AlexieldeRavenswood
10-07-2019, 10:11 AM
Elisabeth Konzertante Auff�hrung - Open Air
https://mega.nz/#!RhATDSKJ!CM1v92rBFQUx7MuX_zfbh0vX17fCCPZIv7ZKhBm6XJg
he world premiere of the musical "Elisabeth" was on 3 September 1992 in Vienna, Austria. In 1996, it opened in Japan and Hungary, it also had runs in Sweden (1999), the Netherlands (1999) and Germany (2001). The Viennese revival was in October 2003.
Unlike the well-known "Sissi" film trilogy with a teenage Romy Schneider (made after world war II in the era of nostalgic films and sugary sweet imperial tragedies), the musical takes account of the fact that Elisabeth was a flawed woman, not just a victim. It also deals with tragedies in her life and incorporates her thoughts of suicide and death into the "Totentanz" (dance with death) motive. In this adaptation of the myth surrounding the Empress, Death becomes her lover -- a young, attractive man she feels drawn towards and who returns her affection. The spiralling fall of the monarchy is depicted as well as Death's involvement in politics that lead towards the events that will bring the monarchy down.
Musical Numbers:
Act One
Prolog: Alle Tanzten mit dem Tod/Elisabeth -- Prologue: Everyone Danced with Death/Elisabeth (ensemble, Lucheni)
100 years after his death, Lucheni is still being questioned by an invisible judge about why he killed Elisabeth. He says Death had charged him with it, that in truth, Elisabeth had been Death's mistress.
Wie Du -- Like You (Elisabeth, Max of Bavaria -- Elisabeth's father)
There is a family gathering and Max is leaving for Munich. Elisabeth wants to come along, because she'd like to escape her relatives.
Schoen Euch Alle zu Sehen -- Nice to See You All (Ludovika, ensemble)
Elisabeth's mother, Ludovika, tells the family about Helene's approaching marriage to Emperor Franz Joseph. Elisabeth shows off on the tight-rope, she falls off and meets Death for the first time.
Jedem Gibt Er das Seine -- He Gives Everyone Their Due (ensemble)
An insight into Franz Joseph's life as manager of his country.
So Wie Man Denkt -- That's How Life Goes (Lucheni, ensemble)
At Bad Ischl, Lucheni tells the audience how it came about that Franz Joseph fell in love with young Elisabeth, instead of her sister Helene.
Nichts Ist Schwer -- Nothing Is Difficult (Elisabeth, Franz Joseph)
As they are getting engaged, Franz Joseph tells Elisabeth that it won't be easy living with him. She says they'll manage, if they will only be there for each other, no matter what.
Alle Fragen Sind Gestellt -- All Questions Have Been Asked (ensemble)
The marriage ceremony at the Augustinerkirche in Vienna.
Der Letzte Tanz -- The Last Dance (Death, ensemble)
Death appears at the wedding reception and, while everyone else stands still, tells Elisabeth that although she didn't chose him first, she'll chose him last. Reminds of the Drifters' song "…but don't forget who's taking you home and in whose arms you're gonna be; so darling, save the last dance for me".
Eine Kaiserin Muss Glaenzen -- An Empress Has to Shine (Sophie, Ladies in waiting)
Sophie tries to explain to Elisabeth just what it means to be Empress of Austria and that she'll need to be drilled to become a support to Franz Joseph.
Ich Gehoer Nur Mir -- I Only Belong to Myself (Elisabeth)
Elisabeth's song of rebellion against the Court and all that its strict rules enforce. She says that she is her own woman and cannot be put into a golden cage for everyone to stare at her.
Die Schatten Werden Laenger -- The Shadows Are Growing Longer (Death, ensemble)
In Hungary, little Sophie, Elisabeth's first-born daughter, dies and Death comes to remind Elisabeth that she is pulling her husband towards the edge of the cliff. In other words, Death reminds Elisabeth that she is his in the end and that he'll destroy everything that comes in the way.
Die Froehliche Apokalypse -- The Merry Apocalypse (Lucheni, ensemble)
In a Viennese coffee-house, intellectuals debate the state of the nation.
