1. Ouvertüre 	
2. Introduction. Aurora erwacht - Zieht in den Frieden 				play	
3. Meinem Papi Gordios 
4. Terzett. Hinaus! 
5. Chor und Preghiera. Aurora ist erwacht 
6. Erwasben und Duett. Ah! Sie regt sich - Gefühl so warm, so süß 
7. Rezitativ und Arie. Was sagst du - Leise bebt und zaub'risch schwebt			play 	
8. Couplet. Wir Griechen 
9. Terzett. Seht den Schmuck, den ich für Euch gebracht 
10. Trinklied. Heil im Glas 
11. Kuß-Duett. Ach mich zieht's zu dir 	
12. Finale. O Venus! Laß sie werden, was sie war

Pigmalyon - Rene Kollo
Mydas - Ferry Gruber
Galatea - Anna Moffo
Ganymed - Rose Wagemann

Rundfunkorchester Müchen
Chor des Bayerischen Rundfunks
Kurt Eichhorn - director, 1974

Die schöne Galathee (The Beautiful Galatea) is an operetta in two acts by Franz von Suppé to a German libretto by the composer and 'Poly Henrion' (the pseudonym of L Kohl von Kohlenegg).

In the early 1860s, French operettas by Jacques Offenbach were first presented in Vienna. Franz von Suppé was obliged to compete with them by taking the time-honored traditions of Vienna and combining it with the new style of Offenbach. Die schöne Galathee was Franz von Suppé's first critical success.

The first performance was at Meysels-Theater in Berlin on 30 June 1863, with Anna Grobecker of the Vienna Carltheater as a guest star singing the role of Ganymed. It was given in London at the Opera Comique, on 6 November 1871, and in New York at the Stadt Theater on 6 September 1867.

Synopsis:

The sculptor Pygmalion has fallen madly in love with his statue of Galathee. Therefore he does not want to sell the statue to a patron of the arts, Mydas, and prays to Venus, the goddess of the love, to breathe life into the statue. His wish is granted and Galatea comes to life. However, Galatea turns out to be a very independent-minded creature. She is unfaithful to Pygmalion with his servant Ganymed (because he is much more pleasing to her than Pygmalion) and does not reject Midas, who offers her jewelry. When Pygmalion catches Galathee in a compromising situation, he implores Venus to turn her back into stone. The jewelry offered by Midas is also turned to stone, but the whole statue is sold to him.

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01. Requiem Aeternam 
02. Dies Irae 
03. Tuba Mirum 
04. Rex Tremendae 
05. Recordare 
06. Confutatis 
07. Lacrimosa 
08. Domine Jesu Christe 
09. Hostias 
10. Sanctus 
11. Benedictus 
12. Agnus Dei 
13. Dies Irae

Elisabete Matos - Soprano
Mirjam Kalin - Contralto
Aquiles Machado - Tenor
Luis Rodrigues - Bass
Chorus and Orchestra of the Calouste Gulbenkian Foundation 
Michel Corboz – conductor

The Dalmatia-born Franz von Suppé found great fame for his operettas. It seems that Suppé was given assistance in Vienna by Donizetti who was a distant relative. Today he is most likely to be encountered through overtures and marches such as Light Cavalry, O du mein Österreich, Beautiful Galatea, Morning, Noon, and Night in Vienna and Poet and Peasant. Suppé did write in other genres and composed a small number of sacred works including this Requiem in D minor. It is certainly neglected and if I was aware that he had written a requiem I had forgotten. A check has revealed that there are one or two recordings of the Requiem but I have not heard them.

