The Count of Luxembourg

The Count of Luxembourg

Drawing of Wallis and Elsie
Music Franz Lehár
Lyrics Basil Hood
Adrian Ross
Book Basil Hood
Adrian Ross
Basis German operetta
Der Graf von Luxemburg
Productions 1911 West End
1912 Broadway
1926 Silent Film

The Count of Luxembourg is an operetta in two acts with English lyrics and libretto by Basil Hood and Adrian Ross, music by Franz Lehár, based loosely on the German original, entitled "Der Graf von Luxemburg", which had premiered in Vienna in 1909.

The Count of Luxembourg opened at Daly's Theatre in London on 20 May 1911 and ran for 240 performances. It starred Lily Elsie, Huntley Wright, W. H. Berry and Bertram Wallis. The operetta also had a good run at the New Amsterdam Theatre in New York in 1912.

There was an American silent film version in 1926.[1]

Contents

Synopsis

The Grand Duke may not marry Angela, with whom he is infatuated, unless she bears a title. He therefore arranges for the penniless spendthrift, Count René, to marry a lady whose face he is not to see, and to agree to a divorce in three months. For this the Count receives the sum of £20,000 (half a million francs). At the wedding ceremony, the Count and his mystery bride are separated by a screen – but later they meet and fall in love. Little knowing that they are already husband and wife, they believe their romance is hopeless. But all ends happily.

Hood wrote about rewriting the libretto of the operetta for British audiences:

"...there are not, I think, thirty lines of dialogue in the English adaptation which are actually translated from the German; the action of the play has been constructed in two acts, instead of the original three; while the entire part of Brissard, played by Mr. W. H. Berry, has been invented and introduced, and, as a consequence, new situations and scenes have arisen which do not exist in the original play. Three of four minor characters also have been created to help the construction of the new effects, such as the opening of Act I, and the dialogue scene towards the end of Act II, where Angele and the Count each discovers the identity of the other, through the jealous interference of Monsieur de Tresac. This particular episode was in the original treated musically, with a full stage, being the subject of the Finale of Act II; and in doing away with the third act it became necessary, of course, to sacrifice this Finale and to approach and develop the dramatic moments of the recognition by different methods, in spoken dialogue...."[2]

Roles and London cast

Musical numbers

Act I – Brissard's Studio, Paris
Act II – Reception Hall at the Grand Duke Rutzinov's, Paris

Notes

References

External links