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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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Baranello, Micaela. "Die lustige Witwe and the Creation of the Silver Age of Viennese Operetta." Cambridge Opera Journal 26, no. 2 (July 2014): 175–202. http://dx.doi.org/10.1017/s0954586714000032.
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AbstractFranz Lehár’s Die lustige Witwe (1905) was conceived during a period of instability in both operetta and Viennese life. Considering the music and reception of both Witwe and some of its immediate, now-forgotten predecessors, this article argues that the operetta’s dramatic and musical dualism between urbane, Offenbach-like Paris and folksy, imaginary Pontevedro can be read both as a response to operetta’s conflicting priorities of satire and sentiment and as a depiction of the multi-ethnic world of working-class Vienna. The operetta’s unusual popularity, subsequent influence and exceptionally long performance history have tended to obscure these more immediate concerns.
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Petrenko, Oksana. "Operetta «Key on the Pavement» by Jacques Offenbach: Modern Directing and Analytical Aspect." Ukrainian musicology 47 (October 21, 2021): 49–57. http://dx.doi.org/10.31318/0130-5298.2021.47.256720.
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The phenomenon of operetta in the context of small forms, сreativity of J. Offenbach through the prism of directorial research and experiments in modern musical theater on the example of the work «The Key on the Pavement» has been studied. The relevance of the study is clarified, which is the need to rethink and modernize the genre of operetta in new historical conditions and in new scientific perspectives. The purpose of the research is outlined, which is to determine the original directorial approaches of the iconic incarnations of J. Offenbach's operetta «The Key on the Pavement» in the context of the peculiarities of the musical drama of the work. Selected research methods: historical and biographical – to analyze the periodization of the work of composer J. Offenbach; genre-stylistic for the analysis of operetta musical drama; interpretive – to identify the features of different productions of «Key on the Pavement»; prognostic – to outline the prospects of stage incarnations of the chosen topic and its further scientific research. The metamorphoses of the operetta genre in new socio-cultural conditions are considered, the urgency of contemporary appeals of artists to the chosen subject is clarified. The place of the operetta «The Key on the Pavement» in the context of the periodization of the creative activity of J. Offenbach, the peculiarities of its plot and musical drama. The vectors of director's interpretations of the operetta in the context of rethinking the author's concept of the work in accordance with the realities of today are analyzed. The scientific novelty of the publication is determined – the search for a modern, original directorial solution of the operetta in the context of modern vectors of its incarnations. Prospects for further stage interpretations and research of the chosen theme of J. Offenbach's work in the context of modernization of the operetta genre in accordance with modern public demands and the possibilities of the theater stage are predicted.
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Zhdanko, Andrii, and Svitlana Oliinyk. "The topos of Hutsulshchyna in Yaroslav Barnych’s operetta “Hutsulka Ksenia”." Aspects of Historical Musicology 34, no. 34 (April 10, 2024): 112–38. http://dx.doi.org/10.34064/khnum2-34.05.
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Yaroslav Barnych (1896–1967), whose name after need emigration was erased for a long time from the history of national music, is a bright figure in the Ukrainian musical culture of the middle of the 20th century, a talented composer who was called the “Ukrainian Lehár”, an excellent teacher, a gifted conductor and an active social activist-educator. Among the genre palette of the artist’s works, the operetta genre stands out. Despite the fact that the composer created only four examples of this genre, Ya. Barnych managed to implement revolutionary changes of it and gain the status of “creator of modern Ukrainian operetta”. The operetta “Hutsulka Ksenia”, which fully expresses the main features of the renewed genre, remains the most famous and brightest among his musical and stage compositions. Today, this operetta is performed with great success in many cities of Ukraine and beyond, and the musical and stage heritage of the composer is of great interest to modern musicologists-researchers. The purpose of the article is to identify the signs of the embodiment of traditional Hutsul musical culture in Barnych’s operetta “Hutsulka Ksenia”. The innovativeness of this study consists in involving into the field of domestic musicology of the work by Ya. Barnych thanks to a comprehensive analysis of this operetta carried out for the first time. The means of modernization of this genre in Ukrainian music on its example were traced; the socio-cultural and autobiographical markers were determined, and the specifics of the use of elements of the Hutsul folklore musical tradition in the work was identified. It is concluded that Barnych’s “Hutsulka Ksenia” presents the genre of modern Ukrainian operetta (which is essentially similar to Neo-Viennese operetta), contains certain autobiographical and socio-cultural markers (which allow us to understand the idea of the work), demonstrates the connection of the musical material with the traditions of Hutsul musical culture.