Kind oder Nicht -- Child or Not (Sophie, ensemble)
The little crown prince, Rudolf, is not permitted to see his mother; Sophie wants him to be trained as a soldier and an Emperor.
Elisabeth, Sei Nicht Verzweifelt -- Elisabeth, Do Not Despair (Death, Elisabeth)
Elisabeth has given her husband an ultimatum -- his mother or herself. Death appears and tells her she can end it all if she runs away with him. She throws him out.
Milch! -- Milk! (ensemble)
There is no longer any milk available and the people are angry. Lucheni, voice of the new age (think Che in "Evita"), further stirs their rage against the monarchy by telling them the Empress is using all milk for her baths.
Unsre Kais'rin Soll sich Wiegen -- Our Empress Should Pamper Herself (Ladies in waiting)
Ich Gehoer Nur Mir -- I Only Belong to Myself reprise (Franz Joseph, Elisabeth)
Franz Joseph accepts Elisabeth's ultimatum -- she appears in a frame dressed in a white dress with diamond stars in her hair (i.e. in the famous portrait that was done when she was in her 30s by Franz Xaver Winterhalter) and keeps her husband at arm's length. He may look, but not touch.
Act Two
Kitsch! (Lucheni)
Lucheni sells souvenirs and talks about how Elisabeth's fame (culminating just then in the coronation as Queen of Hungary) is nothing but a myth and a sham.
Wenn Ich Tanzen Will -- When I Want To Dance (Elisabeth/Death)
Elisabeth revels in her triumph, Death reminds her that it was him she did it for, which she denies. It is a confrontation between lovers, a very strong piece, with a strong and yet sensual musical theme.
Mama, Wo Bist Du? -- Mama, Where Are You? (child-Rudolf, Death)
Rudolf calls for his mother, but only Death hears him and promises him to remain at his side always, as his friend.
Nichts, Nichts, Gar Nichts -- Nothing, Nothing, Nothing At All (Elisabeth)
After visiting an asylum for the insane and meeting a woman who believes she is the Empress, Elisabeth reflects on having achieved nothing and not being courageous enough to chose the one way out she has left -- madness.
Wir oder Sie -- Her or Us (Sophie, Court camarilla)
Sophie and her advisors hold less influence over the Emperor now and they decide to do something about it. To break Elisabeth's hold over her husband, they decide to find a "pretty woman" to take her place.
Nur Kein Genieren -- Don't Be Embarrassed/Prude (Mrs. Wolf, ensemble, Lucheni)
Mrs. Wolf's salon is where one of Sophie's advisors picks up Franz Joseph's "affair" -- a prostitute. Unfortunately, the girl has infected herself with a venereal disease.
Die Letzte Chance -- The Last Chance (Elisabeth, Death)
Elisabeth has been infected by her husband with the STD and has a break-down. Death, in guise of a doctor, arrives to tell her, hoping one last time to convince her to elope with him. She tells him it's over for good, that she now has got the perfect opportunity to desert her husband and do exactly as she pleases.
Bellaria (Sophie, Franz Joseph)
The Emperor accuses his mother of having come between him and his wife. She does not deny it and, when he has gone, goes on to say that she hadn't liked having to be strict, that she did it only for him, to make him strong enough to do well on the throne.
Restlose Jahr - She Is Always Restless/ (Lucheni, Franz Joseph, ensemble) Elisabeth's travels, far from Vienna. Lucheni asks whether she is still young and beautiful after all those years.
Die Schatten Werden Laenger -- The Shadows Are Growing Longer (Death, Rudolf)
Rudolf has grown up and Death returns to visit him, stirring him up to rebel against his father and the imperial politics.
Hass! -- Hatred! (ensemble, Lucheni)
A parade of nationalists who, in very clear words, make the Jewish population responsible for all mishaps.
Wie Du -- Like You reprise (Elisabeth, Max)
As she waits for Heinrich Heine's ghost to come and dictate her another poem, Elisabeth is visited by her father's ghost and realises that she has come very far from her ideals as a girl, that she will never be free as she was then and that she most certainly will never be like her father.
Wenn Ich Dein Spiegel Waer -- If I Were Your Mirror (Elisabeth, Rudolf)
Rudolf comes to speak to his mother. He says that if she only looked at him she'd see how much he is like her and implores her to help him in his quarrel with his father. She refuses.
