Countess Mariza is one of the most beloved operettas in the repertoire. A tale of mistaken identities, love and despair, white lies and a lot of bubbling Hungarian melodies. The operetta wizards from Budapest return to Israel with a production full of pure operetta delights.
Libretto: Julius Brammer and Alfred Grunwald
|Director||Miklos-Gabor Kerenyi - KERO|
The soloists, chorus and dancers of the Budapest Operetta Theatre
Sung in Hungarian
English and Hebrew Subtitles
Duration: Two hours and 45 minutes
|PREMIÈRE||210, 280, 345, 420, 470 NIS|
|SUN-FRI||190, 252, 319, 388, 438 NIS|
|SAT||207, 269, 334, 404, 453 NIS|
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The young gypsy fortune-teller Manja reveals there is something unusual about the new bailiff, Béla Török: he is not what he seems to be. Török is in reality Count Tassilo, whose family has become impoverished, obliging him to take the job of bailiff under a false name. Tassilo laments his unkind fate, and the way it has robbed him of his previously well-heeled life.
Countess Maritza, the young, beautiful but strong-minded owner of the estate, is about to arrive for a supper which will celebrate her engagement. Maritza, however, has no intentions of giving up her freedom in order to marry. To put off her many suitors, she has invented a fictional fiance, Baron Koloman Zsupán. Tassilo, as bailiff, is in charge of organizing all the varied details of the supper for Maritza and her 30 guests. He is horrified to see that his sister Lisa is among Maritza's guests and begs her not to reveal his identity.
To Maritza's amazement, a real-life Zsupán arrives, all set to marry her and take her off to his own estates. Despite herself, Maritza is quite attracted to Zsupán while Tassilo feels sadder than ever. Maritza rethinks her position and is again resolved to avoid marriage. When Manja reads her palm and predicts that she will fall in love within four weeks, she cancels her plans to return to Budapest, where would-be suitors are always prowling after her and, instead, remains on her estate. There, she fancies, she will be safe from predatory males who want her money. By now Zsupán finds he prefers Lisa to Maritza and Lisa reciprocates his feelings.
In spite of herself, Maritza is attracted to her bailiff and wonders how things would be a simple village girl whom he could love. Prince Popolescu, an elderly admirer, tells Maritza that her bailiff is really a nobleman in disguise who is after her money and Maritza insults Tassilo rudely.
The next day, Tassilo arrives to wind up his estate work and say goodbye. Though obviously in love, he is as proud as Maritza and neither will take the initiative towards reconciliation. Maritza, however, has thought of a way round the problem. She writes a reference for Tassilo which is no reference at all, but a marriage proposal. "Though as a bailiff you won't do," the note runs, "as a husband I would welcome you." Tassilo, delighted, accepts this unusual invitation. He takes Maritza in his arms, Zsupán does the same with Lisa, and all ends happily as they waltz all their worries away.
Back Stage Secrets at the Opera
Many Opportunities to Widen your Opera Experience
Do you want to know more about the opera you are about to attend? Do you want to find out some back stage secrets? Do you want to meet the artists after the performance? The Israeli Opera enables you to widen your opera experience with a variety of pre performance and post-performance events.
On Saturday morning before the premiere, the creators of the production and several of the soloists gather to discuss the opera, the production, their own career and today’s opera world. This is a unique opportunity to learn as much as possible about the production and meet the director, conductor, designers and some of the participating soloists. Musical excerpts from the opera illustrate the discussion. Towards Opening takes place before some of each season’s productions.
Pre Performance Lecture
One hour before each opera performance there is a 30-minute introductory lecture in the auditorium (in Hebrew). Opera staffers present the opera and the production and enable the audience to get some extra information a short time before attending the performances. Admission is free for ticket holders.
Pre Performance Back Stage Tours
What happens backstage before the audience even thinks of getting dressed for the performance? What do the singers do? The conductor? The Technical teams? How does everyone prepare for the performance? A unique opportunity to taste a little bit of the back stage excitement before the curtain ascends/ A concerted half hour tour in places that are not usually open to the general public. Tours begin 90 minute before the performance begins and last 30 minutes. Tickets are 25NIS and can be booked in advance (tickets for each tour are limited). Tours take place on several evenings in each production. Details can be found at the Israeli opera’s website. Tours from groups both in Hebrew and in English can be booked in advance (firstname.lastname@example.org)
The curtain has just descended on the final scene of the opera. The hour is late. Nut the experience was riveting. This is the time to meet several of the performers. Come to listen and to speak. Ask questions. Meet the artists. A once in a lifetime opportunity to meet the artists who have just excited you on the stage. Opera Talkbacks takes place on the second level of the Opera House foyer and last around 30 minutes. Admission free. Opera Talkback takes place on several evenings in each production. Details can be found at the Israeli opera’s website.
|Back Stage Tours||
|After the show|
After the show
After the show