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Golianek, Ryszard Daniel. "Problematyka polska w XX-wiecznych operetkach niemieckich." Muzyka 64, no. 3 (October 1, 2019): 51–68. http://dx.doi.org/10.36744/m.88.
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Operetka odegrała ważną rolę w kulturze burżuazyjnej na przełomie XIX i XX wieku, ponieważ rozwinęła i promowała krajową i lokalną samoidentyfikację i świadomość. Berlin i Wiedeń stały się głównymi ośrodkami niemieckojęzycznej operetki - gatunku naznaczonego silną obecnością postaci i motywów związanych z tożsamością narodową i etniczną. Wśród bogactwa niemieckich operetek skomponowanych do wybuchu II wojny światowej ważne miejsce zajmują dzieła nawiązujące do polskich tematów w swoich fabułach lub przedstawiające polskie postacie. Dominującym sposobem prezentowania Polaków w operetkach było porównanie ich z przedstawicielami społeczeństwa niemieckiego (lub austriackiego).
Koniec I wojny światowej był przełomem dla narodu polskiego, ponieważ kraj w 1918 r. odzyskał niepodległość. Można przypuszczać, że zmieni to sposób przedstawiania Polaków w niemieckiej operetce okresu powojennego. Proponowane porównanie kilku przedwojennych niemieckich operetek z polskimi tematami (Polnische Wirtschaft, 1909; Polenblut, 1913) z utworami powojennymi (Die blaue Mazur, 1920; Der letzte Walzer, 1920; Die polnische Hochzeit, 1937) umożliwia określenie, czy i jak zmiany polityczne wywołane przez pierwszą wojnę światową znalazły odzwierciedlenie w fabułach, postaciach i muzyce niemieckiej operetki z okresu międzywojennego.
Kwestie te są ważne dla naszego zrozumienia tego, jak niektóre narody są postrzegane przez inne nawet do dziś. Żywotność operetki jako gatunku artystycznego w czasach świetności wynikała z jej dokumentalnej roli, szczególnie istotnej przed pojawieniem się nowoczesnych środków masowego przekazu. Omawiane dzieła teatralne, pisane w momencie historycznych zmian związanych z odrodzeniem niepodległej Polski, stanowią doskonałe argumenty w debacie na temat wpływu tych stereotypów na komunikację między sąsiednimi narodami.
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Bozó, Péter. "Nádors Erzählungen oder das Budapester Dreimäderlhaus. Ein Beitrag zur Budapester Offenbach-Rezeption." Studia Musicologica 57, no. 3-4 (September 2016): 471–84. http://dx.doi.org/10.1556/6.2016.57.3-4.12.
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Mihály Nádor’s and Jenő Faragó’s three-act operetta entitled Offenbach was one of the biggest theater successes in Budapest in the period following World War I. The piece, whose first performance took place at the Király Theater in 1920, was also premiered in Vienna, Prague, Munich and in different adaptations in Berlin and New York. It represents a popular type of operetta of the era, whose main protagonists are nineteenth-century composers, and whose music was partly or entirely compiled of melodies taken from the musicians in question. In my study, I examine the extant musical and textual sources of the piece partly belonging to the composer’s estate preserved at the Music Department of the Széchényi National Library. I interpret Nádor’s work as a document of the Budapest Offenbach reception, and I reveal some intriguing differences between the Budapest and Vienna versions of the piece. I also demonstrate that the operetta was in all likelihood an imitation of Henrich Berté’s similar piece, Das Dreimäderlhaus, which was performed in every Budapest operetta theater between 1916 and 1924. At the same time, however, a successful new production of Offenbach’s La Belle Hélène was likewise an important antecedent for Nádor’s operetta.
