings, and it does not open with the customary large number for chorus. At the premiere, the characters sported contemporary public attire instead of lavish costumes, while the sets consisted of the simple interiors of people's homes and a barren jail. Furthermore, the story is set in the present and in Vienna.

While the current economic state of the empire was reflected in the production itself -- there were few scene changes and a minimal group of choral numbers -- the world as it "used to be" drives the story, with masked balls and freely flowing champagne. Any disappointment caused by the scaled-down production was outweighed for audiences by the chance to participate vicariously in the revelry acted out on stage. Certainly, the major element that made Die Fledermaus a resounding success was, and is, Strauss' music, which is more sophisticated than that of any operetta previously offered the Viennese.

Strauss' ability to characterize through music is at its finest in Die Fledermaus. In Act Two, Rosalinde poses as a Hungarian princess, and when asked to prove her origins, sings a Hungarian csárdás. Strauss evokes an aural image of Hungarian gypsies through the clarinet line that opens the number, the slow, rubato style of the first half, and pizzicato strings. Adele, also in Act Two, "confirms" her upper-class status with an exquisite song, during which she enumerates her fine physical qualities. Strauss produces unity through an ingenious use of melody. For instance, the melody sung by the chorus as the curtain rises on Orlofsky's party in Act Two appears earlier when Adele reads the letter inviting her to Orlofsky's party and moments later when Falke convinces Eisenstein to attend the same event. ---John Palmer, Rovi

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1. J. Strauss I: Radetzky-Marsch, Op.228		2:28
2. Josef Strauss: Sphärenklänge, Op.235		9:52
3. J. Strauss II: Perpetuum mobile, Op.257		2:52	
4. Josef Strauss: Delirien Waltz, Op.212		9:46
5. J. Strauss II: Geschichten aus dem Wienerwald, Op.325	13:17
6. J. Strauss II: Die Fledermaus-Quadrille, Op.363		5:11	
7. J. Strauss II: Wiener Blut, Op.354		8:54
8. J. Strauss II: Napoleon-Marsch, Op.156 (1854)		1:50

Berlin Philharmonic Orchestra
Herbert von Karajan - conductor

Though the music of Johann Strauss I was eclipsed by that of his more famous son, "Waltz King" Johann Strauss II, Strauss père wrote a number of works that have remained durable favorites, particularly on New Year's Eve and pops programs. His best-known effort is the Radetzky March, Op. 228 (1848), written in honor of the Austrian general Joseph Radetzky, who had rousted the Italian rebellion at Custozza earlier that year. Despite its usual military band instrumentation, the tone of the march is more elegantly celebratory than rousingly martial; indeed, it seems but a small distance removed from the dance music for which the Strauss clan was renowned. ---Rovi

This is an excellent recording of Strauss' Radetzky March ! The sound and tempo are both great and the march is really well played ; with rythm ! It's a happy piece of music ! The other waltzes and pieces on this CD are very nice too, particularly Sphärenklänge ; after all, the Strauss family are pioneers in the creation of the Waltz ! --- Maxitita, amazon.com

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1. Act I
2. Act II
3. Act III

Gabriel von Eisenstein - Nolan Van Way
Rosalinde - Joan Sutherland
Frank - Spiro Malas
Prince Orlofsky - Huguette Tourangeau
Alfred - Ragnar Ulfung
Dr. Falke - Bruce Yarnell
Dr. Blind - Daniel Sullivan
Adele - Judith Blegen
Ida - Angie Reynal
Frosch - Walter Slezak
Ivan - Douglas Broyles

San Francisco Opera Orchestra and Chorus
Richard Bonynge – conductor

San Francisco Opera's Historic 1973 in Archival Radio Broadcast on KDFC, Sunday, December 1.

