Franz Lehár's Friederike is an example of so-called "biographical operetta," a genre popular in the early decades the twentieth century. Typically, such works take the form of Romanticized anecdotal accounts in which a historical figure is the protagonist in a bittersweet love affair. Lehár had previously essayed the genre in Paganini (1924-1925), which takes as its starting point the famous violinist's employment in Lucca.

Choosing the poet Goethe as the subject matter for an operetta was a daring move. Lehár was enthusiastic about the original libretto by Fritz Löhner and Ludwig Herzer, for he felt the story of Goethe's romantic attachment to Friedericke Brion, a pastor's daughter in Alsace-Lorraine, was perfect material for musical treatment. As word of the enterprise spread through Berlin, reactions to the project appeared in local publications. Intellectuals and cabaret fans thought the scenario ridiculous, while most of the public looked forward to the new production. The controversy helped to sell out the house when Friederike was premiered at the Metropol-Theater on October 4, 1928.

Friederike is representative of the last phase of the "silver age" of operetta, which is marked by a tendency toward the sphere of "serious" opera and symphonic music, subject matter of the type then popular in cinema, and vocal writing influenced by Puccini. Frederike's orchestration is refined in its use of colorful contrasts, it musical characterizations precise. The vocal writing is unabashedly lyrical, perhaps because Lehár was certain of the abilities of the performers who were to give the premiere.

The composer tailored the part of Goethe to the voice of Richard Tauber, the famous Austrian tenor who had become the composer's most renowned interpreter and whose voice and stage presence almost ensured the success of Lehár's later works. Tauber once claimed that he and Lehár were brothers "without the luxury of a blood relationship." Lehár was thus able to compose very ambitious parts for the tenor, and a typical "Tauber song" developed, featuring a dramatic, upward initial thrust that others came to imitate. Such songs in Friederike include "O Mädchen, mein Mädchen" and "O wie schön, wie wunderschön." Interestingly, there is evidence that Tauber was at first hesitant to play the part of Goethe. He of course ultimately assumed the role, and the decision proved to be a boon to his career.

Friederike is one of Lehár's most passionate scores, and, aside from songs for the title character (played at the premiere by the celebrated Käthe Dorsch), most of the numbers went to Tauber. Although critics hated Friederike, the public loved it, and within a year it was playing in houses throughout Europe.

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O Mädchen, mein Mädchen

Friederike was the third of a string of six successful Lehár operettas written between 1925 and 1934 for the popular tenor Richard Tauber. O Mädchen, mein Mädchen (O Maiden, My Maiden), without doubt the best-known number from the operetta, was classed among what would come to be called Tauber Lied. Ludwig Herzer and Fritz Löhner wrote the book and lyrics for Friederike, which had successful runs in Berlin (premiered on October 4, 1928), London (September. 9, 1930), and New York (February 4, 1937).

The story of the operetta concerns the young German poet Johann Wolfgang Goethe and his love for Friederike, beautiful daughter of the rector of Sesenheim. O Mädchen, mein Mädchen features a lovely, unashamedly sentimental melody, full of passion and charm, the kind of creation that can draw tears from the more emotional listener. It has many peaks and valleys along its angular path, but manages to soar smoothly above all clouds in its mixture of optimism, romantic yearning, and warm harmonies. The playful middle section imparts a sense of youthfulness that contrasts deftly with the more fiery passion in the outer sections of this infectious love song.

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