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The Gypsy Baron (German: Der Zigeunerbaron) is an operetta in three acts by Johann Strauss II which premiered at the Theater an der Wien on 24 October 1885. [1] Its German libretto by Ignaz Schnitzer is based on the unpublished 1883 story Saffi by Mór Jókai .
The Gypsy Tea Room was one of the premiere Black nightclubs in New Orleans in the 1930s and 40s. It attracted a swanky crowd, including visiting celebrities like Cab Calloway and heavyweight champ Joe Louis. They rubbed elbows with local doctors and lawyers in a room decorated in a starry night motif, with lit candles suspended from the ceiling.
The Gypsy Baron Original Libretto by Ignaz Schnitzer ... New English adaptation by Quade Winter, with Ross Halper Feb. 10, 11, 17 & 18, 2006 at 8pm Feb. 12 & 19, 2006 ...
Strauss, J, II: Der Zigeunerbaron. Nicolai Gedda, Elisabeth Schwarzkopf, Erich Kunz, Erika Köth, Gertrude Burgsthaler-Schuster, Monica Sinclair & Hermann Prey. Philharmonia Chorus and Orchestra, Otto Ackermann. The stars come out for this still unsurpassed Gypsy Baron from 1954. — Gramophone Magazine, September 2009 More….
NAXOS 8.111329-30 [56:01 + 62:09] This is the last in the series of six Viennese operettas that Columbia recorded with the Philharmonia Chorus and Orchestra in London in the mid-1950s, masterminded by producer Walter Legge, with Elisabeth Schwarzkopf, Nicolai Gedda and Erich Kunz in leading roles. They were conducted by Otto Ackermann – apart ...
The Gypsy Baron (German: Der Zigeunerbaron) is an operetta in three acts by Johann Strauss II which premiered at the Theater an der Wien on 24 October 1885. Its libretto was by the author Ignaz Schnitzer and in turn was based on Sáffi by Mór Jókai. During the composer's lifetime, the operetta enjoyed great success, second only to the ...
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‘Der Zigeunerbaron’ (The Gypsy Baron) completes a trio of Strauss-family recordings made by Clemens Krauss for Decca in the early 1950s. Like ‘Die Fledermaus’ (482 7379) and his New Year Concerts (482 7364), it is now reissued by Eloquence, in a new remastering with a fresh editorial retrospective from Mike Ashman on the special chemistry between composer, conductor and orchestra.