The historic performance stars Joan Sutherland as Rosalinda; Judith Blegen as Adele; Ragnar Ulfung as Alfred; Nolan Van Way as Eisenstein; and Huguette Tourangeau as Prince Orlofsky. Maestro Richard Bonynge led the San Francisco Opera Orchestra and Chorus in a production directed by Lotfi Mansouri. Presented in three acts, the Company’s 1973 Die Fledermaus featured lyrics and dialogue based on the English translation by Ruth and Thomas Martin. This performance is further distinguished by the inclusion of ballet music in Act Two featuring various music by Johann Strauss, Jr., performed by the San Francisco Opera Corps de Ballet with choreography by Norbert Vesak.

San Francisco Opera dedicates this critically acclaimed broadcast performance to Lotfi Mansouri, who passed away on August 30, 2013, and directed more than 75 productions at the War Memorial Opera House, in addition to serving as the Company’s fourth general director from 1988 to 2001.

Mansouri’s fabled association with Joan Sutherland and Richard Bonynge began in 1963 with the San Francisco Opera production of Bellini’s La Sonnambula. Over the ensuing decades, this formidable trio worked together on Verdi’s La Traviata in 1964; Die Fledermaus in 1973; Massenet’s Esclarmonde in 1974; Lehar’s The Merry Widow in 1981; followed by the legendary production of Bellini’s Norma in 1982, which also featured Marilyn Horne in the cast; and Donizetti’s royal Anna Bolena in 1984. Their final appearance together on the War Memorial Opera House Stage was September 2000 for the Gala Concert in tribute to Lotfi Mansouri. --- sfopera.com

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1 	Johann Strauss II - On the Beautiful Blue Danube 		4:04 	
2 	Johann Strauss II - Emperor Waltz 			4:18 	
3 	Johann Strauss II - Tales from the Vienna Woods 		11:36 	
4 	Johann Strauss II - Voices of Spring 			4:47 	
5 	Johann Strauss II - Artist's Life 			5:17 	
6 	Johann Strauss II - Roses from the South 			4:23 	
7 	Johann Strauss II - Vienna Blood 			3:48 	
8 	Johann Strauss II - Wine, Women and Song 			4:53 	
9 	Johann Strauss I - Radetzky March 			3:11

Johann Strauss Orchestra of Vienna
Willi Boskovsky - conductor

Few conductors are as strongly associated with the Viennese waltz as Willi Boskovsky, who, in a long career of promoting light music through his popular New Year's concerts, endeared himself to millions as a modern-day "Waltz King." Of course, that title originally belonged to Johann Strauss II, the celebrated Viennese composer and innovative bandleader whose waltzes are presented by Boskovsky on this HMV disc. Among the selections here are the renowned On the Beautiful Blue Danube; Roses From the South; Vienna Blood; Voices of Spring; Tales from the Vienna Woods; Wine, Women, and Song; and other memorable waltzes, played in authentic Viennese style by the Johann Strauss Orchestra of Vienna, Boskovsky's last orchestra before his retirement. These recordings date from the early to mid-'80s. Because this disc is a budget reissue, it is an affordable introduction to Strauss' music and worth having as a basic set of the most important waltzes. However, disappointed listeners and audiophiles will likely pay more for a better-sounding alternative. ---AMG

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01. Künstlerleben, op. 316
02. Unter Donner und Blitz, op. 324
03. Rosen aus dem Süden, op. 388
04. Wein, Weib und Gesang, op. 333
05. Persischer Marsch, op. 289
06. Frühlingsstimmen, op. 410
07. An der blauen Donau, op. 314
08. Wiener Bonbons, op. 307
09. Wiener Blut, op. 354

