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Liselott
(1932)Libretto by Richard Keßler, based partly on an idea by Heinrich Stobitzer; new version by Gustaf Gründgens (G)
3S,2T,buffoT,charactercomic;buffoBar; chorus; ballet;
2(II=picc).1.3sax(or 3cl).1-2.3.1.0-timp.perc-harp-pft-strings (without vla)
Abbreviations (PDF)
Bote & Bock
Landestheater , Altenburg
Company: Landestheater Altenburg
Admiralspalast, Berlin
Company: Admiralspalast
| PHILIPP, Duke of Orléans, brother of Louis XIV | Tenor |
| KARL LUDWIG, Prince Elector of the Palatinate | Character Comedian |
| LISELOTT, his daughter | Soprano |
| COUNT WALTER HARLING | Tenor |
| FRANÇOISE, Countess of Grançai, stewardess | Soubrette Soprano |
| CHEVALIER DE LA GARDE, the Duke’s seneshal | Buffo Tenor |
| BLANCHE, Liselott’s French lady-in-waiting | Soubrette Soprano |
| TEMPLE, a bandit | Buffo Baritone |
| LOUIS XIV | non-singing role |
| LEONORE, Baroness of Ratsamtshausen, Liselott’s tutor | non-singing role |
| MARQUIS DE BÉTHUNE | non-singing role |
| LACROIX, chief cook | non-singing role |
| MADAME PINARD, housekeeper | non-singing role |
| MADEMOISELLE JÊNE, wardrobe mistress | non-singing role |
| MADAME DUBOIS, an innkeeper | non-singing role |
| JEANETTE, Temple’s girlfriend | non-singing role |
| MARCHESE MICHIELLI, envoy of Venice | non-singing role |
| THE CARIDNAL | non-singing role |
| THE MINISTER OF THE INTERIOR | non-singing role |
| THE MINISTER OF JUSTICE | non-singing role |
| THE POLICE PREFECT OF PARIS | non-singing role |
| A WAITING MAN | non-singing role |
| Court couple | |
| The King’s Ballet |
Heidelberg, St. Germain, Paris, Versailles, end of the 17th century
For reasons of national policy, the ‘Sun King’ Louis XIV. wishes his brother Philipp, Duke of Orléans, to marry Liselott, the daughter of the prince elector of the Palatinate. The prince elector knows that the fate of his country depends on this association,. so he urges his daughter into matrimony. Liselott agrees, though she has already crossed many of her father’s strategies, being very attached to the count Walter Harling since her childhood days. Philipp, who cultivates a refined style of life which is close to decadence, is astonished by the free and unladylike behaviour of his German wife. Furthermore, he cannot break away from his mistress. When he and Liselott unexpectedly find themselves in a highly dangerous situation, Liselott saves his life by her courage and her presence of mind. It is but now that Philipp with surprise and admiration realises the upright feelings of his wife, who has fought for him.
Romantic