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{{Short description|Operetta by Franz von Suppé}}
⚫ {{Infobox opera
{{About||the similarly-named pop-singer|Fatiniza}}
{{good article}}
⚫ {{Infobox opera
| name = Fatinitza | name = Fatinitza
⚫ | genre = ]
| image = Henry Atwell Thomas - Franz von Suppé - Fatinitza.jpg | image = Henry Atwell Thomas - Franz von Suppé - Fatinitza.jpg
| image_size = | image_upright = 1.2
| alt = | alt =
| caption = Poster, c. 1879 | caption = Poster, c. 1879
⚫ | genre = ]
| composer = ] | composer = ]
| librettist = {{plainlist| | librettist = {{plainlist|
* ] * ]
* ] * ]
}} }}
| language = German | language = German
| based_on = ]'s libretto to ''{{nowrap|]}}'' | based_on = ]'s libretto to ''{{nowrap|]}}''
| premiere_date = {{Start date|1876|01|05}} | premiere_date = {{Start date|1876|01|05|df=y}}
| premiere_location = ], Vienna | premiere_location = ], Vienna
}} }}
'''''Fatinitza''''' was the first full-length, three-act ] by ].<ref name=Lamb /> The libretto by F. Zell (a pseudonym for ]) and ]<ref name=librettists>{{cite book|last=Crittenden|first= Camille |title=Johann Strauss and Vienna: Operetta and the Politics of Popular Culture|publisher=Cambridge University Press|pages=47, 51|isbn=978-0-521-77121-4}}</ref> was based on the libretto to the 1861 '']'' '']'' by ] (which had been set to music by ]),<ref name=Lamb>{{cite book|last=Lamb|first=Andrew|title=150 Years of Popular Musical Theatre|publisher=Sheridan Books|location=Chelsea, Michigan|year=2000|pages=51–52|isbn=0-300-07538-3}}</ref> but with the lead role of Wladimir, a young Russian lieutenant who has to disguise himself as a woman, changed to a ]; in other words, a woman played the part of the man who pretended to be a woman.<ref name=Lamb /><ref name=OperettaATheatricalHistory /> '''''Fatinitza''''' was the first full-length, three-act ] by ].{{sfn|Lamb|2000|pp=51–52}} The ] by F. Zell (a pseudonym for ]) and ]<ref name=librettists>{{harvnb|Crittenden|2000|pages=47, 51}}</ref> was based on the libretto to '']'' by ] (which had been set to music by ] in 1861),{{sfn|Lamb|2000|pp=51–52}} but with the lead role of Wladimir, a young Russian lieutenant who has to disguise himself as a woman, changed to a ]; in other words, a woman played the part of the man who pretended to be a woman.{{sfn|Lamb|2000|pp=51–52}}<ref name=OperettaATheatricalHistory />


It premièred on January 5, 1876, at the ] Vienna,<ref name=OperettaATheatricalHistory>{{cite book |last=Traubner|first=Richard |authorlink= Richard Traubner |title=Operetta: A Theatrical History |year=2003 |publisher=Routledge |location= |isbn=0415966418 |pages=102–3}}</ref> and proved a huge success, running for over a hundred performances,<ref name=JSandV>{{cite book|last=Crittenden|first= Camille |title=Johann Strauss and Vienna: Operetta and the Politics of Popular Culture|publisher=Cambridge University Press|pages=51|isbn=978-0-521-77121-4}}</ref> with the march "Vorwärts mit frischem Muth", proving a particular hit.<ref name=Lamb /> It premièred on 5 January 1876, at the ] Vienna,<ref name=OperettaATheatricalHistory>{{cite book |last=Traubner|first=Richard |author-link= Richard Traubner |title=Operetta: A Theatrical History |year=2003 |publisher=Routledge |isbn=0415966418 |pages=102–3}}</ref> and proved a huge success, running for more than a hundred performances,<ref>{{harvnb|Crittenden|2000|page=51}}</ref> with the march "Vorwärts mit frischem Muth", proving a particular hit.{{sfn|Lamb|2000|pp=51–52}} The operetta as a whole is no longer in the popular repertory, but the overture is performed as a stand-alone piece.{{sfn|Lamb|2000|pp=51–52}}


