- Johann Strauss. Komische Operette in three acts. 1874.
- Libretto by Carl Haffner and Richard Genée, after Le réveillon
(The Midnight Supper) by Henri Meilhac and Ludovic Halévy.
- First performance at the Theater an der Wien, Vienna, on 5th April 1874.
|Gabriel von Eisenstein ||tenor|
|Rosalinde, his wife ||soprano|
|Alfred, a singer, her lover ||tenor|
|Dr Falke, friend of Eisenstein ||baritone|
|Prince Orlofsky ||mezzo-soprano|
|Frank, governor of the prison ||baritone|
|Adele, Rosalinde's maid ||soprano|
|Ida, her sister ||soprano|
|Dr Blind, Eisenstein's lawyer ||tenor|
|Yvan, Prince Orlofsky's valet ||speaking part|
|Frosch, a gaoler ||speaking part|
Eisenstein is due to report to prison, having defaulted on his taxes. He is induced, however, to
attend a fancy-dress party at Prince Orlofsky's, by his friend Dr Falke, who plans revenge for having
been abandoned on a previous occasion to go home in his costume of a bat. Eisenstein's wife takes
the opportunity of his absence for an assignation in her house with Alfred, who is mistaken by Frank,
the prison governor, for her husband and taken to prison. Adele has sought various excuses for
taking time off and in a borrowed dress attends Prince Orlofsky's party, where Rosalinde also
appears, disguised as a Hungarian countess. In a play of disguises and partly mistaken identities
Eisenstein flirts with his own wife and toasts, under the guise of the Marquis Renard, the prison
governor Frank, introduced as the Chevalier Chagrin. They leave together, Eisenstein now
intending to report to the prison. There the gaoler Frosch has drunken objections to the singing of
Alfred. Adele and her sister, who have dramatic ambitions, seek Frank's help in furthering their
stage careers, while Eisenstein, who now arrives, cannot persuade Frank at first of his identity and
when he learns that the supposed Eisenstein is already in prison is suspicious of Rosalinde.
Disguised as his lawyer Dr Blind, he cross-examines Rosalinde and Alfred, but she retaliates, when
he reveals his identity, by producing Eisenstein's watch, which the supposed Hungarian countess
had received from him at Prince Orlofsky's. Falke admits his part in the plot, Rosalinde and Alfred
claim their assignation as a part of it, and all ends in apparent satisfaction.
The operetta starts with a sparkling overture, with tunes from the last act and then the Fledermaus
waltz of the second act party. Adele's laughing song, Mein Herr Marquis (My lord marquis) in
which she rejects Eisenstein's suggestion and her true identity, and her delightful display of varied
acting ability, Spiel'ich die Unschuld (I play the innocent) to Frank are often heard. Rosalinde’s
Hungarian Czárdás, Klänge der Heimat (Sounds of my own country) is all too convincing, while the
song of friendship, Brüderlein und Schwesterlein (Little brothers and sisters), as the party reaches a
climax, is among the most memorable of all numbers in the best of all Viennese operettas.