After many of the numbers the audience would call noisily for encores. Franz von Suppé, also known as Francesco Ezechiele Ermenegildo, Cavaliere Suppé-Demelli, was born in 1819 and his fame rivals that of Offenbach.
In 1842, he wrote the one act opérette, L'Ours et le pacha, based on the popular vaudeville by Eugène Scribe and X.
In 1848, Hervé made his first notable appearance on the Parisian stage, with Don Quichotte et Sancho Pança (after Cervantes), which can be considered the starting point for the new French musical theatre tradition.
In 1849, Offenbach obtained permission to open the Théâtre des Bouffes Parisiens, a theatre company that offered programs of two or three satirical one-act sketches.
Important operetta composers include Johann Strauss, Jacques Offenbach, Franz Lehar, and Francisco Alonso. == Definition == The term operetta arises in the mid-eighteenth century Italy and it is first acknowledged as an independent genre in Paris around 1850.
Offenbach invented this art form in response to the French government's oppressive laws surrounding the stagings of works that were larger than one act or contained more than four characters. == History == Operetta became recognized as a musical genre around 1850 in Paris.
Sullivan and Gilbert and their producer Richard D'Oyly Carte themselves call their joint works comic operas to distinguish this family-friendly fare from the risqué French operettas of the 1850s and 1860s.
While Offenbach's earliest one-act pieces included Les deux aveugles, Le violoneux and Ba-ta-clan (all 1855) did well, his first full-length operetta, Orphée aux enfers (1858), was by far the most successful.
In the beginning of twenty-first century, German revival of operetta was an unforeseen theatrical development. Notable German operetta composers include Paul Lincke, Eduard Künneke, Walter Kollo, Jean Gilbert, Leon Jessel, Rudolf Dellinger, Walter Goetze and Ludwig Schmidseder. == Operetta in English == Offenbach's influence reached England by the 1860s.
Sullivan and Gilbert and their producer Richard D'Oyly Carte themselves call their joint works comic operas to distinguish this family-friendly fare from the risqué French operettas of the 1850s and 1860s.
Since the 1860s, French and Viennese composers such as Offenbach, Hervé, Suppé, Strauss Jr and Lehár have significantly influenced the operatic tradition of Italy.
An example would be Giacomo Puccini, who developed his work in the realistic verisimo style, and would compose "operettas in three acts." Other notable composers of Italian operetta includes Vincenzo Valente, Ruggero Leoncavallo, Pasquale Mario Costa, Pietro Mascagni, Carlo Lombardo, Enrico Toselli, Virgilio Ranzato and Giuseppe Pietri. === Reception and Controversy === The audiences of operetta during the 1860s and 1870s are described as rowdy and loud.
Operetta was considered as one of the major controversies about Italian music and its culture between the 1860s and the 1920s.
In 1861, he staged some of his recent works at the Carltheater in Vienna, which paved the way for Austrian and German composers.
Additionally, after the Prussian defeat in 1866, operetta became the sign of a new age in Austria, marked by modernity and industrialization. ===Austria–Hungary=== The most significant composer of operetta in the German language was the Austrian Johann Strauss II (1825–1899).
In 1870, the centre for operetta shifted to Vienna when Paris fell to the Prussians.
By the 1870s, however, Offenbach's popularity declined.
An example would be Giacomo Puccini, who developed his work in the realistic verisimo style, and would compose "operettas in three acts." Other notable composers of Italian operetta includes Vincenzo Valente, Ruggero Leoncavallo, Pasquale Mario Costa, Pietro Mascagni, Carlo Lombardo, Enrico Toselli, Virgilio Ranzato and Giuseppe Pietri. === Reception and Controversy === The audiences of operetta during the 1860s and 1870s are described as rowdy and loud.
While many of these operas seem to be very light-hearted, works such as the Mikado were making political commentaries on the British government and military with one of the main topics being capital punishment which was still widely used at the time English operetta continued into the 1890s, with works by composers such as Edward German, Ivan Caryll and Sidney Jones.
Berlin operettas also sometimes included aspects of burlesque, revue, farce, or cabaret. Paul Lincke pioneered the Berlin operetta in 1899 with Frau Luna, which includes "Berliner Luft" ("Berlin Air"), which became the unofficial anthem of Berlin.
The form of operetta continued to evolve through the First World War. There are some common characteristics among operettas that flourished from the mid-1850s through the early 1900s, beginning with the French opéra-bouffe.
During this 1905, Lehár’s Die lustige Witwe (The Merry Widow) paved a pathway for composers such as Fall, Oscar Strauss, and Kálmán to continue the tradition of Operetta.
Beginning in 1907, with The Merry Widow, many of the Viennese operettas were adapted very successfully for the English stage.
In Particular, the success of La vedova allegra, which premiered in Milan in 1907.
To explain this phenomenon, Derek Scott writes,In January 1908, London’s Daily Mail claimed that The Merry Widow had been performed 450 times in Vienna, 400 times in Berlin, 350 times in St Petersburg, 300 times in Copenhagen, and was currently playing every evening in Europe in nine languages.
Stan Czech, in his Lehár biography, claims that by 1910 it had been performed "around 18,000 times in ten languages on 154 American, 142 German, and 135 British stages".The international embrace of operetta directly correlated with the development of both the West End in London and Broadway in New York.
A prime example is Leon Jessel's extremely popular 1917 Schwarzwaldmädel (Black Forest Girl).
During this time, Viennese Censorship laws were changed in 1919.
Much later, in the 1920s and 1930s, Kurt Weill took a more extreme form of the Berlin operetta style and used it in his operas, operettas, and musicals.
Operetta was considered as one of the major controversies about Italian music and its culture between the 1860s and the 1920s.
Operetta as a genre lost favor in the 1930s and gave way to modern musical theatre.
Much later, in the 1920s and 1930s, Kurt Weill took a more extreme form of the Berlin operetta style and used it in his operas, operettas, and musicals.
These bucolic, nostalgic, home-loving operettas were officially preferred over Berlin-style operettas after 1933, when the Nazis came to power and instituted the Reichsmusikkammer (State Music Institute), which deprecated and banned "decadent" music like jazz and similar "foreign" musical forms.
and their contemporaries Operetta Research Center (with a large archive of historical reviews) Kurt Ganzl's 2019 favourite operettas Schwarzkopf Sings Operetta [Streaming Audio.
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