Gräfin Mariza (La Contessa Maritza)

music by Emmerich Kálmán
booklet by Julius Brammer e Alfred Grünwald

direttori d’orchestra Dániel Somogyi-Tóth, László Makláry
regia Kero (Miklos Gàbor Kerènyi)
scene e costumi Ágnes Gyarmathy
coreografie Jenő Lőcsei

Orchestra Filarmonica Kodály di Debrecen
Coro del Teatro Csokonai
maestro del coro Péter Gyülvészi
Corpo di Ballo del Teatro dell’Operetta di Budapest

co-production Teatro Operetta Budapest e Teatro Csokonai di Debrecen and Operettissima
in collaboration with Studiomusica Hungary

con sovratitoli in italiano

In Austro-Hungarian Vienna, the capital of a multi-ethnic, multinational empire in its twilight years, where the Danube was a most important transport route, the three titles of the Danubian Trilogy were staged at the Theater an der Wien within fifty years. While Strauss, who transplanted the light waltz of the 19th-century bourgeoisie into Offenbach’s harshly satirical tradition, is regarded as the inventor of the Viennese operetta, Lehár’s Merry Widow was an extraordinary and unexpected success in the Vienna of Freud, Mahler, Schnitzler and Schönberg. Almost 20 years later, Hungarian composer Kálmán closed the loop by innervating this popular form of musical theatre with Gypsy and Magyar elements: his Countess Maritza deliberately plays footsie with an operetta by Strauss, also on a Gypsy theme.