Lustige Witwe, Die (The Merry Widow), No.6, Act I, Finale: Ladies' Choice! (Damenwahl) Cover Image

Lustige Witwe, Die (The Merry Widow), No.6, Act I, Finale: Ladies' Choice! (Damenwahl): Light Opera, Orchestra Accompaniment, Banda Set

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Lustige Witwe, Die (The Merry Widow), No.6, Act I, Finale: Ladies' Choice! (Damenwahl) Cover Image
Lustige Witwe, Die (The Merry Widow), No.6, Act I, Finale: Ladies' Choice! (Damenwahl): Light Opera, Orchestra Accompaniment, Banda Set

Lustige Witwe, Die (The Merry Widow), No.6, Act I, Finale: Ladies' Choice! (Damenwahl): Light Opera, Orchestra Accompaniment, Banda Set

By Franz Lehar/ Libretto by Viktor Léon and Leo Stein. German text.

Item: 36-E119742
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Description
The operetta DIE LUSTIGE WITWE (THE MERRY WIDOW) was written in 1905 by Austro-Hungarian composer Franz Lehár (1870-1948), with a libretto by Viktor Léon and Leo Stein. The story tells of a rich widow for whom her countrymen attempt to find her a new husband that will keep her money in the principality. The operetta was successful when it premiered on December 30, 1905, at the Theater an der Wien in Vienna, with Lehár conducting, and it has remained a staple of the opera repertoire ever since. The Act I FINALE takes place at a "Ladies' Choice" dance, where suitors swarm the wealthy widow Hanna for a spin around the ballroom. The only person she wants to dance with, Danilo, refuses, but he makes every effort to keep the other suitors away as he promised the Baron Zeta he would do. After all other suitors have given up and left, Danilo finally asks an annoyed Hanna to dance with him. She refuses, and Danilo dances by himself until she is finally worn down enough to fall into his arms. Instrumentation: 2(2nd dPicc).2.2.2: 4.2.3.0: Timp.Perc(3-4): Hp: Str (4.4.3.3.3 in set): Banda (2Vn, Va, Vc, CB): 6 Vocalists(SSTTTBar): Mixed Chor: Pno Cond. Score in set. Reprint edition.

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Additional Details
Series: Kalmus Opera Library
Publisher: Keiser Productions, Inc.
UPC: 605258592064
SKU: 36-E119742
Instrumentation: 2(2nd dPicc).2.2.2: 4.2.3.0: Timp.Perc(3-4): Hp: Str (4.4.3.3.3 in set): Banda (2Vn, Va, Vc, CB): 6 Vocalists(SSTTTBar): Mixed Chor: Pno Cond. Score in set

More about this title

About the Composer: Franz Lehar

Franz Lehár (1870, 1948) was born in Komárom, Hungary, and became one of the most prolific and celebrated operetta composers of the twentieth century. His gift for melody and gift for orchestration made him a master of the light opera genre, but it was Die Lustige Witwe that secured his place in music history. Premiered in Vienna in 1905, the work became an international phenomenon and remains the most frequently performed operetta worldwide.

Lehár's success stemmed from his ability to blend genuine musical sophistication with accessibility. He studied composition at the Budapest Conservatory and worked as a conductor before turning to composition, experience that shaped his writing for the stage. His later operettas never matched the Widow's cultural reach, yet they demonstrate his evolution as a composer willing to experiment with more dramatic material. For music educators, Lehár's output offers both crowd-pleasing material and serious musical substance.

Why we love this

This finale captures the genius of Lehár's melodic gift in a scene that works dramatically and musically. The interplay between soloists and chorus, the waltz rhythms that feel both light and sophisticated, and the clear harmonic architecture make this excerpt both teachable and genuinely charming to perform. It's operetta writing that never condescends to its audience.

What to expect

The energy is bright and slightly mischievous, full of the ballroom sophistication of turn-of-the-century Vienna. The harmonies are warm and clearly tonal, never ambiguous; the orchestration sparkles without being heavy. There's real romantic tension underneath the comedy, which is what makes the piece compelling rather than merely pretty.

Who it's for

Opera companies and musical theater programs looking for a scene that showcases soloists, chorus, and orchestra in equal measure. This excerpt works for advanced high school programs and small professional companies alike, provided you have singers with legit voices and ensemble discipline.

How to get the most out of it

  • Balance the soloists' lines against the chorus texture; the comedy of the scene depends on hearing the principal characters clearly even when the full ensemble joins.
  • Shape the waltz figures with a gentle lift rather than a mechanical pulse. Lehár's rhythms are dance music, not metronome work.
  • Let the harp part breathe. It's decorative but essential to the harmonic color and period flavor.
  • Coordinate the band parts (2Vn, Va, Vc, CB) as a mini-ensemble that supports the main orchestra without overwhelming it.

How to use it

Consider this as a standalone concert opener or as part of a light opera sampler concert alongside works by Offenbach or Sullivan. It also serves well as a finale to a musical theater gala, where the charm and theatrical immediacy shine brightest. The scene's manageable length makes it suitable for preview events or outreach programs where you want to demonstrate ensemble work without a full production commitment.

Skills your students will build

  • Singing in French/German with period-appropriate diction and stylistic inflection
  • Balancing solo voice production against choral texture and orchestra
  • Conducting and coordinating waltz rhythm with gentle lift rather than mechanical pulse
  • Reading and executing harp accompaniment figures that require harmonic awareness
  • Ensemble coordination between pit orchestra, banda parts, and stage singers across scene changes

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