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Day, Moira. "Moira Day Talks about Staging W. H. Fullews H.M.S. Parliament." Theatre Research in Canada 6, no. 1 (January 1985): 92–117. http://dx.doi.org/10.3138/tric.6.1.92.
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While its wit, music, and structural tightness make H.M.S. Parliament one of the most appealing of Canadaa nineteenth -century plays, a variety of other factors also make it one of the most challenging to revive. Aside from the problem of the operetta's diminished topicality as a political satire, the modern director also must cope with serious discrepancies between the Fuller text and the original Pinafore score. In this article, the director of the 1983 University of Toronto production discusses both the appeal and the problems of producing the operetta today.
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Roffman, Frederick S., and Richard Traubner. "Operetta: A Theatrical History." Notes 41, no. 3 (March 1985): 505. http://dx.doi.org/10.2307/941161.
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Maschio, Geraldine, Richard Traubner, Glenn Loney, Gerald Bordman, and Ethan Mordden. "Operetta: A Theatrical History." Theatre Journal 37, no. 2 (May 1985): 237. http://dx.doi.org/10.2307/3207081.
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Everett, William A. "Nineteenth-Century Croatian Operetta." Journal of Croatian Studies 42 (2001): 33–42. http://dx.doi.org/10.5840/jcroatstud2001422.
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Hannam, Mark. "A space–time operetta." Physics World 29, no. 6 (June 2016): 36–37. http://dx.doi.org/10.1088/2058-7058/29/6/38.
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Clarke, Kevin. "Big Bang Theory." TDR: The Drama Review 67, no. 2 (June 2023): 161–82. http://dx.doi.org/10.1017/s1054204323000114.
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By presenting the supposedly “nostalgic” and “traditional” genre operetta as a genderfuck spectacle, without opera singers and with queer icons and dancers instead, “gay Jewish kangaroo” Barrie Kosky has revolutionized popular musical theatre in Berlin and brought operetta back to its pre-1933 roots.
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Radu-Ţaga, Consuela. "Dragobete Stories." Theatrical Colloquia 10, no. 1 (May 1, 2020): 204–12. http://dx.doi.org/10.2478/tco-2020-0015.
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AbstractMonday on February 24th 2020, in the Auditorium of Mihai Eminescu Central University Library in Iaşi the show-recital entitled Dragobete Stories took place. Having the love theme, 4 teachers and 9 singer-actors from George Enescu National University of Arts present to the public arias and duets from the national and international repertoire, pages extracted from the genre of opera and operetta. The excursion on a route that included opera seria, comedy, historical opera, lyrical-dramatic legend, Viennese operetta, Romanian operetta, Russian operetta was coordinated by the presentation of Lecturer PhD Mrs. Consuela Radu-Ţaga. The interdisciplinary team set out to remove the boundaries between music and theater, among the subjects of canto, piano accompaniament, acting, scenic movement, opera class, and singer-actors proposed a scenic language dominated by lyrical-dramatic coordinates. The staging benefited from the fruitful collaboration with Lecturer PhD Mrs. Dumitriana Condurache (stage director), and the piano accompaniament was made by assistant professor PhD Raluca Ehupov and assistant professor PhD Laura Turtă-Timofte.
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Ishizuka, Kenkichi, and Takehisa Onisawa. "Evaluation of Operetta Songs Generation System Based on Impressions of Story Scenes." Journal of Advanced Computational Intelligence and Intelligent Informatics 16, no. 2 (March 20, 2012): 256–65. http://dx.doi.org/10.20965/jaciii.2012.p0256.
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This paper describes a system which composes operetta songs fitting to adjectives representing producer’s impressions of story scenes. Inputs to the system are original theme music, story texts and adjectives representing producer’s impressions of story scenes. The system composes variations on theme music and lyrics based on impressions of story scenes using Kansei information processing in order to convey producer’s impression of a story to audiences. Evolutionary computation is also applied to generations of variations and lyrics. Subjects experiments are performed to verify the usefulness of the system usingThe Ant and the Chrysalisin Aesop’s Fables as a story. In the experiments, two types of evaluations are considered. The one is the evaluation from the viewpoint that the system generates operetta songs fitting to story scenes appropriately or not. The other is the evaluation from the viewpoint that the system generates operetta songs giving producers and listeners the same impressions of generated operetta songs or not.
