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They spent one whole year travelling the world on honeymoon. Now Madeleine and Aristide de Faublas, blissfully in love, return to their home in Nice, where they are welcomed by friends as well as their domestics Bébé and Archibald. But no sooner is Aristide back at home than his gallivanting past catches up with him: he receives a telegram from a former lover, the tango dancer Tangolita, insisting that he come to the annual ball at the Savoy that very evening. With the help of his friend Mustafa Bey, attaché at the Turkish embassy and after six divorces an acknowledged expert when it comes to women, he finds a pretext enabling him to go to the ball and leave his wife at home. Madeleine sees through the ploy and decides to attend the ball herself, in disguise. She is supported by her friend Daisy Darlington, who has made a career as a jazz composer under the male pseudonym »José Pasodoble« and intends to reveal her true identity at the ball.
At the ball Aristide first flirts with an unknown woman – Madeleine in a mask – before disappearing with Tangolita into a chambre separée. Madeleine takes revenge: she sweeps the young lawyer Célestin Formant off his feet and invites him into the separée next door. At the climax of the ball Daisy reveals her identity and announces her engagement to Mustafa Bey, while Madeleine declares in front of everyone that she has just cheated on her husband. Divorce seems inevitable and Aristide summons his lawyer. It is Célestin who appears as the latter’s representative. He reveals no details about his evening with the mysterious lady. Daisy finally gets Madeleine to admit that nothing actually happened between her and Célestin. Marital bliss can start all over again ...
Ball atthe Savoy
Operetta in two acts 
3h 15m incl. intermission
This season - forthe lasttime!
Paul Abraham, Oscar Straus, and Emmerich Kálmán are just three of the many composers whose operettas achieved great success in the 1920s and 30s at the Metropol Theater (which was housed in the current Komische Oper building). Because of the composers’ Jewish ancestry, these works fell victim to Nazi cultural politics starting in 1933. Overnight celebrated stars became objects of persecution, forced to flee into exile. Even after the war, decades passed before this cultural rupture began to heal and the operettas were recovered. Starting under Barrie Kosky’s directorship of the Komische Oper Berlin, broken pieces were gathered and this tradition which had been so violently cut off was reinstated. Suppressed and forgotten works – such as A Woman Who Knows What She Wants! by Oscar Straus, and Arizona Lady and Marinka by Emmerich Kálmán – were put back on the program, both theatrically and in the form of concerts.
Right from the start, with Paul Abraham’s Ball in Savoy for the 2012/2013 season, Kosky heralded an operetta renaissance which quickly caught on at other opera houses in the German speaking world. The masterpiece, written by the Hungarian Jewish composer Paul Abraham and premiered in Berlin (with the Metropol Theater’s orchestra) in 1932, is a scintillating revue centered around love, sex and pasodoble. Revived at the Komische Oper Berlin 80 years after its world premiere, it has remained a box office hit ever since. Now, and for the last time, the curtains will be raised for this wild story of a newly-wed couple in high society whose fidelity will be put to the test.
Abraham’s score is a captivating mixture of Berlin jazz, Hungarian czárdás, Viennese sentimentality and Jewish klezmer. For the operetta’s final round, three great stars of our time will make their appearances – Dagmar Manzel, Katharine Mehrling and Helmut Baumann. »A fervid portrayal of life on the edge… over three hours of cabaret spectacle with dramatic irony and satirical humor. « [dpa]
This wild, fast-paced comedy combines the wit of a Feydeau with the sarcasm of The Bat, all to the tune of a jazzy foxtrot! Beneath the surface of bourgeois morality, it’s positively simmering– and the dance is the only place to let off steam! Soon, however, the ball at the Savoy will prove to be a dance at the edge of an abyss, ending abruptly with the new political era. With cosmopolitan characters and splendid acts such as “Kissing Turks” and “How lovely to take a stroll in the evening” Abraham created a masterpiece which thanks to Barry Kosky’s new production hopefully won’t ever be forgotten again.