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IMRE APÁTHY: ORPHEUS, 1952
Theatre learned from this huge artistic mistake that we should make both
ends of the text and the music meet, so to say, when refashioning a classic”.*”°
The lesson produced bright results soon in The Count of Luxembourg and
The Csardas Princess, which triumphed over decades. Consequently, Orpheus
had a much greater impact on the ensuing adaptations of classical operettas
than any other productions in the history of the nationalized Operetta Theatre.
Hamos’s version had only one more premiere, in Szolnok in May of the same
year, directed by Gyérgy Székely, who became the successor to Imre Apathy
as chief director of the Operetta Theatre, following his staging of The Count
of Luxembourg. And after Luxi, as they called it informally, Margit Gaspar no
longer called Lehar’s music “sugar water”.*”"
320 Gáspár: A könnyű műfaj kérdései, 7.
321 Jegyzőkönyv az operett és tánczenei szakosztály..., 5.
+ 73°