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Oltean, Tatiana. "Lăsați-mă să cânt! [Let me sing!] – a Romanian operetta by Gherase Dendrino: links between the ethical, aesthetic and political content." Artes. Journal of Musicology 19, no. 1 (March 1, 2019): 79–89. http://dx.doi.org/10.2478/ajm-2019-0004.
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Abstract It was during the communist regime of the post-war years that Romanian composer Gherase Dendrino wrote an operetta in celebration of the centenary of Ciprian Porumbescu’s birth, named Lăsați-mă să cânt [Let me sing!]. It revolves around the figure of Porumbescu himself, as the first Romanian composer to have ever written an operetta that would be performed and published, named Crai nou [New Moon]. Lăsați-mă să cânt [Let me sing!] tells the story of the making of the first Romanian operetta and was revived during the spring of 2018 at the Cluj-Napoca Romanian National Opera House, as part of the festivities related to the Centenary of the Great Union. The present research highlights three aspects of Dendrino’s operetta: firstly, the one related to the ethical values, epitomized in the libretto by the main character, Ciprian, who, along with his friends, achieves the greatest task of the birth of the Romanian operetta, in spite of all opposition and pitfalls; secondly, the aesthetic content, regarding de musical language of the work, opposing the world of the Romanian provincial town to the Viennese Salonmusik; thirdly, the political aspect, encompassing the subtext of the libretto and the message of the work, which underwent continuous changes over the decades and social and political contexts up to the present day. Thus, the analysis takes into account both the sound and the word.
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Sikorska, Iryna. "Volodymyr Baltarovych’s Musical and theatrical heritage in the context of the formation of the Ukrainian operetta of the 1930s (from the funds of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv)." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 13(29) (2021): 364–77. http://dx.doi.org/10.37222/2524-0315-2021-13(29)-21.
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Introduction. In the early 1930s, the task of creating a new Ukrainian operetta arose on Ukrainian soil, however, the ways and conditions of its implementation in Eastern and Western Ukraine differed significantly (state system, ideology, professional and production opportunities, etc. played its role). In “UnderSoviet” Ukraine, composers were in a better financial position: there were stationary specialized theaters with professional performers, state support. However, they had to glorify the “happy Soviet life” (in the conditions of mass repressions and the Holodomor) — mainly due to mass song genres. In 1930s, the musical-theatrical creativity of Lviv composer, singer, and public figure V. Baltarovich: “Mefistiada” (1930–31), “Three Hearts in 2/4” (1930), “Frogging” (1932–34), “The Marriage in Two Apartments” (1933), “Chords” (1934) and “Sich’s adventure” (1939, author of the libretto G. Luzh¬nytsky), — had a great popularity, confirming the responses of the press of that time. However, V. Baltarovich’s emigration to Czechoslovakia after II World War led to the removal of his works from the repertoire and a ban on even mentioning his name. Therefore, the fourth volume of the academic “History of Ukrainian Music” (1992) was only about Soviet operetta. The first information about the operettas of Western Ukraine began to appear only with the beginning of Ukraine’s independence. As one knows, in the funds of V. Stefanyk’s LNSBU manuscripts of the musical comedies “Marriage in Two Apartments” and “Frogging” have been preserved since 2011. So, objectives: to introduce the named works into scientific circulation and to inscribe them in the context of Ukrainian operetta. The musical and theatrical heritage of V. Baltarovich (Ston) has been analyzed. His talent, education and musical activity at the head of the Bohemia theater studio made it possible to create outstanding works. His music was “fashionable”, easy to remember, with many salon dances (tango, waltz, foxtrot, rumba, etc.). The composer made extensive use of ensembles (duets, trios, sextet), and sometimes quoted classical music (F. Chopin’s Funeral March, Toreador’s couplets from opera “Carmen” G. Bizet etc.) in a parody key. Results and Discussion Conclusion. We proved that V. Baltarovich’s musical and theatrical works were predominantly comic in nature (sometimes with elements of satire). Built on models of the salon genres, they were designed to entertain the public (and successfully achieved that goal). With some textual editing of these musical comedies (first of all, “Marriage in Two Apartments” and “Frogging”), they deserve a musical and stage reconstruc-tion, that will enrich the national repertoire. Keywords: V. Baltarovich’s musical and theatrical heritage, musical comedies, epoch musical dictionary, “Marriage in two Apartments”, “Frogging”, operetta of 1930, becoming.