Mayerling Waltz (instrumental, angels of death, Death)
Rudolf's suicide in Mayerling.
Totenklage -- Dirge (Elisabeth)
As her son's body is interred in the Kapuzinergruft, the crypt where all Habsburgs are buried, Elisabeth cries for him. Seeing Death, she implores him to take her now, that she can't go on anymore. This time, he refuses her.
Mein Neues Sortiment -- My New Range (Lucheni)
Elisabeth's grief is good business for souvenir sellers.
Boote in der Nacht -- Ships In the Night (Elisabeth, Franz Joseph)
Franz Joseph asks his wife to return to his side, but she tells him that they have grown too far apart and that they just can't be together any more.
Alle Fragen Sind Gestellt -- All the Questions Have Been Asked (Lucheni, Death, ensemble)
Franz Joseph has a nightmare -- Lucheni introduces the Habsburg clan and tells the audience of the misfortunes that have befallen them: Insanity, murder, death. As Elisabeth's name comes up, Death appears to say she's his (probably with the meaning of her being his mistress). Franz Joseph shakes his head, says it's not true, that Elisabeth is his. Death only laughs and throws Lucheni the murder weapon, a file.
Der Schleier Faellt -- The Veil Descends (Death, Elisabeth)
The invisible judge asks Lucheni what happened on the day of Elisabeth's murder. Lucheni tells him and the audience see how he stabs Elisabeth, who then finally throws off her black dress to be taken into Death's last embrace.he world premiere of the musical "Elisabeth" was on 3 September 1992 in Vienna, Austria. In 1996, it opened in Japan and Hungary, it also had runs in Sweden (1999), the Netherlands (1999) and Germany (2001). The Viennese revival was in October 2003.
Unlike the well-known "Sissi" film trilogy with a teenage Romy Schneider (made after world war II in the era of nostalgic films and sugary sweet imperial tragedies), the musical takes account of the fact that Elisabeth was a flawed woman, not just a victim. It also deals with tragedies in her life and incorporates her thoughts of suicide and death into the "Totentanz" (dance with death) motive. In this adaptation of the myth surrounding the Empress, Death becomes her lover -- a young, attractive man she feels drawn towards and who returns her affection. The spiralling fall of the monarchy is depicted as well as Death's involvement in politics that lead towards the events that will bring the monarchy down.
Here is an account of Elisabeth of Austria's life, which will hopefully clear up confusion for those who don't know a lot about Austrian history. Do let me know if you have comments or questions
"Ich halte den Faecher oder den Schirm vor mein Gesicht, damit der Tod ungestoert arbeiten kann…" ("I hold the fan or the umbrella in front of my face, so that death can work without being disturbed...")
Empress Elisabeth of Austria
from the souvenir brochure � Vereinigte Buehnen Wien 2003
Austria (aka "the heart of Europe") was a monarchy till the end of the first World War in 1918. This monarchy incorporated the Czech Republic, Slovakia, most of the former Yugoslavia, as well as parts of Italy and Hungary. The ruling family were the Habsburger (in English often called "Hapsburgs") dynasty, with succession rights falling to the first-born son (or next-of-kin male relative).
Elisabeth of Bavaria was a cousin of Austrian Emperor Franz Joseph (her mother, Ludovika was the sister of Franz Joseph's mother Sophie). Sophie's husband was a (mentally ill) man unsuited for being a regent and when he was to take over the throne in 1848, he stepped down in favour of his then 18-year-old son, Franz Joseph. Sophie took over the management of the monarchy, guiding her son in any and all matters. She also decided he should marry and fixed on Helene of Bavaria, her niece. She was "trained" in languages, protocol and other matters, while her younger sister, Elisabeth (born in 1837), was a very carefree and, by conventional standards, wild child.
When Elisabeth (affectionately called "Sisi") was fifteen, Helene was to marry Franz Joseph. But in Bad Ischl (an Austrian village known as a health resort for the aristocracy), where Franz and Helene were to meet, the Emperor fell in love with young Sisi. Nine months later, the two of them got married and were, supposedly, happy at first. But Elisabeth was unused to the "spanisches Hofzeremoniell", which was a very strict standard of conduct practiced at Court. She clashed with Sophie, who hoped to make her daughter-in-law the Empress Helene had been trained to be, but failed in her attempts. Franz Joseph didn't get involved in the conflict though, he left his wife entirely to his mother, being busy with state business.
