The Countess Maritza

• Original Broadway Production (1926)
  New York, NY
• Broadway Return Engagement (1928)
  New York, NY
• London Revival (1938)
  London, England
• London Revival (1983)
  London, England

Click on the title for info on the song.

Original score

• Hola, Follow, Follow Me
• Dear Home of Mine, Goodbye
• In the Days Gone By
• Make Up Your Mind
• Music Thrills Me, The
• Come at the Call of Love
• I'll Keep on Dreaming
• Love Has Found My Heart
• One I'm Looking For, the
• Sister Mine
• Play Gypsies, Dance Gypsies
  • aka Play Gypsies--Dance Gypsies [no note]
• Say Yes, Sweetheart
• Don't Tempt Me
• Who Am I?
• Why Is the World So Changed Today?
• Brown-Eyed Girl
• Golden Dreams

Added to London production

• Luck Is a Golden Dream
• How Do You Do?
• Vienna Mine
• Set the Gipsy Music Playing
• Childhood Memories
• Let's Go to Varasdin
• When I Start Dreaming
• Corks Are Popping
• Be Mine, My Love, Be Mine
• Nut Brown Maiden from the Prairie
• Waltz Our Worries Away

Recordings listed here were done in the studio specifically to release as recordings. They do not represent cast recordings of a particular production.

• Studio Cast (not listed yet)
  Victor Light Opera Company

Based on the Viennese operetta Gräfin Mariza by Julius Brammer and Alfred Grünwald

Maritza, a wealthy land-owner, is tired of men trying to marry her for her money. Thus, she announces her engagement to the fictitious Baron Koloman Zsupán. Soon, however, Maritza falls in love with one of her staff, the bailiff Bela Törek, who is in reality Count Tassilo, an impoverished nobleman who has taken on the work to pay off his father’s debts and amass enough money for a dowry for his sister Lisa. The barriers of wealth and class are compounded by suspicions on each side as to the real intentions of the other. In the end, all is well and Maritza and Tassilo are married. Further, Tassilo’s sister, Lisa, marries Maritza’s friend, Zsupân.

In writing the book and lyrics for the New York version of Countess Maritza, Harry B. Smith essentially ignored the German original. For the London version, however, Nigel Douglas returned to the original source--rewriting Harry B. Smith's book and lyrics, but retaining Kalman's music intact.

• Countess Maritza (no note)
• Gräfin Mariza (Viennese title)
• Maritza (London title)