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Kuzmina, O. A. "“The House That Jack Built” by Jessie L. Gaynor as an example of an English language operetta for children." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 231–49. http://dx.doi.org/10.34064/khnum2-15.12.
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Background. The children’s opera in all its diversity has undergone a rapid path to its formation and development, responding to changes in the art and aesthetic space of musical culture. The active being and the practical use of this phenomenon only emphasize the gaps in musicology science more acutely. Some researchers combine with the notion of «children’s opera» both works that involve children to participate in the performing process, and those which are aimed at a certain age audience. Other authors put the term «opera for children» as universal, but use it to describe various works. However, if the information about this genre is contained in the scientifi c literature, research on opera for children-performers analogue, children’s operetta which was formed and used by considerable demand in the late 19th – in the fi rst half of the 20th century in the English-speaking countries, is practically absent. This determines the relevance of the chosen subject. Objectives. The objective of this study is to consider the features of the libretto, the compositional and dramaturgical properties of the children’s operetta by J. L. Gaynor The House that Jack Built as one of the English-language samples of the genre. Methods. So far these methods were been applied: historical, structural and functional, comparative. Results. It is diffi cult to indicate the exact date of the children’s operetta emergence. It is known from available literature that it became widespread in the 1880s. In the following decades, the popularity of children’s operettas does not fade, rather, it only grows. The school authorities even were worried about such an intensity of extracurricular work. However, this fact did not affect the number of performances. There are books containing instructions and guidance, tips on probable diffi culties that could be faced by fi rst-time directors. In particular, it was recommended to divide responsibilities between school departments and draw up a general plan of action. Attention was paid to organizing an advertising campaign to attract as many viewers as possible. With such performance enthusiasm, there was a certain lack of repertoire written specifi cally for children and adolescents. Not surprisingly, the music teachers sought to replenish it. Among them was an American piano and harmony teacher Jessie Lovel Smith Gaynor (1863–1921) who composed The House that Jack Built (1902). This is not the only sample of children’s operetta in the heritage of J. L. Gaynor, she wrote a few more works, mostly after fairy tales: The Lost Princess Bo-Peep (its plot matches Jack’s one), The Toy Shop, Snow White, The Magic Wheel, Three Wishes, The Return of Proserpina, and On Plymouth Rock. The libretto of The House that Jack Built, written by A. G. D. Riley, is compiled on the basis of nursery rhymes, which are an integral part of the English-speaking countries culture. The operetta includes 24 folklore texts (full or fragmented): poems, two counters, and a ballad. To organize the plot, the librettist used the «stringing» method, or the cumulative principle, joining each subsequent element to the previous one with the help of the Mother Goose’s recitative lines. She is the key character, who greets and introduces new guests at her party. This principle is refl ected in the organization of the whole operetta. Mother Gooses’ cues are a refrain similar to the poem The House that Jack Built. Each character is not related to the previous one or the next, they are united only by belonging to the images of folk poetry. Since the libretto is mainly based on miniatures (with one or two verses), there are many participants of the performance: 43 characters, 21 thrushes, and collective characters, the number of which is not specifi ed precisely. There is no plot in common sense – as a series of related events built in accordance with certain principles – in The House that Jack Built. Rather, it reminds the carnival procession, in which characters are appearing one by one. They have bright, sometimes extravagant costumes, which vary with the speed of the pattern in the kaleidoscope. The structure of the operetta is simple and clear. It consists of two acts, divided into 19 big numbers (9 in the fi rst action, 10 in the second), which are often built in the form of a suite. The balance among solo-ensemble and choral numbers in The House that Jack Built is unequal. The choruses prevail in the operetta (there are about 20 of them). It is diffi cult to name the exact number because the author does not always clarify the exact cast. Solo and ensemble numbers