Lehár: Die Juxheirat (Live) Classical Opera CPO
Lehár: Die Juxheirat (Live)
CX 5049
555049-2
Running Time: 122:36
Bad Ischl Lehár Festival Choir
Die Juxheirat, Act I
Genug, Ihr sprengt mir ja die Ohren (Live)
Trinken wir noch eins (Live)
Die Luft ist rein (Live)
Und nun, Miss Grant (Live)
Also hier das Revier (Live)
Mein lieber Herr von Reckenburg (Live)
Sie also, mein süßestes Herrchen (Live)
Bitte, später (Live)
Meine Hochachtung (Live)
O du Böser (Live)
So geben Sie doch acht! (Live)
Es hört sich wie ein Märchen an (Live)
Solo: Gerhard Ernst Soloist
Solo: Maya Boog Soloist
Solo: Alexander Kaimbacher Soloist
Solo: Sieglinde Feldhofer Soloist
Solo: Ilia Staple Soloist
Solo: Rita Peterl Soloist
Choral: Bad Ischl Lehár Festival Choir
Die Juxheirat, Act II
Entr'act (Live)
Nein, diesmal sollen Sie (Live)
Was seh ich? (Live)
Mein Ritter muss ein Künstler sein (Live)
Mit diesem Trübsalblasen (Live)
So kommen wir wahrhaftig vor (Live)
Nun meine Damen (Live)
Was könnte man ersinnen? (Live)
Was geht hier vor? (Live)
So wär' es wahr (Live)
Ich habe mit dir zu sprechen (Live)
Was zaudern Sie? (Live)
Das nennen Sie einen Kuss? (Live)
Bei Gott, ich wollte (Live)
Die Sache trollt mir durch den Kopf (Live)
Hej, das war ein Fahren (Live)
Die Juxheirat, Act III
Ich stutze und putze den Nagelrand (Live)
Und was haben Sie für Nachrichten? (Live)
Ozu den Mann bekämpfen? (Live)
Ach meine Schwägerin (Live)
Ging ein Knab' im Mondenschein (Live)
Meine liebe Freundin (Live)
Tiefes Schweigen in der Runde (Live)
Julius Bauer, a man known not only for his intelligent, original, and witty texts but also as Vienna’s most influential theater critic, wrote the libretto for Die Juxheirat in 1904. This wild, dizzying, surprising, and bold work was far ahead of its times as well as reminiscent of The Taming of the Shrew – only carried to the absolute extreme. The shrew is a frustrated widow and suffragette, and the male protagonist is just the opposite of a lady-tamer: overtaxed and irritated, he just wants to live out his love. Michael Lakner, then the director of the Lehár Festival, declared in an interview, "I am especially fond of this operetta with a story taking us to the United States around 1900. Franz Lehár’s name is above all associated with The Merry Widow, his great worldwide success; a year before he had already written Die Juxheirat. During his lifetime this work was performed only forty times. And we are presenting this conversation operetta in a semi-scenic performance." The conductor Markus Burkert elaborated and reconstructed this work note by note; the musicians pieced their parts together note by note. "They also take this commitment with them into the performance – and play with verve the interesting waltzes, marches, and ensemble pieces. The fact that the Franz Lehár Orchestra also produces a wonderful, transparent, and lively sound makes it the perfect ensemble for the operetta genre." (BR-Klassik Operetta Review). A bold and daring Lehár without his otherwise typical sentimentalities – and a discovery!
“… This operetta is a rarity and, of course, a Lehár original that may not soon again see another recording. Even if it were not performed nearly so well as here, it would be highly recommended, particularly to operetta fans.”
Bill White – Fanfare – May/June 2018
Damien Colas - Classica magazine (France) - June 2018
"...There are many top-notch waltzes, marches and galops... There is some thrilling trio singing by Selma and her friends, the love songs are very beautiful, and the production is lively. The music is thoroughly enjoyable and the performances are excellent ..."
