Relevant bibliographies by topics / Operetta

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Operetta'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Operetta"

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TÜRKMENOĞLU, Ömer, and Gülay LAÇİN. "‘OPERETTAS’ FROM THE OTTOMAN PERIOD TO THE PRESENT." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 1 (April 15, 2021): 313–33. http://dx.doi.org/10.46291/zfwt/130116.

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We need to give information about the definition and historical process of “operetta” before starting this study titled “Operettas from the Ottoman period to the present”. Operetta was a term used for short and unpretentious operas in the eighteenth century. At the end of the nineteenth century, "operetta" was called "small opera" and "musical theater" as a stage work, born out of the comic opera genre, developed in Paris and Vienna, one of the cultural and artistic centers of Europe. The operettas, which explained fun and emotional subjects in a simple language and appealed to a wide audience, also had the satiric feature of the lower class. In the Nineteenth Century Ottoman Period, when the influence of westernization began to be seen, interest in western style music increased along with the developments in Turkish music. Western style music was initially adopted by the people around the palace and later by the public and began to be performed. During this period, operettas were staged by Italian groups, and operettas were written by Turkish composers using Turkish and Western music together in the last quarter of the 19th century. In operettas written, the musical and instrumental features of Turkish music were used together with the harmony of Western music, and works were tried to be written using two different structures together. In this study, the development of operetta from the Ottoman period to the present day, which emerged in line with the Westernization movement, was discussed. The operettas that were written in this period but were not supported by the conditions of that period, could not be completed and therefore were not performed and forgotten, and operettas that have survived to the present day and have the characteristics of Turkish Music have been identified according to the sources. "Arif's Hilesi", known as the first Turkish operetta written in the Ottoman period and composed by Dikran Çuhaciyan, and the "İstanbulname" operetta composed by Turgay Erdener, one of the last generation composers, were also examined. Keywords: Ottoman, Republic, Period, Turkish, Operetta
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Driessen, Veerle. "La fille de Madame Angot." De Moderne Tijd 5, no. 1 (January 1, 2021): 5–34. http://dx.doi.org/10.5117/dmt2021.1.001.drie.

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Abstract La fille de Madame Angot French operetta in the Netherlands in the 1870s: popular and contested In the second half of the nineteenth century, French operetta was one of the most popular genres of music theatre in Amsterdam and in the Netherlands. The comedic pieces written by composer Jacques Offenbach were by far the most popular, and his opéras bouffes have long determined the image of operetta in the nineteenth-century, but also in Dutch historiography. With the premiere of La fille de Madame Angot by Charles Lecocq in Amsterdam in 1873, a new subgenre of operetta – opéra comique – was introduced in the Netherlands. This article analyses the way in which this new form of operetta was introduced in Amsterdam, how it differed from operettas that had previously been popular in the Netherlands, and how it was received by audiences and critics that were already well-acquainted with earlier operettas.
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Krylovskaya, Izabella I. "Operetta Theater in the Far East in the Period between Two Wars (1906–1914)." Problemy Muzykal'noj Nauki / Music Scholarship, no. 3 (2022): 120–32. http://dx.doi.org/10.56620/2782-3598.2022.3.120-132.

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The author highlights the period of the pre-revolutionary operetta theater in the Far East, spanning the years between two Wars – the Russo-Japanese War and World War I, characterized by an intensive development of the given sphere. Both the inner and the overall Russian tendencies find reflection in this process. This is revealed in forming the repertoire with the fundamental musical compositions, including operettas by contemporary composers from Russia and from other countries. The cameo theaters which spread in the region at that time stipulated the appearance of one-act performances, as well as “shortened” versions of classical and Viennese operettas in the programs of the non-repertory theaters. Among the regional traditions of musical theater, we can observe “competitional” productions and incorporation of inserted numbers, which enhance the multicultural character of operetta. When comparing the dynamics of the functioning of the operetta theater in the country’s central and southern provinces, the conclusion is formed about the leadership of the peripheral territories in this sphere. The cities of the Far East, Harbin, Khabarovsk and Vladivostok broadened the geographical areas of activity of the operetta theater in the remote territories of the Russian Empire.
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Lengyel, Emese. "The Categorization of the Operetta Dance Genre in the Táncművészet Magazine between 1952 and 1956." Arts 12, no. 5 (September 11, 2023): 197. http://dx.doi.org/10.3390/arts12050197.

