Der Graf von Luxemburg (The Count of Luxembourg) is an operetta in three acts by Franz Lehár to a German libretto by Alfred Willner, Robert Bodanzky, and Leo Stein.

[2] Between those operettas, he had composed two one-act stage works, Peter und Paul reisen ins Schlaraffenland (Peter and Paul Travel to Paradise) and Mitislaw der Moderne (Fashionable Mitislaw), followed by his indifferently received three-act operetta Der Mann mit den drei Frauen (The Man with Three Wives) in 1908 and the somewhat more successful Das Fürstenkind (Maids of Athens) which premiered in October 1909, one month before Der Graf von Luxemburg.

[3] Like The Merry Widow, Der Graf von Luxemburg deals with the themes of how the promise of wealth affects love and marriage, and the contrast between the gaiety of Parisian society and Slavic seriousness.

It was a re-working of the one written by Alfred Willner and Bernhard Buchbinder twelve years earlier for Johann Strauss' unsuccessful operetta Die Göttin der Vernunft (The Goddess of Reason).

Alone after the ceremony, René looks forward to resuming his playboy lifestyle with his new-found wealth but at the same time is disturbed by the attraction he felt when he touched the unknown woman's hand through the screen.

The next day in the lounge of the Grand Hotel where René has been staying since his return to Paris, he and Angèle discuss their predicament.

Prince Basil stumbles into her arms in a frantic search for Angèle only to hear that the Tsar has ordered him to keep his promise and marry the countess instead.

A year later, Lleó collaborated with the composer Enrique Bru [Wikidata] and two new librettists to create a one-act zarzuela, El conde del embudo, even more loosely based on Lehár's original.

Der Graf von Luxemburg arrived in Latin America soon after its premiere thanks to travelling operetta companies from Europe.

[13] Hood and Ross had made significant alterations to the original libretto and reduced the work from three acts to two with Lehár adjusting the score accordingly.

Although Schottenberg's re-working remains faithful to the basic plot and retains most of the original dialogue, the setting was changed to Vienna in the 1950s.

Larry L. Lash, who reviewed the live performance for Opera News wrote that the production "zipped along with a manic 'Springtime for Hitler' fall-out-of-your-seat humor that had me laughing out loud for days after.

"[15] Immediately following the festival performances at the Theater an der Wien, Schottenberg's production transferred to the Vienna Volksoper where it remained in repertory as of 2011.

The English recording, conducted by Barry Wordsworth and released on the That's Entertainment label, was from the 1983 Sadler's Wells Opera production and features the original cast from those performances including Marilyn Hill Smith as Angèle and Neil Jenkins as René.

[14] Amongst the recordings of the French version are Decca's 1950s release with Gabriel Bacquier in the title role and EMI Pathé's 1960s highlights with Michel Dens as the Count.