are 4 times fewer; in addition, there are 2 numbers in the 2d act, in which the soloist and choir sing together. To achieve compositional and dramatic unity, there was a need to involve additional means in addition to the cross-cutting image of Mother Goose, since the Jack’s plot is deprived of the consistent development of events. This function is performed by several themes: «fairy tale» (in the future it is associated with the appearance of fairies and elves), «pastoral» (its emergence is marked by the remark Andante Pastorale), the theme of Jack, the dance motive, and the theme of King Cole. They are exhibited in the overture for the fi rst time. When the act begins, they are joined by the themes of Mother Goose and Thrushes. For the fi rst time, most of the themes are conducted in the overture. This determines the suite character of its structure: 6 episodes that contrast with each other by tempo. The piano part plays an important role in the operetta. It presents the leading themes, the main image-bearing and poetic motives, and supports the performers in the vocal appearances. The revealed signs give grounds to consider the English-language children’s operetta a national model of opera for children-performers. Conclusions. In the English-speaking countries, particularly in the USA, at the end of the 19th – in the fi rst half of the 20th century the tradition to perform operettas at schools was formed. This works from their form and contents were similar to compositions which were called children’s operas (operas for children-performers) in Europe. An analysis of The House that Jack Built by J. L. Gaynor allows us to interpret the author’s genre name in its original linguistic meaning – «small opera». A signifi cant number of such works still remain beyond the attention of scholars and require a thorough study both in historical and in theoretical directions.
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Feurzeig, Lisa. "Can creative reinterpretation keep operetta alive? Kálmán’s Die Herzogin von Chicago at the Vienna Volksoper in 2004." Studia Musicologica 57, no. 3-4 (September 2016): 441–70. http://dx.doi.org/10.1556/6.2016.57.3-4.11.
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Kálmán’s 1928 operetta Die Herzogin von Chicago reemerged in the 1990s after decades of oblivion. Productions of this work can reveal much about topics such as the relationship of Central Europe and America and attitudes toward outsider groups, both in the 1920s and in more recent times. This study of the 2004 production at the Vienna Volksoper uses interviews to explore the work’s political and social meanings for Austrian audiences. It also examines the changes made in this production, which was adapted from the original by Stefan Frey and Dominik Wilgenbus, examines the question of what is “true operetta style,” and considers recent operetta reception in Vienna, with attention to the very different responses of the audience and the critics.
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Filimon, Rosina Caterina. "Ciprian Porumbescu, creator and protagonist of the Romanian operetta." Artes. Journal of Musicology 21, no. 1 (March 1, 2020): 36–55. http://dx.doi.org/10.2478/ajm-2020-0003.
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AbstractMusical-theatrical pieces of the nineteenth century, propagated by Italian, French and German troops, were an inspiration for Romanian composers. They will create similar fashionable musical theatre genres, in Romanian, for entertainment purposes. Works placed on the border between vaudeville and the lyrical genre can be identified in the creation of the newly emerging genre of operetta: such pieces are the compositions of Alexandru Flechtenmacher, Eduard Wachmann, Eduard Caudella. In the cultural atmosphere of the time, patriotic musician Ciprian Porumbescu (1853-1883) would find the perfect way to put a longstanding artistic wish into practice: to compose an operetta, following the success of his humorous musical-theatre pieces Cisla and Candidatul Linte [Candidate Linte]. A multifarious personality, a lover of folklore and of his nation, Ciprian Porumbescu – one of the founders of the national school of music – contributed to the authenticity and identity of the Romanian musical language through his extensive works; one important contribution is the composition of the first Romanian cultivated operetta Crai Nou [New Moon] (1882). As a tribute to his art, on the centenary of his birth, the creator of the operetta Crai nou becomes the protagonist of the operetta Lăsați-mă să cânt [Let me sing] (1954) by Gherase Dendrino, set during the time of the staging of Porumbescuʼs musical-dramatic work. Crai Nou and Lăsați-mă să cânt are highlights of the Romanian lyrical theatre, from the artistic past and present, and hold their position as musical pieces frequently performed and received with interest and enthusiasm.