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The aim of the Hungarian state socialist regime to renew the operetta art manifested in the transformation of operetta-playing via the setting of its main cultural objectives. Once private theatre organizations were disbanded in 1949, newly written and composed operetta pieces had to be adjusted to meet the expectations cultivated by those responsible for the drawing up of the contemporary cultural policies, not only in terms of theme, subject, and dramaturgy but also, as productions designed for stage performance. At that time, questions regarding the realm of operetta dance and choreography arose as significant professional issues. The remarkable case of operetta dance was brought to the notice of the larger professional community by an article written by choreographer Ágnes Roboz, which was published in 1952 in the Táncművészet magazine (1951). Due to its professional nature, this magazine served as a suitable platform for the discussion of the operetta dance genre. The present study reflects upon its publications from the period between 1952 and 1956. Throughout these years, 16 articles discussing the categorization of operettas were published. I aimed to analyze these primary sources according to their genre before presenting, juxtaposing, and contextualizing them. Thus, my objective is to gain a thorough understanding and comprehensive overview of professional discussions and arguments over 1950s operetta dances and choreographies.
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Bono, Francesco. "In the Steps of Operetta: Austrian Cinema’s Relation to History." European Journal of Multidisciplinary Studies 4, no. 1 (March 30, 2019): 80. http://dx.doi.org/10.26417/ejms-2019.v4i1-531.

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This essay intends to investigate some aspects of the multifaceted relationship between the Viennese operetta and Austrian film in the period from the 1930s to the 1950s. In particular, the essay will try to trace the influence of the operetta on the way in which Austrian films depicted the country’s history. Focusing on some of the most popular Austrian films of the period, including Willi Forst’s Operette (1940), Wiener Blut (1942) and Wiener Mädeln (1944-49), as well as Ernst Marischka’s trilogy from the late 1950s about the Austrian empress “Sissi”, the essay will critically discuss Austrian cinema’s penchant for the past, investigating the affinity of the Austrian (musical) film to the Viennese operetta, which served as its ideological and aesthetic model. In its affection for the past, Austrian cinema followed in the steps of the Viennese operetta. In contrast with the Hollywood musical genre or German musical films like Die Drei von der Tankstelle (1930) or Hallo Janine (1939), to mention just two of the most famous ones from the pre-war era, history was a key component of the Austrian Musikfilm. In Austria, the musical film overlapped with the historical genre, and it strongly influenced the country’s memory of its past. By investigating the connection between the Viennese operetta and Austrian cinema, this essay aims to provide a better understanding of Austrian films in the cultural, political and historical context in which they saw the light of day.
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Guo, Qing. "INFLUENCE OF J. OFFENBACH ON I. STRAUSS' OPERETTA "THE BAT"." Archivarius 8, no. 1(64) (January 20, 2022): 4–10. http://dx.doi.org/10.52013/2524-0935-64-1-1.

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This article analyzes the work of Jacques Offenbach on the work of Johann Strauss. The author provides a brief description of operetta as a musical genre. The subject of this research is the operetta "The Bat", which has similar characteristics to the "Parisian Life" of Offenbach. It has been established that the basis of the two operettas is the play "Réveillon", as a result of which their similarity in the plot and construction of the sequence of actions is manifested. At the same time, Johann Strauss used such achievements of Jacques Offenbach as the comedy of the plot, the use of national motives, the structure of the composition and the inclusion of comments on current social and political events.
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Lamb, Andrew. "Operetta." Musical Times 126, no. 1714 (December 1985): 737. http://dx.doi.org/10.2307/965212.

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Hanák, Péter. "The Historical and Cultural Role of the Vienna-Budapest Operetta." Central-European Studies 2021, no. 4(13) (2021): 391–415. http://dx.doi.org/10.31168/2619-0877.2021.4.15.