==Background==
The opera as a whole is no longer in the popular repertory; however, the overture is performed as a stand-alone piece.<ref name=Lamb />
Viennese operetta sprang out of an attempt by Viennese composers to imitate ]'s works, after the highly successful performance of '']'' at the Carltheater in 1858.<ref name="SuppéGrove" /><ref name="OperettaGrove" /> Franz von Suppé was the most notable of these early composers,<ref name="OperettaGrove">{{cite web|url=http://www.oxfordmusiconline.com.catalogue.ulrls.lon.ac.uk/subscriber/article/grove/music/20386?print=true|title=Operetta|last=Lamb|first=Andrew|author-link=Andrew Lamb (writer)|work=]|publisher=Oxford Music Online|access-date=29 July 2013}} {{subscription required}}</ref> and proved instrumental in defining the new subgenre.{{sfn|Lamb|2000|pp=51–52}} ] names Suppé's ''Das Pensionat'' (1860) as "the first successful attempt at a genuine Viennese operetta",<ref name="SuppéGrove">{{cite web|url=http://www.oxfordmusiconline.com.catalogue.ulrls.lon.ac.uk/subscriber/article/grove/music/27130?print=true|title=Suppé, Franz|last=Branscombe|first=Peter|author-link=Peter Branscombe|work=]|access-date=29 July 2013}} {{subscription required}}</ref> and this was followed by several more successes, for Suppé, including ''{{ill|Flotte Bursche|de}}'' (1863) and '']'' (1865).<ref name="SuppéGrove" /> However, until ''Fatinitza'' in 1876, Suppé did not write a full-length operetta,{{sfn|Lamb|2000|pp=51–52}} and, despite the successes of his shorter works, neither he, nor other Viennese composers such as ], were able to compete with Offenbach for popularity throughout the 1860s.{{sfn|Lamb|2000|p=42}}

Offenbach's dominance was finally challenged with the arrival of ] upon the scene in the 1870s, with works such as '']'', '']'', '']'', and others serving to develop and codify the genre Suppé had begun laying out.<ref name=OperettaATheatricalHistory />

Suppé finally tried his hand at a full-length operetta in 1876.{{sfn|Lamb|2000|pp=51–52}} F. Zell (a pseudonym for ]) and ],<ref name=librettists /> who had previously adapted the French play ''Le Réveillon'' into Strauss's ''Die Fledermaus''{{sfn|Lamb|2000|p=44}} – the "most celebrated of all Viennese operas" according to the musicologist ]{{sfn|Lamb|2000|p=46}} – returned to French sources, adapting ]'s libretto from ]'s '']'' (1861) into ''Fatinitza''. The work premièred at the ] on 5 January 1876, and would prove to be an international success.{{sfn|Lamb|2000|pp=51–52}}


==Roles== ==Roles==
''Note: This article uses the names found in the original German libretto. Translations of ''Fatinitza'' may change characters' names to a greater or lesser extent.''<ref>Compare, for example, {{harvnb|Suppé|1885|pages=passim}} and {{harvnb|Suppé|Coveliers|c. 1880}}</ref>
]
{| class="wikitable" {| class="wikitable"
|+{{sronly|Roles, voice types, premiere cast}}
|'''Roles'''<ref>{{cite book|last=Zell, F. and Genée, Richard|others=Franz von Suppe|title=Fatinitza. Komische Oper in drei Akten|publisher=L. Rosner|location=Wien|year=1876|pages=3|url=http://archive.org/stream/fatinitzakomisch00zell#page/n5/mode/2up|accessdate=2013-07-22}}</ref><ref name="VocalScore">{{cite book|last=Suppé|first=Franz von|others=Translators: Theo. T. Barker and Sylvester Baxter|title=Fatinitza|publisher=Oliver Ditson Company|location=New York (et al)|year=1879|pages=3|url=http://imslp.org/Special:ImagefromIndex/255045|accessdate=2013-07-22}}</ref><ref>{{cite book|last=Suppé|first=Franz von|title=Fatinitza: A Comic Opera in Three Acts|publisher=The Theatre Ticket Office|location=No. 111 Broadway, New York|year=1885|pages=1|url=http://openlibrary.org/books/OL22880043M/Fatinitza|accessdate=2013-07-22}} ''Alternative Link:'' </ref><!--This is the references for the full list of roles and their descriptions. The two English sources are used for descriptions, the German as the American editions change names.--> !Roles{{sfn|Zell|Genée|1876|page=3}}<ref name="VocalScore">{{cite book|last=Suppé|first=Franz von|translator=Theo. T. Barker and Sylvester Baxter|title=Fatinitza|publisher=Oliver Ditson|location=New York (et al)|year=1879|page=3|url=http://imslp.org/Special:ImagefromIndex/255045|access-date=2013-07-22}}</ref>{{sfn|Suppé|1885|page=1}}<!--This is the references for the full list of roles and their descriptions. The two English sources are used for descriptions, the German as the American editions change names.-->
!<center>'''Premiere Cast'''<ref name=Lamb /><ref>Gänzl 2001, pp. 621–624.</ref><!--This covers all cast. If more are found, add references here--><br>{{Nowrap|], Vienna,}}<br>{{Nowrap|January 5, 1876}}</center> !Premiere cast{{sfn|Lamb|2000|pp=51–52}}{{sfn|Gänzl|2001|pp=621–624}}<!--This covers all cast. If more are found, add references here--><br />5 January 1876
|- |-
|Count Timofey Gawrilowitsch Kantschukoff, ''A Russian General'' |Count Timofey Gawrilowitsch Kantschukoff, ''A Russian General''
| {{ill|de|Wilhelm Knaack}} | {{Interlanguage link|Wilhelm Knaack|de}}
|- |-
|Princess Lydia Iwanowna Uschakoff, ''Kantschukoff's Niece'' |Princess Lydia Iwanowna Uschakoff, ''Kantschukoff's Niece''
| ] | Hermine Meyerhoff
|- |-
|Izzet Pascha, ''Governor of the Turkish Fortress at Rustchuk'' |Izzet Pascha, ''Governor of the Turkish Fortress at Rustchuk''
| {{ill|de|Josef Matras}} | {{Interlanguage link|Josef Matras|de}}
|- |-
|Captain Wasil Andrejwitsch Starawieff |Captain Wasil Andrejwitsch Starawieff
| |
|- |-
|Lieutenant Osipp Wasielowitsch Safonoff |Lieutenant Osipp Wasielowitsch Safonoff
Line 48: Line 59:
| |
|- |-
|Wladimir Dimitrowitsch Samoiloff, ''Lieutenant of a Circassian Calvary Regiment,''<br>''sometimes disguised as Fatinitza.'' |Wladimir Dimitrowitsch Samoiloff, ''Lieutenant of a Circassian Cavalry Regiment,''<br />''sometimes disguised as Fatinitza.''
|] |Antonie Link
|- |-
|Julian von Golz, ''Special War Correspondent for a major German newspaper''<!--Every one of the sources gives a different surname for Julian; the American ones Americanize him. I translated from the German. --> |Julian von Golz, ''Special War Correspondent for a major German newspaper''<!--Every one of the sources gives a different surname for Julian; the American ones Americanize him. I translated from the German. -->
| {{ill|de|Karl Blasel}} | {{Interlanguage link|Karl Blasel|de}}
|- |-
|Hassan-Beh, ''Leader of a Squad of ]s.'' |Hassan-Beh, ''Leader of a Squad of ]s.''
Line 80: Line 91:
==Synopsis== ==Synopsis==
] ]
Before the piece begins, Wladimir Samoiloff, a young Russian Lieutenant, had an adventure in which he ended up disguising himself as a woman (who he named Fatinitza), and met with the hot-tempered elderly General Kantschukoff, who fell in love with his disguise.<ref name=Plot /> Wladimir, however, is in love with the General's niece, Lydia. Before the piece begins, Wladimir Samoiloff, a young Russian Lieutenant, had an adventure in which he ended up disguising himself as a woman (whom he named Fatinitza), and met with the hot-tempered elderly General Kantschukoff, who fell in love with his disguise.<ref name=Plot /> Wladimir, however, is in love with the General's niece, Lydia.


