Nico Dostal (Korneuburg 1895 - Salzburg 1981)
By Jacques Offenbach to NICO DOSTAL
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A brief history of the operetta
olzscheune
s' to be there singing and playing, laughing again with laughter allowed. 
t. Franz von Suppe (1819-1895 - photo left) writes in 1860 as the first Viennese composer such a 'operetta' . Around 1870 can Johann Stra uss 
Jr (1825-1899 - photo right ) tempt. And with it begins the first large - ' GOLDEN' - Periodic Table of the Viennese operetta, including what Karl Millöcker (1842-1899) and Carl Zeller 
(1842-1898) their share. 
is Victor Herbert (1859-1924), the European operetta into his luggage after America, where he worked from 1898 'musical comedies' with its a way for American 'Musical' paves (see 'RS sings Leonard Bernstein' ) . .jpg)
(1870-1948) is warming up: his opera 'Kukusjka' (later 'Tatjana' called) has some success, but two-and-bred operettas ( 'Wiener Frauen' and 'The tinkers' ) are certainly pleased with the public. Then make 30 December 1905 (conductor of the young Robert's pride!) Lehár's 'The Merry Widow' her entrance. She wavers a bit here, because the reactions Zind hesitation and no (r) - also Lehár not themselves - predicts their imminent triumph. But 'The Widow' proves to be not only funny, but also strong-willed and gives the green light to flower, or more precisely, to - 'SILVER' - Age of Viennese operetta . The young Lehár join new name: Edmund Eysler (1874-1949), Leo Fall (1873-1925), Oscar Straus (1870-1954), Oskar Nedbal (1874-1930), Emmerich Kálmán (1882-1953) including 
After the First World War draws the older become Franz Lehár (photo) to Berlin. He is the course different and his talent for composing magnificent melodies bring him on the trail of the opera composer Puccini. With vocal support of the tenor Richard Tauber, he sets about 'tragic operetta' set to music how 'The Land of Smiles' and 'The Land of Smiles' .
times called 'Revue operettas and film ' (see poster by Josef Fennecker) . American Musical and jazz influences make themselves felt (see the introduction to the text 'RS Abraham sings Paul' !) . Eduard Künneke composed 'Lady Hamilton' and 'Happy Journey' , Ralph Benatzky (1884-1957) - the team - 'The White Horse Inn' , Paul Abraham (1892-1960) 'Viktoria and her Hussar' and 'The Flower of Hawaii' , Robert Stolz (1880-1973) 'Two hearts three-quarter time 'and Nico Dostal (1895-1981) ' Clivia ' and' The Beloved '. 
-day tango song ' It is in a hundred years, another one of his spring ' on a primary text by Robert Gilbert. In 1933, he has international success with his debut opera 'Clivia' , which exposes the beautiful appearance of the star cult, and a year later with the 'Beloved' , in which a high at the Ross sitting, oversensitive, female movie star is ironic and is quite exposed. The Nazis are Dostal with 'Aryan' Composers not in the way, but how Volker Klotz in his theater scientifically informative book 'OPERETTA: Portrait of a manual and outrageous art - Munich 1991' states: "..... he (Dostal) was not his style or ideologically significant concessions in what was promoted Officers 
Jelle ". Dostal 1946 returns to Austria with his wife, opera singer and first 'Clivia' Lillie Claus (photo) , and his son, who later became conductor Roman Dostal (b. 1942 - Photo ). Eight years later, draws the family back in the Salzburg mountains. However, there continues to write Dostal. A long list of his works shows dat the late Romantic composer Nico Dostal not ceased to vary and experiment: film music, operetta, a musical, a comic opera, church music, fine entertainment music suites, a piano concerto, overtures, exotic pop, nostalgic songs, etc. . 
olz in America . was linked in the early forties his name in 1967, this tradition was the Dutch impresario Wouter van Liempt - was brought back in honor) - exclusively for the Benelux countries. father and son Dostal conduct the Limburg Symphony Orchestra. Rudolf Schock sing and Margit Schramm. Dostal Nico Dostal Nico conducted, Roman Dostal other operetta composers. The colorful music of the then 77-year-old impressed us Dostal (Beide!) much by their continued vitality. 