Elisabeth bore two daughters, Sophie and Gisela, and in 1858 the heir to the throne, Rudolf, who were taken from her by her mother-in-law as it was unheard of for an Empress to mother her children. There were wet-nurses, nurse-maids and teachers at court who saw to this. Elisabeth was unhappy with this, but unable to do anything. Therefore, her feelings for her children were superficial at best; she never got to know them at all. Still, in one attempt to get her daughters back, Elisabeth only agreed to accompany her husband to Hungary for negotiations if she could take the babies with her. Sophie, the eldest, did not survive an illness she contracted on this journey.
A year later, in 1867, Hungary became part of the Austrian-Hungarian double monarchy, due to Elisabeth's political intervention (the first and only time she intervened in politics by the way). It was also a time when marital relations between Franz Joseph and Elisabeth were very good. It was during this time, that the last daughter of the couple, Valerie was born, in Hungary. There is also talk that she was a love child from a member of the Hungarian aristocracy, Count Andr�ssy (not entirely sure about the spelling), but this is only conjecture.
Elisabeth was a beautiful girl and an attractive woman; however, she was also a bulimic and tried to maintain her figure and beauty obsessively. She rode, walked and worked out for hours a day, ate very little. Her particular attention was to her hair, which went down to her knees and was washed daily. Dressing and getting ready took about 2-4 hours, if I remember correctly. Elisabeth was a fan of the poet Heinrich Heine and wrote poetry herself, often very dark and melancholy pieces. She loved her dogs and her youngest daughter Valerie (who was the only of her children permitted a marriage of love by her intervention), as well as Hungary. Hungarian was the only language she learned to speak well, apart from her native language. French and Italian, the languages required at Court, were those she particularly abhorred.
In 1889, crown prince Rudolf committed suicide in Mayerling, with his lover Mary Vetsera, a teenage aristocrat. There is also a conspiracy theory saying he was murdered, but this was never proven. Rudolf's marriage (with Stephanie of Belgium) had failed and his political views (in line with many of the ideals his mother herself favoured) were not accepted by his father. Franz Joseph ruled in the same way his ancestors had and didn't want to consider liberalism, democracy and political change. It should be noted, that Franz Joseph called himself a "servant of the people", the foremost civil servant. The role of Emperor had been given to him by God and he was to fulfil it to the best of his ability to ensure "his" people would lead a good life.
Elisabeth herself became more restless after her son's death, and she was even more reluctant to be seen in public. Her teeth had never been particularly good, so she had smiled seldom (there is only one series of photos in which she does not look grave and serious) and talked without opening her mouth, furthering the image of her being shy. In the last years of her life, Elisabeth was hardly ever in Austria, even less in Vienna, at Court. She liked going to Corfu and Madeira and seldom was in one place long. Along with her confidante, a Hungarian, she travelled incognito, always dressed in black, with an umbrella and a fan.
In 1898, Elisabeth was murdered in Geneva. The Italian anarchist Luigi Lucheni had planned on killing the Prince of Orleans, but since the man didn't turn up, he fixed on the Empress of Austria. He read she was in town and acted quickly.
After his wife's death, Franz Joseph continued as before. He had a close friendship with actress Katharina Schratt (which may or may not have been an affair; if I remember correctly, Elisabeth not only actively promoted it, but even brought it about). The first world war ended the reign of the Habsburg dynasty; Franz Ferdinand, heir to the throne after Rudolf's death, and his wife were shot in Sarajevo, which prompted the Emperor to retaliate. The system of alliances throughout Europe led to other countries becoming involved via their alliance partners and the war escalated.
