"Indigo und die vierzig Räuber" Operetta

The year is 1871. Amid carnival celebrations and glittering balls, on the evening of Friday, February 10, the Theater an der Wien is filled to capacity. The audience eagerly awaits the premiere of a much-anticipated production, as announced on the poster: For the first time: Indigo and the Forty Thieves (Indigo und die vierzig Räuber). A comic operetta in three acts (four scenes), based on an old tale, adapted and directed by M. Steiner. Music by Johann Strauss. Sets for the first and fourth scenes by Mr. A. Moser; for the second and third scenes by Mr. L. Grünfeld. Dances choreographed by ballet master G. Golinelli. This marks the debut operetta of Johann Strauss Jr. (1825–1899), also known as Johann Strauss II, in which he boldly steps beyond his celebrated domain of waltzes, polkas, marches, and quadrilles—genres beloved not only by the Viennese, but by audiences across Europe. Historians suggest that the inspiration for this artistic leap came from his wife, Henriette (Jetti) Treftz—a singer and devoted collaborator who assisted Strauss in transcribing scores and organizing his major tours. Convinced of his theatrical potential, she encouraged him to explore the operetta genre. Strauss enlisted the support of director Maximilian Steiner, who presented him with several librettos. Sadly, no trace remains of his earliest efforts in this field: the score of The Merry Women of Vienna (1868), submitted to the Theater an der Wien for staging, has vanished, as has the unfinished score of Romulus (1871). Steiner did not give up on the idea and credited Johann Strauss with writing a new type of original "Viennese" operetta, derived from the spirit of Viennese music. He was the ideal composer – he knew the classical orchestral and operatic repertoire, his instrumental pieces shaped the musical identity of the city, and he was a fantastic melodist. At the time, Jacques Offenbach’s operettas reigned supreme in Vienna, and anticipation ran high for the premiere of Indigo and the Forty Thieves. How would the undisputed ruler of the ballroom challenge his French counterpart—the master of the theatrical stage? In fact, Offenbach himself, perhaps unknowingly, helped spark Strauss’s foray into operetta. During a visit to Vienna in 1864, the two shared a glass of wine at the Golden Lamb tavern, where Offenbach reportedly exclaimed: “You must write operettas, Johann! You have everything you need!” That moment may well have given Strauss the confidence to pursue more ambitious musical forms. The title of Strauss’s first operetta immediately evokes the enchanting world of One Thousand and One Nights. Maximilian Steiner, credited as the official librettist, skillfully capitalized on the 19th-century fascination with Orientalism and the exotic allure of the East. Behind his name, however, lie the contributions of several co-authors who helped shape the free adaptation of the tale of Ali Baba and the Forty Thieves. Among them was the well-known Richard Genée—composer, arranger, and playwright at the Theater an der Wien. Strauss employed several key elements in his operetta debut. First among them were Turkish musical idioms, long popular in Vienna since Mozart’s time. These motifs are masterfully interwoven with the unmistakable fragrance of Viennese sensuality in musical expression, enriched by references to the city’s carnival traditions. At the same time, the work incorporates elements of political satire in the spirit of Offenbach, along with a host of theatrical flourishes—dramatic twists, romantic entanglements, playful deceptions, and, of course, the obligatory happy ending. Before reaching the stage, Indigo and the Forty Thieves underwent numerous title changes. The newspaper Morgen-Post mockingly reported: “They are still hesitating between the names Fantastica, Esprita, Hildalga, Grazia, Zitana, Varieté, Amora… and several dozen other melodious female names.” Even after its premiere, the operetta appeared under various titles: Queen Indigo (Paris, 1875) and A Night on the Bosphorus (London, 1876). Following Strauss’s death, the work was completely reimagined and staged in 1906 under the title A Thousand and One Nights. The long-awaited premiere of Indigo and the Forty Thieves was met with standing ovations. Despite its immense popularity with Viennese theatergoers, the operetta drew mixed reactions from critics. The music itself was never in question—Strauss’s ability to conjure vivid imagery and compelling dramatic scenes, supported by brilliant orchestration, was widely acknowledged. His melodic inventiveness shines throughout, both in the solo performances and choral passages. Steiner’s staging, sets, and costumes were lavish and visually stunning. The cast, led by prima donna Maria Geislinger—co-director of the Theater an der Wien—delivered impeccable performances. However, the libretto was universally criticized and regarded as the operetta’s Achilles’ heel. The influential Viennese critic Eduard Hanslick wrote dismissively: “A man with the reputation and talent of Johann Strauss would have done better to have nothing to do with it.” Yet even Hanslick conceded: “Overall, Johann Strauss’s first step on stage turned out to be a good one, and let’s hope we’ll meet the talented maestro many more times on the path he has set out on… Strauss without Vienna is as unthinkable as Vienna without Strauss.” Despite its mixed critical reception, the operetta continued to captivate audiences with unwavering enthusiasm. Viewers seemed to overlook the libretto, enchanted instead by the musical brilliance that sparkles throughout Strauss’s score. (The composer would later create nine independent instrumental works based on motifs from the operetta for concert performance.) Following its premiere, Indigo and the Forty Thieves was performed 69 more times, concluding its run on January 20, 1874. Strauss went on to compose prolifically in the genre, producing 15 subsequent operettas, including masterpieces such as Die Fledermaus, Der Zigeunerbaron, and Wiener Blut. Today, Johann Strauss Jr.’s first operetta is rarely staged, overshadowed by his more celebrated works. Its libretto has undergone numerous revisions, and it is no coincidence that it is jokingly referred to as Indigo and the Forty Librettists. Maestro Dario Salvi now presents the work to Bulgarian audiences for the first time in a concert performance in Sofia. Here is the 2025 version of the plot: The first act introduces us to the palace life of Indigo, ruler of the island of Makassar. The economy is in ruins: the finance minister has no money, the defense minister has no weapons, and the justice minister—aptly named Corruptio—knows nothing. Meanwhile, the wives of these high-ranking officials set the tone and hold the decisive vote. Tension rises when rumors spread that bandits are roaming the kingdom and nearing the royal residence. Defeating them becomes the top priority, and—against Indigo’s will—Fantasca is chosen as the reward for whoever succeeds. Fantasca is a beautiful Viennese woman who, after surviving a shipwreck, arrives on the island with her compatriot Yani. Another Viennese man, Romadur, serves as the high priest. Fantasca is captured and becomes a favorite in Indigo’s harem, though he vainly seeks her affection. By chance, she uncovers the secret of the bandits and the magical incantations “Open, Sesame!” and “Close, Sesame!” which guard their hidden lair. She devises a plan and persuades Indigo that, since men have failed, the bayadères must confront the bandits. Fantasca leads the harem to the cave, where she has summoned the donkey driver Ali Baba. The plan is to load his donkey with sacks of stolen gold and escape. Meanwhile, Janio—Indigo’s cheerful advisor—learns of the scheme. Disguised in Ali Baba’s robe, he enters the cave, where the women lie asleep under Fantasca’s potion. After declaring their love, Fantasca and Janio seize the treasure, leaving the bayadères locked inside. This spectacular scene closes the second act. The final act features vibrant dances and a lively marketplace scene, introducing new episodic characters, including Toffane—Ali Baba’s fiery wife, whose name (“tophane” meaning “armory” in Turkish) reflects her explosive temperament. Suddenly, the bayadères burst in, having been freed by Ali Baba and spirited away in sacks. Indigo arrives with his full entourage. Fantasca and Janio board a steamboat bound for Europe, joined by Ali Baba, who sets off in search of new adventures.