1988:
22:
622:
339:
1248:
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461:) and the German: "He knew how to blend them irresistibly, assisted in the instrumentation by his rich experience as a theatre orchestra conductor, and with a sure symphonic technique deriving from his classical training." Letellier comments that Suppé's overtures were a major feature of his operatic works: "some attaining immense popularity, and securing him an enduring fame in the concert hall ...
109:(1884) incorrectly states that the Suppés were of Belgian descent, that Suppé was born in 1820 on board ship at Spalato, and that his full name was Francesco Ezechiele Ermenegildo Cavaliere Suppe Demelli. Other incorrect information is given in a 1905 biography of Suppé by Otto Keller, husband of one of the composer's granddaughters, based on the unreliable recollections of Suppé's widow.
155:. Suppé played the flute in various orchestras and taught Italian. (His mother tongue was Italian, and although he learned to speak German fluently he did so with what one journalist called "a decided Italian accent".) In 1837 and 1841 he wrote two operas, neither of which was performed but both of which may have been influenced by Donizetti, allegedly a distant relation of the Suppés.
2155:
52:, including the first operetta to a German libretto. Some of them remain in the repertory, particularly in German-speaking countries, and he composed a substantial quantity of church music, but he is now chiefly known for his overtures, which remain popular in the concert hall and on record. Among the best-known are
1001:
both grave and acute accents exist but, until the 20th century, there was no precise rule about their use. In the 16th century most writers and printers used only the grave accent on the last vowel of words and names and the acute accent on internal vowels, but since this seldom occurs in
Italian the
251:
which had been a great success in Vienna earlier that year. It has had frequent revivals throughout German-speaking countries, and was played in German and in
English translation in both New York and London. A full-length operatic success eluded Suppé for some years, and it was not until after the
972:
is that Suppe's mother's maiden name was
Jandovsky or Jandowsky (not Landovsky nor Landowsky, as usually given), and that Suppé lied about or embellished very many things in his biography to a degree rare in music history (for example about his education and when he met his
434:, "from the choice of tonality (D minor), movement layout, and melodic figuration" to a direct quote in the "Mors stupebit" section of Suppé's work from the "Tuba mirum" from Mozart"s "Lacrimosa". The work was revived for a first performance in modern times by
556:
described it as an accomplished piece and singled out the quieter passages "such as the obsessive orchestral motif that backs the Liber scriptus, the lovely oboe solo at the beginning of
Recordare, or the high violins irradiating the brief Sanctus".
160:
Suppé was in many ways the father of
Viennese operetta, yet today he is principally known for his overtures. If only people would ask: "Overtures to what?" Overtures to many delightful operettas which, for the most part, go unperformed today.
1968:
1613:
612:
has sometimes been used, on the grounds that Suppé used it when signing his name (see lead image, above); his name is written with the acute accent on his tombstone and in the baptismal registry it was written without any accent.
219:
was the first operetta composed to an original German text, and the first
Viennese operetta to be heard abroad: there were productions in Germany and Hungary, and in November 1861 it was given (in German) at the
268:(1876) was a critical and box office success, not only in Vienna but in London and Paris, though less so in New York, where it coincided with and was somewhat eclipsed by the first production there of
358:
Suppé composed about 30 operettas and 180 farces, ballets, and other stage works. Although some of the overtures remain popular the bulk of his operettas have sunk into obscurity. Exceptions include
835:
1617:
1069:
1163:
413:. After retiring from conducting, Suppé continued to write stage works, but increasingly shifted his interest to sacred music. He wrote a Requiem for Pokorny in 1855; an oratorio,
224:, New York. Suppé was heavily influenced by Offenbach; he studied Offenbach's works carefully and wrote many successful operettas using them as a model. The operetta specialist
215:, which had, by the standards of the time, an excellent run: it was played for 20 nights in succession, and 34 times in all during the six months it remained in the repertoire.
