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Introduction

Published online by Cambridge University Press:  14 November 2019

By
Anastasia Belina  and
Derek B. Scott
Edited by
Anastasia Belina  and
Derek B. Scott
Anastasia Belina
Affiliation:
University of Leeds
Derek B. Scott
Affiliation:
University of Leeds
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Summary

This introduction serves as an overview of the development of operetta and points to the neglect of operetta by many scholars of music and theatre. The editors begin by defining this genre, which is multi-faceted and often difficult to categorize. The introduction sets the stage for the following chapters by guiding the reader towards the important landmarks in the historical developments of operetta, such as those that occurred in France, Austria and London, and, in the twentieth century, in Berlin. In doing so, it also comments on notable composers and works. It concludes with some reflections on operetta reception in the twenty-first century.

Keywords

cultural transferOffenbachBerlinBroadwayWest EndSilver AgeLehárJewish artistsdefining operetta
Type
Chapter
Information
The Cambridge Companion to Operetta , pp. 1 - 14
Publisher: Cambridge University Press
Print publication year: 2019

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References

Recommended General Reading

Everett, William A., ed. The Cambridge Companion to the Musical. Cambridge: Cambridge University Press, 2008.Google Scholar
Grun, Bernard. Die leichte Muse: Kulturgeschichte der Operette. Munich: Langen Müller Verlag, 1961.Google Scholar
Lamb, Andrew. 150 Years of Popular Musical Theatre. New Haven, CT: Yale University Press, 2000.Google Scholar
Niccolai, Michela and Rowden, Clair, eds. Musical Theatre in Europe 1830–1945. Turnhout: Brepols, 2017.Google Scholar
Traubner, Richard. Operetta: A Theatrical History. New York: Routledge, 2003.Google Scholar

Reference Books

Anderson, James. The Complete Dictionary of Opera and Operetta. New York, NY: Wings, 1993.Google Scholar
Bordman, Gerald Martin and Norton, Richard. American Musical Theatre: A Chronicle. New York: Oxford University Press, 4th ed. 2011 (orig. pub. 1978).Google Scholar
Drone, Jeanette Marie. Index to Opera, Operetta and Musical Comedy Synopses in Collections and Periodicals. Metuchen, NJ: Scarecrow Press, 1978.Google Scholar
Ewen, David. The Book of European Light Opera. New York: Holt, Rinehart and Winston, 1962.Google Scholar
Gänzl, Kurt. Encyclopedia of the Musical Theatre. New York: Schirmer, 1994.Google Scholar
Green, Stanley. Encyclopedia of the Musical Theatre. New York: Dodd, Mead, 1976.Google Scholar
Letellier, Robert Ignatius. Operetta: A Sourcebook. 2 vols. Newcastle: Cambridge Scholars Publishing, 2015.Google Scholar
Lubbock, Mark. The Complete Book of Light Opera. With an American section by David Ewen. London: Putnam, 1962.Google Scholar
Norton, Richard C. A Chronology of American Musical Theater. 3 vols. New York: Oxford University Press, 2002.Google Scholar
Oster, Louis. Guide raisonné et déraisonnable de l’opérette et de la comédie musicale. Paris: Fayard, 2008.Google Scholar
Raymond, Jack. Show Music on Record from the 1890s to the 1980s. New York: Frederick Ungar Publishing, 1982.Google Scholar
Schneidereit, Otto. Operette A–Z: Ein Streifzug durch die Welt der Operette und des Musicals. Berlin: Henschelverlag, 1975.Google Scholar
Wagner, Heinz. Das große Operettenbuch: 120 Komponisten und 430 Werke. Berlin: Parthas-Verl., 1997.Google Scholar
Wearing, J. P. The London Stage 1890–1959: A Calendar of Productions, Performers, and Personnel. 14 vols. Lanham, MD: Rowman and Littlefield, 2nd ed. 2013.Google Scholar

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