The Tenth Production in the Johann Strauss Operetta Cycle another resounding success

 

Only six months after the memorable gala performance of A Night in Venice at Vienna’s Hofburg Palace (see our article in this section for the year 2008), the Johann Strauss Society of Vienna celebrated yet another major triumph with the next production in its Johann Strauss Operetta Cycle. On 4^th June 2009, under the patronage of Hedwig Aigner-Strauss, the matriarch of the Strauss family descendants, and with the support of the City of Vienna’s Department of Cultural Affairs, the Society presented the premiere of a staged production of Princess Ninetta, which had originally premiered in Vienna in 1893.

The production, staged in the historic ballroom of Vienna’s Rudolfsheim District Office -a venue dating from the period of the operetta’s premiere – was widely regarded as the finest staged production in the series to date. Peter Widholz reworked the original libretto, which had long been considered one of the work’s greatest weaknesses, into a lively crime comedy while leaving the basic storyline intact. His foremost concern was to preserve the song texts wherever possible, allowing audiences to appreciate  the waltz king’s remarkable ability to illuminate and deepen the dramatic meaning of the words through music. The Classical Operetta Ensemble Vienna presented this new adaptation with the following cast:

The production won unanimous praise from both the audience and the critics.

“The ensemble under the direction of Peter Widholz and Margit Fussi charmed the audience wits ruffled costumes and beautifully blended voices” (NÖN, Week 28/2009)

“ Teresa Gardner, a charming and cultivated singer, had to make both her disguise as a man and her transformation back into the alluring femme fatale Ninetta entirely convincing. This is an almost impossible challenge, but she accomplished it with grace and vocal elegance. In fact, this production might well have been called “Gisela Theisen”, as the versatile contralto infused the evening with lively humour and sparkling energy. Adelheid was in the capable hands of Cornelia Hübsch, while her Ferdinand, Clemens Kerschbaumer, showed every promise of developing into a fine operetta leading man with an impressive singing voice” (Anton Wendler, Der Neue Merker, July 2009)

“Teresa Gardner was clearly in her element in the title role, which allowed her to display not only her vocal gifts but also the charm and sensuality the part demands. As Cassim, Peter Widholz once again demonstrated the full breadth of his vocal and dramatic talents, meeting the demands of the role. The premiere audience greeted both the new adaptation and the cast’s singing and acting  with prolonged, enthusiastic applause. Equal acclaim was accorded to the evening’s musical director, Margit Fussi, who provided a rich piano accompaniment for the singers and guided them safely through the evening. Ingrid Nowotny’s lavish costumes, remarkable for both their richness and variety, were also widely admired. Never before had she created so many costumes for a single production”  (Magdalena Bürger, Wiener Bonbons, 2/ 2009)

Like many of the Strauss Society’s earlier operetta productions, Princess Ninetta went on tour throughout Austria following its premiere. Wherever it was performed, the company was enthusiastically received.  The crowning conclusion was the performance in May 2010 in Bad Ischl (the cover photo shows the Traun Promenade; © Kurt Eckel) It was in Bad Ischl, during the summer of 1892, that Johann Strauss composed a substantial portion of the score. He had begun work on it in Vienna, where he completed it upon his return. Emperor Franz Joseph, who had attended the world premiere, commendingly referred to it as an opera. Thus, the Johann Strauss Society of Vienna performed this demanding work at the locations most closely associated with its creation.

 

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