141:, has been invented and introduced, and, as a consequence, new situations and scenes have arisen which do not exist in the original play. Three of four minor characters also have been created to help the construction of the new effects, such as the opening of Act I, and the dialogue scene towards the end of Act II, where Angele and the Count each discovers the identity of the other, through the jealous interference of Monsieur de Tresac. This particular episode was in the original treated musically, with a full stage, being the subject of the Finale of Act II; and in doing away with the third act it became necessary, of course, to sacrifice this Finale and to approach and develop the dramatic moments of the recognition by different methods, in spoken dialogue...."
130:
notes that the Count has not yet divorced and reveals that the two are still married. Secretly delighted, Angèle denounces the Count's act in marrying for money. The Count storms off angrily. Meanwhile, Rutzinov decides to marry a
Russian countess instead, and the Count comes into some money, which he uses to pay Rutzinov back the £20,000. But he is miserable without Angèle and eventually tells her that he loves her. All ends happily.
19:
126:
receives the sum of ÂŁ20,000 (half a million francs). As she will then bear a title, Rutzinov can then marry her. At the wedding ceremony, at the studio of
Rutzinov's artist friend Brissard, the Count and his mystery bride are separated by a canvas – but when they touch hands to exchange the rings, they fall in love.
151:
129:
Months later, Angèle gives a party, which the Count attends. They are immediately attracted to each other, but not knowing that they are already husband and wife, they believe their romance is hopeless. To prevent things from going further, Rutzinov announces his engagement to Angèle. But
Brissard
125:
The Grand Duke
Rutzinov may not marry Angèle, an opera singer with whom he is infatuated, unless she bears a title. He therefore arranges for the penniless bohemian spendthrift Count René to marry a lady whose face he is not to see, and to agree to a divorce in three months. For this the Count
137:"...there are not, I think, thirty lines of dialogue in the English adaptation which are actually translated from the German; the action of the play has been constructed in two acts, instead of the original three; while the entire part of Brissard, played by Mr.
379:
in New York in 1912 with the libretto further adapted by Glen MacDonaugh. It played in
Australia in 1913. There was a Broadway revival in 1930. In 1967, the BBC broadcast their own television production, conducted by
57:
in 1909. Lehár made amendments to his
Viennese score to accommodate the two-act adaptation. He also interpolated into the score three new pieces: a waltz that he had written for a commemorative performance of
359:
particularly praised the singing and dancing of Elsie and Wallis, as well as Lehár's music, though the paper judged the story to be thin and improbable. It was followed by a UK tour starring
598:
97:
in New York in 1912 with the libretto further adapted by Glen MacDonaugh. It played in
Australia in 1913. Adaptations included a 1967 BBC television production and an American
766:
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that the higher number must be correct, as the paper says in March 1912 that the piece continues to play strongly: "Daly's
Theatre",
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Pelegrin, Mentschikoff and
Paulovitch (the Grand Duke's attendants) – Frank Perfitt, Ridgwell Cullum, Charles Coleman
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480:, 11 March 1912, p. 11, and it includes notices for further performances of the operetta as late as 4 May.
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105:, more closely following the original score and libretto, was produced under the name
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No. 4a – First Exit – "So lend it, spend it, end it, and out of the window send it"
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No. 10 – Finale – "Fair
Countess, may I wish that now you'll be happy for ever?"
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571:, 9 November 1966, p. 7; and Julian Critchley, "Cup final breaks the boredom",
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Hood wrote about rewriting the libretto of the operetta for British audiences:
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in London on 20 May 1911 and ran for a successful 345 performances, starring
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Traubner, p. 238; some sources say 240 performances, but it is clear from
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32:
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No. 9 – "Twenty thousand pounds" – René, Grand Duke and Attendants
149:
17:
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No. 20 – "Boys" – Juliette, Mimi, Grand Duke, Brissard and Girls
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No. 4 – "Carnival! Make the most of Carnival!" – Chorus and René
730:
186:
Lavigne, Boulanger (Artists) – Gervais Whitehead, Garnet Wilson
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93:. It was followed by a UK tour and also had a good run at the
313:
No. 21 – Finale – Angèle and René – "Say not love is a dream"
345:. The opening night was conducted by Lehár and attended by
272:
Act II – Reception Hall at the Grand Duke Rutzinov's, Paris
391:
was made in 1926. A new English language stage version of
77:
in London in 1911 and ran for 345 performances, starring
249:
No. 4b – Second Exit – "So lend it, spend it, end it..."
234:
No. 1 – "Carnival! Make the most of Carnival!" – Chorus
261:
No. 8 – "Cousins of the Czar" – Angèle and Grand Duke
252:
No. 5 – "A Carnival for life" – Juliette and Brissard
240:
No. 3 – "Pierrot and Pierrette" – Juliette and Chorus
307:
No. 19 – "Are you going to dance?" – Angèle and René
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947:
912:
773:
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No. 16 – "Love breaks every bond" – Angèle and René
101:made in 1926. A new English language adaptation of
526:, Musical Theatre Guide, accessed January 17, 2012
255:No. 6 – "I am in love" – Grand Duke and Attendants
403:in 1983. This version was revived on tour by the
712:Song list and links to midi files and cast lists
304:No. 18 – "Rootsie-pootsie"– Grand Duke and Girls
35:in two acts with English lyrics and libretto by
586:The Complete Index to Literary Sources in Film
742:
436:, Vol. 124, No. 1679 (January 1983) pp. 23–25
295:No. 15 – "In society" – Juliette and Brissard
47:, based on Lehár's three-act German operetta
8:
707:Numerous photos from the original production
672:, Blackwell, 1994, vol. I, pp. 567–69
280:No. 12 – "Hail, Angèle" – Chorus and Angèle
62:in Vienna; a song from his first operetta,
749:
735:
727:
653:Blumenfeld's Dictionary of musical theater
558:, IBDB database, accessed January 19, 2012
459:, No. 108, 1911, accessed January 17, 2012
722:Information about the Broadway production
489:"The King and Queen at Daly's Theatre",
289:No. 13 – "Pretty butterfly" – Grand Duke
670:The Encyclopedia of The Musical Theatre
416:
237:No. 2 – "Bohemia" – Brissard and Chorus
213:Lisette (Maid to Angèle) – Kitty Hanson
66:; and a Russian dance from the opera
7:
375:, and it also had a good run at the
567:"More Opera on B.B.C. Television",
588:. Walter de Gruyter, 1999, p. 279.