727:
103:
The facts of Suppé's early years are disputed. Both during his lifetime and after his death various unfounded statements circulated about his background. The first edition of
232:
not only emulates
Offenbach, but refers to him in the first act, when the heroine, the schoolgirl Sophie, and her friends learn about the can-can and proceed to dance it.
756:
116:, where he had his first music lessons and began to compose at an early age. As a boy he had encouragement in music from a local bandmaster and the Zara cathedral
863:
1939:
816:
438:, broadcast on 5 July 1984. After Suppé's death thirty unpublished songs were found in his papers, as well as the nearly completed score of another mass.
650:
Die
Hammerschmiedin aus Steyermark, oder Folgen einer Landpartie (local farce with songs, 2 acts, J. Schickh), Theater in der Josefstadt, 14 October 1842
803:
350:
Suppé was twice married: first to
Therese Merville, and after her death in 1865 to Sofie Strasser. He died in Vienna on 21 May 1895, at the age of 76.
1590:
677:
Martl, oder Der
Portiunculatag in Schnabelhausen (farce with music, parody of Flotow: Martha, 3 acts, A. Berla), Theater an der Wien, 16 December 1848
894:
626:
418:
956:
740:
656:
Marie, die Tochter des Regiments (vaudeville, 2 acts, F. Blum, after J. H. St Georges and J. F. A. Bayard), Theater in der Josefstadt, 13 June 1844
2257:
707:
430:; songs; symphonies; and concert overtures. When the Requiem Mass was published in 1997, a reviewer found that it reveals Suppé's admiration for
382:
1160:
885:(operetta, 3 acts, Zell, Genée), Carltheater, 21 February 1880, full score (Brussels, n.d.); arr. K. Pauspertl as Die grosse Unbekannte, 1925
790:
524:
302:(A Trip to Africa, Theater an der Wien, 17 March 1883) ran for a month, and received several productions, including an American revival with
2247:
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105:
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2227:
2222:
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840:
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Des Teufels Brautfahrt, oder Böser Feind und guter Freund (magic farce with songs, 3 acts, Elmar), Theater an der Wien, 30 January 1849
197:
writes that 24 November 1860 is considered by many to be "the birthdate of the true Viennese operetta", with the production of Suppé’s
2262:
2197:
2010:
781:(The Beautiful Galatea) (comic-mythological operetta, l act, Poly Henrion), Berlin, Meysels-Theater, 30 June 1865, vocal score (n.d.)
683:
Gervinus, der Narr von Untersberg, oder Ein patriotischer Wunsch (farce with songs, 3 acts, Berla), Braunhirschen-Arena , 1 July 1849
2202:
1982:
686:
Unterthänig und unabhängig, oder Vor und nach einem Jahre (comedy with songs, 3 acts, Elmar), Theater an der Wien, 13 October 1849
36:(18 April 1819 – 21 May 1895) was an Austrian composer of light operas and other theatre music. He came from the
2277:
2267:
207:. Pokorny’s son, Alois, who ran the theatre, did not have enough money to buy the rights for the first Viennese productions of
144:
and attended performances of their operas. By another account he studied philosophy in Padua and studied law later in Vienna.
1954:
1918:
1896:
1874:
1852:
1830:
1808:
1752:
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1022:), and the grave accent in all the other cases, following a use that already existed but was not the most common until then.
592:. The most extensive recorded collection is in six volumes on the Marco Polo label, released between 1994 and 2001 with the
2242:
2232:
2217:
2207:
2252:
1771:
653:
Ein Morgen, ein Mittag und ein Abend in Wien (local play with songs, 2 acts), Theater in der Josefstadt, 26 February 1844
243:(The Beautiful Galatea), dates from 1865. It was modelled, Traubner comments, in both title and style, on Offenbach’s
2212:
1949:. Contributions by Andreas Weigel, Anton Ehrenberger, Ingrid Scherney and Christine Steininger. (Gars am Kamp) 2019.