Vienna Opera Orchestra
Peter Falk – conductor

Philharmonia Bohemica
Carlo Pantelli – conductor

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Disc 1

1.   Act I: Prelude - Introduction: Jabuka wird gefeiert heut'! (Staklo, Chorus) 00:04:42
2.   Act I: Trio with Chorus: Ihr Burschen und Diener (Mirko, Vasil, Staklo, Chorus) 00:02:26
3.   Act I: Entree - Couplet: Im ganzen Land bin ich bekannt (Joschko) 00:02:15
4.   Act I: Sextet: Zivio! Zivio! Lasst die Glaser erklingen! (Mirko, Joschko, Franjo, Anitta, Vasil, Bambora) 00:03:37
5.   Act I: Ensemble: Zu Hilfe, zu Hilfe, Ihr Leute, herbei! (Jelka, Petrija, Mischa, Staklo) 00:02:13
6.   Act I: Ensemble: Was seh' ich (Jelka, Petrija, Mirko, Mischa, Joschko, Staklo) 00:05:02
7.   Act I: Duet: Vergebens, dass ich spahe, verlassen liegt der Ort (Jelka, Mirko) 00:04:30
8.   Act I: Finale: Heraus da! Heraus! Naher, Weib und Mann! (Jelka, Petrija, Mirko, Joschko, Mischa, Staklo, Chorus) 00:14:11
9.   Act II: Introduction - Draussen gibt es weit und breit Jubel Tanz (Sava, Mirko, Chorus) 00:02:21
10.   Act II: Duet: Es war einmal, es war einmal im Marchen nur (Annita, Vasil) 00:05:29
11.   Act II: Quintet: So, ich bitte, nur herein! (Joschko, Jelka, Sava, Petrija, Mirko) 00:03:14
12.   Act II: Couplet: Wie die Chroniken vermelden (Joschko, Annita, Mirko, Vasil, Bambora) 00:03:42
13.   Act II: Finale: Naher, naher, nur herbei! (Jelka, Annita, Petrija, Mirko, Vasil, Joschko, Bambora, Mischa, Chorus) 00:17:50

Disc 2

1.   Act III: Entr'acte 00:03:17
2.   Act III: Ensemble and Ariette: So frech uns zu storen unser Plaisir! (Bambora, Mischa, Chorus) 00:03:13
3.   Act III: Couplet: Mit den schlechten Zeiten ist es jetzt vorbei (Joschko) 00:03:33
4.   Act III: Mocking - Chorus: Sag' doch (Jelka, Ladies Chorus) 00:02:06
5.   Act III: Quartet: Siehe die Sonne vergluh'n in Pracht (Jelka, Mirko, Annita, Vasil) 00:04:56
6.   Act III: Finale: Ob auch das Gluck uns warten lasst (Jelka, Annita, Mirko, Sava, Joschko) 00:01:09

7.   Ich bin dir gut!, Walzer, Op. 455 00:10:15
8.   Zivio!, Marsch, Op. 456 (orch. G. Fischer) 00:03:29
9.   Das Comitat geht in die Hoh'! Polka schnell, Op. 457 (arr. L. Roth, orch. C. Pollack) 00:02:32
10.  Tanze mit dem Besenstiel!, Polka francaise, Op. 458 (arr. L. Roth, orch. C. Pollack) 00:04:49
11.  Sonnenblume, Polka mazur, Op. 459 (arr. L. Roth, orch. C. Pollack) 00:05:47

12.  Jabuka - Quadrille, Op. 460 (orch. C. Pollack) 00:05:41
13.  Jabuka (Das Apfelfest), Potpourri (arr. anon., orch C. Pollack) 00:13:37

Mirko von Gradinaz (ein Adeliger) – Thomas Tischler
Vasil von Gradinaz (ein Adeliger) – Wolfgang Veith
Mischa (ein reicher Bauer) – Michael Schober
Jelka (dessen Tochter)– Veronika Groiss
Petrija (deren Tante) – Elisabeth Wolfbauer
Bambora (ein Fabrikant) – Helmut Josef Ettl
Annita (dessen Tochter) – Elisabeth Wolfbauer
Joschko (ein Gerichtsexekutor) – Franz Födinger
Franjo (sein Helfer) – Alexander Eschig
Staklo (ein Wirt) & Sava (ein Diener des Mirko) – Max Sahliger

Gaudeamus Choir Brno
European Johann Strauss Orchestra
Conductor – Christian Pollack