In 2010, I hear the CD 'In My Mountains: Nico Dostal Conducts Nico Dostal' (cpo: classic production osnabrück: 999811-2, published in 2002) . The famous Berlin Philharmonic play on this CD, in 1979 - 2 years before death so Dostal - was recorded concert music by and with Nico Dostal. Surprised the vitality, originality and timelessness of the music.
In 1971 appears on disc € Finally, a remarkable shock LP (85 575 IU) under the title 'I sing'mein song for all the beautiful wives: composers write for Rudolf Shock . Two songs on this LP, among which are the title song, by Nico Dostal and will be conducted by him.
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Rudolf Schock and Erika Köth (see 'RS sings G. Donizetti, item 2') sing good report Dostal music, though I should note that the Köth as 'Clivia' and 'Beloved' interpretive falls short of their vocal virtuosity. Erika Köth had known me on the stage with these two begin ironic caricature enlarged Divas less. The other four operetta roles (among which the unsuspecting 'Monika' ) is the singer However, as written on the body. Rudolf Schock again proves his affinity with the (folk) song: both Dostal's earliest success 'It is in a hundred years ....' how 'homeland' (actually a soprano song from 'Monika' ), he sings with matching sentiment but never sentimental. Harry Fried Auer (1927-1985) shines in the parody of an Italian 'tenor lirico' in the buffo duet 'Sicilian wines' from 'The Beloved' . The 1964-images that provide a generous and musically excellent overview of Nico Dostal's work. Nevertheless, such a compilation forced to remain on the surface. More profound is it when we get the opportunity to learn more from some, to hear certain Dostal-operettas. This opportunity was there six years later.
The April 1970-recordings are highlights from the operettas 'Clivia' , 'Monika' , 'The Hungarian Wedding' and 'Manina' . Previously mentioned Volker Klotz dedicated Dostal operettas 'Clivia' and 'Manina' in his book detailed attention and has still some interesting Dostal- operettas such as 'Monica' , 'The Hungarian Wedding' , 'The Beloved' and 'special editions' (1937) out. The four of € disc on double LP put out operetta could thus be called an example for Dostal's compositional qualities.
(Rudo lf 
shock en Margit Schramm)
'Clivia' (1933) takes place in a South American imagination State ('Boliguay') from where are around 1930 financial scandals, corruption, revolution and change of power from the agenda. American businessmen are in a bad mood when a revolutionary government comes under a new president (Olivero) to the power that wants to roll back American influence strongly (Each adopted similarity with existing situations and / or passengers wholly on account of the reader - KdL ). On 'American film crew' came from good intentions and political unrest from spreading, according Boliquay. As a pretext, it uses a large-scale film project with the famous diva Clive Gray, which by the way innocent as a lamb. Film star and team may Boliguays not enter the ground, except that Miss Gray - and then we are back entirely into the world of operetta - there to find a spouse. Clivia drives on such a partner: he called himself Juan Damigo, but in reality is the new president Olivero. 'Juan' and Clivia fall in love, but then discovered Juan / Olivero, the shots were a soiled cover to overthrow his government reform. The Americans - including Clive - are arrested. They break out, but Clive will soon return: they come out of the beautiful illusion of money and fame into an uncertain, but more honest future on the side of a revolutionary.
Dostal musical theater are often an escape from everyday reality and the private retreat in a romantic, but risky isolation. In the 'tragic operetta' of older Lehár, but obviously in his much earlier 'Gypsy Love' is such a risk is not received: Jonel Zorika selected for the citizen and not for the Gypsies love with Joszi. Lisa leaves Sou Chong and his 'Land of Smiles' , Anna Elisa breaks the relationship with 'Paganini' from and continues to be princess, who adopted 'Alexis' Alyosha Sonja, 'Fred' is on Goethe. Certainly tragic, but also risk-free: Lehar's 'Heroes' and 'heroines' stay in the end, where they are and never budge. Dostal at many main characters, let the world based on the water for the (unstable) anderwo luck. On the face of a fairy tale happy ending, but the question is then whether they 'will live long and happy'. Personal tragedy does have many faces. Dostal is still dramatic fashion design - although some operatic - much less weighty than that of mature Lehár. It is often very ironic and playful, Volker Klotz was illustrated by two examples:
- Clivia faces the audience at the first appearance (of a "hectic Paso doble") before 'the Clivia, from one-day' just talking ' and ' with on-time delay of a diva ' comes from.