1685:
647:
Jung lustig, im Alter traurig, oder Die Folgen der Erziehung (comedy with songs, 3 acts, C. Wallis), TJ, 5 March 1841
2272:
1410:
695:
Dame Valentine, oder Frauenräuber und Wanderbursche (Singspiel, 3 acts, Elmar), Theater an der Wien, 9 January 1851
2041:
1120:
732:
321:, at the Theater an der Wien. He also worked on some landmark opera productions, such as the 1846 production of
2287:
1193:
968:
904:(operetta, 3 acts, M. West, Genée, O. F. Berg), Theater an der Wien, 17 March 1883, full score (Hamburg, n.d.)
659:
Der Krämer und sein Kommis (farce with songs, 2 acts, F. Kaiser), Theater in der Josefstadt, 28 September 1844
2282:
2006:
888:
Der Gascogner (operetta, 3 acts, Zell, Genée), Carltheater, 21 or ?22 March 1881, vocal score (Hamburg, n.d.)
84:
Suppé's parents named him Francesco Ezechiele Ermenegildo when he was born on 18 April 1819 in Spalato, now
2020:
1580:
761:
2016:
1019:
1015:
1011:
1007:
2034:
1742:
399:
Suppé retained links with his native Dalmatia, occasionally visiting Split (Spalato), Zadar (Zara), and
2145:
1766:
698:
Der Tannenhäuser (dramatic poem with music, H. von Levitschnigg), Theater an der Wien, 27 February 1852
124:
and harmony. According to some accounts his father wanted him to be a lawyer, and sent him to study in
930:
Das Modell (operetta, 3 acts, V. Leon, Held), Carltheater, 4 October 1895, full score (Leipzig, n.d.)
662:
Die Müllerin von Burgos (vaudeville, 2 acts, J. Kupelwieser), Theater in der Josefstadt, 8 March 1845
310:
933:
Die Pariserin, oder Das heimliche Bild (operetta, 3 acts, Léon, Held), Carltheater, 26 January 1898
689:
s'Alraunl (romantic tale with songs, 3 acts, A. von Klesheim), Theater an der Wien, 13 November 1849
511:
There are many sets of Suppé overtures on disc, but few of his stage works. A complete recording of
2080:
1971:
778:
366:
238:
1074:
1002:
grave was effectively the only accent in use. The orthography started stabilising only after the
997:
The lack of clarity about which accent should be used to spell Suppé's surname arises because in
868:
152:
1944:
1188:
2131:
1818:
1425:
1082:
873:(fantastic operetta, 3 acts, J. Hopp), Carltheater, 5 January 1878, vocal score (London, n.d.)
543:
147:
After Suppé's father died in 1835 the family moved to Vienna, where Suppé studied music under
2112:
1137:
907:
821:
671:(comedy with songs, 3 acts, K. Elmar), Theater an der Wien, 24 August 1846, full score (1900)
665:
Sie ist verheiratet (comedy with songs, 3 acts, Kaiser), Theater an der Wien, 7 November 1845
405:
121:
2072:
721:
486:
71:
2192:
2187:
2104:
1721:
1003:
876:
577:
474:
360:
280:
246:
913:
Bellman (comic opera, 3 acts, West, L. Held), Theater an der Wien, 26 or ?24 February 1887
701:
Wo steckt der Teufel? (farce with songs, 3 acts, ?Grün), Theater an der Wien, 28 June 1854
692:
Der Dumme hat's Glück (farce with songs, 3 acts, Berla), Theater an der Wien, 29 June 1850
621:
8:
1975:
1268:
879:(operetta, 3 acts, Zell, Genée), Carltheater, 1 February 1879, full score (Hamburg, n.d.)
808:
593:
573:
561:
221:
204:
89:
37:
181:, the director of several theatres in Vienna, Pressburg (now Bratislava), Ödenburg (now
2088:
899:
784:
631:
469:
425:
148:
60:
910:(romantic opera, 2 acts, A. Langner), Hamburg, 4 May 1885, vocal score (Hamburg, 1885)
96:. His father – like his father before him – was a civil servant in the service of the
2001:
1950:
1914:
1892:
1884:
1870:
1848:
1826:
1804:
1776:
1748:
1729:
1681:
1641:
1538:
1443:
1086:
860:(operetta, 3 acts, F. Zell, R. Genée), Carltheater, 5 January 1876, full score (n.d.)