The Requiem in D minor for soloists, choir and orchestra or the Missa pro defunctis (Mass for the dead) to give it its official title was completed in 1855, a product of the composer’s mid-thirties. Suppé wrote it in memory of his patron and friend, the theatre director Franz Pokorny who had died in 1850. In addition the score bears a dedication to ‘His Holiness, Pope Pius IX’. The fact that the dedication was accepted by the pontiff should serve as evidence of the score’s liturgical suitability. When the Requiem was introduced in 1855 at the Josefstadt Piaristenkirche, Vienna it was initially well received. Later it became labelled too ‘Italianate’, not containing enough of the solemn character of the more conventional requiem. It seems that the score was lost following a performance in Vienna in 1901 and only rediscovered in 1988 in a Vienna library. The score requests four soloists: soprano, alto, tenor and bass and a divided choir of at least 64 singers which can be doubled. The celebratory nature of the scoring which was rather lavish for its time specifies 24 violins, 8 violas, 6 cellos, 6 basses, double woodwind, 4 horns, 2 trumpets, 3 trombones and kettle-drums. It is cast in thirteen parts including the Dies irae which is subdivided into six sections. --- Michael Cookson , musicweb-international.com

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Disc: 1
1. Ov - Bayerisches SO/Willi Boskovsky
2. Act One: Nr.1: Heut' Am Tag Des Patrons Von Florenz - Gunter Wewel/Walter Berry/Chor Der Bayerischen Staatsoper Munchen/Wolfgang Baumgart
3. Act One: Nr.2: Neu'ste Novellen - Bruno Pola/Chor Der Bayerischen Staatsoper Munchen/Wolfgang Baumgart
4. Act One: Dialog - Friedrich Lenz/Adolf Dallapozza/Edda Moser/Hermann Prey/Walter Berry/Chor Der Bayerischen...
5. Act One: Nr.3: Holde Schone, Hor Diese Tone - - Friedrich Lenz/Adolf Dallapozza/Edda Moser/Hermann Prey/Walter Berry/Chor Der Bayerischen...
6. Act One: Nr.3: Weh Mir! Zu Hilfe! - - Friedrich Lenz/Adolf Dallapozza/Edda Moser/Hermann Prey/Walter Berry/Chor Der Bayerischen...
7. Act One: Nr.3: Warte Nur, Ich Frikassiere Dich, Du Bube! - Friedrich Lenz/Adolf Dallapozza/Edda Moser/Hermann Prey/Walter Berry/Chor Der Bayerischen...
8. Act One: Nr.3: Dialog - Hermann Prey/Walter Berry/Chor Der Bayerischen Staatsoper Munchen/Wolfgang Baumgart
9. Act One: Nr.4: Ich Sehe Einen Jungen Mann Dort Stehn - Hermann Prey/Walter Berry/Chor Der Bayerischen Staatsoper Munchen/Wolfgang Baumgart
10. Act One: Nr.4: Dialog - Anneliese Rothenberger/Gisela Litz
11. Act One: Nr.5: Die Glocken Lauten Hell Und Rein - Anneliese Rothenberger/Gisela Litz
12. Act One: Nr.5: Dialog - Anneliese Rothenberger/Hermann Prey
13. Act One: Nr.6: Hab' ich Nur Deine Liebe - Anneliese Rothenberger/Hermann Prey
14. Act One: Nr.6: Dialog - Hermann Prey/Anneliese Rothenberger
15. Act One: Nr.7: Ein Armer Blinder Flehet Um Erbarmen - Nur Ein Wort - Hermann Prey/Anneliese Rothenberger
16. Act One: Nr.7: Dialog - Adolf Dallapozza/Friedrich Lenz/Kurt Bohme/Edda Moser/Walter Berry/Willi Brokmeier/Hermann Prey...
17. Act One: Nr.8: Ehrsame Burger Dieser Stadt - - Adolf Dallapozza/Friedrich Lenz/Kurt Bohme/Edda Moser/Walter Berry/Willi Brokmeier/Hermann Prey...
18. Act One: Nr.8: Herr Barbier, Herr Barbier! - - Adolf Dallapozza/Friedrich Lenz/Kurt Bohme/Edda Moser/Walter Berry/Willi Brokmeier/Hermann Prey...
19. Act One: Nr.8: Neu'ste Novellen - Was Wir Verdammen - Adolf Dallapozza/Friedrich Lenz/Kurt Bohme/Edda Moser/Walter Berry/Willi Brokmeier/Hermann Prey...