301:No. 17 – Russian Dance – "Kukuska"
207:Countess Kokozeff – Gladys Homfrey
73:The original production opened at
14:
689:, 2nd edition, Routledge, 2003,
655:, Hal Leonard Corporation, 2010
277:No. 11 – Opening Scene and Dance
258:No. 7 – "Love, goodbye" – Angèle
229:Act I – Brissard's Studio, Paris
180:Mons. De Valmont – Paul Plunket
687:Operetta: a theatrical history
146:Roles and original London cast
1:
767:List of operas and operettas
599:"Recording Review: Kálmán,
318:Productions and adaptations
292:No. 14 – "Her glove" – René
168:Jean Baptiste (a Waiter) –
159:Count René of Luxembourg –
22:Drawing of Wallis and Elsie
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405:D'Oyly Carte Opera Company
195:The Grand Duke Rutzinov –
115:D'Oyly Carte Opera Company
113:in 1983 and toured by the
764:
401:New Sadler's Wells Opera
111:New Sadler's Wells Opera
981:Yours Is My Heart Alone
830:The Count of Luxembourg
605:The Count of Luxembourg
555:The Count of Luxembourg
523:The Count of Luxembourg
491:The Count of Luxembourg
474:The Count Of Luxembourg
448:The Count of Luxembourg
397:The Count of Luxembourg
323:The Count of Luxembourg
189:Brissard (an Artist) –
107:The Count of Luxembourg
53:which had premiered in
28:The Count of Luxembourg
937:The Count of Luxemburg
929:The Count of Luxemburg
814:Der Graf von Luxemburg
393:Der Graf von Luxemburg
389:silent film adaptation
155:
103:Der Graf von Luxemburg
50:Der Graf von Luxemburg
23:
1023:Operas by Franz Lehár
624:Canning, Hugh. "Flat
615:, January 1884, p. 74
377:New Amsterdam Theatre
286:No. 12b – Stage Music
201:Juliette (a Model) –
165:Registrar – Fred Kaye
153:
95:New Amsterdam Theatre
21:
921:Where the Lark Sings
854:Where the Lark Sings
651:Blumenfeld, Robert.
508:Lionel Carson (ed).
499:, 22 May 1911, p. 10
1028:Operas set in Paris
575:, 22 May 1967, p. 8
510:The Stage Year Book
428:Count of Luxembourg
99:silent film version
985:The Land of Smiles
894:Schön ist die Welt
886:The Land of Smiles
535:Blumenfeld, p. 136
457:The Play Pictorial
174:Mons. De Trésac –
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24:
1005:
1004:
838:Die ideale Gattin
717:Vocal score, 1911
683:Traubner, Richard
638:, 2 November 1997
455:, reprinted from
433:The Musical Times
382:David Lloyd-Jones
283:No. 12a – Fanfare
210:Mimi – May Marton
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216:Angèle Didier –
154:Wallis and Elsie
109:and recorded by
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335:Huntley Wright
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453:Stage Beauty
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424:Lamb, Andrew
419:
396:
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387:An American
386:
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203:May de Sousa
170:Willie Warde
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26:
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1018:1911 operas
996:Anton Lehár
991:Lehár Villa
758:Franz Lehár
666:Gänzl, Kurt
603:and Lehár,
426:. "Lehar's
361:Eric Thorne
339:W. H. Berry
191:W. H. Berry
176:Alec Fraser
139:W. H. Berry
87:W. H. Berry
45:Franz Lehár
43:, music by
41:Adrian Ross
1012:Categories
822:Gipsy Love
646:References
612:Gramophone
351:Queen Mary
331:Lily Elsie
325:opened at
218:Lily Elsie
79:Lily Elsie
37:Basil Hood
998:(brother)
782:Kukuschka
774:Operettas
573:The Times
569:The Times
496:The Times
478:The Times
470:The Times
407:in 1997.
356:The Times
117:in 1997.
983:" (from
902:Giuditta
870:Paganini
628:, fizzy
121:Synopsis
60:Der Graf
33:operetta
948:Ballets
798:Tatjana
68:Tatjana
1033:Operas
939:(1972)
931:(1957)
923:(1936)
905:(1934)
897:(1930)
889:(1929)
881:(1926)
873:(1925)
865:(1921)
857:(1918)
849:(1914)
841:(1913)
833:(1911)
825:(1910)
817:(1909)
809:(1905)
801:(1905)
793:(1904)
785:(1896)
693:
676:
659:
55:Vienna
31:is an
973:Other
913:Films
630:Count
626:Widow
411:Notes
691:ISBN
674:ISBN
657:ISBN
371:and
349:and
341:and
89:and
39:and
430:",
353:.
1014::
685:.
668:.
632:,
609:,
493:,
476:,
451:,
384:.
367:,
363:,
337:,
333:,
85:,
81:,
70:.
987:)
979:"
750:e
743:t
736:v
607:"
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