By Richard Traubner
"Operetta: A Theatrical History" is taken into account the vintage heritage of this crucial musical theater shape. Traubner's booklet, first released in 1983, continues to be well-known because the key background of the folks and productions that made operetta a global phenomenon. starting in mid-19th century Europe, the e-book covers the entire key advancements within the shape, together with the landmark works by way of Strauss and his fans, Gilbert & Sullivan, Franz Lehar, Rudolf Friml, Victor Herbert, and plenty of extra. The publication completely captures the champagne-and-ballroom surroundings of the best works within the style. it is going to attract all fanatics of musical theatre historical past.
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Extra resources for Operetta: A Theatrical History (Routledge Studies in Musical Genres)
Sample text
These were invariably stagnant mythological or classical affairs that merely existed for vocal tours-de-force. By 1726, Handel had become a British subject, and two years later John Gay pricked the bubble that was an inflated convention by producing something new and British. The chief song-source was a six-volume songbook published a decade before that included a vast number of ballads and other songs. Surprisingly, The Beggar’s Opera was originally intended to be performed without an orchestra; the actors were meant to sing the songs without accompaniment.
The new genre continued to purvey the old recipe for popularity: satire (both social and musico-dramatic), characters drawn generally from the commedia dell’arte, songs that were immediately hummable (whether familiar or new), and varying amounts of ribald indecency. One of the most famous opéras-comiques of the first half of the eighteenth century was Charles-Simon Favart’s (1710–1792) La Chercheuse d’Esprit (1741), a licentious and graceful work remembered because it is used in Offenbach’s Madame Favart (1878), an operetta that recreates this very period.
All these genres, popular entertainments stemming ultimately from the late seventeenth- and early eighteenth-century Parisian fairs, were responsible for the birth of operetta after 1850. The works mentioned may well be counted as the ancestors of operetta, but none should really be called an operetta, because operetta as we know it was specifically a Paris original created after 1850. Fra Diavolo, or Le Comte Ory, or Le Postillon de Longjumeau, delightful as they are, are not operettas because they represent the development of opéra-comique, and the original operettas of the 1850s were frankly closer to the vaudeville and the revue in spirit.