Franz Joseph died in 1916 (if I remember correctly) and the next male Habsburg in line, Karl, ascended the throne. He abdicated in 1918 and went into exile, where he died some years later. Austria lost all crown lands and became a (very small) Republic. Karl's wife Zita, the last Empress of Austria, died a few years ago (I think it was in 1998 or so) and the Habsburg family is still involved in politics, but in a very small scale.
https://mega.nz/#!RhATDSKJ!CM1v92rBFQUx7MuX_zfbh0vX17fCCPZIv7ZKhBm6XJg
he world premiere of the musical "Elisabeth" was on 3 September 1992 in Vienna, Austria. In 1996, it opened in Japan and Hungary, it also had runs in Sweden (1999), the Netherlands (1999) and Germany (2001). The Viennese revival was in October 2003.
Unlike the well-known "Sissi" film trilogy with a teenage Romy Schneider (made after world war II in the era of nostalgic films and sugary sweet imperial tragedies), the musical takes account of the fact that Elisabeth was a flawed woman, not just a victim. It also deals with tragedies in her life and incorporates her thoughts of suicide and death into the "Totentanz" (dance with death) motive. In this adaptation of the myth surrounding the Empress, Death becomes her lover -- a young, attractive man she feels drawn towards and who returns her affection. The spiralling fall of the monarchy is depicted as well as Death's involvement in politics that lead towards the events that will bring the monarchy down.
Musical Numbers:
Act One
Prolog: Alle Tanzten mit dem Tod/Elisabeth -- Prologue: Everyone Danced with Death/Elisabeth (ensemble, Lucheni)
100 years after his death, Lucheni is still being questioned by an invisible judge about why he killed Elisabeth. He says Death had charged him with it, that in truth, Elisabeth had been Death's mistress.
Wie Du -- Like You (Elisabeth, Max of Bavaria -- Elisabeth's father)
There is a family gathering and Max is leaving for Munich. Elisabeth wants to come along, because she'd like to escape her relatives.
Schoen Euch Alle zu Sehen -- Nice to See You All (Ludovika, ensemble)
Elisabeth's mother, Ludovika, tells the family about Helene's approaching marriage to Emperor Franz Joseph. Elisabeth shows off on the tight-rope, she falls off and meets Death for the first time.
Jedem Gibt Er das Seine -- He Gives Everyone Their Due (ensemble)
An insight into Franz Joseph's life as manager of his country.
So Wie Man Denkt -- That's How Life Goes (Lucheni, ensemble)
At Bad Ischl, Lucheni tells the audience how it came about that Franz Joseph fell in love with young Elisabeth, instead of her sister Helene.
Nichts Ist Schwer -- Nothing Is Difficult (Elisabeth, Franz Joseph)
As they are getting engaged, Franz Joseph tells Elisabeth that it won't be easy living with him. She says they'll manage, if they will only be there for each other, no matter what.
Alle Fragen Sind Gestellt -- All Questions Have Been Asked (ensemble)
The marriage ceremony at the Augustinerkirche in Vienna.
Der Letzte Tanz -- The Last Dance (Death, ensemble)
Death appears at the wedding reception and, while everyone else stands still, tells Elisabeth that although she didn't chose him first, she'll chose him last. Reminds of the Drifters' song "…but don't forget who's taking you home and in whose arms you're gonna be; so darling, save the last dance for me".
Eine Kaiserin Muss Glaenzen -- An Empress Has to Shine (Sophie, Ladies in waiting)
Sophie tries to explain to Elisabeth just what it means to be Empress of Austria and that she'll need to be drilled to become a support to Franz Joseph.
Ich Gehoer Nur Mir -- I Only Belong to Myself (Elisabeth)
Elisabeth's song of rebellion against the Court and all that its strict rules enforce. She says that she is her own woman and cannot be put into a golden cage for everyone to stare at her.
Die Schatten Werden Laenger -- The Shadows Are Growing Longer (Death, ensemble)
In Hungary, little Sophie, Elisabeth's first-born daughter, dies and Death comes to remind Elisabeth that she is pulling her husband towards the edge of the cliff. In other words, Death reminds Elisabeth that she is his in the end and that he'll destroy everything that comes in the way.
Die Froehliche Apokalypse -- The Merry Apocalypse (Lucheni, ensemble)
In a Viennese coffee-house, intellectuals debate the state of the nation.
Kind oder Nicht -- Child or Not (Sophie, ensemble)
The little crown prince, Rudolf, is not permitted to see his mother; Sophie wants him to be trained as a soldier and an Emperor.
