Lehar, Franz. (1870 - 1948). "Frasquita," inscribed to Richard Tauber. A rare copy of the operetta "Frasquita," inscribed by the composer 24 VII, 1922, the year of the first Vienna production, to the young operatic tenor, Richard Tauber. After first meeting Tauber in the context of this production, Lehar wrote six operettas expressly as vehicles for Tauber's artistry between 1925 and 1934. Each included numerous lyrical songs, duets and ensembles and each included what became known as the "Tauber-Lied." The present score was Tauber's working and well-worn copy of this work which first brought him to the attention of the composer and Lehar has penned a lengthy inscription ("Lieber Freund Richard!") on the title page. Though lacking the wrappers, torn through the inscription and well worn particularly at the spine, this is an important artifact from one of the most spectacular musical collaborations of the 20th century.
"When Tauber abandoned the opera house for the operetta stage, people often reproached him for his lapse of taste. His voice and musicality, they pointed out, were too good for operetta. 'I don't sing operetta,' Tauber would say. 'I sing Léhar.'" (Ethan Morden."Opera Anecdotes," p. 133).
"When Tauber abandoned the opera house for the operetta stage, people often reproached him for his lapse of taste. His voice and musicality, they pointed out, were too good for operetta. 'I don't sing operetta,' Tauber would say. 'I sing Léhar.'" (Ethan Morden."Opera Anecdotes," p. 133).
Lehar, Franz. (1870 - 1948). "Frasquita," inscribed to Richard Tauber. A rare copy of the operetta "Frasquita," inscribed by the composer 24 VII, 1922, the year of the first Vienna production, to the young operatic tenor, Richard Tauber. After first meeting Tauber in the context of this production, Lehar wrote six operettas expressly as vehicles for Tauber's artistry between 1925 and 1934. Each included numerous lyrical songs, duets and ensembles and each included what became known as the "Tauber-Lied." The present score was Tauber's working and well-worn copy of this work which first brought him to the attention of the composer and Lehar has penned a lengthy inscription ("Lieber Freund Richard!") on the title page. Though lacking the wrappers, torn through the inscription and well worn particularly at the spine, this is an important artifact from one of the most spectacular musical collaborations of the 20th century.
"When Tauber abandoned the opera house for the operetta stage, people often reproached him for his lapse of taste. His voice and musicality, they pointed out, were too good for operetta. 'I don't sing operetta,' Tauber would say. 'I sing Léhar.'" (Ethan Morden."Opera Anecdotes," p. 133).
"When Tauber abandoned the opera house for the operetta stage, people often reproached him for his lapse of taste. His voice and musicality, they pointed out, were too good for operetta. 'I don't sing operetta,' Tauber would say. 'I sing Léhar.'" (Ethan Morden."Opera Anecdotes," p. 133).