The opera itself opens on a camp of Russian soldiers near Rustchuk, where Wladimir has been assigned. His friend, Julian, a special newspaper correspondent, is mistaken for a spy and dragged to the camp, but Wladimir diffuses the situation. Julian and Wladimir reminisce about his Fatinitza disguise, which eventually leads the soldiers to consider some amateur theatre, to relieve the boredom. As no women are present, Wladimir resumes his Fatinitza disguise. The operetta opens on a camp of Russian soldiers near ], where Wladimir has been assigned. His friend, Julian, a special newspaper correspondent, is mistaken for a spy and dragged to the camp, but Wladimir defuses the situation. Julian and Wladimir reminisce about his Fatinitza disguise, which eventually leads the soldiers to consider some amateur theatre, to relieve the boredom. As no women are present, Wladimir resumes his Fatinitza disguise.


The General arrives, and recognises "Fatinitza" as his lost love, and Wladimir finds himself needing to play along in order to protect his men from the general's anger at the theatrical costumes, which are not the regulation uniform. His niece Lydia soon arrives, and recognises Wladimir under the disguise. Julian tells the two that Wladimir is Fatinitza's sister. The general temporarily leaves the three to see how the other soldiers are getting on, but, as the first act ends, A band of ]s manage to catch the camp by surprise, and take "Fatinitza", and Lydia prisoner. Julian scrambles the Russian soldiers to return the attack, but the General refuses to allow them to fire, lest they hit Fatinitza. The General arrives, and recognises "Fatinitza" as his lost love, and Wladimir finds himself needing to play along in order to protect his men from the general's anger at the theatrical costumes, which are not the regulation uniform. His niece Lydia soon arrives, and recognises Wladimir under the disguise. Julian tells the two that Fatinitza is Wladimir's sister. The general temporarily leaves the three to see how the other soldiers are getting on, but, as the first act ends, a band of ]s manage to catch the camp by surprise, and take "Fatinitza" and Lydia prisoner. Julian scrambles the Russian soldiers to return the attack, but the General refuses to allow them to fire, lest they hit Fatinitza.


The second act opens in the Turkish fortress, run by Izzit Pascha. Pascha has four wives, and wishes to add Lydia to his harem. His wives are highly upset at this, and "Fatinitza" convinces them to aid in his and Lydia's escape, revealing his true identity at the end. The second act opens in the Turkish fortress, run by Izzit Pascha. Pascha has four wives, and wishes to add Lydia to his harem. His wives are highly upset at this, and "Fatinitza" persuades them to aid in his and Lydia's escape, revealing his true identity at the end.