Elisabeth, Sei Nicht Verzweifelt -- Elisabeth, Do Not Despair (Death, Elisabeth)
Elisabeth has given her husband an ultimatum -- his mother or herself. Death appears and tells her she can end it all if she runs away with him. She throws him out.
Milch! -- Milk! (ensemble)
There is no longer any milk available and the people are angry. Lucheni, voice of the new age (think Che in "Evita"), further stirs their rage against the monarchy by telling them the Empress is using all milk for her baths.
Unsre Kais'rin Soll sich Wiegen -- Our Empress Should Pamper Herself (Ladies in waiting)
Ich Gehoer Nur Mir -- I Only Belong to Myself reprise (Franz Joseph, Elisabeth)
Franz Joseph accepts Elisabeth's ultimatum -- she appears in a frame dressed in a white dress with diamond stars in her hair (i.e. in the famous portrait that was done when she was in her 30s by Franz Xaver Winterhalter) and keeps her husband at arm's length. He may look, but not touch.
Act Two
Kitsch! (Lucheni)
Lucheni sells souvenirs and talks about how Elisabeth's fame (culminating just then in the coronation as Queen of Hungary) is nothing but a myth and a sham.
Wenn Ich Tanzen Will -- When I Want To Dance (Elisabeth/Death)
Elisabeth revels in her triumph, Death reminds her that it was him she did it for, which she denies. It is a confrontation between lovers, a very strong piece, with a strong and yet sensual musical theme.
Mama, Wo Bist Du? -- Mama, Where Are You? (child-Rudolf, Death)
Rudolf calls for his mother, but only Death hears him and promises him to remain at his side always, as his friend.
Nichts, Nichts, Gar Nichts -- Nothing, Nothing, Nothing At All (Elisabeth)
After visiting an asylum for the insane and meeting a woman who believes she is the Empress, Elisabeth reflects on having achieved nothing and not being courageous enough to chose the one way out she has left -- madness.
Wir oder Sie -- Her or Us (Sophie, Court camarilla)
Sophie and her advisors hold less influence over the Emperor now and they decide to do something about it. To break Elisabeth's hold over her husband, they decide to find a "pretty woman" to take her place.
Nur Kein Genieren -- Don't Be Embarrassed/Prude (Mrs. Wolf, ensemble, Lucheni)
Mrs. Wolf's salon is where one of Sophie's advisors picks up Franz Joseph's "affair" -- a prostitute. Unfortunately, the girl has infected herself with a venereal disease.
Die Letzte Chance -- The Last Chance (Elisabeth, Death)
Elisabeth has been infected by her husband with the STD and has a break-down. Death, in guise of a doctor, arrives to tell her, hoping one last time to convince her to elope with him. She tells him it's over for good, that she now has got the perfect opportunity to desert her husband and do exactly as she pleases.
Bellaria (Sophie, Franz Joseph)
The Emperor accuses his mother of having come between him and his wife. She does not deny it and, when he has gone, goes on to say that she hadn't liked having to be strict, that she did it only for him, to make him strong enough to do well on the throne.
Restlose Jahr - She Is Always Restless/ (Lucheni, Franz Joseph, ensemble) Elisabeth's travels, far from Vienna. Lucheni asks whether she is still young and beautiful after all those years.
Die Schatten Werden Laenger -- The Shadows Are Growing Longer (Death, Rudolf)
Rudolf has grown up and Death returns to visit him, stirring him up to rebel against his father and the imperial politics.
Hass! -- Hatred! (ensemble, Lucheni)
A parade of nationalists who, in very clear words, make the Jewish population responsible for all mishaps.
Wie Du -- Like You reprise (Elisabeth, Max)
As she waits for Heinrich Heine's ghost to come and dictate her another poem, Elisabeth is visited by her father's ghost and realises that she has come very far from her ideals as a girl, that she will never be free as she was then and that she most certainly will never be like her father.
Wenn Ich Dein Spiegel Waer -- If I Were Your Mirror (Elisabeth, Rudolf)
Rudolf comes to speak to his mother. He says that if she only looked at him she'd see how much he is like her and implores her to help him in his quarrel with his father. She refuses.