847:
826:(magic operetta, 3, Costa), Carltheater, 20 January 1868, vocal score (Leipzig, n.d.)
745:
668:
552:
322:
253:
208:
137:
133:
717:(operetta, 1 acts, C. K.), Theater an der Wien, 24 November 1860, vocal score (n.d.)
2159:
1992:
1906:
1840:
1784:
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1078:
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998:
712:
463:
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377:
225:
194:
166:
54:
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or Die Tochter der Puszta (operetta, 2 acts, C. Costa), Carltheater, 21 March 1866
534:
and the Janáček Philharmonic Orchestra have recorded Suppé's incidental music for
456:
338:
1671:
1635:
1414:
1167:
1124:
589:
393:
343:
303:
270:
97:
1997:
1797:
737:(operetta, 1 act, W. Friedrich), Kaitheater, 25 October 1862, vocal score (n.d.)
674:
Das Mädchen vom Lande (opera, 3 acts, Elmar), Theater an der Wien, 7 August 1847
21:
984:
891:
Das Herzblättchen (operetta, 3 acts, C. Tetzlaff), Carltheater, 4 February 1882
795:
753:
Das Corps der Rache (operetta, 1 act, J. L. Harisch), Carltheater, 5 March 1864
565:
529:
258:
186:
141:
85:
45:
569:
473:
are among the most famous overtures ever written". To these, the music critic
2181:
1983:
A Matter of Discretion. Franz von Suppé, Therese Merville and Sofie Strasser.
1792:
1780:
1733:
1161:"Franz von Suppé – das verdrängte Genie: Zum 200. Geburtstag des Komponisten"
924:
882:
327:
286:
178:
1717:
769:
Dinorah, oder Die Turnerfahrt nach Hütteldorf (parody opera, of Meyerbeer's
2171:
1936:
Franz von Suppè (1819–1895). Mensch. Mythos. Musiker. Ehrenbürger von Gars.
1762:
982:
This is demonstrably untrue so far as Verdi is concerned: his first opera,
917:
609:
605:
547:
403:. Some of his works are linked with the region, in particular his operetta
318:
1554:
560:
Collections of Suppé overtures have been recorded by conductors including
1006:, when Italians began using the acute accent to denote close-mid vowels (
581:
448:
435:
410:
314:
117:
1399:
519:
was issued in 2005, the Lehár Festival in Bad Ischl staged and recorded
1862:
1677:
1429:
1109:
585:
516:
332:
41:
750:(operetta, 1, J. Braun), Kaitheater, 18 April 1863, vocal score (n.d.)
400:
2096:
857:
704:
Paragraph 3 (opera, 3 acts, M. A. Grandjean), Hofoper, 8 January 1858
372:
264:
854:
Canebas (operetta, 1 act, J. Doppler), Carltheater, 2 November 1872
49:
2026:
644:
Gertrude della valle (opera, G. Brazzanovich), 1841, not performed
298:(Theater an der Wien, 22 March 1881) was an outright failure, but
771:
93:
988:, was not produced until four years after Suppé moved to Vienna.
40:, Austro-Hungarian Empire (now part of Croatia). A composer and
1186:
182:
1775:. Vol. IV. London and New York: Macmillan. pp. 3–4.
294:
has endured, though several were very popular in their time":
228:
writes that Suppé's early works frankly imitated Offenbach's.
1614:"On Franz von Suppè's ancestors and his early years at Zadar"
445:
writes that Suppé was a master of three styles, the Italian (
129:
125:
113:
2166:
1969:
On Franz von Suppè’s ancestors and his early years at Zadar.
813:(operetta, 1 act, B. Boutonnier), Carltheater, 27 April 1867
766:(Liederspiel, 1 act, H. Max), Carltheater, 10 September 1864
927:), Carltheater, 27 October 1888, full score (Hamburg, n.d.)