An operetta with musical elements of true opera, Jabuka (Das Apfelfest), is Johann Strauss the Younger’s fourteenth stage work. An annual Apple Festival in the Serbian town of Ravica is an opportunity for local young people to choose a partner. The girl bites an apple, gives it to her chosen boy, and if he also takes a bite, the match is made. It is against this backdrop that the impoverished noblemen, Mirko and Vasil, find a way out of their difficulties by finding rich brides at the Apple Festival of the title. With its strikingly fresh and original melodies, great ensembles and some of the finest choruses Strauss ever wrote, Jabuka was a huge success at its première in Vienna in October 1894. --- naxos.com

Even those who are moderately familiar with Johann Strauss' stage works apart from Die Fledermaus are unlikely to have heard of Jabuka (The Apple Festival), a merry effort from 1894 that Strauss introduced during a time when Vienna was celebrating the 50th anniversary of his first concert there; he would live only five years more. Before this Naxos effort, recorded between 2005 and 2007 and guided by the knowledgeable hand of Christian Pollack, this work has certainly never been recorded outside of the potpourris and quadrilles derived from it; it is unlikely to have been seen on-stage between its 1894 premiere and the 2003 revival on which this recording is based. Pop in the disc and you'll immediately be struck by a weird feeling; did Naxos get the right composer on this thing? Isn't this Smetana or someone like that? Indeed, the resemblance is very close, and it is no ironic coincidence that librettist Max Kalbeck translated the Czech text of "The Bartered Bride" into German for its first Vienna-based performances. However, by the middle of the first act you'll realize this is unquestionably Strauss, only working, very successfully, outside of his usual idiom.

The story of Jabuka is a slight one, a tale of countryside matchmaking set with a Serbian apple festival as a backdrop; the style of the music is primarily Slavic with some touches of Viennese lilt. Both Naxos' recording and the operetta itself move along quickly and hardly give the listener a moment's pause; the music is bright, rhythmic, colorful, and pulsing with excitement. The principals, all drawn from the Viennese operetta stage, all sing with enthusiasm and in an easy, unaffected manner miles away from Grand Opera, which is where they should be given the lightness of this property. The most amazing aspect of the score is the chorus writing, on which Strauss lavished great care; here they are sung by the Brno-based Gaudeamus Choir, which is thrilling and fabulous, as is the sprightly and energetic playing of the European Johann Strauss Orchestra, made up of players from the Brno Symphony. Naxos' recording is wonderfully vivid, alive, and well balanced.

The booklet does not come with a libretto, and it is not present on the Naxos site, but the summary is sufficiently detailed and at least some interested listeners may feel they do not need a full libretto. This music is certainly never boring and it is not as though the story is so involved that you'll feel out of the loop even with just the summary. All in all, Naxos' Johann Strauss II: Jabuka (The Apple Festival) is a superb recording of an operetta so subterranean that no one saw it coming and it really is one of Strauss' most immediate and appealing works for the theater. As the second disc would run short with just the operetta alone, Naxos adds the various shorter pieces arranged from it as filler, and these are all equally splendid and engaging -- true "Apple fun," as Dr. Seuss might have termed it. ---Uncle Dave Lewis, AllMusic Review

