Operetta: A Theatrical History

By Richard Traubner | Go to book overview

THE SCHOOL OF STRAUSS II

THE THEATER an der Wien and the Carltheater had become the temples of Viennese operetta. Had today's long-run syndrome (and attendant advertising) existed in the 1870s, the works of Strauss and Suppé alone would have filled these theatres for months and months, but managers then had to have a supply of many works by other authors and composers to fill up their theatrical calendars. French works were still popular, but other Viennese composers, eager for the success of Strauss and Suppé, were writing operettas, and managers like Steiner and Jauner encouraged them. Millöcker, Zeller, Genée, and other composers and their librettists thus had their chances. Curiously, the libretti to almost all the great Viennese operettas of this period were by Genée and his partner, Zell.

The Viennese works of the 1870s and '80s were similar to the Parisian operettas in their dependence not only on popular composers but also on big stars, like Alexander Girardi or Marie Geistinger. On the whole, their plots were apt to be as sentimental as some of their French counterparts, and there were few in modern dress. The spectacular féeries were typically Parisian, however; Viennese managers were less inclined to spend such sums for works which were not expected to have long, consecutive runs. The lavishness and taste for which Paris was celebrated were rarely associated with Viennese operettas, which up to the 1920s were nearly always dowdily mounted, often with secondhand sets and costumes. The waltz, again, was of greater importance. Girardi himself was not known to have had a great voice, but voices were similarly subservient to the Viennese way with a waltz.

Comparatively few of these golden works are played today: the public has not clamored for their revival. Attempts to rekindle an interest in the less well

-133-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Note: primary sources have slightly different requirements for citation. Please see these guidelines for more information.

Cited page

Bookmark this page
Operetta: A Theatrical History
Table of contents

Table of contents

  • Title Page iii
  • Contents v
  • Acknowledgments vii
  • Introduction viii
  • Overture 1
  • Beginners, Please! 19
  • The Emperor of Operetta 55
  • Post-1870 Paris 75
  • Vienna Gold 103
  • The School of Strauss II 133
  • The Savoy Tradition 149
  • The Edwardesian Era 187
  • Fin De Siècle 221
  • The Merry Widow and Her Rivals 243
  • Silver Vienna 275
  • Continental Varieties 303
  • The West End 339
  • American Operetta 357
  • Broadway 377
  • Pasticcio and Zarzuela, Italy and Russia 423
  • Bibliography 434
  • Index 441
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
Items saved from this book
  • Bookmarks
  • Highlights & Notes
  • Citations
/ 461

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Search by... Author
    Show... All Results Primary Sources Peer-reviewed

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.