Julian and a Russian Sergeant, Steipann, arrive to attempt to negotiate Lydia and "Fatinitza"'s freedom, but Pascha will only release Lydia. However, Wladimir is able to pass on a message, and, while Julian distracts Pascha, Steipann arranges for the soldiers to slip into the fortress, effecting a rescue. Julian and a Russian Sergeant, Steipann, arrive to attempt to negotiate Lydia and "Fatinitza"'s freedom, but Pascha will only release Lydia. However, Wladimir is able to pass on a message, and, while Julian distracts Pascha, Steipann arranges for the soldiers to slip into the fortress, effecting a rescue.
Line 92: Line 103:
However, all is not well with the love triangle as the third act opens. The General sent out news of rewards should Fatinitza be found, and has now received word that she has been found (much to Julian and Wladimir's confusion). As Lydia lives with him, the General, unaware of Wladimir's love for her, but wanting to be alone with Fatinitza, has promised Lydia in marriage to an old, crippled friend of his, who had the advantage of being available for marriage. He does not want to break his word to his friend, but when Wladimir announces he has promised his "sister" to one of ''his'' friends, the General agrees to break Lydia's betrothal if Wladimir will break Fatinitza's. However, all is not well with the love triangle as the third act opens. The General sent out news of rewards should Fatinitza be found, and has now received word that she has been found (much to Julian and Wladimir's confusion). As Lydia lives with him, the General, unaware of Wladimir's love for her, but wanting to be alone with Fatinitza, has promised Lydia in marriage to an old, crippled friend of his, who had the advantage of being available for marriage. He does not want to break his word to his friend, but when Wladimir announces he has promised his "sister" to one of ''his'' friends, the General agrees to break Lydia's betrothal if Wladimir will break Fatinitza's.


The promised Fatinitza arrives, but turns out to be an old woman of the same name. Julian and Wladimir produce a letter from the "real" Fatinitza, "discovering" that she died of grief when separated from the General. In her memory, he gives his niece to "Fatinitza's brother".<ref name=Plot>{{cite book|last=Suppé|first=Franz von|title=Fatinitza: A Comic Opera in Three Acts|publisher=The Theatre Ticket Office|location=No. 111 Broadway, New York|year=1885|pages=passim|url=http://openlibrary.org/books/OL22880043M/Fatinitza|accessdate=2013-07-22}}. ''Alternative Link:'' . Names have been changed to those found in the German libretto, {{cite book|last=Zell, F. and Genée, Richard|others=Franz von Suppe|title=Fatinitza. Komische Oper in drei Akten|publisher=L. Rosner|location=Wien|year=1876|pages=3|url=http://archive.org/stream/fatinitzakomisch00zell#page/n5/mode/2up|accessdate=2013-07-22}}.</ref> The promised Fatinitza arrives, but turns out to be an old woman of the same name. Julian and Wladimir produce a letter from the "real" Fatinitza, "discovering" that she died of grief when separated from the General. In her memory, he gives his niece to "Fatinitza's brother".<ref name=Plot>{{harvnb|Suppé|1885|pages=passim}} Names have been changed to those found in the German libretto, {{harvnb|Zell|Genée|1876|page=3}}.</ref>


===Legacy=== ===Legacy===
] ]
Although rarely performed today,<ref name=Lamb /> at the time, ''Fatinitza'' was an international success.<ref name=Lamb /> The composer, lyricists, and theatre would reunite for two more international successes in their next two productions: '']'' (1879), von Suppé's best-known and most popular work;<ref name=Lamb /> and another cross-dressing army opera in '']'' (1880).<ref name=Lamb /> However, after these successes, von Suppé's later operettas proved less popular with audiences, and, according to musicologist ], were also of lower quality.<ref name=Lamb /> Although rarely performed today,{{sfn|Lamb|2000|pp=51–52}} at the time, ''Fatinitza'' was an international success.{{sfn|Lamb|2000|pp=51–52}} The composer, lyricists, and theatre would reunite for two more international successes in their next two productions: '']'' (1879), Suppé's best-known and most popular operetta;{{sfn|Lamb|2000|pp=51–52}} and another cross-dressing army opera in '']'' (1880).{{sfn|Lamb|2000|pp=51–52}} However, after these successes, Suppé's later operettas proved less popular with audiences, and, according to the musicologist ], were also of lower quality.{{sfn|Lamb|2000|pp=51–52}}