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This article is devoted to the history of the origin and rise to the peak of popularity of the operetta genre in the Austro-Hungarian monarchy. This paper demonstrates that, in contrast to French or English operettas with their pronounced political and satirical orientation, the uncomplicated and frivolous librettos of the operettas staged in Vienna and Budapest were demonstrably apolitical. The plots of four operettas — The Bat and The Gypsy Baron (Johann Strauss), The Merry Widow (Franz Lehar), and The Riviera Girl (Germ. Csárdásfürstin, Imre Kálmán) — and the press responses they produced are considered. These works created the illusion of ease of overcoming social boundaries, included a cascade of sparkling, memorable melodies borrowed from different peoples of the multi-ethnic monarchy, and combined waltz, csárdás, polka, mazurka, and gypsy tunes on the stage, relegating differences to the background and making the audience forget about interethnic contradictions. Sweet love stories with happy endings helped audiences to forget that Europe was burning during the First World War. The operetta genre became part of mass culture, and even if its artistic level and value varied greatly from work to work, it proposed a new common cultural metalanguage and did not cut off the path to high musical culture for the masses, but rather straightened it.
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Frank, Vojtěch. "Musical Theatre as an Object of Transnational Political Exchange." Historical Studies on Central Europe 2, no. 1 (June 16, 2022): 219–36. http://dx.doi.org/10.47074/hsce.2022-1.10.

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The paper focuses on the ways Czech-language theatres in Czechoslovakia were dealingwith the obligatory presence of Soviet operetta titles in their repertoire, dating from about 1950to 1989. The reform of Czech musical theatre began right after World War II. In search of the right,nationalized form of operetta, Czech theatre organs soon understood that the example must bedrawn from the hegemonic Soviet culture. In the Soviet discourse, mainly Isaac Dunayevsky’soperettas were considered masterpieces, and Czech theatre politicians were soon paying theirattention to them. After some initial difficulties in obtaining material for the operettas, Dunayevsky’spieces entered Czech theatre and stayed on the repertoire to the beginning of the 1960s. Afterthe Warsaw Pact Invasion in 1968, Soviet operettas re-entered the theatres’ repertoire; however,their reception and staging circumstances were much more complicated. The paper focuses on themain tendencies in staging Dunayevsky’s operettas in Czechoslovakia, the political and culturalbackground of productions, and the various ways of presenting it in Czech society and culture. Thecultural and historical microprocesses analysed may then throw light on a wider range of historicaland cultural phenomena, including cultural transfers and relations between Czechoslovakia and theSoviet Union, the discrepancies between the official and unofficial discourse, as well as the role ofpopular musical theatre in a socialist society.
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TÜRKMENOĞLU, Ömer, and Dilek ALİYAZICIOĞLU. "A STUDY ABOUT THE "ARSHIN MAL ALAN" OPERETTA." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 2 (August 15, 2021): 287–304. http://dx.doi.org/10.46291/zfwt/130215.

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Azerbaijan became acquainted with opera at the beginning of the twentieth century thanks to the tours organized by Russian and European operas to Baku. The intense admiration of the Azerbaijani people led Azerbaijani composers to produce works in opera style. In that period, Üzeyir Hacıbeyli combined his knowledge of authorship, historiography, scientists, education, journalism and musicians in the art of opera, based on the impact of the strong and aesthetic touch of art on people, and laid the foundations of opera in the East by composing the mugam opera "Leyli and Mecnun". In the revolution and democracy struggle that started in Azerbaijan, the artists and intellectuals of the period started an enlightenment movement through their works. On this occasion, Hacıbeyli turned from the opera style to the operetta style. Operetta is a musical / dialogue stage piece that takes its subject from social problems and aims to make the audience laugh while making them think. Hacıbeyli compiled the topics of his operettas from the reactionary perspectives that prevent his people from adopting modern life, offered solutions through his works and gave new and modern perspectives to his audience. The "Arşın Mal Alan" has gained a worldwide reputation thanks to the musical structure that it has created by carefully synthesizing the elements of the Azerbaijani national music style, folk mahnis, dances and mugam traditions with the European operetta style. This work, which is about the tradition of arranged marriage rebelled by the new generation, has been translated into more than sixty languages worldwide thanks to its musical and sociological success and has been adapted to the big screen. Considering that it is a very popular work in our country and in other countries where it has been staged and is of such importance for the Turkish world opera literature, the work does not take place in our opera scenes enough and it is noteworthy that the number of publications such as articles, theses and books about it in Turkey. With this study, it is thought to contribute to the literature. In this article, the history of Azerbaijan operetta, the life of Üzeyir Hacıbeyli and the operetta "Arşın Mal Alan" are examined. Keywords: Azerbaijan Opera, Üzeyir Hacıbeyli, Operetta, Opera, Arşın Mal Alan
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Dissertations / Theses on the topic "Operetta"

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Replogle, Holley Dawn. "Crossover and spectacle in American operetta and the megamusical." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1914357521&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Manera, Daniel Peter. "Functional Polystylism in Music Theatre: A Study in Contemporary Operetta." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17625.

