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Elliot Fisch
American Record Guide, July 2017

This is another of the operetta movies produced in 1970, and it is the best of the group. The production values are excellent and the performances by the large cast are very, very good.

The performances are by experienced singers and farceurs who do justice to the score and script. Director Eugen York times the songs, comedy, and dances with clockwork precision. © 2017 American Record Guide Read complete review on American Record Guide

Carla Maria Verdino-S├╝llwold
Fanfare, July 2017

The three principal couples all sing and act their roles with élan. Maria Tiboldi makes an especially sweet, wistful Marguerite and uses her limpid coloratura with lyrical flexibility. Helen Mané is a creamy voiced, expansive Angèle. Harald Serafin uses his light tenor to find the wit and duplicity in Paul, while Maurice Besançon makes Georges a flirtatious gallant. But perhaps the show belongs to Christiane Schröder in the soubrette role of the chambermaid Hortense and her navel cadet suitor Henri, played by Uwe Friedrichsen. The pair displays a real spark and captures the whimsical, feisty, seductive natures of these characters. All six voices blend nicely for the ensembles and are further complemented by mezzo-soprano Tatjana Iwanow’s worldly-wise Palmira and her accommodating husband, Caesare, sung with humor by bass Heinz Erhardt. Beate Hasenau makes a cheeky Feodora with Ernst Stankovski, a knowing Toulouse-Lautrec and Karin Heske, a pert gamin of a model. The Kurt Graunke orchestra plays with idiomatic vibrancy under the musical direction of Willy Mattes. © 2017 Fanfare Read complete review

Christie Grimstad, March 2017

Despite lengthy dialogues, the singing in between has many memorable moments. In particular is Heuberger’s seductive waltz, “Gehen wir ins Chambre séparée.” The acting is as frothy as the bubbly music. Stylistically, Eugen York’s techniques conjure the same imagery as found within George Cukor’s My Fair Lady. © 2017 Read complete review

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