920:, F. von Radler), Theater in der Josefstadt, 30 April 1887
851:, 3 acts, Costa, Grandjean), Carltheater, 30 November 1870
829:
Isabella (operetta, J. Weyl), Carltheater, 5 November 1869
542:. The Requiem was recorded in 1997 with soloists and the
1578:
309:
Suppé wrote music for over a hundred productions at the
1189:"Suppè (fälschlich auch Suppé, Suppe Demelli), Familie"
177:
From 1840 Suppé worked as a composer and conductor for
832:
Tantalusqualen (operetta), Carltheater, 3 October 1868
2143:
1187:
Alexander Rausch; Christian Fastl (20 January 2023).
477:
adds as outstanding among Suppé's overtures those to
1227:
923:Die Jagd nach dem Glücke (operetta, 3 acts, Genée,
1889:Jacques Offenbach and the Making of Modern Culture
1867:The Penguin Guide to Recorded Classical Music 2009
1796:
1400:"Missa pro defunctis (Requiem) by Franz von Suppé"
800:(operetta, 2, Costa), Carltheater, 23 October 1866
1938:Begleitpublikation zur Jubiläums-Ausstellung des
1067:; Link, Dorothea (2001). "Suppé , Franz (von) ".
2179:
1716:
937:
916:Joseph Haydn (musical portrait with melodies by
383:The New Grove Dictionary of Music and Musicians
306:in the lead, which ran for five weeks in 1887.
284:and had his final lasting success in 1880 with
1611:
1191:[... (erroneously also ...), family].
1063:
724:) (operetta, 1 act), Kaitheater, 26 April 1862
641:Virginia (opera, L. Holt), 1837, not performed
2042:
446:
1014:) to distinguish them from open-mid vowels (
498:
492:
484:
483:(Morning, Noon, and Night in Vienna, 1844),
480:Ein Morgen, ein Mittag und ein Abend in Wien
478:
454:
387:
244:
236:
198:
69:
1985:When did Suppé actually meet his two wives?
1847:. Newcastle upon Tyne: Cambridge Scholars.
1637:Note sulla grafia italiana nel Rinascimento
1406:, Vol. 38, No. 3 (October 1997), pp. 54–55
775:, 3 acts, F. Hopp), Carltheater, 4 May 1865
604:Most sources have spelled the name with an
2049:
2035:
1666:
1630:
608:. Recently an alternative spelling with a
2011:International Music Score Library Project
1891:. Cambridge: Cambridge University Press.
1839:
1459:
1254:
106:Grove's Dictionary of Music and Musicians
48:period, he is notable for his four dozen
1905:
1883:
1550:
1548:
1280:
1278:
1182:
1180:
1059:
620:
616:
337:
100:. Suppé's mother was Viennese by birth.
34:Francesco Ezechiele Ermenegildo de Suppé
20:
1845:Franz von Suppé: Overtures and Preludes
1791:
1536:Anderson, Robert. "Keeping the faith",
1367:
1365:
1328:
1326:
1155:
1153:
1151:
1083:10.1093/gmo/9781561592630.article.27130
1057:
1055:
1053:
1051:
1049:
1047:
1045:
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1041:
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836:Lohengelb oder Die Jungfrau von Dragant
235:Suppé's most enduring one-act success,
120:. As a teenager in Zara, Suppé studied
112:Suppé spent his childhood in Zara, now
2258:Burials at the Vienna Central Cemetery
2180:
1817:
1455:
1453:
1220:
1218:
1216:
2030:
1861:
1761:
1740:
1586:Die Musik in Geschichte und Gegenwart
1545:
1275:
1233:
1177:
1142:
955:Further information from research by
409:, the action of which takes place in
1694:from the original on 1 November 2023
1648:from the original on 1 November 2023
1362:
1323:
1148:
1116:, 1994, 43. Bd. (1994), pp. 253–254
1036:
2248:People from the Kingdom of Dalmatia
2238:Classical composers of church music
2056:
1772:A Dictionary of Music and Musicians
1744:The Encyclopedia of Musical Theatre
1726:Gänzl's Book of the Musical Theatre
1612:Andreas Weigel (17 November 2019).
