Der lustige Krieg

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Wikipedia

Johann Strauss II

Der lustige Krieg (The Merry War) is a three-act operetta composed by Johann Strauss II. The work was first performed on 25 November 1881 at the Theater an der Wien. Its libretto was by F. Zell (Camillo Walzel) and Richard Genée, based on the book for Henri Reber's 1857 opéra comique Les Dames capitaines.[1] The operetta was well received at its premiere, and was performed 69 times during its first run.[2]

Orchestration

Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, harp, percussion, and strings.

Roles

Roles, voice types, premiere cast
Role Voice type Premiere cast, 25 November 1881[2][1]
Conductor: Johann Strauss II
Violetta, Countess Lomelli, a widow soprano Caroline Finaly
Artemisia, Princess of Massa-Carrara soprano Therese Braunecker-Schäfer
Else Groot soprano Rosa Streitmann
Balthasar Groot, her husband, a tulip merchant from Holland baritone Felix Schweighofer [de]
Marchese Filippo Sebastiani tenor Alexander Girardi
Colonel Umberto Spinola tenor Ferdinand Schütz
Riccardo Durazzo baritone
Fortunato Franchetti bass-baritone
Biffi tenor
Pamfilio baritone
First lady soprano
Second lady mezzo-soprano Walburga "Wally" Eichheim
Third lady contralto
First commissioner tenor
Second commissioner bass
Colonel van Scheelen spoken
Officers and their wives, soldiers and people (chorus)

(Casaglia gives a different premiere cast: Rosa Streitmann as Artemisia, Ferdinand Schütz as Riccardo Durazzo, Felix Schweighofer as Fortunato Franchetti.)[3]

Synopsis

Overview

The operetta is set in principalities located near Genoa. Among other, the garrisoned Mediterranean city of Massa[2] during the first part of the 18th century. It concerns a dispute between two states. The 'war' between them is played out as a game of love between Colonel Umberto Spinola, the commander-in-chief of the Genoese army, and the widowed Countess Violetta Lomellini. Its central conflict is a playful and symbolic “war” between men and women, which is social and emotional rather than military in nature. Through disguises, misunderstandings, and role reversals, romantic entanglements arise and are ultimately resolved in reconciliation.

Act I

At the prince’s court, daily life is governed by strict etiquette and social conventions. The women of the court, led by the princess, declare a symbolic “war” against the men out of frustration with male dominance. They withdraw to a secluded area and forbid all contact. The men initially respond with mockery, but soon attempt to circumvent the imposed separation. Romantic relationships are strained as personal feelings clash with loyalty to one’s side.

Act II

The conflict escalates through mutual deception and disguises. The men attempt to enter the women’s camp in secret, while the women test their own resolve. A series of misunderstandings and jealousies leads to comic situations, while underlying emotional tensions become increasingly apparent. It becomes clear that the conflict is driven less by hostility than by wounded pride and unfulfilled expectations.

Act III

The disguises are removed and true identities revealed. Through open confrontation and dialogue, the participants recognise the futility of the staged conflict. The “war” ends without victors or vanquished, restoring both social and personal harmony. The lovers are reunited, and courtly life returns to order.

Recordings

References

  1. 1 2 "Der lustige Krieg Operette in 3 acts" by Kurt Gänzl, The Encyclopedia of the Musical Theatre – via Operetta Research Center Amsterdam
  2. 1 2 3 "Strauss II, J.: Edition — Vol. 49 CD". NaxosDirect. Archived from the original on 6 July 2011. Retrieved 15 April 2025. "About This Recording: 1. Overture: Der lustige Krieg (The Merry War)"
  3. ↑ Casaglia, Gherardo (2005)."Der lustige Krieg". L'Almanacco di Gherardo Casaglia (in Italian).