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Champagner-Polka, Op. 211, subtitled "A musical joke", [1] is a polka by Johann Strauss II, written in 1858 for his successful tour of Russia where he performed in the summer concert season at Pavlovsk, Saint Petersburg, where it was played for the first time on 12 August 1858.
The original literary source for Die Fledermaus was Das Gefängnis (The Prison), a farce by German playwright Julius Roderich Benedix [1] that premiered in Berlin in 1851. On 10 September 1872, a three-act French vaudeville play by Henri Meilhac and Ludovic Halévy, Le Réveillon, loosely based on the Benedix farce, opened at the Théâtre du Palais-Royal. [2]
He is most famous for the libretto of Die Fledermaus, Johann Strauss II's most famous operetta. He co-wrote the libretto without having met top-billed librettist Karl Haffner, who constructed the new story based on a play by Henri Meilhac and Ludovic Halévy, which was considered too shocking to perform outside Paris.
The lyrics reference three of Strauss's best known compositions, namely An der schönen blauen Donau ("Let the Danube flow along"), Die Fledermaus ("and the Fledermaus") and Wein, Weib und Gesang ("Keep the wine and give me song"). [1]
Mein Herr Marquis", sometimes called "Adele's Laughing Song", is an aria for soprano with choral accompaniment from act 2 of the operetta Die Fledermaus by Johann Strauss II. It appears in many anthologies of music for soprano singers, and is frequently performed in recitals.
This is a discography of Die Fledermaus, an operetta by Johann Strauss II, which was first performed on 5 April 1874 at the Theater an der Wien in Vienna. Recordings [ edit ]
The csárdás from Strauss' operetta Die Fledermaus, sung by the character Rosalinde, is probably the most famous example of this dance in vocal music. One of the best-known examples of instrumental csárdás is the composition by Vittorio Monti for violin and piano .
Klänge der Heimat" ("Sounds of my homeland"), also called "Csárdás", is an aria for soprano from act 2 of the operetta Die Fledermaus by Johann Strauss II. It appears in many anthologies of music for soprano singers, and is frequently performed in recitals. It is sung by Rosalinde, disguised as a masked Hungarian Countess, at Prince Orlofsky ...