The work was translated back to French by ] for a production at the Fantaisies-Parisiennes in Brussels, which opened on 28 December 1878, despite concerns from Scribe's widow.<ref name=Annales1879 /><ref name="FrenchVocalScore">{{cite book|last=de Suppé|first=François ''''|coauthors=Coveliers, Felix|title=Fatinitza|publisher=Schott Frères|location=Bruxelles|date=c.1880|url=http://petrucci.mus.auth.gr/imglnks/usimg/b/b0/IMSLP255046-SIBLEY1802.24119.3be2-39087011145259score.pdf|accessdate=2013-07-29|language=French}}</ref> However, in Paris, she refused permission for the ] to mount the work in that form, and the directors of the ], Boulevard des Italiens therefore procured a much altered libretto from Alfred Delacour and Victor Wilder, and in this form the Paris premiere was produced at that theatre on 15 March 1879, with costumes by ], running for 59 nights.<ref name=Annales1879>Noel E and Stoullig E. ''], 5ème édition, 1879.'' G Charpentier et Cie, Paris, 1880, p462-64.</ref> Revived in April 1882, the production received 55 more performances, with ] in the title role.<ref>Noel E and Stoullig E. ''Les Annales du Théâtre et de la Musique, 8ème édition, 1882.'' G Charpentier et Cie, Paris, 1883, p460-1.</ref> The work was translated back to French by Félix Coveliers for a production at the Fantaisies-Parisiennes in Brussels, which opened on 28 December 1878, despite concerns from Scribe's widow.<ref name=Annales1879 />{{sfn|Suppé|Coveliers|c. 1880}} However, in Paris, she refused permission for the ] to mount the work in that form, and the directors of the ], Boulevard des Italiens, therefore procured a much altered libretto from ] and Victor Wilder, and in this form the Paris première was produced at that theatre on 15 March 1879, with costumes by ], running for 59 nights.<ref name=Annales1879>{{harvnb|Noël|Stoullig|1880|pp=462–464}}</ref> Revived in April 1882, the production received 55 more performances, with ] in the title role.{{sfn|Noël|Stoullig|1883|pp=460–461}}


Other early translations include an 1876 Czech translation by E. Züngel for a performance in Prague; two Swedish versions for 1876 Stockholm performances by A. Lindgren and E. A. Wallmark, respectively; an 1877 Italian translation by V. A. Bacichi for a performance in the ], Naples; English translations for the ], London in 1878 by H. S. Leigh; and by J. B. Polk for an 1879 New York production; an 1879 Polish translation performed in Lemberg; a Portuguese translation by Ed. Garrido and A. Azevedo for an 1881 Rio de Janeiro production; an 1887 Estonian translation performed in Tartu, and an 1899 Croatian translation by V. Badalić, for a Zagreb production. Other early translations include an 1876 Czech translation by E. Züngel for a performance in Prague; two Swedish versions for 1876 Stockholm performances by A. Lindgren and E. A. Wallmark, respectively; an 1877 Italian translation by V. A. Bacichi for a performance in the {{ill|Teatro Sannazaro|it}}, Naples; English translations for the ], London, in 1878 by H. S. Leigh; and by J. B. Polk for an 1879 New York production; an 1879 Polish translation performed in ]; a Portuguese translation by Ed. Garrido and A. Azevedo for an 1881 Rio de Janeiro production; an 1887 Estonian translation performed in ], and an 1899 Croatian translation by V. Badalić, for a ] production.<ref>{{cite book|last=Loewenberg|first=Alfred|title=Annals of Opera 1597–1940|publisher=John Calder|location=London|year=1978|pages=1049}}</ref>

==Recordings==
* 1910: ''Fatinitza'' selection] (musical excerpts in English): Luigi Ruffini, ], Ruth Peter, soloists; Associated Light Opera Company; Eugene Plotnikoff, conductor; Arthur Pryor's Band. New York: Associated Music Publishers A-448 (matrix)/A-450 (matrix); 2 sound discs (20 min., 40 sec.); analogue, 33 1/3 rpm, mono; 16-inch ]; vertical recording; production level cataloguing; ].<ref>{{OCLC|43784470}}.</ref><ref>{{cite web|url=https://www.loc.gov/jukebox/recordings/detail/id/2013/|title=National Jukebox: Fatinitza selection|publisher=Library of Congress|access-date=19 August 2013}}</ref>
* 2006: Stephanie Houtzeel, mezzo-soprano (Wladimir/Fatinitza); Steven Scheschareg, baritone (General Kantschukoff); Bernhard Adler. bass-baritone (Izzet Pascha); Zora Antonic, soprano (Lydia); Christian Bauer, tenor (Julian von Goltz); Chor des Lehár Festivals Bad Ischl; Franz Lehár-Orchester; Vinzenz Praxmarer, conductor; dialogue version by Leonard C. and Sabine Prinsloo; programme notes and synopsis in English, German and French; ] 777 202-2 (2 CDs).<ref>{{OCLC|717345973|177082767}}. Kehrmann, Boris (2009). . Retrieved 6 August 2013.</ref>


==References== ==References==
'''Notes'''
<references />
{{reflist}}
⚫ * Gänzl, Kurt (2001). ''The Encyclopedia of the Musical Theatre'', second edition. New York: Schirmer Books. ISBN 978-0-02-864970-2.