- 'Am Manzanares / is female virtue which Rares' is the beginning of a scene that takes place at the exotic meant Amazon, but kastagnettenbegleiteten three-four time (!) An allegedly erotic village in English, so European Castile sings. In other words, how far is also one on this earth, the grass on the other - even if it in the direction of the country must go back - but looks much greener.
Dostal 'Clivia' running 1970 exemplary. It's just a shame that it remains in some sections (membrane-Documents now has a full 'Clivia' published. It dates from 1951 and has recently died, Anneliese Rothenberger in the title role and Rupert Glawitsch as Juan / Olivero. Wilhelm Stephan conducted). Nico Dostal can 1970 Berliner Symphoniker music with lots of fire. Monika Dahlberg and Ferry Gruber be pretty close to the failed Buffoduettchen just, and Rudolf Schock sings inspired and with care. For some mysterious reason I can think on his performance in these LPs every time the English word 'eager' (= strong desire) a. Margit Schramm is made for the title character, who was also her first major role on the opera stage.
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Rudolf Schock more than ten years: 1964 they sing in an integral television version of Paul Abraham 'Viktoria and her Hussar' and a series of open-air performances of Lehar's 'Merry Widow' in 'theater of the city of Koblenz on the Rhine' . Margit Schramm starts shocks side by a large television career in Germany. The fresh new record label € Disc (Fritz Ganss) sets Margit Schramm for a brand new collection of operetta recordings as a female partner of Rudolf Schock fixed by contract. At the same time with a little bit into the background guessed, but the musical imagination is still very exciting name-aged conductor and composer Robert Stolz (1880-1975) with the 'dream team', respectively. From that moment they make 
lick on the (almost) declared dead operetta is to revitalize all. Operetta suddenly dominated the screen: the program 'Robert Stolz - A Portrait' with others Margit Schramm, Lisa della Casa, Rudolf Schock, René Kollo, and of course Robert is proudly sent in 1967 in Europe. In the same year there in spring and late summer, a double row immensely successful 'Evening in Vienna' - concerts with pride, and Schramm shock to sold-out concert halls in the Benelux countries. The 'operetta Happening' in the Amsterdam ' Concertgebouw' is from the Dutch television in prime time broadcast entirely. At a stroke, the operetta is back in the headlights of-date.
'Monika' (1937) is a nice and humble peasant girl from the Black Forest. The parents have died, and she and the sisters manage the farm temporarily, until the little brother of full age. The three (marriageable) girls feel at home in the safe environment of the borough. But of course, well run as the inevitable figures with a secret agenda around. Among them are 'one who lives away': Horst-Dietrich, who comes from a noble family, studied medicine and famuliert in the village. Monika has been secretly in love with him and gets into a state of highest bliss, when Horst-Dietrich shall, after having completed clerkship just leave of her and admits he loves her. She jumps safely on the pillion seat of his motorcycle and travels with him to a farm near any city in North Germany. As Monika met a fine family, Horst-Dietrich for their marriage partner has in store, which determines not called 'Monica'. After much fuss on the estate, it looks like that the great love between Horst-Dietrich and Monika will be smaller. The farm girl returns to her hometown ('home'). She believes can do no better than to give speak any exchange vows. But then stormed into Horst-Dietrich: he wants to be the new village doctor and the usual operetta starting to be seen.
The plot in 'Monika' again refers to someone who shows a shielded and prosperous environment back: Horst-Dietrich is a simple existence in a counter introverted village. It is striking that the libretto by Hermann Hermecke quoted from other operettas: Monika is a bit 'Fred' (Lehár) but also a little Léon Jessel 'Black Forest Girl' . Three girls we already know from the 'Dreimäderlhaus' (BERT) and the operatic drama of the finale recalls Lehár's "Fair is the world' . But everything is coated so thick that one has the feeling Dostal / Hermecke wanted to squint at the light thrown Zitatchen audiences only contain: we and you know but our favorite composers? Something similar is happening in movies: young directors cite the illustrious predecessor. There are innumerable such as the films, which as a wink to a movie audience that his favorite directors knows by heart, attention of Alfred Hitchcock is .
