Outside German-speaking countries Johann Strauss's operetta Der Zigeunerbaron of 1885 has never been a great box-office hit. In Britain it has not had a professional stage performance since the old Sadler's Wells Company gave the work in a version by Geoffrey Dunn in June 1964. The Metropolitan Opera in New York mounted a production in November 1959 but the work remained in repertory for just two seasons and ten performances. The complicated plot may well have contributed to the problem but the score is full of some of the composer's best tunes. Fortunately the work has not been without recordings, if they have failed to remain in the record catalogues for much time. Also the work has been filmed in a variety of different version ever since the 1927 silent German film to at least six later attempts.

Der Zigeunerbaron is set in three acts to a text by the Hungarian-born Ignaz Schnitzer (1839-1921), adapted from a libretto by Mór Jókai (1825-1904) based on her story Saffi. The composer had originally conceived the work for the opera house but later decided on the idea of an operetta, especially as the action was set in the gypsy encampment in the Hungarian swamps, not in the high life of the upper classes of a capital city.

It was in February 1884 that the Viennese press first got news that a new stage work was under way from Strauss. The title of the work was known and the place of the première revealed. The composer, however, put off starting composition for several months, but Schnitzer continued his work quickly so that by 30 June 1884 he sent the libretto for the third act. He also urged Strauss to have his work completed by 15 January 1885 since the operetta was to be a feature of the International Exhibition to be held in Pest. Any further progress was halted as the Viennese public wished to celebrate the fortieth anniversary of his artistic career. Strauss announced on 21 November 1884 that because of his health the new work would now not be ready until the autumn of 1885. Moreover when Strauss returned to his new work he decided to expand the scenario to cover the earlier Hungarian subject to reflect the Austro-Hungarian Dual Monarchy of 1867, also changing certain musical aspects as well. The librettist and composer moved to the Belgian costal town of Ostend in July 1885 to work together undisturbed. Strauss, however, had to leave for conducting engagements in Berlin in September. Thus it was not until October that the work was completed. The première took place at the Theater an der Wien, in Vienna on 24 October 1885 with the composer, on the eve of his sixtieth birthday, as conductor. The operetta was well received by press and public, running for 87 performances.

This recording made in the autumn of 1954 in London was one in a series of six operettas produced by Walter Legge during the years 1953-55. His overall concept was to capture the spirit of the classic Viennese operetta idiom whilst not always necessarily adopting a note-for-note fidelity to the score. Thus, these recordings invariably featured excisions of certain musical numbers. The enthusiastic reviewer Philip Hope-Wallace commented in the October 1958 issue of The Gramophone: "For my money this is the best complete Gipsy Baron to date; better recording, better singing and better...ensemble...At all the testing points Schwarzkopf simply out sings her rivals... Gedda is perhaps a little over elegant...but how welcome to others...the light touch, the poised upper notes". Of Erich Kunz, he remarked: "The clinching point is the presence of that delightful comic artist...It is pure gain to have here in the awkward comic role of the pig breeder Kálmán Zsupán". Of the other performers he said: "Erika Köth takes her chances well...Hermann Prey and Willy Ferenz are on their toes...the singing voice of Monica Sinclair and spoken voice of Lea Seidl, adds up to a vivid whole". The final comment is "here is, in short, another vintage champagne recording of a Viennese operetta".

Synopsis

Act 1

Overture: The scene is set in eighteenth-century Hungary. Near the village of Banat, in Temesvar Province, stands a partly ruined castle, a peasant house and, close by, a gypsy hut.

The first act opens with a chorus of boatmen, celebrating their bold life, with no true sailor afraid of the water.

A young peasant, Ottokar, son of Mirabella, governess to Arsena, daughter of the pig-farmer Zsupán, observed by the old woman Czipra, complains that his search for gold hidden in the castle ruins is always in vain. Czipra makes fun of him, particularly for his love of Arsena, who lives nearby, and the time he wastes looking for treasure. The sound of the boatmen's chorus is heard again.

Sándor Barinkay enters, heir to the castle. He has spent twenty years away in exile, thanks to his father's association with the previous Turkish rulers, and, as a free spirit, has engaged in a variety of activities, working in a traveling circus, then in a freak-show and as a magician, fire-eater, knife-thrower, tightrope-walker and juggler.

Now Barinkay has left all that. He is accompanied by Count Carnero, Royal Commissioner, who will help to ratify his title to the property.

Carnero sees the old gypsy woman, Czipra, and seeks to enroll her as a witness.

Czipra reads Barinkay's hand, foretelling wealth, if he finds a wife that loves him, to be revealed on his wedding night. Carnero laughs at her and seeks his own fortune.

She tells him that he too will find a treasure again that he did not know he had lost.

Carnero asks Czipra to add her signature to the paper he holds, as a witness, but she does not know how to write; all she can do is add a pentagram. Zsupán now makes his appearance, and Carnero asks him to sign the document.

Zsupán, however, has always been more interested in his pigs than in reading or writing, a well-known figure throughout the country, a prince of pigs.

