“The Csárdás Princess is not only an absolute peak in Imre Kálmán’s musical and theatrical oeuvre, but also holds a distinguished place among the most celebrated operetta masterpieces. Alongside Jacques Offenbach’s Orpheus in the Underworld and La Belle Hélène, Johann Strauss II’s Die Fledermaus and The Gypsy Baron, and Franz Lehár’s The Merry Widow and The Land of Smiles, it remains synonymous with the genre and a classic benchmark of operetta.
Its phenomenal success lies in an enduring dramatic formula: a compelling plot reminiscent of Verdi’s La Traviata, combined with catchy melodies and a surprising mix of rhythms that were modern for their time, most notably the fiery Hungarian csárdás.
The premiere of The Csárdás Princess took place on 15 November 1915, at the height of the First World War, at Vienna’s Johann Strauss Theater. It was an unprecedented success, perhaps beyond the expectations of the composer and his librettists. By the summer of 1917, more than 500 performances had been staged, and by the end of the war, the number had exceeded 2,000 in Vienna alone. The world’s leading musical theatres competed to stage Kálmán’s masterpiece, and by the early 1930s, the total number of performances had surpassed 30,000.
“Women, women…” hums a prominent Viennese journalist from an influential government newspaper as he addresses Imre Kálmán:
“Mr Kálmán, does it not trouble you that the music of The Csárdás Princess serves both our side and our enemies? It is sung on both sides of the front line, even at the front itself, by soldiers from opposing armies…”
“I am not a militarist,” Kálmán interrupted, “and I see nothing wrong with that. If people holding deadly weapons sing about love and women, it will help them preserve their souls. And that is essential. After all, all wars eventually come to an end… And please, publish my words without alteration!”
The premiere of The Csárdás Princess also marked the opening of Bulgaria’s first professional operetta theatre, the Free Theatre (Svoboden Teatar), on 5 December 1918. From that moment on, the operetta continued to triumph on Bulgarian musical stages, becoming a beloved repertoire favourite.
The Csárdás Princess in Bulgaria
One of the most emblematic productions in the history of the Stefan Makedonski State Musical Theatre (today’s State Musical and Ballet Centre) was the production directed and choreographed by Bogdan Kovachev. Following its premiere in 1974, it remained on stage for an impressive 24 seasons, until the end of 1997. The leading roles were performed by some of the theatre’s most celebrated operetta singers from its so-called “silver generation”: Vidin Daskalov, Lilyana Kisiova, Donka Shishmanova, Aron Aronov, Lyudmila Chesmedzhieva, Khrisand Bachvarov and Aleksandar Balabanov.
The production used a version of the libretto specially created for the Hungarian operetta legend Hanna Honty. The new production by Opera Plovdiv is also based on this version of the libretto.
Opera Plovdiv productions
First production – 29 October 1957
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Director: Svetozar Donev, who began the production; it was completed by Petar Shturbanov
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Conductor: Krastyo Marev
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Set designer: Hristo Simeonov
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Choreographer: Anna Vorobyova
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Chorus master: Angel Hristov
Second production – 30 August 1980
Third production – 2 November 1999
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Director: Nedyalko Kovachev
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Conductor: Hristo Mihalev
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Set designer: Ivan Popov
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Choreographer: Rusaliya Kirova
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Chorus master: Bogdana Popova
When Love Has No Title…
She is the star of a Budapest variety theatre – Sylva Varescu, the “Csárdás Princess”.
He is a Viennese aristocrat – Prince Edwin Lippert-Weilersheim.
She represents the stage, the csárdás, applause and a free spirit.
He represents palaces, titles, rules and family honour.
They fall in love.
But in a world where a title can prove more powerful than love itself, their relationship seems impossible.
Until a secret changes everything.
Georgi Dinev – Director
