Paul Knepler, a Viennese publisher, sent Franz Lehár the libretto for Paganini (then entitled Hexenmeister [Wizard]), anonymously. Knepler intended to set the text himself, but eventually came to realize the task was beyond him; Lehár was immediately taken with the subject matter and set to work before he had even drawn up a contract with the author. Lehár required fourteen months to compose the score; during this period, he called on Béla Jenbach to make some finishing touches to the text.

Lehár tailored the part of Paganini for the voice of Richard Tauber, the famous Austrian tenor who had become the composer's standard interpreter. Unfortunately, Tauber was unavailable for the Vienna premiere of Paganini, on October 30, 1925. This was probably part of the reason for the operetta's lukewarm reception in Vienna. Lehár convinced Tauber to participate in the Berlin premiere of January 30, 1925. Both Lehár and Tauber triumphed that evening, and the production was sold out for the next three months.

Lehár's 28th completed work for the stage, Paganini is typifies the last phase of the "silver age" of operetta; representative qualities include: adopting the aura of "serious" opera and symphonic music, subject matter that one also finds in the cinema of the time, and vocal writing influenced by Puccini. The buffo numbers, such as the dance song, "Einmal möcht' ich was Närrisches tun" (Just once I would like to so something crazy), reveal a more sophisticated treatment than in Lehár's earlier works, and the arioso tenor numbers are more lyrical. Element's of the composer's Slavonic style emerge in Paganini's "Gern hab' ich die Frauen geküsst" (I've enjoyed kissing ladies). The use of pentatonic and whole-tone elements may derive from Lehár's study with Dvorák and Fibich, or from similar devices in Puccini's Madame Butterfly and Turandot.

Lehár's Paganini is one of many so-called "biographical operettas" that were popular in the first part of the twentieth century. In these anecdotal, romanticized accounts, historical figures become the central figures in theatrically bittersweet love affairs. Before making his name as a touring virtuoso, Paganini was indeed employed in 1801 as a violinist in the recently established "National Orchestra" of Lucca. The town, however, experienced financial difficulties and disbanded the orchestra not long after. In 1805, Napoleon assigned the Principality of Lucca to his sister, Elisa Bacchiocchi, who in 1806 invited Paganini to join the court chamber orchestra as second violinist. After this ensemble, too, met its demise, Paganini joined the ruling family's string quartet and began instructing the young prince and conducting operatic performances. In 1809, citing personal reasons, Paganini left his employment in Lucca and began his life on the road. Lehár and Knepler's central figure presents the contemporary stereotype of the Romantic artist and his noble mission: he does not want to belong to any woman; he must live only for his art. As in many stylized artist "biographies" of the era, Paganini, the demonic artist, rejects a life of comfort for a nomadic existence as a defiantly independent creative soul.

© All Music Guide

Gern hab' ich die Frau' n geküßt

Most Lehár mavens are aware of the composer's highly successful artistic relationship with the well-known German tenor from the first half of the twentieth century, Richard Tauber. Between 1925 and 1934 Lehár wrote six consecutive hit operettas with him in the lead, the first being Niccolò Paganini. The story, fashioned by Paul Knepler and Béla Jenbach, is about famous nineteenth century virtuoso violinist Paganini and his vying loves of women and the violin. This number, Girls were made to love and kiss, is probably the most popular from this charming operetta.

The song opens with a brief orchestral introduction, after which the main theme is sung to the title words. It is a lovely creation, a mixture of the romantic and the dreamy, the music taking wing from that sustained first note and thereafter weaving a beguiling path of arch-shaped phrases that culminate in a passionate, almost Puccinian close. The brief middle section has a livelier, folk-like character, initially imparting a sort of festive Gypsy style, but at length yielding back to the more romantic and passionate mood in the first half. The main theme returns for one more lovely go-round to close out the song. This three-minute gem will appeal to a broad audience, taking in lovers of both operetta and opera, as well as many Broadway music aficionados.

© All Music Guide