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The advent of musical postmodernism in the second half of the twentieth century helped remove the distinctions between high and low art forms and in doing so, allowed for many new compositional approaches. One major avenue of approach is that presented by postmodern eclecticism, in particular, polystylism. Polystylism, specifically polystylist techniques that are used functionally within composition, offer a unified approach to the use of eclectic musical styles, irrespective of their cultural progeny. Similarly, the operetta format also straddles the eclectic realms of ‘high’ and ‘low’ culture, although the format’s use had diminished greatly by the 1960’s. The use of polystylism in other contemporary music theatre however, proliferated towards the end of the twentieth century and as such has enjoyed a comprehensive modern repertoire. This thesis and portfolio of creative work combines the functional elements of polystylism with the underutilised operetta format with a view to enhancing the form and in so doing, narrow the boundary between populist and art music theatre.
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Jorgensen, Michael R. "John Philip Sousa's operetta El capitan : a historical, analytical and performance guide." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/955086.

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This dissertation provides a guide to John Philip Sousa's operetta El Capitan through investigating its historical significance, compositional distinctives, and performance practice. Chapter one introduces the nature and scope of the work by presenting a statement of the problem, the need and significance for the study, and its delimitations.The historical section of this document traces the genesis and process of the actual composition of the work, including identifying pieces borrowed from other Sousa works as well as consideration of Sousa's sketchbooks and other sources for compositional techniques. This section also presents a synopsis and performance history of the operetta, as well as biographies of the composer, lyricist, librettist, and major stage performers.The second part of the dissertation explores Sousa's compositional techniques and how harmonic, melodic and rhythmic considerations advance the plot of the operetta and illuminate character motivation. A comparison is made between the original and published scores for discrepancies.The performance guide includes interviews with key personnel involved in the 1973 Minnesota Opera production of El Capitan. This section closes with an appraisal of the strengths, weaknesses, and potential for successful revival of the work.The appendices provide information on El Capitan in print and recording, the original libretto, copies of programs from significant productions of the operetta, a partial listing of performances of the work between 1970 and 1994, and a description of the roles by voice type. The appendix also includes a transcription of the stage directions found in a stage manager's guide to El Capitan located in the Tams-Witmark collection at the University of Wisconsin.
School of Music
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Mortimer, Harold R. "The silver operetta and the golden musical : the influence of the Viennese operetta of the Silver Age (1905-1935) on the Broadway musical of the Golden Age (1943-1964) /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11318.

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Clarke, Kevin. ""Im Himmel spielt auch schon die Jazzband" : Emmerich Kálmán und die transatlantische Operette : 1928 - 1932." Hamburg von Bockel, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=015677874&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.

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McKay, Meaghan. "“Mighty maiden with a mission”: Navigating the Proto-Feminism of Gilbert and Sullivan’s Princess Ida." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/38805.

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Gilbert and Sullivan’s operettas continue to enjoy popularity worldwide, in both amateur and professional settings. Their 1884 collaboration Princess Ida¸ however, remains a contested work regarding its representation of women and feminism. In this thesis, I argue that Gilbert and Sullivan were attempting to satirize men’s reactions to feminism, rather than feminism itself. This thesis situates Princess Ida within its Victorian social context to determine to what extent a proto-feminist interpretation of the operetta is valid. Princess Ida is based on, and a parody of, Tennyson’s The Princess (1847). Tracing the chronology of Ida’s story from its beginnings in Tennyson’s poem through to Gilbert and Sullivan’s operetta clarifies what Gilbert chose to satirize in his libretto. Victorian masculinity emerges as a central theme in Princess Ida, and the complexities of Gilbert and Sullivan’s representations of men in their operetta informs my discussion of proto-feminism. This thesis historically contextualizes Princess Ida and examines the operetta through the lens of feminist critiques of Western art music.
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Watkins, Lillian Casey. "Die Fledermaus: Or How I Learned to Stop Worrying and Love the Trim." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1528.

