Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

1 results

  • 16 - British Operetta after Gilbert and Sullivan

  • from Part III - Operetta since 1900
  • Edited by Anastasia Belina, University of Leeds, Derek B. Scott, University of Leeds
  • Book:
    The Cambridge Companion to Operetta
    Published online:
    14 November 2019
    Print publication:
    05 December 2019, pp 246-260

  • Summary

    The chapter begins with a survey of musical comedy of the 1890s and early twentieth century. A brief account of Edward German and his operettas follows. Noël Coward established himself as a British operetta composer with Bitter Sweet in 1929. However, the person who did most to keep English operetta alive in the 1930s was the Welsh composer Ivor Novello (1893–1951). He gained a considerable amount of experience both as a composer for the stage and as an actor before completing his first operetta, Glamorous Night, in 1935. This chapter assesses Novello’s achievements, musical and dramatic, and investigates the critical reception of his operettas. It places him in the context of what came before (Fraser-Simson, Montague Phillips, Noël Coward) and what came after (Vivian Ellis, Julian Slade, Sandy Wilson).