Elliot Fisch - American Record Guide - March/April 2018
Gianni Gori - Musica magazine (Italy) - March 2018
Lehár: Die Juxheirat (Live) Classical Opera CPO
Lehár: Die Juxheirat (Live)
CX 5049
555049-2
Running Time: 122:36
Bad Ischl Lehár Festival Choir
Die Juxheirat, Act I
Genug, Ihr sprengt mir ja die Ohren (Live)
Trinken wir noch eins (Live)
Die Luft ist rein (Live)
Und nun, Miss Grant (Live)
Also hier das Revier (Live)
Mein lieber Herr von Reckenburg (Live)
Sie also, mein süßestes Herrchen (Live)
Bitte, später (Live)
Meine Hochachtung (Live)
O du Böser (Live)
So geben Sie doch acht! (Live)
Es hört sich wie ein Märchen an (Live)
Solo: Gerhard Ernst Soloist
Solo: Maya Boog Soloist
Solo: Alexander Kaimbacher Soloist
Solo: Sieglinde Feldhofer Soloist
Solo: Ilia Staple Soloist
Solo: Rita Peterl Soloist
Choral: Bad Ischl Lehár Festival Choir
Die Juxheirat, Act II
Entr'act (Live)
Nein, diesmal sollen Sie (Live)
Was seh ich? (Live)
Mein Ritter muss ein Künstler sein (Live)
Mit diesem Trübsalblasen (Live)
So kommen wir wahrhaftig vor (Live)
Nun meine Damen (Live)
Was könnte man ersinnen? (Live)
Was geht hier vor? (Live)
So wär' es wahr (Live)
Ich habe mit dir zu sprechen (Live)
Was zaudern Sie? (Live)
Das nennen Sie einen Kuss? (Live)
Bei Gott, ich wollte (Live)
Die Sache trollt mir durch den Kopf (Live)
Hej, das war ein Fahren (Live)
Die Juxheirat, Act III
Ich stutze und putze den Nagelrand (Live)
Und was haben Sie für Nachrichten? (Live)
Ozu den Mann bekämpfen? (Live)
Ach meine Schwägerin (Live)
Ging ein Knab' im Mondenschein (Live)
Meine liebe Freundin (Live)
Tiefes Schweigen in der Runde (Live)
Julius Bauer, a man known not only for his intelligent, original, and witty texts but also as Vienna’s most influential theater critic, wrote the libretto for Die Juxheirat in 1904. This wild, dizzying, surprising, and bold work was far ahead of its times as well as reminiscent of The Taming of the Shrew – only carried to the absolute extreme. The shrew
 is a frustrated widow and suffragette, and the male protagonist is just the opposite of a lady-tamer: overtaxed and irritated, he just wants to live out his love. Michael Lakner, then the director of the Lehár Festival, declared in an interview, "I am especially fond of this operetta with a story taking us to the United States around 1900. Franz Lehár’s name is above all associated with The Merry Widow, his great worldwide success; a year before he had already written Die Juxheirat. During his lifetime this work was performed only forty times. And we are presenting this conversation operetta in a semi-scenic performance." The conductor Markus Burkert elaborated and reconstructed this work note by note; the musicians pieced their parts together note by note. "They also take this commitment with them into the performance – and play with verve the interesting waltzes, marches, and ensemble pieces. The fact that the Franz Lehár Orchestra also produces a wonderful, transparent, and lively sound makes it the perfect ensemble for the operetta genre." (BR-Klassik Operetta Review). A bold and daring Lehár without his otherwise typical sentimentalities – and a discovery!
“… This operetta is a rarity and, of course, a Lehár original that may not soon again see another recording. Even if it were not performed nearly so well as here, it would be highly recommended, particularly to operetta fans.”
Bill White – Fanfare – May/June 2018
Damien Colas - Classica magazine (France) - June 2018
"...There are many top-notch waltzes, marches and galops... There is some thrilling trio singing by Selma and her friends, the love songs are very beautiful, and the production is lively. The music is thoroughly enjoyable and the performances are excellent ..."
Elliot Fisch - American Record Guide - March/April 2018
Gianni Gori - Musica magazine (Italy) - March 2018