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AN ABSTRACT OF THE THESIS OF Lillian Casey Watkins, for the Masters in Fine Arts degree in Theater, presented on May 2, 2014, at Southern Illinois University Carbondale. TITLE: DIE FLEDERMAUS: OR HOW I LEARNED TO STOP WORRYING AND LOVE THE TRIM MAJOR PROFESSOR: Wendi Zea In February of 2014, the School of Music and the Department of Theater at Southern Illinois University presented a production of the operetta Die Fledermaus. This thesis is a presentation of the process and final product of the costume design of that production. Die Fledermaus exhibits the best of carnival escapism, with daring disguises, topsy turvy scenarios, opulent scenes and extravagant use of alcohol. This design project was an attempt at capturing that escapism and expressing it through costuming, paying particular attention to detail and trim and actor movement and dance, creating the bubbly, champagne-filled fantasy that is Die Fledermaus. Chapter 1 contains research and analysis of the script, including information about the composer, cultural and historical occurrences that inform the script and previous production history and critical analysis. Chapter 2 focuses on analysis of the characters and their relationships, and how those inform the design of their costumes. The goals that I wished to accomplish with the design and production of the show are covered within Chapter 3. Chapter 4 documents my design process, leading to Chapters 5 and 6, which document the build and production processes, respectively. Chapter 7 is an analysis of the full process and production itself, in regards to the fulfillment of the aforementioned goals. The appendices contain renderings, research, production paperwork and photos.
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Winstead, Julia. "FOOD FOR JOYOUS LAUGHTER: CONTEMPORARY PRODUCTIONS OF GILBERT & SULLIVAN'S THE PIRATES OF PENZANCE." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3125.

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The operetta, The Pirates of Penzance, is a classic work by Gilbert and Sullivan, a work that continues to be produced frequently despite its Victorian setting and operatic style. For many years the standard performance style of all the operettas by Gilbert and Sullivan was upheld by the D'Oyly Carte Opera Company, who attempted to perform the operettas as they had originally been done. Though the D'Oyly Carte Opera Company helped stimulate interest in the works of Gilbert and Sullivan, nontraditional productions of G & S operettas produced outside of the company were able to reach larger audiences. When The Pirates of Penzance was produced on Broadway in the 1980's, it was enormously successful. Under the direction of Wilford Leach, the production was more accessible to audiences through its pop-oriented orchestrations, Broadway-style choreography, and cast of rock stars and well-known actors. This significant change in the way The Pirates of Penzance was performed inspired several other major productions of the operetta in that style and has now become the standard interpretation of the piece. It is due to these productions that The Pirates of Penzance continues to be produced and remain culturally relevant. It is interesting to note that, while the performance style of Pirates has changed significantly over the years, the role of Mabel has remained largely unchanged. In that regard, the role of Mabel continues to fulfill the goals and tradition of D'Oyly Carte while The Pirates of Penzance has evolved from an old-fashioned operetta to a popular musical theatre piece.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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Polianovskaia, Jana. "The English Operetta and the Musical Comedy as a Reflection of the Russian Anglomania at the End of the 19th Century." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71972.

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Schröder, Gesine. "Eine Operette für Kinder von Johann Adam Hiller." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-71950.

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Die 1778 gedruckte Operette "Die kleine Aehrenleserinn" von Johann Adam Hiller bildete bei einem Instrumentationprojekt an der Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" Leipzig die Vorlage. Exemplarisch wird von den bei dem Projekt gemachten praktischen und ästhetischen Erfahrungen berichtet.
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Books on the topic "Operetta"

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Erminia, Ardissino, ed. Operetta. Bologna: Commissione per i testi di lingua, 2006.

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Kılıç, Bilen, and Ahmet Gildir. Operet ve oyunlar: Operetta and plays. Edited by Yaşın Mehmet and Cypress Research, Translation and Publication Project. Girne: Freebirds, 2009.

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Traversetti, Bruno. L' operetta. Milano: A. Mondadori, 1985.

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Rux, Carl Hancock. Pagan operetta. New York: Fly by Night Press in association with A Gathering of the Tribes, 1998.

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1953-, Anderson James, ed. Dictionary of opera and operetta. 2nd ed. London: Bloomsbury, 1995.

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Mikhaĭlovich, Poi︠u︡rovskiĭ Boris, ed. Moskovskai︠a︡ operetta: Gosudarstvennyĭ akademicheskiĭ teatr. Moskva: T︠S︡entrpoligraf, 2001.

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Elaine, Henderson, ed. Collins opera & operetta. Glasgow: HarperCollins, 1997.