1450:
1213:
1201:from the original on 2 January 2023
594:Slovak State Philharmonic Orchestra
128:, from where he supposedly visited
13:
2228:Austrian people of Italian descent
2223:Austrian people of Belgian descent
1928:
1593:from the original on 6 August 2023
546:Chorus and Orchestra conducted by
538:(Around the World in 80 Days) and
290:. Traubner writes, "nothing after
79:
66:Morning, Noon, and Night in Vienna
14:
2299:
1989:Works by or about Franz von Suppé
1961:
536:Die Reise um die Erde in 80 Tagen
274:. Suppé surpassed the success of
211:operas, and he presented instead
2263:Austrian male conductors (music)
2198:19th-century classical composers
2165:
2153:
1673:La lingua italiana nel Novecento
1579:Christian Glanz; Mathias Spohr.
1479:, Oxford University Press, 2011
2203:19th-century conductors (music)
1660:
1624:
1605:
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1563:
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1465:
1435:
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1383:
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1344:
1335:
1314:
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1296:
1287:
1260:
1110:"Franz von Suppé und Dalmatien"
991:
976:
417:; three masses, among them the
262:in 1874 that he caught up. His
2017:Free scores by Franz von Suppé
2007:Free scores by Franz von Suppé
1911:Operetta: A Theatrical History
1239:
1194:Oesterreichisches Musiklexikon
1135:"Grove's Musical Dictionary",
1129:
1102:
969:Oesterreichisches Musiklexikon
949:
386:, characterises Suppé's song "
191:Operetta: A Theatrical History
171:Operetta: A Theatrical History
1:
2278:Musicians from Split, Croatia
2268:Austrian male opera composers
1477:The Oxford Companion to Music
1114:Studien zur Musikwissenschaft
1029:
1004:birth of the Kingdom of Italy
938:Notes, references and sources
845:(parody operetta of Wagner's
506:
203:(The Boarding School) at the
16:Austrian composer (1819–1895)
2021:Choral Public Domain Library
1747:. New York: Schirmer Books.
497:(Jolly Students, 1863), and
7:
2243:People from Austria-Hungary
2233:Austrian Romantic composers
2218:Austrian operetta composers
2208:Austrian conductors (music)
1728:. London: The Bodley Head.
1557:. Retrieved 19 March 2024.
10:
2304:
2253:People from Split, Croatia
1974:on Franz von Suppè at the
1769:. In Grove, George (ed.).
1710:
728:Zehn Mädchen und kein Mann
599:
2123:
2064:
1803:. London: Omnibus Press.
1527:Koch-Swann CD 3-1248-2-H1
1272:, 13 February 1886, p. 13
1141:, 24 September 1884; and
503:(Bandits' Pranks, 1867).
491:(Queen of Spades, 1862),
388:
311:Theater in der Josefstadt
2213:Austrian opera composers
1998:Works by Franz von Suppé
1518:Naxos CD 8.574383 (2022)
1509:Naxos CD 8.574396 (2022)
1432:. Retrieved 18 July 2024
1172:Operetta Research Center
942:
596:and various conductors.
353:
2273:Male operetta composers
2113:Il Ritorno del Marinaio
1940:Zeitbrücke-Museums Gars
1823:The Penguin Opera Guide
1559:(subscription required)
1491:Capriccio CD set C60134
1481:(subscription required)
1447:, 1 January 1897, p. 49
1408:(subscription required)
1118:(subscription required)
1098:(subscription required)
1075:Oxford University Press
392:" as "Austria's second
2132:Light Cavalry Overture
1341:Gänzl and Lamb, p. 895
720:Die Kartenschlägerin (
637:
499:
493:
485:
479:
455:
447:
347:
245:
237:
199:
163:
70:
26:
2288:Composers from Vienna
1413:16 March 2024 at the
1359:Traubner, pp. 108–110
1166:17 March 2024 at the
1123:16 March 2024 at the
1108:Blažeković, Zdravko.
