By Richard Traubner
"Operetta: A Theatrical History" is taken into account the vintage background of this significant musical theater shape. Traubner's ebook, first released in 1983, continues to be well-known because the key background of the folk and productions that made operetta a global phenomenon. starting in mid-19th century Europe, the ebook covers the entire key advancements within the shape, together with the landmark works by way of Strauss and his fans, Gilbert & Sullivan, Franz Lehar, Rudolf Friml, Victor Herbert, and lots of extra. The e-book completely captures the champagne-and-ballroom surroundings of the best works within the style. it is going to entice all enthusiasts of musical theatre background.
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Additional resources for Operetta: A Theatrical History (Routledge Studies in Musical Genres)
A revival of Pergolesi’s intermezzo La Serva Padrona in Paris in 1752 started a clamor for Italian or Italian-style works without parody and satire, with domestic situations treated in a natural, healthily comic style. Opera buffa had begun its world conquest. French composers began to compose sophisticated scores, with more elaborate partwriting and enlarged orchestration, for sentimental or comic libretti. Philidor’s Tom Jones operetta 4 (1765), Monsigny’s Le Déserteur (1769), and Grétry’s Richard Coeur de Lion (1784) were sentimental, even pathetic opéras-comiques, and the last was Well on the way to the historical-romantic grand opera so beloved in the nineteenth century.
One, La Chatte métamorphosée en femme (1827), provided the basis for a one-act Offenbach operetta thirty years later. The music in Scribe’s play was all borrowed: from other vaudevilles, from popular street songs, even two airs by Beethoven! By the 1850s, the leading farceur and vaudevilliste was another Eugène, Labiche, whose Le Chapeau de paille d’Italie (The Italian Straw Hat, 1851, written with Marc Michel) remains his most famous work. Satire, directed against middle-class foibles and bourgeois morality, was ever-present in the nineteenthcentury vaudeville.
Les Ambassadeurs, le Café de France, le Café Anglais were all the rage, as were the public bals which satisfied dancing urges. Both the music halls and the bals had a direct influence on the infant operetta, requiring songs (for the most part) to be accessible to untrained ears. They had to be catchy and, if possible, eminently danceable. This democratization accounted for many mediocre operettas throughout the nineteenth and early twentieth centuries, the direct opposite of the witty, musically and lyrically inspired creations of Offenbach and Meilhac and Halévy.