The Cambridge Companion to Operetta

A collection of essays revealing how operetta spread across borders and became popular on the musical stages of the world.

Anastasia Belina (Edited by), Derek B. Scott (Edited by)

9781107182165, Cambridge University Press

Hardback, published 5 December 2019

452 pages, 11 b/w illus. 2 tables 6 music examples
25.3 x 18 x 2 cm, 0.83 kg

'The 18 essays in this excellent compendium look at the origin, development, and distinct national characteristics of various types of light musical dramatic types that came to be known collectively as operetta … this book will interest scholars of Jewish studies as well as scholars of music and drama. The bibliography is excellent, as are lists of books and films … Highly recommended.' W. E. Grim, Choice

Those whose thoughts of musical theatre are dominated by the Broadway musical will find this book a revelation. From the 1850s to the early 1930s, when urban theatres sought to mount glamorous musical entertainment, it was to operetta that they turned. It was a form of musical theatre that crossed national borders with ease and was adored by audiences around the world. This collection of essays by an array of international scholars examines the key figures in operetta in many different countries. It offers a critical and historical study of the widespread production of operetta and of the enthusiasm with which it was welcomed. Furthermore, it challenges nationalistic views of music and approaches operetta as a cosmopolitan genre. This Cambridge Companion contributes to a widening appreciation of the music of operetta and a deepening knowledge of the cultural importance of operetta around the world.

Introduction Anastasia Belina and Derek B. Scott
Part I. Early Centres of Operetta: 1. French operetta: Offenbach and company John Kendrick
2. Viennese Golden-Age operetta: drinking, dancing and social criticism in a multi-ethnic empire Lisa Feurzeig
3. London and Gilbert and Sullivan Bruno Bower
4. Hungarians and Hungarianisms in operetta and folk plays in the late Habsburg and post-Habsburg era Lynn Hooker
5. Operetta in the Czech National Revival – the Provisional Theatre years Jan Smaczy
Part II. The Global Expansion of Operetta: 6. Going global: the international spread of Viennese Silver-Age operetta Stefan Frey
7. Spain and Zarzuela Christopher Webber
8. Camping along the American operetta divide (on the road to the musical play) Raymond Knapp
9. Operetta in Russia and the USSR Anastasia Belina
10. Operetta in the Nordic countries (1850–1970) Pentti Paavolainen
11. Operetta in Greece Avra Xepapadakou
Part III. Operetta since 1900: 12. The operetta factory: production systems of Silver-Age Vienna Micaela Baranello
13. Berlin operetta Tobias Becker
14. Operetta in Italy Valeria De Lucca
15. Operetta in Warsaw Anastasia Belina
16. British operetta after Gilbert and Sullivan Derek B. Scott
17. Operetta during the Nazi regime Matthias Kauffmann
18. Operetta films Derek B. Scott
19. 'Jazz was the dynamite that exploded the harmlessness of the Viennese operetta!' (Interviewer: Ulrich Lenz.) Interview with Barrie Kosky.

Subject Areas: Opera [AVGC9], 20th century & contemporary classical music [AVGC6], Romantic music [c 1830 to c 1900 AVGC5], Western "classical" music [AVGC], Music [AV], Theatre studies [AN]