Disc: 2
1. Act Two: Nr.9: Beim Liebchen, Beim Liebchen - Hermann Prey/Walter Berry/Willi Brokmeier
2. Act Two: Nr.9: Dialog - Hermann Prey/Willi Brokmeier/Walter Berry
3. Act Two: Nr.10: Ein Stern Zu Sein, Wie Wurd' Das Mich Beglucken - Hermann Prey/Willi Brokmeier/Walter Berry
4. Act Two: Nr.10: Dialog - Adolf Dallapozza/Chor Der Bayerischen Staatsoper Munchen/Wolfgang Baumgart
5. Act Two: Nr.11: Tagtaglich Zankt Mein Weib-Tralalala - Adolf Dallapozza/Chor Der Bayerischen Staatsoper Munchen/Wolfgang Baumgart
6. Act Two: Nr.11: Dialog - Anneliese Rothenberger/Kari Lovaas/Gisela Litz
7. Act Two: Nr.12: Wie Pocht Mein Herz So Ungestum - Wonnevolle Kunde, Neu Belebend - Anneliese Rothenberger/Kari Lovaas/Gisela Litz
8. Act Two: Nr.12: Dialog - Hermann Prey/Anneliese Rothenberger/Friedrich Lenz/Adolf Dallapozza/Kari Lovaas/Willi Brokmeier...
9. Act Two: Nr.15: Benutzen Wir Den Augenblick - - Hermann Prey/Anneliese Rothenberger/Friedrich Lenz/Adolf Dallapozza/Kari Lovaas/Willi Brokmeier...
10. Act Two: Nr.15: Lambertuccio! Lambertuccio! - Wart Nur, Wir Lehren Dich Erzahlen - - Hermann Prey/Anneliese Rothenberger/Friedrich Lenz/Adolf Dallapozza/Kari Lovaas/Willi Brokmeier...
11. Act Two: Nr.15: Wonnevolle Kunde, Neu Belebend - Hermann Prey/Anneliese Rothenberger/Friedrich Lenz/Adolf Dallapozza/Kari Lovaas/Willi Brokmeier...
12. Act Three: Dialog - Friedrich Lenz
13. Act Three: Nr.17: Um Des Fursten Zorn Zu Meiden - Friedrich Lenz
14. Act Three: Nr.17: Dialog - Hermann Prey/Anneliese Rothenberger
15. Act Three: Nr.18: Fiorenz Hat Schone Frauen - Hermann Prey/Anneliese Rothenberger
16. Act Three: Nr.18: Dialog - Hermann Prey/Adolf Dallapozza/Friedrich Lenz/Kurt Bohme/Edda Moser/Kari Lovaas/Willi Brokmeier...
17. Act Three: Nr.19: Ihr Toren, Ihr Wollt Hassen Mich - Der Witz, Die Laune, Die Wahrheit - Hermann Prey/Adolf Dallapozza/Friedrich Lenz/Kurt Bohme/Edda Moser/Kari Lovaas/Willi Brokmeier.

Anneliese Rothenberger (Soprano)
Walter Berry (Bass Baritone)
Kurt Böhme (Bass Baritone)
Adolf Dallapozza (Tenor)
Kari Lövaas (Soprano)
Edda Moser (Soprano)
Willi Brokmeier (Tenor) 
Friedrich Lenz (Tenor)
Gisela Litz (Mezzo Soprano),
Bruno Pola (Baritone)
Günter Wewel (Bass)
Hermann Prey (Baritone)

Bavarian State Opera Chorus
Bavarian Symphony Orchestra
Willi Boskovsky – conductor

Though its overture may be a little less seldom played than half a dozen or so others, Boccaccio holds the distinction of being Suppé's most successful operetta. Produced in Vienna in 1879 (between Fledermaus and Zigeunerbaron), it has a libretto by the leading Viennese librettists F. Zell and Richard Genée revolving around the celebrated Italian poet. Like Offenbach's Hoffmann, who took the stage two years later, Suppé's Boccaccio finds himself up against adversity, in this case forced to disguise himself as a beggar and watch his books being burned. Also mirroring Offenbach's opera is the central act in which Boccaccio appears as a character in one of his stories; but unlike Offenbach's opera (and thus underlying the essence of operetta) our hero here gets his girl in the end—in this case Fiametta, illegitimate daughter of the Duke of Tuscany.