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1 	Ouverture 	
2 	Nr. l Das war' kein rechter Schifferknecht -Jeden Tag Muh' und Plag' 	
3 	Dialog 	
4 	Nr. 2 Als flotter Geist 	
5 	Dialog 	
6 	Nr. 3 Wer klopft an meine Tur 	
7 	Bald wird man dich viel umwerben 	
8 	Zum Reichtum gratulier' ich Euch -Verloren hast du einen Schatz 	
9 	Das schreib dir, Alte, hinter's Ohr 	
10 	Wo bleibt der zweite Zeuge -Ja, das Schreiben und das Lesen 	
11 	Dialog 	
12 	Nr. 5 Dem Freier naht die Braut -Ein Freier meldet sich schon wieder 	
13 	Hochzeltskuchen, bitte zu versuchen 	
14 	Ich melde mich als Freier an -Ah, sieh da, ein herrlich' Frauenbild 	
15 	Dialog 	
16 	Nr. 6 So elend und so treu -O habet acht 	
17 	Dialog 	
18 	Nr. 7 Arsena! Arsena! 	
19 	O habet acht -Dieses Lied, es durchzieht 	
20 	Wie wechselvoll... -Du kannst dem Zigeuner getrost vertraun
21 	Nun zu des bosen Nachbarn Haus 	
22 	Hier In diesem Land Eure Wiege stand
23 	Wojwode der Zigeuner 	
24 	Um frech dem Ubermut zu fronen 	
25 	Nr. 8 Mein Aug'bewacht bei Tag und Nacht 	
26 	Dialog 	
27 	Nr. 9 Ein Greis ist mir im Traum erschienen 	
28 	Seht, es winkt, es blinkt 	
29 	Nr. 10 Auf, auf, vorbei ist die Nacht 	
30 	Dialog 	
31 	Nr. 11 Wer uns getraut 	
32 	Dialog 	
33 	Nr. 12 Her die Hand, es mu. ja sein-Wir alle wollen lustig sein 	
34 	Dialog 	
35 	Nr. 13 So voll Frohlichkeit 	
36 	Noch eben in Gloria 	
37 	Genug, nicht langer schweig' ich 	
38 	O welch'ein Gluck 	
39 	Weil Ich dich liebe, mu. Ich Euch verlassen -Ha, er geht 	
40 	Entr'acte
41 	Dialog 	
42 	Nr. 15 Ein Madchen hat es gar nicht gut 	
43 	Dialog 	
44 	Nr. 16 Von des Tajo Strand 
45 	Nr. 17 Hurra, die Schlacht mitgemacht 	
46 	Dialog 	
47 	Nr. 18 Reich ihm die Hand, vertraue dem Zigeuner

Alfred Poell - Graf Peter Homonay
Karl Dönch - Conte Camero
Julius Patzak - Sandor Barinkay
Kut Preger - Kalman Zsupan
Emmy Loose - Arsena
Steffi Leverenz - Mirabella
August Jaresch - Ottokar
Rosett Anday - Czipra
Hilde Zadek - Saffi
Franz Bierbach - Pali

Chorus of The Vienna State Opera
Vienna Philharmonic Orchestra
Clemens Krauss – conductor

Die Zigeunerbaron is a three-act operetta composed by Austrian composer Johann Strauss II (October 25, 1825 June 3, 1899). The libretto is written by Ignatz Schnitzer in German based on "Saffi" by Maurice Jocai. It was premiered in Vienna, Theater an der Wien, on October 24, 1885.

The Gypsy Baron is still performed today. The orchestral pieces are also well recognized, including Schatz-Walzer, op.418 (Treasure Waltz), and the polkas Brautschau, op.417, and Kriegsabenteuer, op.419 (War Adventures).

Synopsis - The Gypsy Baron

Setting is in Hungary and Vienna in the mid-18th century. Set numbers with recitative and spoken dialogue. Overture. Entr'acte before Acts II and III.

Act I. Barinkay's Ancestral Lands in Hungary

The operetta starts with Ottokar searching for the treasure supposed to be buried by the owner of the estate before he died. Czipra, an old gypsy woman, laughs at his hopeless search and teases him about his love for Arsena. The estate now belongs to Barinkay, son of the late owner of the castle who has come home to claim it. Barinkay and Carnero persuade Czipra and Zsupan to witness the document reinstating Barinkay as owner of the estate. Barinkay proposes to Zsupan's daughter, Arsena, but she refuses to marry anyone less noble than a baron.

Arsena's governess, Mirabella, recognizes Carnero as her long lost husband and the father of Ottokar. Arsena loves Ottokar and gives her a locket with his picture in it. The gypsies pledge their loyalty to Barinkay and uses this to claim he is noble a gypsy baron. Barinkay has a change of heart. He now wants to marry the gypsy Sffi, and not Arsena.

