Operetta is not the easiest musical form – in conversation with soprano Iwona Socha
“The Csárdás Princess” by Emmerich Kálmán tells the story of a love affair between Prince Edwin Lippert-Weylersheim, the son of an Austrian aristocratic family, and Silva Varescu, a cabaret singer from Budapest. The operetta is famous for its many melodies that have become classics of the genre, such as “There Are So Many Lovely Girls,” “The Girls from the Music Hall,” “What’s Going On? I’ll Go Crazy!,” and “Silva’s Csárdás.” On May 31, the Mazovian Musical Theatre will present a new staging of the show, directed by Michał Znaniecki. The role of Silva will be performed by Iwona Socha, with whom we spoke ahead of the upcoming premiere.
Who is the main character in “The Csárdás Princess?”
Iwona Socha: She is an incredibly charming, subtle, and expressive woman. She has her principles, ambitions, and plans — and she sets boundaries that reflect her values and her respect for herself and others. Silva’s character is like a palette of diverse colors and flavors. A unique blend of black and white, sweet and salty, soft and sharp. She is a fighter, especially when it comes to love, but she also has weaknesses that she often gives in to — like all of us. For me, she is the embodiment of a real, flesh-and-blood woman who radiates natural beauty that evokes both affection and admiration.
Is this your debut in this role?
Yes, although I have known all the musical parts for years. “Die Csárdásfürstin” is what we call a “hit operetta” — it’s full of beautiful music, Hungarian csárdás rhythms, melodic waltzes, well-balanced humor, and a priceless touch of melancholy in the background. It gently prompts the audience to reflect on life and love.
Is it easy to sing music composed by Kálmán?
I have been familiar with it for a long time. Even in primary school, I would visit the Kraków Operetta, where I could admire the vocal and acting artistry of its great performers.
Audiences love operetta.
People leave the theatre humming arias or duets. The lightness of the phrasing, melodic lines, humorous twists, and romantic entanglements make operettas consistently draw full houses. Contrary to appearances, operetta is not among the easiest musical forms. It requires extraordinary vocal control, the ability to transition smoothly between registers, and above all, the ability to produce beautiful tone in every part of the vocal range. The rich and dense orchestration is also a challenge – it often overlaps with the singer’s middle voice. Add to that quick tempo changes, varied dynamics, and vocal lines demanding both agile coloratura and lyrical beauty.
Despite these challenges, do you enjoy singing operetta?
Of course. It is a synthesis of music, dialogue, acting, and dance. Singing operetta demands a discipline that ties all these elements together. It fully utilizes the singer’s potential — from vocal technique and tone quality to diction, dialogue delivery, and physical expression. Many outstanding opera singers have often turned to operetta repertoire. Just think of Kiri Te Kanawa, Anna Moffo, Edita Gruberová, or Renée Fleming. Their brilliant interpretations, backed by exceptional vocal skill, enriched every operetta production.
What can the audience expect from this new staging of “The Csárdás Princess” on May 31?
A love story that transcends social boundaries, a transformation in customs, the crumbling of rigid social structures. In one phrase: the truth about the ever-changing nature of the world. You will see not only a love story full of challenges and obstacles but also one where faith in the power of love ultimately triumphs.
Thank you for the conversation.
Who? What? Where? When?
“The Csárdás Princess” by Emmerich Kálmán
Mazovian Musical Theatre
May 31 – June 8, 2025