'''Sources'''
* {{cite book|last=Crittenden|first=Camille|title=Johann Strauss and Vienna: Operetta and the Politics of Popular Culture|publisher=Cambridge University Press|isbn=978-0-521-77121-4|date=2000}}
⚫ * {{cite book|last=Gänzl|first=Kurt|author-link=Kurt Gänzl|year=2001|title=The Encyclopedia of the Musical Theatre|edition=second|location=New York|publisher=Schirmer Books|isbn=978-0-02-864970-2}}
* {{cite book|last=Lamb|first=Andrew|author-link=Andrew Lamb (writer)|title=150 Years of Popular Musical Theatre|publisher=Sheridan Books|location=Chelsea, Michigan|year=2000|pages=|isbn=0-300-07538-3|url-access=registration|url=https://archive.org/details/unset0000unse_c3i0/page/51}}
* {{wikicite|ref={{harvid|Noël|Stoullig|1880}}|reference={{ill|Édouard Noël|fr}} and {{ill|Edmond Stoullig|fr}}, '']'', 5th ed. G Charpentier et Cie, Paris, 1880}}
* {{wikicite|ref={{harvid|Noël|Stoullig|1883}}|reference=Édouard Noël and Edmond Stoullig, ''Les Annales du Théâtre et de la Musique'', 8th ed. G Charpentier et Cie, Paris, 1883}}
* {{cite book|last=Suppé|first=Franz von|title=Fatinitza: A Comic Opera in Three Acts|publisher=The Theatre Ticket Office, No. 111 Broadway, New York|year=1885|ol=22880043M|url=https://archive.org/details/fatinitzacomicop00supp/page/n3/mode/2up}}
* {{cite book|last1=Suppé|first1=François de ''''|last2=Coveliers|first2=Félix|title=Fatinitza|publisher=Schott Frères|location=Bruxelles|date=c. 1880|url=http://petrucci.mus.auth.gr/imglnks/usimg/b/b0/IMSLP255046-SIBLEY1802.24119.3be2-39087011145259score.pdf|access-date=2013-07-29|language=fr|archive-date=2016-03-04|archive-url=https://web.archive.org/web/20160304195627/http://petrucci.mus.auth.gr/imglnks/usimg/b/b0/IMSLP255046-SIBLEY1802.24119.3be2-39087011145259score.pdf|url-status=dead}}
* {{cite book|last1=Zell|first1=F.|author1-link=Camillo Walzel|last2=Genée|first2=Richard|author2-link=Richard Genée|others=Franz von Suppé|title=Fatinitza. Komische Oper in drei Akten|publisher=L. Rosner|location=Vienna|year=1876|url=https://archive.org/stream/fatinitzakomisch00zell#page/n5/mode/2up|access-date=2013-07-22}}


==External links== ==External links==
{{Commons category}}
* *
* *
*
* {{IMSLP|work=Fatinitza (Suppé, Franz von)|cname=''Fatinitza''}}


{{Franz von Suppé}} {{Franz von Suppé}}
{{Portal bar|Opera}}
{{Authority control}}


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Latest revision as of 16:24, 26 April 2024

Operetta by Franz von Suppé For the similarly-named pop-singer, see Fatiniza.

Fatinitza
Operetta by Franz von Suppé
Poster, c. 1879
Librettist
LanguageGerman
Based onEugène Scribe's libretto to La circassienne
Premiere5 January 1876 (1876-01-05)
Carltheater, Vienna

Fatinitza was the first full-length, three-act operetta by Franz von Suppé. The libretto by F. Zell (a pseudonym for Camillo Walzel) and Richard Genée was based on the libretto to La circassienne by Eugène Scribe (which had been set to music by Daniel Auber in 1861), but with the lead role of Wladimir, a young Russian lieutenant who has to disguise himself as a woman, changed to a trousers role; in other words, a woman played the part of the man who pretended to be a woman.

It premièred on 5 January 1876, at the Carltheater Vienna, and proved a huge success, running for more than a hundred performances, with the march "Vorwärts mit frischem Muth", proving a particular hit. The operetta as a whole is no longer in the popular repertory, but the overture is performed as a stand-alone piece.

Background

Viennese operetta sprang out of an attempt by Viennese composers to imitate Jacques Offenbach's works, after the highly successful performance of Le mariage aux lanternes at the Carltheater in 1858. Franz von Suppé was the most notable of these early composers, and proved instrumental in defining the new subgenre. Grove Music Online names Suppé's Das Pensionat (1860) as "the first successful attempt at a genuine Viennese operetta", and this was followed by several more successes, for Suppé, including Flotte Bursche [de] (1863) and Die schöne Galathée (1865). However, until Fatinitza in 1876, Suppé did not write a full-length operetta, and, despite the successes of his shorter works, neither he, nor other Viennese composers such as Giovanni von Zaytz, were able to compete with Offenbach for popularity throughout the 1860s.