Margit Schramm comfortable in the role as Monica home in the Clive-game: The natural Margit Schramm is not only a simple diva, but with consummate ease and a straightforward country girl. Rudolf Schock's 1970, in the broader context of the cross section of 'Monika' , the role of Horst-Dietrich different than 1964 in the duet 'Loving twos' Erika Köth. At that time the individual dance duet was not associated with the operetta context, and it resulted in shock - as in the Dostal concerts - with great flair as a gorgeous demonstration of reckless Operetta joy. In cross section it appears as Horst-Dietrich a protective and mildly persuasive partner, the blushing with embarrassment Monika teaches from the front of his relatives and acquaintances, as it is to dance the waltz. Monica forgets the critical environment and knows how finally recovered 'in the jubilation of the music' .
'The Hungarian Wedding' (1939) and 'Manina' (1942)
(Rud olf 
shock and Sylvia Geszty)
The sprawling, Hungarian Puszta offers Dostal / Hermecke another chance, the familiar atmosphere of a 'operetta Gypsy' evoke. But just as in 'Monika' seems to be only meant as a proof packaging. The content of the 'Hungarian Wedding' has at least nothing with the Gypsy romance from 'Gypsy Love' (Lehár) and de 'Gypsy Baron' (J. Strauss Jr.) to do. Only the operetta by Emmerich Kálmán come close. But no Dostal again the outbreak of the heroes from the luxurious indeed, but hollow existence: 'Casanova' by Stefan Graf namely at the end of the operetta (final?) 'happiness and loyalty to the character fixed Janka from a remote Hungarian village.
In 'Manina' it is the Vienna Countess Hella, who - dressed in ermine cloak - with their expensive collection of poems and very mixed emotions for 'Catania' (a fictional kingdom by the sea on the Balkan Peninsula travels). Unfortunately, she has been married to the king of the local womanizer, but what attracts more than anything is the fact that Catania is also the home of Mario Zentis, the poet / shoemaker (reference to the poet / shoemaker Hans Sachs in Wagner's' Meistersinger '!), among others, Hellas favorite epic tale Fischer has written about the girls Manina. Hella checks in with Mario in the capacity of an unknown admirer. It's called: Manina. Mario is the reincarnation of his own poetry. The pair falls into love, but the morning is Hella / Manina fled. She has left behind only a note with the text 'You have forgotten me'. Misfortunes never come singly: Mario is banned because of a satirical song on the king. Two years later - after turbulent experiences abroad and a desire to never drain end Manina - he crosses illegally Cataneas border. The king hated and has since resigned Hella is the new queen. You decide positively about Marios amnesty application. If Mario met but to his great joy 'Manina' (Hella) on the festival, she seems to know him no longer want to. Mario has deeply offended the pardon and return the country wants to be forever behind. The moment where he wants to leave his apartment, Hella appears as 'Queen' and 'Manina': 'I only thought of you'. To him and to the three year old son, she makes known his father. They will give up the throne to be part of Mario and her child.
It happens at Dostal once again, at a venture Hella fled the complex and therefore confusing reality. I'm feeling lucky, since Mario's character has two ominous Characteristics that are each designed for up to an extreme: that of the enthusiastic dreamer and that of the implacable anarchists. After 'Manina' end of 1942, Nico Dostal shrouded in silence. In 1945 he is back with 'morning' , the first part of his 'Romantic Suite': 'In my mountains' (see above CD 'In My Mountains') . In the three years of war between them, he draws on himself and his family back.
action and music of the 'Manina' are not a traditional operetta. It is noteworthy that Dostal 'Manina' no operetta, but an opera by Richard Wagner quotes. The work breathes - in spite of some, playful buffo Düttchen - opera atmosphere, partly because of drastic drama in the Hella / Mario-scenes. Volker Klotz's attention with the right to "Operetta for men unusually charming appeal of the Mario character" . "In particular his homecoming from exile is a gripping music drama scene ... fishermen and wine growers welcome the exiled poet in a hoarse Crescendorufen ... keys to change quickly ... Mario attaches in E minor to his story. Spasmodic accompany trombones, trumpets and Kontrabasspizzikati his rough experiences out there in the world, where softer Sounds follow as soon as he goes ... to the beauties of nature. Finally, merge in the chorus, Here and There, Then and Now, to what it anywhere and meet constantly: 'I search in every woman Manina'. The clock skips from March on Tango, the key of E flat minor, ... "By far Volker Klotz in his" Portrait and guide the operetta '. In the ' Manina ' recording from 1970, the scene fortunately been taken completely.
