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Author: Micaela Baranello Publisher: Univ of California Press ISBN: 0520401220 Category : History Languages : en Pages : 250
Book Description
CHOICE Outstanding Academic Title, 2022 "When the world comes to an end," Viennese writer Karl Kraus lamented in 1908, "all the big city orchestras will still be playing The Merry Widow." Viennese operettas like Franz Lehár's The Merry Widow were preeminent cultural texts during the Austro-Hungarian Empire's final years. Alternately hopeful and nihilistic, operetta staged contemporary debates about gender, nationality, and labor. The Operetta Empire delves into this vibrant theatrical culture, whose creators simultaneously sought the respectability of high art and the popularity of low entertainment. Case studies examine works by Lehár, Emmerich Kálmán, Oscar Straus, and Leo Fall in light of current musicological conversations about hybridity and middlebrow culture. Demonstrating a thorough mastery of the complex early twentieth-century Viennese cultural scene, and a sympathetic and redemptive critique of a neglected popular genre, Micaela Baranello establishes operetta as an important element of Viennese cultural life--one whose transgressions helped define the musical hierarchies of its day.
Author: Micaela Baranello Publisher: Univ of California Press ISBN: 0520401220 Category : History Languages : en Pages : 250
Book Description
CHOICE Outstanding Academic Title, 2022 "When the world comes to an end," Viennese writer Karl Kraus lamented in 1908, "all the big city orchestras will still be playing The Merry Widow." Viennese operettas like Franz Lehár's The Merry Widow were preeminent cultural texts during the Austro-Hungarian Empire's final years. Alternately hopeful and nihilistic, operetta staged contemporary debates about gender, nationality, and labor. The Operetta Empire delves into this vibrant theatrical culture, whose creators simultaneously sought the respectability of high art and the popularity of low entertainment. Case studies examine works by Lehár, Emmerich Kálmán, Oscar Straus, and Leo Fall in light of current musicological conversations about hybridity and middlebrow culture. Demonstrating a thorough mastery of the complex early twentieth-century Viennese cultural scene, and a sympathetic and redemptive critique of a neglected popular genre, Micaela Baranello establishes operetta as an important element of Viennese cultural life--one whose transgressions helped define the musical hierarchies of its day.
Author: Robert Ignatius Letellier Publisher: Cambridge Scholars Publishing ISBN: 1443884251 Category : Music Languages : en Pages : 710
Book Description
Operetta developed in the second half of the 19th century from the French opéra-comique and the more lighthearted German Singspiel. As the century progressed, the serious concerns of mainstream opera were sustained and intensified, leaving a gap between opéra-comique and vaudeville that necessitated a new type of stage work. Jacques Offenbach, son of a Cologne synagogue cantor, established himself in Paris with his series of opéras-bouffes. The popular success of this individual new form of entertainment light, humorous, satirical and also sentimental led to the emergence of operetta as a separate genre, an art form with its own special flavour and concerns, and no longer simply a "little opera". Attempts to emulate Offenbach's success in France and abroad generated other national schools of operetta and helped to establish the genre internationally, in Spain, in England, and especially in Austria Hungary. Here it inspired works by Franz von Suppé and Johann Strauss II (the Golden Age), and later Franz Lehár and Emmerich Kálmán (the Silver Age). Viennese operetta flourished conterminously with the Habsburg Empire and the mystique of Vienna, but, after the First World War, an artistically vibrant Berlin assumed this leading position (with Paul Lincke, Leon Jessel and Edouard Künnecke). As popular musical tastes diverged more and more during the interwar years, with the advent of new influences—like those of cabaret, the revue, jazz, modern dance music and the cinema, as well as changing social mores—the operetta genre took on new guises. This was especially manifested in the musical comedy of London's West End and New York's Broadway, with their imitators generating a success that opened a new golden age for the reinvented genre, especially after the Second World War. This source book presents an overview of the operetta genre in all its forms. The first volume provides an introduction, a representative chronology of the genre from 1840 to 2013, and a survey of the national schools of France and Austria-Hungary. The principal composers are considered in chronological sequence, with biographical material and a list of stage works, selected synopses and some commentary.
Author: Ellen Rosand Publisher: Univ of California Press ISBN: 0520254260 Category : Music Languages : en Pages : 712
Book Description
"In this elegantly constructed study of the early decades of public opera, the conflicts and cooperation of poets, composers, managers, designers, and singers—producing the art form that was soon to sweep the world and that has been dominant ever since—are revealed in their first freshness."—Andrew Porter "This will be a standard work on the subject of the rise of Venetian opera for decades. Rosand has provided a decisive contribution to the reshaping of the entire subject. . . . She offers a profoundly new view of baroque opera based on a solid documentary and historical-critical foundation. The treatment of the artistic self-consciousness and professional activities of the librettists, impresarios, singers, and composers is exemplary, as is the examination of their reciprocal relations. This work will have a positive effect not only on studies of 17th-century, but on the history of opera in general."—Lorenzo Bianconi
Author: Mark Everist Publisher: Cambridge University Press ISBN: 1108904726 Category : Music Languages : en Pages : 61
Book Description
Although nineteenth-century legislation had tried to ensure a precise separation between genre and institution for Parisian music in the theatre, it had inadvertently laid out a field on which the politics of genre could be played out as agents and actors of all types deployed various forms of artistic power. During the Second Empire, from 1854 until 1870, the state took over day-to-day control of the Opéra in ways that were without precedent. Every element of the Opéra's activity was subjugated to the exigency of Empire; the selection or artists, works and more general questions of artistic policy were handed over to politicians. The Opéra effectively became a branch of government. The result was a stagnation of the Opéra's repertory, and beneficiaries were the composers of larger-scale works for competing organisations: the Opéra Comique and the Théâtre Lyrique.
Author: Richard Traubner Publisher: Routledge ISBN: 1135887837 Category : Music Languages : en Pages : 511
Book Description
Considered the classic history of this important musical theater form. Traubner's book, first published in 1983, is still recognized as the key history of the people and productions that made operetta a worldwide phenomenon.
Author: Jacqueline Letzter Publisher: Univ of California Press ISBN: 0520226534 Category : History Languages : en Pages : 360
Book Description
At the same time it demonstrates how the Revolution fostered many dreams and ambitions for women that would be doomed to disappointment in the repressive post-Revolutionary era.".
Author: Derek B. Scott Publisher: Cambridge University Press ISBN: 9781108723329 Category : Music Languages : en Pages : 393
Book Description
Academic attention has focused on America's influence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900-1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period - from modernity and gender relations to new technology and new media - and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core.