Operetta
[3] The subject matter may portray "lovers' spats, mistaken identities, sudden reversals of fortune, and glittering parties".[6] Distinctive styles emerged across countries including Austria-Hungary, Germany, England, Spain, the Philippines, Mexico, Cuba, and the United States.[9] Important operetta composers include Johann Strauss, Jacques Offenbach, Franz Lehár, and Francisco Alonso.[2] 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.The distinctive traits of operetta are found in the musical theatre works of Jerome Kern, Richard Rodgers and Stephen Sondheim.[2] Operetta was first created in Paris, France in the middle of the 19th century in order to satisfy a need for short, light works in contrast to the full-length entertainment of the increasingly serious opéra comique.The origins of French operetta began when comic actors would perform dances and songs to crowds of people at fairs on open-air stages.[14] It is concluded that Hervé completed the groundwork, and Offenbach refined and developed the art form into the concept of operetta as we know it today.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.[6] 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.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.During this 1905, Lehár's Die lustige Witwe (The Merry Widow) paved a pathway for composers such as Fall, Oscar Straus, and Kálmán to continue the tradition of Operetta.[2] The Viennese tradition was carried on by Oscar Straus, Carl Zeller, Karl Millöcker, Leo Fall, Richard Heuberger, Edmund Eysler, Ralph Benatzky, Robert Stolz, Leo Ascher, Emmerich Kálmán, Nico Dostal, Fred Raymond, Igo Hofstetter, Paul Abraham and Ivo Tijardović in the 20th century.Gilbert, Sullivan, 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.[29] 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.In the USA, five companies were presenting it, and "the rush for tickets at the New Amsterdam Theatre" was likened to "the feverish crowding round the doors of a threatened bank".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".[35] Since the 1860s, French and Viennese composers such as Offenbach, Hervé, Suppé, Strauss Jr and Lehár have significantly influenced the operatic tradition of Italy.The widespread popularity of foreign operetta in Italy reached its climax at the turn of the century, in particular with the success of La vedova allegra, which premiered in Milan in 1907.[36] Other notable composers of Italian operetta include Vincenzo Valente, Ruggero Leoncavallo, Pasquale Mario Costa, Pietro Mascagni, Carlo Lombardo, Enrico Toselli, Virgilio Ranzato and Giuseppe Pietri.
Operetta filmOperetta (film)Monster HighThéâtre des Bouffes-ParisiensJacques OffenbachÉmile Bayardlight operaColumbia RecordsRita MontanerEliseo GrenetErnesto Lecuonazarzuelacosmopolitanismmusical theatreJohann StraussFranz LehárFrancisco AlonsoCastil-BlazeMozartBoccaccio, oder Der Prinz von PalermoFranz von SuppéFirst World Waropéra-bouffeJerome KernRichard RodgersStephen Sondheimopéra comiqueGeorges BizetCarmenShakespearetragédie lyriqueJaques OffenbachHervé.Orphée aux enfersvaudevilleEugène ScribeX. B. SaintineCervantesGounodLe petit FaustMam'zelle NitoucheSecond EmpireRobert PlanquetteCharles LecocqLes Cloches de CornevilleLa Fille de Madame AngotHungarianEmmerich KálmánBroadwayLes deux aveuglesLe violoneuxBa-ta-clanStrauss the YoungerMessagerVéroniqueLouis GanneLes saltimbanquesCarltheaterViennaPrussian defeat in 1866Johann Strauss IIGerman languageDie FledermausVienneseTheater an der WienDie lustige Witwe (The Merry Widow)Oscar StrausKálmánCarl ZellerKarl MillöckerLeo FallRichard HeubergerEdmund EyslerRalph BenatzkyRobert StolzLeo AscherNico DostalFred RaymondIgo HofstetterPaul AbrahamIvo TijardovićPaul LinckeBerlinWorld War IburlesquecabaretThe Glow-WormKurt WeillLeon JesselSchwarzwaldmädelReichsmusikkammerEduard KünnekeWalter KolloJean GilbertRudolf DellingerWalter GoetzeLudwig SchmidsederH.M.S. PinaforeArthur SullivanCox and BoxGilbert and SullivanVictorian eraW. S. GilbertSavoy OperasRichard D'Oyly Cartecomic operasThe Pirates of PenzanceThe MikadoEdward GermanIvan CaryllSidney JonesEdwardian musical comedyThe Merry WidowWest EndVictor HerbertSigmund RombergRudolph FrimlmusicalsPrincess TheatrerevuesRodgers and HartCole PorterIrving BerlinCandideLeonard BernsteinOffenbach