The voices and dramatic possibilities of Rudolf Schock fit and the Hungarian soprano Sylvia Geszty the very nature of opera 'Manina' . The same applies to the 'Hungarian Wedding' , which is also Dostal opera highlights. Shock effect - I already wrote - in operetta Dostal, very focused. I listened again to his Leist Ingen, and she liked another excellent one. Sylvia Geszty is a singer with a big, dramatic voice that is able to command respect coloratura. Her violently dramatic 'Play me the song of happiness and loyalty of ' The Hungarian Wedding ' is a special class. The only thing one might notice is that their song lyrics are sometimes less well understood.
Geszty Sylvia (b. 1934)
Rudolf Schock Sylvia Geszty heard for the first time in the 2 Half of the sixties during a night drive, when somewhere in Europe in a 'Magic Flute' -idea the 'Queen of the Night sings. It makes that Sylvia Geszty of € Disc will be contracted and takes with it absorbs 1967-1970 duets from operas and operettas by Puccini, Lehar and Dostal.
Geszty Sylvia begins her career in 1959 in Budapest. They moved to Berlin in 1961. There, she made her debut as Amor in Gluck's From 'Orpheus and Euridice' at the State Opera. From Berlin begins from a big international career, the singer brings the chamber to Salzburg, Vienna, London, Paris, Amsterdam, Brussels, Moscow and in North and South America. In the period 1975-1998 shall Sylvia Geszty solo singing in Stuttgart and Zurich, and shall master classes in Germany, Austria, Japan and Poland. From 1998 she has been in Poznan (Poland) also active as an opera director. Flush and accurate descriptions of their singing one finds in the well-known English music magazine 'Gramophone' and on the Internet site 'Opera-L Archives' David Fox ('Opera-L') writes in 1995: ".... for those the Geszty does not know .... it's a very characterful voice, which are not so easily forget: something of a meaty, smoky low range coupled with a bright and penetrating upper register. WA Chislett ('Gramophone') called Geszty 1972 'unique' "by purity of tone and unusually accurate intonation and she uses it very charmingly.
Rudolf Schock sings Nico Dostal on 2 CDs
The LP-productions from the years 1964 and 1970 are more or less on two CDs placed: 
on BMG / Ariola / € 69 067 Disc CD operetta, there are four cross-sections from 1970. But because there is less space on a single CD than on two LPs, it has removed the ill-buffo duets by Dahlberg / Gruber and some great duets of shock / Schramm / Geszty. It is therefore recommended that (also) find the old LPs, which are still occasionally offered on the Internet.
on BMG / Ariola / € disc CD 7431 29334 2 'dreams of Operetta Vol 1' there are quite a v 
everal operetta fragments and Dostal-Tracks of 1964 (including shocks 'Florentine Nights' ) and some recordings from 1970, by which still have 2 buffo Düttchen! The tenor René Kollo can also be heard (in 'Manina' ) and Sylvia Geszty singing its' song of happiness and loyalty in a later recording under the baton of Walter Fried. Extra interesting is the song on the CD: 'I sing my song for all the beautiful wives' . This song is the title song of the LP from 1971 that I mentioned above already, and what song / songs are, the 'written composer Rudolf Schock' several . Of the two Nico Dostal chansons on the LP is the song 'I sing my song for all the beautiful wives' from an older Dostal operetta: 'circus blood' (1950). Twenty years later, Nico Dostal dedicated this song to say the singer Rudolf Schock.
Dostal The second song on the LP: 'is not as nice as the one' was - I suppose - in 1971, probably a new composition, which was also devoted to shock. There is still a year (in 2010) introduced as a compulsory number, in Dostal Korneuburg birth of male offspring operetta singers at 'Dostal Singing Competition' participate.
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