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Linhardt, Marion. Inszenierung der Frau-- Frau in der Inszenierung: Operette in Wien zwischen 1865 und 1900. Tutzing: Hans Schneider, 1997.

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Pippin, Donald. European operetta in English. San Francisco: Pocket Opera Press, 2017.

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Mlotek, Zalmen, Cecelia Raker, Lidiya Yankovskaya, Gabrielle Orcha, and Abraham Goldfaden. Shulamis: A Yiddish operetta. Cambridge, Mass: Harvard College Library, 2009.

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Book chapters on the topic "Operetta"

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West, Ben. "American Operetta." In The American Musical, 105–10. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003094548-17.

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Soy, Özlem Şahin, and Merve Şenol. "Operetta in Turkey." In Opera in Translation, 271–87. Amsterdam: John Benjamins Publishing Company, 2020. http://dx.doi.org/10.1075/btl.153.13soy.

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Aldewereld, Huib, Sergio Álvarez-Napagao, Virginia Dignum, Jie Jiang, Wamberto Vasconcelos, and Javier Vázquez-Salceda. "OperA/ALIVE/OperettA." In Social Coordination Frameworks for Social Technical Systems, 173–96. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-33570-4_9.

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Freeze, Timothy David. "“Fit for an Operetta”." In Mahler im Kontext / Contextualizing Mahler, 365–96. Wien: Böhlau Verlag, 2011. http://dx.doi.org/10.7767/boehlau.9783205791201.365.

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Porter, Steven. "The Age of Operetta." In The American Musical Theatre:, 7–11. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315060927-3.

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Aldewereld, Huib, and Virginia Dignum. "OperettA: Organization-Oriented Development Environment." In Languages, Methodologies, and Development Tools for Multi-Agent Systems, 1–18. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-22723-3_1.

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"OPERETTA." In Music in the 20th Century (3 Vol Set), 456–57. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-348.

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Mordden, Ethan. "Operetta." In When Broadway Went to Hollywood, 139–50. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199395408.003.0009.

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"PASTICCIO AND ZARZUELA, ITALY AND RUSSIA." In Operetta, 437–46. Routledge, 2004. http://dx.doi.org/10.4324/9780203509029-20.

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"THE SCHOOL OF STRAUSS II." In Operetta, 165–80. Routledge, 2004. http://dx.doi.org/10.4324/9780203509029-10.

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Conference papers on the topic "Operetta"

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Akinina, Lidiia Nikolaevna. "Operetta - zhanr zhizni." In All-Russian scientific and practical conference with international participation. Publishing house Sreda, 2023. http://dx.doi.org/10.31483/r-108935.

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Pilipetchi, Serghei. "Maria Cebotari in the Vienna classical operetta." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.10.

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The article contains unique materials, which were analyzed by the author, concerning M. Cebotari’s participation in the performances of the classical Viennese operetta on the stages of Germany and Austria. Dates, places and participants are additionally indicated. Announcements and criticism of the performances in the periodicals of the 30–40s arouse great interest. The German-language newspapers of that time present the main and the most accurate sources on the topic, which significantly complement the information in the monographs about the singer of A. Mingotti, A. Dănilă and R. Killius.
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Habak, Karim, Khaled A. Harras, and Moustafa Youssef. "OPERETTA: An optimal energy efficient bandwidth aggregation system." In 2012 9th Annual IEEE Communications Society Conference on Sensor, Mesh and Ad Hoc Communications and Networks (SECON). IEEE, 2012. http://dx.doi.org/10.1109/secon.2012.6275768.

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Habak, Karim, Khaled A. Harras, and Moustafa Youssef. "OPERETTA: Demonstrating an optimal energy efficient bandwidth aggregation system." In 2012 9th Annual IEEE Communications Society Conference on Sensor, Mesh and Ad Hoc Communications and Networks (SECON). IEEE, 2012. http://dx.doi.org/10.1109/secon.2012.6275844.

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Koroliova, Elfrida. "Director Victor Gherlac’s activity." In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.06.