Offenbach's dominance was finally challenged with the arrival of Johann Strauss II upon the scene in the 1870s, with works such as Indigo und die vierzig Räuber, Der Karneval in Rom, Die Fledermaus, and others serving to develop and codify the genre Suppé had begun laying out.

Suppé finally tried his hand at a full-length operetta in 1876. F. Zell (a pseudonym for Camillo Walzel) and Richard Genée, who had previously adapted the French play Le Réveillon into Strauss's Die Fledermaus – the "most celebrated of all Viennese operas" according to the musicologist Andrew Lamb – returned to French sources, adapting Eugène Scribe's libretto from Daniel Auber's La circassienne (1861) into Fatinitza. The work premièred at the Carltheater on 5 January 1876, and would prove to be an international success.

Roles

Note: This article uses the names found in the original German libretto. Translations of Fatinitza may change characters' names to a greater or lesser extent.

Antonie Link as Fatinitza
Roles, voice types, premiere cast
Roles Premiere cast
5 January 1876
Count Timofey Gawrilowitsch Kantschukoff, A Russian General Wilhelm Knaack [de]
Princess Lydia Iwanowna Uschakoff, Kantschukoff's Niece Hermine Meyerhoff
Izzet Pascha, Governor of the Turkish Fortress at Rustchuk Josef Matras [de]
Captain Wasil Andrejwitsch Starawieff
Lieutenant Osipp Wasielowitsch Safonoff
Iwan, Nikiphor, Fedor, Dimitri, Wasili, Michailow, Casimir, and Gregor, Cadets
Steipann Sidorewitsch Bieloscurim, A Sergeant
Wladimir Dimitrowitsch Samoiloff, Lieutenant of a Circassian Cavalry Regiment,
sometimes disguised as Fatinitza. 		Antonie Link
Julian von Golz, Special War Correspondent for a major German newspaper Karl Blasel [de]
Hassan-Beh, Leader of a Squad of Bashi-Bazouks.
Nursidah, Zuleika, Diona, and Besika, Izzet Pascha's Wives
Mustapha, Guardian of the Harem
Wuika, A Bulgarian Spy
Hanna, Wuika's Wife
A Cossack
A Military Cook
Chorus of Russian soldiers, Bashi-Bazouks, Cossacks, Moorish Women, Nubian Women, Russian Serfs, Sleigh Drivers, etc.

Synopsis

1879 French poster

Before the piece begins, Wladimir Samoiloff, a young Russian Lieutenant, had an adventure in which he ended up disguising himself as a woman (whom he named Fatinitza), and met with the hot-tempered elderly General Kantschukoff, who fell in love with his disguise. Wladimir, however, is in love with the General's niece, Lydia.

The operetta opens on a camp of Russian soldiers near Rustchuk, where Wladimir has been assigned. His friend, Julian, a special newspaper correspondent, is mistaken for a spy and dragged to the camp, but Wladimir defuses the situation. Julian and Wladimir reminisce about his Fatinitza disguise, which eventually leads the soldiers to consider some amateur theatre, to relieve the boredom. As no women are present, Wladimir resumes his Fatinitza disguise.

The General arrives, and recognises "Fatinitza" as his lost love, and Wladimir finds himself needing to play along in order to protect his men from the general's anger at the theatrical costumes, which are not the regulation uniform. His niece Lydia soon arrives, and recognises Wladimir under the disguise. Julian tells the two that Fatinitza is Wladimir's sister. The general temporarily leaves the three to see how the other soldiers are getting on, but, as the first act ends, a band of bashi-bazouks manage to catch the camp by surprise, and take "Fatinitza" and Lydia prisoner. Julian scrambles the Russian soldiers to return the attack, but the General refuses to allow them to fire, lest they hit Fatinitza.

The second act opens in the Turkish fortress, run by Izzit Pascha. Pascha has four wives, and wishes to add Lydia to his harem. His wives are highly upset at this, and "Fatinitza" persuades them to aid in his and Lydia's escape, revealing his true identity at the end.

Julian and a Russian Sergeant, Steipann, arrive to attempt to negotiate Lydia and "Fatinitza"'s freedom, but Pascha will only release Lydia. However, Wladimir is able to pass on a message, and, while Julian distracts Pascha, Steipann arranges for the soldiers to slip into the fortress, effecting a rescue.

However, all is not well with the love triangle as the third act opens. The General sent out news of rewards should Fatinitza be found, and has now received word that she has been found (much to Julian and Wladimir's confusion). As Lydia lives with him, the General, unaware of Wladimir's love for her, but wanting to be alone with Fatinitza, has promised Lydia in marriage to an old, crippled friend of his, who had the advantage of being available for marriage. He does not want to break his word to his friend, but when Wladimir announces he has promised his "sister" to one of his friends, the General agrees to break Lydia's betrothal if Wladimir will break Fatinitza's.

The promised Fatinitza arrives, but turns out to be an old woman of the same name. Julian and Wladimir produce a letter from the "real" Fatinitza, "discovering" that she died of grief when separated from the General. In her memory, he gives his niece to "Fatinitza's brother".

