Two hearts in three-quarter time
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| Title: | Two hearts in three-quarter time |
| Shape: | operetta |
| Original language: | German |
| Music: | Robert proud |
| Libretto : | Paul Knepler, Ignaz Michael Welleminsky and Robert Gilbert |
| Premiere: | September 30, 1933 |
| Place of premiere: | Zurich |
| Place and time of the action: | Vienna 1932 |
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Two hearts in three-four time (subtitle: The Lost Waltz ) is an operetta in three acts by Robert Stolz . The libretto was written by Paul Knepler , Ignaz Michael Welleminsky and Robert Gilbert . It is based on the script for the film of the same name from 1930 by Walter Reisch and Franz Schulz . Robert Stolz had already contributed the music to this film and three years later adopted it almost unchanged for the stage version. The operetta had its world premiere on September 30, 1933 at the Stadttheater Zurich (today: Zurich Opera House ).
orchestra
Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, a piano, a celesta, a harp, percussion and strings
Stage sets
First act: picture 1: living room in the Mahler brothers' house , picture 2: theater director's office , picture 3: garden restaurant ; Second act: picture 4: like picture 1 , picture 5: music room and living room in Hofer's apartment ; Third act: picture 6: like picture 1 and 4 , picture 7: living room , picture 8: theater stage with curtains
action
The work is set in Vienna in 1932, one year before its premiere
first act
It's about an operetta within an operetta, the delightful old theater play in the theater: librettists and composers don't always have it easy. The brothers Nicki and Vicki Mahler are considered promising talents in the writing of operetta libretti. So they are currently working on a new book for the composer Tony Hofer. In doing so, they keep getting into an argument; but in the end they all get together again. Anny Lohmeyer, who is known as the diva and is in a relationship with the composer, is slated for the lead role in the new work. When Tony plays his latest composition for her, which she is supposed to sing in the operetta, she shows airiness: angrily, she explains that the melody and the text are too sad, that she does not sing such nonsense. She leaves the house furious.
The artists present their work in broad outline to the theater director. On the whole he is satisfied with it and accepts it, but he makes it a condition that a sparkling waltz be followed up as the musical climax.
After their argument, Tony Hofer and Anny Lohmeier meet again in a Viennese suburb in the garden tavern of a wine tavern. While there is a happy atmosphere around, the two just stare at each other sadly. Tony's mine only clears up again when he spotted his former student colleague Fritz Gschwendtner, who earns his living here as a wine tavern singer. He walks up to him and complains of his suffering. Gschwendtner recommends that he look for a new friend as a muse soon. Then a brilliant melody will fly to him.
Second act
The two librettists have the same idea as Gschwendtner: Tony Hofer must be inspired by a charming lady to achieve top performance as soon as possible. They chose the Mizzi Reitmeyer soubrette for this. She doesn't hesitate long to play the tool. What the Mahler brothers don't suspect, however, is that their sister Hedi has noticed all the haggling and is now planning to play the role of the muse herself, because she has had an eye on Tony Hofer for a long time and now wants to take the opportunity to meet him to draw attention to yourself. She knows how to outsmart Mizzi Reitmeyer.
Tony Hofer sits in his apartment and maltreats his piano, still looking for a sparkling waltz. Suddenly he discovers a finely dressed lady who has silently entered his room. She introduces herself to him as "Fee Florabella". Tony Hofer is delighted with the lovely appearance, and immediately he wrests completely different tones from his instrument than before. An incomparable waltz melody is created in no time at all. When he wants to ask the “fairy” what she thinks about it, he realizes that she seems to have vanished into thin air. Because of this, he forgets to record his idea in notes.
Third act
Tony Hofer rushes to his librettists to present them with his great success so that they can write a suitable text right away. He sits down at the piano - but oh! - he forgot everything. The waltz seems to be lost. The only person who could help now would be the fairy Florabella. But where should you look if no one knows your real name, let alone your address?
There is a party going on in the Mahler house. Hedi turned 18 today. Suddenly the party mood is interrupted. The notary Dr. Mitislav Isakiewicz announces his visit and has the following surprise ready: Hedi's name is neither Mahler nor is she the sister of the librettists. They are by no means appalled by this. On the contrary! Each of them now imagines that they will soon be able to lead their former “sister” to the altar.
Today is the dress rehearsal for the new operetta. Tony Hofer sits desperately at the theater wing looking for the lost waltz, but he does not want to be found. Suddenly soft tones from the stage background reach his ear. Really! The miracle has occurred. It falls from his eyes like scales: The fairy Florabella is really the "sister" of his librettists. Now he has finally found his muse. The operetta premiere is saved.
music
The work not only indulges - as the title suggests - in waltz bliss, but also blues, foxtrot and slowfox appear as dance styles. In addition to the song that gave the work its title, the following musical highlights should be mentioned:
- My little sister's name is Hedi
- Today I visit my fortune
- You too will cheat on me one day, you too
- If you could live twice
- You are my most beautiful daydream
- In Vienna, where wine and the waltz bloom
Movie
We cannot speak of a film adaptation here because the film was made before the stage version. Directed by Géza von Bolváry played Gretl Theimer , Walter Janssen , Willi Forst , Irene Eisinger , Oskar Karl Weis and Szöke Szakall the leading roles. The film was first released on March 13, 1930. The lexicon of international film judges: “The first sound film success of the director von Bolvary (1897–1961), who tried to combine the lustfully performed songs by Robert Stolz by means of comic and sentimental scenes, largely dispensing with camera movement, also going through editing errors and the actors like let act on the operetta stage. "