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Kalman: Die Csardasfurstin.(audio)(Sound Recording Review)

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| April 01, 2005 | Traubner, Richard | COPYRIGHT 2005 Metropolitan Opera Guild, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

KALMAN: Die Csardasfurstin

Kenny Erdmann; Roider, Kathol, Ebner; Slovak Philharmonic Chorus and Radio Symphony Orchestra, Bonynge. Notes, text online. Naxos 660105 (2)

As the important, influential Viennese operetta Die Csardasfurstin has not been captured on many complete recorded versions, it's particularly nice to welcome this beguiling new one. First appearing during World War I, this Emmerich Kalman triumph, with libretto by Stein & Jenbach, bowed at Vienna's Johann-Strauss Theater in 1915, then quickly spread throughout Central Europe. After the war, Csardasfurstin reached Paris, London and New York (care of P. G. Wodehouse) in much-modified versions.

The Viennese yearning for these creaky operetta plots, with their princes lusting after commoners and the more realistic cavortings of stage-door johnnies with showgirls, is what gives Csardasfurstin its irresistible appeal, now as then. And Kalman's score has a built-in nostalgia that refuses to age. The music very craftily fuses Vienna with Budapest in a way that hadn't been heard since Johann Strauss's 1885 Zigeunerbaron, and was not heard again until Kalman's own Grafin Mariza in 1924.

As the first grand chords of the overture devolve into a wild csardas, one can hear not only Kalman's intrinsic Magyar melodies but his Budapestian orchestral colors. As with the greatest of operetta composers, the sound is totally distinctive: this could only be Kalman. Future Hungarian-flavored works by composers such as Abraham or Dostal lack that true sour cream-plus-paprika richness, in the more Viennese moments of this magical score, such as the Act II swallow duet, the tripping "Hurra, ...

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