Act II. The Ruins of an Old Castle in a Gorge on the Property

Guided by his dream of Sffi, Barinkay finds the treasure. The gypsies work at forging Sffi's documents. Carnero objects that Barinkay's marriage to Sffi is not legal. When Carnero realizes that Barinkay has found the hidden treasure, he demands it on behalf of the government. Barinkay refuses. Count Homonay, a friend of Barinkay, arrives to recruit for the army. Ottokar volunteers, and Zsupan is tricked into joining. Barinkay donates his money to Homonay's cause. Czirpa reveals that Sffi is in reality a princess and daughter of the last Pasha of Hungary, and not a gypsy. Barinkay despairs. Sffi's status is now too high above him so he joins the hussars.

Act III. The Gates of Vienna, the "Ktnertor"

Two years passed. The Hungarian army returns victorious. Barinkay is made a baron as reward for his bravery and his father's treasure is returned to him. Barinkay asks for the hand of Arsena, for Ottokar and not for him. Carnero retires as commissioner while Barinkay is reunited with Sffi. ---suite.io

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Johann Strauss II (1825-1899)
1.An der schönen blauen Donau, Op. 314
2.Annen-Polka, Op. 117
3.Overture of "Der Zigeunerbaron"
4.Tritsch-Tratsch-Polka, Op. 214
5.Kaiser-Walzer, Op. 437
6.Overture of "Die Fledermaus"
7.Pizzicato Polka 
8.Künstlerleben, Op. 316
9.Unter Donner und Blitz, Op. 324
10.Fürst Bariatinsky, Op. 212 

Johann Strauss I (1804–1849)
11.Radetzky March, Op. 228

Berliner Philharmoniker (tracks: 1-5)
Philharmonia Orchestra (tracks: 6-11)
Herbert von Karajan – conductor

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CD 1 :

Johann Strauss II (1825 - 1899)
01. The blue Danube, op. 314
02. Thunder and lighting, op. 324
03. Morning papers, op. 279
04. Bandits' galop, op. 378
05. Emperor waltz, op. 437
06. Hunting, op. 373
07. Viennese Bonbons, op. 307

Johann Strauss (1804 - 1849)
08. Beloved Anna Polka, op. 137

Johann Strauss II (1825 - 1899)
09. Accelarations, op. 234

Josef Strauss (1827 - 1870)
10. Burning love, op. 129
11. The dragonfly, op. 210

Johann Strauss II (1825 - 1899)
12. 'Die Fledermaus' Overture

CD 2 :

Johann Strauss II (1825 - 1899)
01. Vienna blood, op. 354
02. Celebration march, op. 126
03. Light of heart, op. 319

Eduard Strauss (1835 – 1916)
04. Without brake, op. 238

Josef Strauss (1827 - 1870)
05. Music of the spheres, op. 235

Johann Strauss II (1825 - 1899), Josef Strauss (1827 - 1870)
06. Pizzicato Polka, op. 449

Josef Strauss (1827 - 1870)
07. Watercolours, op. 258
08. On the wing, op. 230

Johann Strauss II (1825 - 1899)
09. Voices of Spring, op. 410
10. Egyptian march, op. 335
11. Anna Polka, op. 117
12. Tales from the Vienna Woods, op.325

Josef Strauss (1827 - 1870)
13. On holiday, op. 133
14. Carefree, op. 271

Johann Strauss (1804 - 1849)
15. Radetzky march, op. 228

Wiener Philharmoniker
Conductor - Willi Boskovsky, Seiji Ozawa, Herbert Von Karajan, Claudio Abbado,
Lorin Maazel, Riccardo Muti, Josef Krips, Hans Knappertsbusch, Clemens Krauss

A superb collection of Vienna waltzes, marches and polkas, selected from the genuine Deutsche Grammophon recordings of the famous Philharmonic of Vienna under the magic baguette of Herbert Von Karajan, Claudio Abbado and other legends.

Dear friends, welcome the new year 2015 with the most uplifting music in the world, the famous Strauss masterpieces, performed “at home”. Happy New Year. ---

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