908:Des Matrosen Heimkehr
624:
617:Partial list of works
406:Des Matrosen Heimkehr
342:Suppé's grave at the
341:
158:
24:
2283:Musicians from Zadar
2065:Operas and operettas
1913:. London: Gollancz.
1741:Gänzl, Kurt (2001).
1569:March, pp. 1278–1279
1159:Roser, Hans-Dieter.
864:Der Teufel auf Erden
578:Sir Neville Marriner
389:O du mein Österreich
2081:Die schöne Galathée
1978:. 15 November 2019.
1976:University of Zadar
1869:. London: Penguin.
1825:. London: Penguin.
1620:on 6 December 2022.
1555:Naxos Music Library
1542:, April 1997, p. 38
1500:CPO CD set 777202-2
1266:"Franz von Suppe",
779:Die schöne Galathée
574:Herbert von Karajan
562:Sir John Barbirolli
544:Cracow Philharmonic
367:Die schöne Galathée
239:Die schöne Galathée
205:Theater an der Wien
38:Kingdom of Dalmatia
2089:Leichte Kavallerie
1885:Senelick, Laurence
1581:"Suppè, Franz von"
1473:"Suppé, Franz von"
1404:The Choral Journal
1138:St James's Gazette
1070:Grove Music Online
817:Die Frau Meisterin
785:Leichte Kavallerie
638:
513:Die schöne Galatée
348:
149:Ignaz von Seyfried
27:
2141:
2140:
2002:Project Gutenberg
1955:978-3-9504427-4-8
1934:Weigel, Andreas.
1920:978-0-57-503338-2
1907:Traubner, Richard
1898:978-0-52-187180-8
1876:978-0-141-03335-8
1854:978-1-44-384460-4
1841:Letellier, Robert
1832:978-0-14-051385-1
1810:978-0-7119-0257-2
1754:978-0-02-865573-4
1668:Migliorini, Bruno
1642:Felice Le Monnier
1632:Migliorini, Bruno
1539:The Musical Times
1444:The Musical Times
1426:"Suppé's Requiem"
1092:978-1-56159-263-0
1065:Branscombe, Peter
966:published in the
669:Dichter und Bauer
553:The Musical Times
441:The musicologist
415:Extremum Judicium
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1993:Internet Archive
1967:Andreas Weigel:
1948:
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1788:
1785:Internet Archive
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1616:. Archived from
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1073:(8th ed.).
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464:Poet and Peasant
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443:Robert Letellier
432:Mozart's Requiem
429:
391:
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378:Peter Branscombe
250:
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226:Richard Traubner
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195:Richard Traubner
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167:Richard Traubner
75:
55:Poet and Peasant
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2060:
2058:Franz von Suppé
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1981:Georg Predota:
1964:
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1931:
1929:Further reading
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1644:. p. 223.
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1236:, pp. 3–4.
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895:Die Afrikareise
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627:Fritz Luckhardt
619:
602:
590:Sir Georg Solti
527:
509:
453:), the French (
423:
420:Missa Dalmatica
356:
344:Zentralfriedhof
313:as well as the
304:Lillian Russell
300:Die Afrikareise
271:H.M.S. Pinafore
247:La belle Hélène
175:
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98:Austrian Empire
82:
80:Life and career
30:Franz von Suppé
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2014:
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1962:External links
1960:
1959:
1958:
1930:
1927:
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1903:
1897:
1881:
1875:
1865:, ed. (2008).
1859:
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1837:
1831:
1821:, ed. (1997).
1819:Holden, Amanda
1815:
1809:
1793:Gammond, Peter
1789:
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1680:. p. 32.