Barinkay greets him as the mightiest pig-breeder in the land and suggests a match with Zsupán's daughter Arsena, although Zsupán warns him he may be a litigious neighbor.

Arsena is called from the house, but Mirabella makes her appearance first, turning out to be the long-lost wife of Carnero, a 'treasure' he did not consider he had lost, but proving Czipra's first prophecy correct. Arsena appears, heavily veiled, but making it clear that she has other ideas.

Before Arsena lowers her veil the wedding-cake must be brought, according to traditional custom. Zsupán tells his daughter that her new suitor is the heir to the castle. Arsena, in an aside, fears she will have to give up her lover, Ottokar.

Arsena lowers her veil, revealing her beauty to Barinkay, reminding Zsupán of his own appearance as a young man.

Barinkay asks Arsena if she agrees to the marriage, enchanted by her. She has other ideas, and will only marry nobility; she has no need of other suitors, as she is in love with Ottakar; Barinkay is not the first nor will be the last of those seeking her hand; like a moth, he will singe his wings on the candle.

The gypsy girl Saffi sings of the loyalty and fidelity customary among gypsies, overheard by Barinkay.

He is attracted by her beauty and agrees to take supper with her and Czipra, her mother.

Ottokar, not seeing the others watching calls to Arsena, who appears on her balcony, to the interest of Barinkay. Ottokar declares his love for her, mocking her absurd new suitor, and they sing together of their love for each other, always observed by Barinkay. Ottokar gives a love token to her, to Barinkay's increasing indignation. Barinkay is restrained by Czipra and Saffi, while Arsena withdraws, having assured Ottokar of her love.

The gypsies are heard returning from work, and Czipra introduces Barinkay as their new master.

Czipra tells him that he can trust the gypsies and now he is their new leader, welcomed by them all. With the necessary claim to nobility as a gypsy baron, Barinkay approaches Zsupán's house again, claiming Arsena as his bride, any objections now met. He turns to the gypsies, affirming his position as their baron.

Saffi welcomes Barinkay back to his homeland, and they are both in admiration one of the other, while Zsupán and his friends mock Barinkay's ridiculous pretensions. He declares, however, that he will marry Saffi, an insult to Arsena, who seeks revenge, while her father doubts the wisdom of his own behavior.

All react in their own way to the situation, Mirabella scandalized, Zsupán and his supporters angry, and Saffi and the gypsies delighted.

Act 2

The scene is the castle, the following morning, as Czipra, Saffi and Barinkay express their feelings, the lovers reassuring each other.

Saffi has had a dream in which the ghost of Barinkay's father had revealed the hiding place of the treasure. Barinkay is skeptical but agrees to join in the treasure hunt.

They search together, and find the treasure, celebrating their discovery in the treasure-waltz, the gold an answer to all difficulties.

As they go, the gypsies wake, roused by old Pali and summoned to work.

The gypsy women sing at their work.

Zsupán's cart has stuck in the mud and he calls on the gypsies for help, which they refuse, taking his money and his watch, to his anger. His shouts bring Carnero and others to the scene, with Barinkay now dressed as a gypsy baron.

Barinkay introduces Saffi as his wife, explaining, in answer to Carnero's doubts, how they have been married by the birds, to the song of the nightingale, with storks as witnesses. Carnero has doubts as to the legality of the proceedings.

He expresses his disapproval of such a doubtful authority. Ottokar finds a few gold coins, but is disillusioned by Barinkay, who tells him the treasure had already been found.

Count Homonay, an old friend of Barinkay, appears, leading a recruiting party, seeking soldiers to fight in the war in Spain.

He stands drinks for the potential recruits, with a recruiting song and a czardas.

It seems that matters may be resolved in Vienna, and Arsena sings of the wine, women and song, a city where everyone understands love.

Carnero appeals to the Count, who must understand these matters, His reservations about Barinkay's marriage are supported by Zsupán and his friends, until Czipra interrupts, declaring that Saffi is not her child.

Czipra has watched over Saffi, as she grew up, and has a document, which she hands to the Count, who pronounces the girl the daughter of a prince, to general astonishment; her father was the last Pasha of Hungary.

Saffi is delighted, but Barinkay realizes he cannot marry a person of such importance. He must part from her, and join the Hussars.

Barinkay must go, responding to the call of patriotism, and leaves, together with Zsupán and Ottokar, who have been press ganged into the army.

In the entr'acte, the theme of the treasure-waltz is heard and the scene changes to Vienna.

Act 3

�The army has been victorious and there is general rejoicing, with Arsena singing of the difficulties of love and courting. Zsupán, returning from battle, greets the company.

He goes on to boast of his martial and other exploits in Spain.

The victorious soldiers sing of their triumphs.

They are congratulated by Homonay on their success, with Barinkay and Ottokar promoted to the nobility as a reward for their bravery.

This removes any possible objections to the marriage of Saffi and Barinkay and of Arsena and Ottokar, so that all ends in general rejoicing.

Writer: Keith Anderson