Mayerling Waltz (instrumental, angels of death, Death)
Rudolf's suicide in Mayerling.
Totenklage -- Dirge (Elisabeth)
As her son's body is interred in the Kapuzinergruft, the crypt where all Habsburgs are buried, Elisabeth cries for him. Seeing Death, she implores him to take her now, that she can't go on anymore. This time, he refuses her.
Mein Neues Sortiment -- My New Range (Lucheni)
Elisabeth's grief is good business for souvenir sellers.
Boote in der Nacht -- Ships In the Night (Elisabeth, Franz Joseph)
Franz Joseph asks his wife to return to his side, but she tells him that they have grown too far apart and that they just can't be together any more.
Alle Fragen Sind Gestellt -- All the Questions Have Been Asked (Lucheni, Death, ensemble)
Franz Joseph has a nightmare -- Lucheni introduces the Habsburg clan and tells the audience of the misfortunes that have befallen them: Insanity, murder, death. As Elisabeth's name comes up, Death appears to say she's his (probably with the meaning of her being his mistress). Franz Joseph shakes his head, says it's not true, that Elisabeth is his. Death only laughs and throws Lucheni the murder weapon, a file.
Der Schleier Faellt -- The Veil Descends (Death, Elisabeth)
The invisible judge asks Lucheni what happened on the day of Elisabeth's murder. Lucheni tells him and the audience see how he stabs Elisabeth, who then finally throws off her black dress to be taken into Death's last embrace.he world premiere of the musical "Elisabeth" was on 3 September 1992 in Vienna, Austria. In 1996, it opened in Japan and Hungary, it also had runs in Sweden (1999), the Netherlands (1999) and Germany (2001). The Viennese revival was in October 2003.
Unlike the well-known "Sissi" film trilogy with a teenage Romy Schneider (made after world war II in the era of nostalgic films and sugary sweet imperial tragedies), the musical takes account of the fact that Elisabeth was a flawed woman, not just a victim. It also deals with tragedies in her life and incorporates her thoughts of suicide and death into the "Totentanz" (dance with death) motive. In this adaptation of the myth surrounding the Empress, Death becomes her lover -- a young, attractive man she feels drawn towards and who returns her affection. The spiralling fall of the monarchy is depicted as well as Death's involvement in politics that lead towards the events that will bring the monarchy down.
Here is an account of Elisabeth of Austria's life, which will hopefully clear up confusion for those who don't know a lot about Austrian history. Do let me know if you have comments or questions
"Ich halte den Faecher oder den Schirm vor mein Gesicht, damit der Tod ungestoert arbeiten kann…" ("I hold the fan or the umbrella in front of my face, so that death can work without being disturbed...")
Empress Elisabeth of Austria
from the souvenir brochure � Vereinigte Buehnen Wien 2003
Austria (aka "the heart of Europe") was a monarchy till the end of the first World War in 1918. This monarchy incorporated the Czech Republic, Slovakia, most of the former Yugoslavia, as well as parts of Italy and Hungary. The ruling family were the Habsburger (in English often called "Hapsburgs") dynasty, with succession rights falling to the first-born son (or next-of-kin male relative).
Elisabeth of Bavaria was a cousin of Austrian Emperor Franz Joseph (her mother, Ludovika was the sister of Franz Joseph's mother Sophie). Sophie's husband was a (mentally ill) man unsuited for being a regent and when he was to take over the throne in 1848, he stepped down in favour of his then 18-year-old son, Franz Joseph. Sophie took over the management of the monarchy, guiding her son in any and all matters. She also decided he should marry and fixed on Helene of Bavaria, her niece. She was "trained" in languages, protocol and other matters, while her younger sister, Elisabeth (born in 1837), was a very carefree and, by conventional standards, wild child.
When Elisabeth (affectionately called "Sisi") was fifteen, Helene was to marry Franz Joseph. But in Bad Ischl (an Austrian village known as a health resort for the aristocracy), where Franz and Helene were to meet, the Emperor fell in love with young Sisi. Nine months later, the two of them got married and were, supposedly, happy at first. But Elisabeth was unused to the "spanisches Hofzeremoniell", which was a very strict standard of conduct practiced at Court. She clashed with Sophie, who hoped to make her daughter-in-law the Empress Helene had been trained to be, but failed in her attempts. Franz Joseph didn't get involved in the conflict though, he left his wife entirely to his mother, being busy with state business.