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1255:Letellier 2013
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292:Donna Juanita
289:
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283:
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278:in 1879 with
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230:Das Pensionat
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61:Light Cavalry
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19:
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2023:(ChoralWiki)
1935:
1910:
1888:
1866:
1844:
1822:
1798:
1783:– via
1770:
1767:"Suppe, von"
1743:
1725:
1696:. Retrieved
1676:. Florence:
1672:
1662:
1650:. Retrieved
1640:. Florence:
1636:
1626:
1618:the original
1607:
1595:. Retrieved
1584:
1574:
1565:
1537:
1532:
1523:
1514:
1505:
1496:
1487:
1476:
1467:
1462:, p. ix
1442:
1437:
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1403:
1394:
1389:Gänzl, p. 17
1385:
1380:Gänzl, p. 16
1376:
1355:
1346:
1337:
1316:
1307:
1298:
1289:
1267:
1262:
1250:
1241:
1229:
1203:. Retrieved
1192:
1171:
1136:
1131:
1113:
1104:
1068:
993:
983:
978:
967:
951:
846:
770:
610:grave accent
606:acute accent
603:
559:
551:
548:Roland Bader
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59:
53:
33:
29:
28:
18:
2193:1895 deaths
2188:1819 births
1972:Round table
1943: [
1863:March, Ivan
1722:Andrew Lamb
1718:Gänzl, Kurt
1257:, p. .
960: [
898: [
867: [
839: [
820: [
807: [
794: [
791:Freigeister
760: [
744: [
731: [
711: [
630: [
582:Zubin Mehta
570:Neeme Järvi
528: [
525:Dario Salvi
475:Andrew Lamb
449:opera buffa
436:BBC Radio 3
424: [
315:Carltheater
252:triumph of
209:Offenbach's
118:choirmaster
25:Suppé, 1846
2182:Categories
2073:Pique Dame
1698:10 October
1678:Le Lettere
1652:10 October
1441:"Vienna",
1430:BBC Genome
1234:Grove 1890
1205:2 November
1143:Grove 1890
1030:References
925:B. Zappert
722:Pique-Dame
625:Suppé (by
586:Paul Paray
517:Bruno Weil
507:Recordings
487:Pique Dame
333:Jenny Lind
72:Pique Dame
2160:Biography
2124:Overtures
2105:Boccaccio
2097:Fatinitza
1799:Offenbach
1781:916421702
1765:(1890) .
1734:966051934
877:Boccaccio
858:Fatinitza
848:Lohengrin
523:in 2006,
521:Fatinitza
373:Fatinitza
361:Boccaccio
323:Meyerbeer
281:Boccaccio
276:Fatinitza
265:Fatinitza
138:Donizetti
50:operettas
42:conductor
1909:(1983).
1887:(2017).
1843:(2013).
1795:(1980).
1724:(1988).
1692:Archived
1670:(1990).
1646:Archived
1634:(1957).
1597:6 August
1591:Archived
1411:Archived
1199:Archived
1164:Archived
1121:Archived
346:, Vienna
193:(1983),
132:and met
90:Dalmatia
46:Romantic
2146:Portals
2019:in the
2013:(IMSLP)
2009:at the
1991:at the
1711:Sources
1269:The Era
999:Italian
973:wives).
772:Dinorah
600:Surname
401:Šibenik
134:Rossini
94:Croatia
44:of the
32:, born
2116:(1885)
2108:(1879)
2100:(1876)
2092:(1866)
2084:(1865)
2076:(1864)
1953:
1917:
1895:
1873:
1851:
1829:
1807:
1779:
1751:
1732:
1684:
1174:, 2019
1089:
985:Oberto
540:Mozart
185:) and
183:Sopron
153:Mozart
2172:Opera
1947:]
964:]
943:Notes
918:Haydn
902:]
871:]
843:]
824:]
811:]
798:]
764:]
748:]
735:]
715:]
634:]
532:]
428:]
354:Works
331:with
189:. In
142:Verdi
130:Milan
126:Padua
122:flute
114:Zadar
86:Split
1951:ISBN
1915:ISBN
1893:ISBN
1871:ISBN
1849:ISBN
1827:ISBN
1805:ISBN
1777:OCLC
1749:ISBN
1730:OCLC
1700:2023
1682:ISBN
1654:2023
1599:2023
1207:2023
1087:ISBN
1018:and
1010:and
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