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The shows staged by Victor Gherlac in 1940-1950 corresponded to their time. In the Stefan Batca show, staged just before the outbreak of the war, the foreboding of the war felt. On the eve of Victory Day, the premiere of the spectacular musical comedy One Night in May took place. The show Under the Chestnuts in Prague, staged in the first post-war years, reflected the contrasting visions relevant at the time. The show The Outlaws staged the struggle of the people against the oppressors (which oppressors?) in 1949. In 1950, in the romantic entertainment of the operetta Trembita, people's hopes for a new, happy life could be felt. Victor Gherlac is the director of several shows, among which it is worth mentioning: the fairy tale The Enchanted Mace, the musical comedies Mărioara’s Happiness and Ileana’Carpet, the musical choreographic enchantment, the satire Sanziana and Pepelea, the musical drama The Turbulent Danube, the poetic musical-choreographic show Ovidiu, the psychological musical show The man and the wolf, the dramatic show For the family home, Mother-in-law with three daughters-in-law, permeated by the inner musicality of Moldovan folk art filled with Moldovan folk melodies, songs, dances.
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Messer Levin, Orna, and Luana Ercolin Pizzi. "Projeto PIBIC 2014: A recepção crítica das Operetas nos periódicos do Rio de Janeiro (1860-1869)." In XXIII Congresso de Iniciação Científica da Unicamp. Campinas - SP, Brazil: Galoá, 2015. http://dx.doi.org/10.19146/pibic-2015-37532.

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Bostenaru Dan, Maria. "Carol Cortobius Architecture." In World Lumen Congress 2021, May 26-30, 2021, Iasi, Romania. LUMEN Publishing House, 2022. http://dx.doi.org/10.18662/wlc2021/08.

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Carol Cortobius was an architect trained in Germany, with an initial practice at Otto Wagner in Vienna, who worked for the Hungarian community in Bucharest building churches. An introduction on the catholic Hungarian community in Bucharest will be given. Dănuț Doboș in a monograph of one catholic church in Bucharest offers an overview of all his works. For the three catholic churches on which he intervened (two built, one restored, but altered now) there are monographs showing archive images not available for the general public. Apart of the catholic churches (two of the Hungarian community) he also built the baptist seminar. Particularly the first built church, Saint Elena, is interesting as an early example of Art Deco and will be analysed in the context of the Secession in Vienna and Budapest, which will be introduced. With help of historic maps the places of the works were identified. Many of them do not exist today anymore because of demolitions either to build new streets or those of the Ceaușescu period (ex. the opereta theatre, a former pharmacy). Images of these were looked for in groups dedicated to he disappeared Uranus neighbourhood The paper will show where these were located. Some of the common buildings have an interesting history, such as the first chocolate factory. Another interesting early Art deco building is the pelican house. There are common details between this and the restored church. The research will be continued with archive research in public archives when the sanitary situation will permit.
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Şəfəq Səmədova, Şəfəq Səmədova. "AZƏRBAYCAN SƏSSIZ KINOSUNDA EKRANLAŞDIRILMIŞ ILK DRAMATIK ƏSƏRLƏR." In THE FIRST INTERNATIONAL SCIENTIFIC – PRACTICAL VIRTUAL CONFERENCE IN MODERN & SOCIAL SCIENCES: NEW DIMENSIONS, APPROACHES AND CHALLENGES. IRETC, 2022. http://dx.doi.org/10.36962/mssndac-01-23-02.