Elisabeth bore two daughters, Sophie and Gisela, and in 1858 the heir to the throne, Rudolf, who were taken from her by her mother-in-law as it was unheard of for an Empress to mother her children. There were wet-nurses, nurse-maids and teachers at court who saw to this. Elisabeth was unhappy with this, but unable to do anything. Therefore, her feelings for her children were superficial at best; she never got to know them at all. Still, in one attempt to get her daughters back, Elisabeth only agreed to accompany her husband to Hungary for negotiations if she could take the babies with her. Sophie, the eldest, did not survive an illness she contracted on this journey.
A year later, in 1867, Hungary became part of the Austrian-Hungarian double monarchy, due to Elisabeth's political intervention (the first and only time she intervened in politics by the way). It was also a time when marital relations between Franz Joseph and Elisabeth were very good. It was during this time, that the last daughter of the couple, Valerie was born, in Hungary. There is also talk that she was a love child from a member of the Hungarian aristocracy, Count Andr�ssy (not entirely sure about the spelling), but this is only conjecture.
Elisabeth was a beautiful girl and an attractive woman; however, she was also a bulimic and tried to maintain her figure and beauty obsessively. She rode, walked and worked out for hours a day, ate very little. Her particular attention was to her hair, which went down to her knees and was washed daily. Dressing and getting ready took about 2-4 hours, if I remember correctly. Elisabeth was a fan of the poet Heinrich Heine and wrote poetry herself, often very dark and melancholy pieces. She loved her dogs and her youngest daughter Valerie (who was the only of her children permitted a marriage of love by her intervention), as well as Hungary. Hungarian was the only language she learned to speak well, apart from her native language. French and Italian, the languages required at Court, were those she particularly abhorred.
In 1889, crown prince Rudolf committed suicide in Mayerling, with his lover Mary Vetsera, a teenage aristocrat. There is also a conspiracy theory saying he was murdered, but this was never proven. Rudolf's marriage (with Stephanie of Belgium) had failed and his political views (in line with many of the ideals his mother herself favoured) were not accepted by his father. Franz Joseph ruled in the same way his ancestors had and didn't want to consider liberalism, democracy and political change. It should be noted, that Franz Joseph called himself a "servant of the people", the foremost civil servant. The role of Emperor had been given to him by God and he was to fulfil it to the best of his ability to ensure "his" people would lead a good life.
Elisabeth herself became more restless after her son's death, and she was even more reluctant to be seen in public. Her teeth had never been particularly good, so she had smiled seldom (there is only one series of photos in which she does not look grave and serious) and talked without opening her mouth, furthering the image of her being shy. In the last years of her life, Elisabeth was hardly ever in Austria, even less in Vienna, at Court. She liked going to Corfu and Madeira and seldom was in one place long. Along with her confidante, a Hungarian, she travelled incognito, always dressed in black, with an umbrella and a fan.
In 1898, Elisabeth was murdered in Geneva. The Italian anarchist Luigi Lucheni had planned on killing the Prince of Orleans, but since the man didn't turn up, he fixed on the Empress of Austria. He read she was in town and acted quickly.
After his wife's death, Franz Joseph continued as before. He had a close friendship with actress Katharina Schratt (which may or may not have been an affair; if I remember correctly, Elisabeth not only actively promoted it, but even brought it about). The first world war ended the reign of the Habsburg dynasty; Franz Ferdinand, heir to the throne after Rudolf's death, and his wife were shot in Sarajevo, which prompted the Emperor to retaliate. The system of alliances throughout Europe led to other countries becoming involved via their alliance partners and the war escalated.
Franz Joseph died in 1916 (if I remember correctly) and the next male Habsburg in line, Karl, ascended the throne. He abdicated in 1918 and went into exile, where he died some years later. Austria lost all crown lands and became a (very small) Republic. Karl's wife Zita, the last Empress of Austria, died a few years ago (I think it was in 1998 or so) and the Habsburg family is still involved in politics, but in a very small scale.