Oldal 77 [77]
OCR
FREEDOM FIGHT FOR LOVE, AN EXCELLENT FARCE AND SOME MUSIC BY LEHAR ANDRAS MIKO AND GYORGY SZEKELY: THE COUNT OF LUXEMBOURG, 1952 —to> Title: The Count of Luxembourg. Date of Premiere: 28* November, 1952 (revived on 8" February, 1957 and 12" April, 1963). Venue: Operetta Theatre, Budapest. Directors: Andras Mik6, Gyorgy Szekely. Authors: Alfred Maria Willner, Robert Bodansky. Adaptation: Istvan Békeffy, Dezsé Kellér. Lyrics: Andor Gabor, Ivan Szenes. Composer: Franz Lehar. Musical arrangement, re-orchestration: Miklös Rékai. Set designer: Tibor Bercsényi. Costume Designer: Teréz Nagyajtay. Choreography: Viola Rimóczy. Conductors: László Várady, Ferenc Gyulai-Gaál. Company: Operetta Theatre, Budapest. Actors: Zoltán Szentessy, Árpád Baksai (René), Marika Németh, Teréz Komlósi, Zsuzsa Petress (Angéle), Hanna Honthy (Fleury, Angéles friend), Róbert Rátonyi (Brissard), Anna Zentay, Magda Gyenes, Judit Hódossi (Juliette), József Gyurián, Pál Juhász, Sándor Puskás (Marchand, Saville, Croisier: Renés friends), Elli Rajnay, Éva Thury (Sidonie, Coralie: Angèle’s friends), Kamill Feleki (Sir Basil, Governor of Ugaranda), György Dénes (Lord Lanchester), István Balázs (Lord Winchester), János Bagyinszky (Lord Worchester), László Keleti (President of the Tribunal), Sándor Suka (Notary), Pál Décsi (Lackey), György Mátrai (Registrar), Miklós Ormai (First Judge), Rezső Kárpáti (Second Judge), Sandor Novak (Maitre d’Hotel), Hugo Csak (Head waiter), Gusztav Vandory (Doorman), István Fenyvessy (Minister), Margit Vandory (Wife of the Minister), Eva Marton (A lady), Géza Forré (Gentleman), Balint Balazs (Baptiste, Petty Officer), Laszlé Bihari (Scrivener). CONTEXT OF THE PERFORMANCE IN THEATRE CULTURE Although two operettas by Offenbach, one by Kalman and even a play with Johann Strauss Jr.’s music had been staged at the nationalized Operetta Theatre before 1952, the “new cult of classical operetta”®” started with The Count of Luxembourg, coinciding with the creation of new socialist musical plays. In 1954 Margit Gaspar declared that “a few years ago many people still claimed that operetta had been dead and could not be resurrected. No one’s talking about it anymore. Operetta is resurrected, alive and more vigorous than 32 Gáspár: A könnyű műfaj kérdései, 3.