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Kinoda üç növ səs var: nitq (səslənən sözlər); küy və musiqi. Kinoda səs istifadə edilmədən öncə səssiz kino böyük uğur qazanmışdı. Səssiz filmlər çəkməyə vərdiş edən rejissorlar kinoya səs gəldikdən sonra nitqdən, sözdən istifadə etməkdən çəkinirdilər. Onlar düşünürdülər ki, səs kinoya gəldikdən sonra kino lent üzərinə yazılmış teatra çevriləcək. Onlar həm də inanırdılar ki, səssiz təsvirlər, jest və mimikalar hər hansı bir fikri çatdırmaqda daha güclü təsirə malikdir. Bu səbəbdən kinoda səsin olması, burada fikirlərin nitq halında izah edilməsi kinonun əsas özəlliyinin itməsinə səbəb ola bilərdi. Amma bütün bunlar üçün narahat olan rejissorlar nəzərə almıdılar ki, insanın fikirlərini izah etməkdə yardımcı olan mürəkkəb fikirləri səssiz şəkildə vermək mümkün deyil. Azərbaycan kinosuna nəzər salsaq, görərik ki, Üzeyir Hacıbəylinin “Arşın mal alan” operettası əsasında eyniadlı səssiz film çəkilib. Filmdə musiqi, ariya ifaçıları sussa da, film orijinal əsərin fabulasını təqdim edə bildi. Səssiz filmin dramaturji sturukturu tez sonladığı üçün ssenaridə təsvir vahid süjet xətti üzərindən davam edirdi. Bu zaman mətn də kadrarxası olaraq təqdim edilməli idi. Konkret dramaturji sturukturları olan ədəbi əsərlə ekranlaşdırılanda birbaşa ədəbi əsərin özü ssenarini əvəzləyir. Ədəbi əsərlərin mətnindən həm vizual süjet xətti yaratmaq, həm də kadrarxası yazılardan istifadə edilirdi. Azərbaycan kinematoqrafiyasında səssiz filmlərin sonuncusu “İsmət” filmidir. Rejissor M.Mikayılov əsəri 1930-cu illərdə ekranlaşdırıb. Film həmin illərdə Azərbaycan qadınının həyat yolunu yüksək ruhda, həyəcanla, həm də fərəh hissi ilə danışırdı. Ona görə bu film təkcə sənət əsəri kimi yox, həm də bir həyati fakt kimi yüksək önəm daşıyır. Azərbaycan kinosunda elmi-kütləvi, bədii və digər növ və janrlarda olan filmlərin səssiz şəkildə ekranlaşdırılması 1936-cı ilədək reallaşırdı. Kinoda aktyorların susması, səssiz mühit və normal ünsiyyətin qarşısına çəkilən sədd, jestləri, mimikanın inkişafına, hadisənin obrazlı şəkildə ifadə olunmasına geniş imkan yaratdı. Azərbaycan kinematoqrafiyasının səssiz dövrünün kinolarından biri də C.Cabbarlının “Sevil” pyesi əsasında çəkilən filmdir. Ssenaridə cəmiyyəti təmsil edən, onun qanuna uyğunluqlarının daşıyıcısı olan və bunu tələbə edən, hər kəsi müstəntiq kimi dindirən Gülüş obrazı ön plandadır. Elə bütün bunların təsviri zamanı kadrarxası mətndəki yazılardan geniş istifadə olunur. İlk dəfə səssiz halda, 1929-cu ildə lentə alınan filmdə bir o qədər də diqqət çəkməyən səhnələr pyesdəki kimi ilkin hissədə saxlanılıb. İyirmi üç bədii oyun və yüzdən çox sənədli, elmi kütləvi kino ssenarinin reallaşdığı kinodramaturgiyanın səssiz dövrü 1936-cı ildə başa çatdı. Kinodramaturgiyanın inkişafında əhəmiyyətli rolu olan səssizlik canlı ünsiyyətə əngəl olsa da, jest və mimianın hadisələrin mahiyyətinə birbaşa xidmətinə imkan yaratdı. İstisna hallarda, bir sıra kinoteatrlarda canlı musiqinin müşayiətindən istifadə olunsa da, daha çox sakit halda davam edən bu mərhələdə qaranlıq zalda əyləşən tamaşaçı filmdə baş verən hadisələr ilə tək başına qalırdı. Bu qarşıdurma barədə fikirlərini ifadə edən M.Baxtin deyirdi ki, “Sakitlikdə demək olar heçnə səslənmir, sükunətdə isə danışan yoxdur. Ancaq insanlar arasında da sükut mümkündür. Amma burda sükut və sakitlik mühüm şərtdir”. İ.Musabəyovun “Neft və milyonlar səltənətində” povesti, Üzeyir Hacıbəylinin “Arşın mal alan” operettası, Mirzə Fətəli Axundovun “Sərgüzəşti mərdi-xəsis” (“Hacı Qara”) komediyası, Cəfər Cabbarlının “Sevil” və “Almaz” pyesləri ekranlaşdırılaraq kinodramaturgiyamızın səssiz dövrünü yaratdı. Elə bu kinodramaturgiya da incəsənətin plastik imkanlarında məharətlə istifadə edərək həyat hadisələrinin toplusunu obrazlı şəkildə ifadə edə bildi. Bir-biri ilə əlaqəsi olmayan süjet xəttinin fabula hesabına mövcud olması isə səssiz kino dönəminin özünəməxsus qaydalarla formalaşmasına şərait yaratdı. Açar sözlər: Kinoda üç növ səs, səssiz kino.
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