Legacy

Publicity photo of Franz von Suppė, taken by Fritz Luckhardt [de]

Although rarely performed today, at the time, Fatinitza was an international success. The composer, lyricists, and theatre would reunite for two more international successes in their next two productions: Boccaccio (1879), Suppé's best-known and most popular operetta; and another cross-dressing army opera in Donna Juanita (1880). However, after these successes, Suppé's later operettas proved less popular with audiences, and, according to the musicologist Andrew Lamb, were also of lower quality.

The work was translated back to French by Félix Coveliers for a production at the Fantaisies-Parisiennes in Brussels, which opened on 28 December 1878, despite concerns from Scribe's widow. However, in Paris, she refused permission for the Gaîté to mount the work in that form, and the directors of the Théâtre des Nouveautés, Boulevard des Italiens, therefore procured a much altered libretto from Alfred Delacour and Victor Wilder, and in this form the Paris première was produced at that theatre on 15 March 1879, with costumes by Grévin, running for 59 nights. Revived in April 1882, the production received 55 more performances, with Marguerite Ugalde in the title role.

Other early translations include an 1876 Czech translation by E. Züngel for a performance in Prague; two Swedish versions for 1876 Stockholm performances by A. Lindgren and E. A. Wallmark, respectively; an 1877 Italian translation by V. A. Bacichi for a performance in the Teatro Sannazaro [it], Naples; English translations for the Alhambra Theatre, London, in 1878 by H. S. Leigh; and by J. B. Polk for an 1879 New York production; an 1879 Polish translation performed in Lemberg; a Portuguese translation by Ed. Garrido and A. Azevedo for an 1881 Rio de Janeiro production; an 1887 Estonian translation performed in Tartu, and an 1899 Croatian translation by V. Badalić, for a Zagreb production.

Recordings

  • 1910: Fatinitza selection] (musical excerpts in English): Luigi Ruffini, Maria Costa, Ruth Peter, soloists; Associated Light Opera Company; Eugene Plotnikoff, conductor; Arthur Pryor's Band. New York: Associated Music Publishers A-448 (matrix)/A-450 (matrix); 2 sound discs (20 min., 40 sec.); analogue, 33 1/3 rpm, mono; 16-inch distributed electrical transcription recordings; vertical recording; production level cataloguing; Library of Congress.
  • 2006: Stephanie Houtzeel, mezzo-soprano (Wladimir/Fatinitza); Steven Scheschareg, baritone (General Kantschukoff); Bernhard Adler. bass-baritone (Izzet Pascha); Zora Antonic, soprano (Lydia); Christian Bauer, tenor (Julian von Goltz); Chor des Lehár Festivals Bad Ischl; Franz Lehár-Orchester; Vinzenz Praxmarer, conductor; dialogue version by Leonard C. and Sabine Prinsloo; programme notes and synopsis in English, German and French; cpo 777 202-2 (2 CDs).

References

Notes

  1. ^ Lamb 2000, pp. 51–52.
  2. ^ Crittenden 2000, pp. 47, 51
  3. ^ Traubner, Richard (2003). Operetta: A Theatrical History. Routledge. pp. 102–3. ISBN 0415966418.
  4. Crittenden 2000, p. 51
  5. ^ Branscombe, Peter. "Suppé, Franz". Grove Music Online. Retrieved 29 July 2013. (subscription required)
  6. ^ Lamb, Andrew. "Operetta". Grove Music Online. Oxford Music Online. Retrieved 29 July 2013. (subscription required)
  7. Lamb 2000, p. 42.
  8. Lamb 2000, p. 44.
  9. Lamb 2000, p. 46.
  10. Compare, for example, Suppé 1885, pp. passim and Suppé & Coveliers c. 1880
  11. Zell & Genée 1876, p. 3.
  12. Suppé, Franz von (1879). Fatinitza. Translated by Theo. T. Barker and Sylvester Baxter. New York (et al): Oliver Ditson. p. 3. Retrieved 2013-07-22.
  13. Suppé 1885, p. 1.
  14. Gänzl 2001, pp. 621–624.
  15. ^ Suppé 1885, pp. passim Names have been changed to those found in the German libretto, Zell & Genée 1876, p. 3.
  16. ^ Noël & Stoullig 1880, pp. 462–464
  17. Suppé & Coveliers c. 1880.
  18. Noël & Stoullig 1883, pp. 460–461.
  19. Loewenberg, Alfred (1978). Annals of Opera 1597–1940. London: John Calder. p. 1049.
  20. OCLC 43784470.
  21. "National Jukebox: Fatinitza selection". Library of Congress. Retrieved 19 August 2013.
  22. OCLC 717345973, 177082767. Kehrmann, Boris (2009). "Wiederbelebungsversuch: Suppés Fatinitza ist besser als ihre Aufnahme (cpo)". Retrieved 6 August 2013.

Sources

External links

Franz von Suppé
Operas and operettas
Overtures
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