The Gypsy Baron

The Gypsy Baron is an operetta in three acts by Johann Strauss II which premiered at the Theater an der Wien on 24 October 1885. Its German libretto by Ignaz Schnitzer is based on the unpublished 1883 story Saffi by Mór Jókai. Jokai later published a novel A cigánybáró in 1885 using an expanded version of this same story. While an operetta, The Gypsy Baron was a departure from Strauss's earlier more comic and light hearted works; displaying more serious tones both musically and dramatically in what musicologist Andrew Lamb described as "a step in Strauss’s quest for the composition of a genuine opera". During the composer's lifetime, the operetta enjoyed great success internationally. It is considered one of Strauss's three best stage works, along with Die Fledermaus (1874) and Eine Nacht in Venedig (1883). Composition history Strauss was introduced to Jókai's story prior to its publication as a novel in Pest, Hungary in February 1883 by his third wife Adele Deutsch. He dialogued with Jókai about adapting the story into an operetta soon after. Jókai recommended the Hungarian-Austrian writer Ignaz Schnitzer to Strauss as a librettist, and the two men created the work over a two-year period from 1883 through 1885. Its genesis was rather swift and smooth, as Strauss was no stranger to the Hungarian influences apparent in the music score. Many of his earlier works also bore similar themes, such as the polka Éljen a Magyar! ("Long live the Hungarians!"), Op. 332. Originally, Strauss and Schnitzer intended the operetta as an opera but further revisions were made and the idea of a comic opera was conceived. Strauss' work on the operetta was interrupted in autumn 1883 due to nicotine poisoning and fainting fits and he was to recuperate in Franzensbad. Strauss' work on act 3 of the work was also interrupted when his wife Adele was taken ill and the couple left for Ostend. Not until autumn 1885 was the work finally completed, with Schnitzer making various revisions of the libretto to suit Strauss' style of composing which were not present in the latter's previous stage works.