Musically the piece is less what we naturally think of as Viennese operetta than an extension of the style of Suppé's overtures. The occasional waltz seems to crop up purely accidentally, and the sprightly and rumbustious mood of the overture spreads over into a score full of racy and boisterous melodies. There are naturally some quieter moments, among them perhaps the most widely known individual number from the score, Fiametta's "Hab' ich nur deine Liebe", but these are hardly typical of the work. Suppé sounds much more at home when a lot is happening, and there are pages and pages of extended ensembles with large scale choruses and ambitious part writing.

Back in the 1950s there was a single record of excerpts from the operetta with a strong Vienna Volksoper cast directed by Anton Paulik (Philips NBL5026, 2/56—nla). Then much of the extended writing had to go, so that this two-disc set, originally issued in Germany in 1975, gives a far better idea of the work and generally surpasses it in every conceivable way. Even with 1 hour 50 minutes' playing time and a minimum of dialogue, though, not everything can be accommodated, so that three short numbers in Acts 2 and 3 have had to be omitted.

What remains is truly splendidly done. This is very much a work dominated by male characters, since originally the role of Boccaccio himself was played by a woman. Electrola have sensibly allocated it to a baritone and have assembled a strong male cast right down to Walter Berry (a survivor from the 1950s recording, incidentally) in the small role of a student. Hermann Prey gives for me one of his most compelling performances in the title role, his famous "Das ist doch jedem klar" sung with a finely judged gentle charm. Adolf Dallapozza and Friedrich Lenz make appealing tenor tradesmen in Act 2, the former's "Cooper's Song" most excellently sung with its chorus of journeymen beating time with their hammers as they sing. At the lower end of the male vocal range are attractively weighty contributions from Günter Wewel as a beggar and Kurt Böhme as a barber with a Don Giovannistyle serenade to sing. Anneliese Rothenberger was not in the purest of voices even in 1975, but, as I have indicated, the women's contribution is small and she and Edda Moser do what is required of them admirably enough.

In such a naturally lively work much depends on the conductor, and happily Willi Boskovsky maintains the momentum and high spirits of the score superbly well. There is a good sense of spread in the recording, and altogether this ranks as another highly recommendable recording in Electrola's splendid operetta series.-- Gramophone [12/1980], arkivmusic.com

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1. Dichter und Bauer Ouvertüre 	9:59
2. Tantalusqualen Ouvertüre 	6:17
3. Banditenstreiche Ouvertüre 	6:25
4. Die schöne Galathée Ouvertüre	7:23
5. Pique Dame Ouvertüre 	8:16
6. Leichte Kavallerie Ouvertüre	6:25	
7. Wiener Jubel Ouvertüre 7:09
8. Ein Morgen, ein Mittag, ein Abend in Wien Ouvertüre  8:06

Vienna Philharmonic Orchestra
Zubin Mehta - conductor

The operettas of Franz von Suppé were once enormously popular in Austria and Germany in the 19th century, though nearly all of them have become obscure except for the overtures and marches that have survived in the modern pops concert repertoire. Such favorite overtures as Light Cavalry, Poet and Peasant, and Morning, Noon, and Night in Vienna are still regularly programmed, and they are undoubtedly the best-known pieces. Suppé's music is energetic and unpretentious, and everything on this album could be characterized as light music, but apart from the pieces mentioned above, little of it is memorable or especially appealing. ---Rovi

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