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Wąsacz-Krztoń, Jolanta. "Primadonna opery warszawskiej Bronisława Dowiakowska na gościnnych występach w Galicji." Galicja. Studia i materiały 8 (2022): 397–412. http://dx.doi.org/10.15584/galisim.2022.8.24.
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Bronisława Dowiakowska (1840–1910) was one of the highly regarded singers of the Warsaw opera. Over a period of more than thirty years she performed a comprehensive repertoire, singing more than a hundred parts. She also performed in operettas. She possessed an excellent vocal technique and musical memory, as well as a talent for acting. She was regarded as one of the most outstanding Polish opera and operetta singers. In the 1870s and 1880s, she made guest appearances in Lviv and Kraków, becoming a mainstay of these theatres. Her visits resonated loudly in the local press. The name of the Warsaw prima donna became indelibly inscribed in the development of Galician musical culture, and in particular the opera stage of 19th-century Galicia.
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Richardson, Helen E. "Operetta, and: The Marriage (review)." Theatre Journal 57, no. 2 (2005): 278–80. http://dx.doi.org/10.1353/tj.2005.0076.
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Schauer, John. "Lucia Popp: Viennese Operetta Arias." Opera Quarterly 6, no. 3 (1989): 150–51. http://dx.doi.org/10.1093/oq/6.3.150.
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Spedalieri, Francesca. "Operetta Burlesque by Emma Dante." Theatre Journal 67, no. 2 (2015): 320–22. http://dx.doi.org/10.1353/tj.2015.0064.
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Koegel, John, and Janet L. Sturman. "Zarzuela: Spanish Operetta, American Stage." Ethnomusicology 46, no. 3 (2002): 570. http://dx.doi.org/10.2307/852729.
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Romanova, Angelina A., Aleksandra Sagaidak, Milena Yu Lvova, and Tatiana A. Grigoreva. "DEVELOPMENT OF A HIGH-CONTENT ANALYSIS PROCEDURE FOR QUANTITATIVE DETERMINATION OF PROAPOPTOTIC ABILITY OF SMALL MOLECULE COMPOUNDS." Bulletin of the Saint Petersburg State Institute of Technology (Technical University) 55 (2020): 58–61. http://dx.doi.org/10.36807/1998-9849-2020-55-81-58-61.
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The article presents the development of conditions for cell experiments using the Operetta CLS™ imaging system. The significance of high-content analysis parameters is substantiated. The optimal concentration and time parameters for the treatment of the cell culture of human colorectal carcinoma HCT116 by MDM2-p53 protein-protein interaction inhibitors were selected. The effect of the studied substances on cell growth was analyzed using Operetta CLS™.
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Lareau, Alan. "Hier irrt Goethe: Rediscovering the Satirical Operetta of the Weimar Era." TDR/The Drama Review 63, no. 1 (March 2019): 9–31. http://dx.doi.org/10.1162/dram_a_00814.
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Despite a recent boom in operetta research and productions in Germany, one stage work that was a sensation in 1932 has been overlooked: the improvisational Hier irrt Goethe (Here Goethe Errs) by the Munich-based student cabaret troupe Die vier Nachrichter. On the 200th anniversary of Goethe’s death, the group burlesqued the conventions of operetta and the authority of literary history. The show launched spectacular careers but also signaled the close of the Weimar Republic.
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Acquavella-Rauch, Stefanie. "Operette und die (Wiener) Theaterzensur - Politik auf der Bühne?" Die Musikforschung 73, no. 2 (September 22, 2021): 117–32. http://dx.doi.org/10.52412/mf.2020.h2.20.
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The study examines the impact of censorship on Viennese operetta theatres and theatre plays. The Niederösterreichisches Landesarchiv in St Pölten preserves about 15.000 censorship files from the late 1850s until the 1920s, documenting the act of censorship for various theatrical genres. After presenting the institutions and practices of censorship in the Habsburg Empire, three case studies demonstrate how censorship decisions were made according to the expected audience in different theatres and the political climate. Majestät Mimi (Felix Dörmann, Roda-Roda / Bruno Granichstaedten, 1911), Der Vogelhändler (Moritz West, Ludwig Held / Carl Zeller, 1891) and Der Obersteiger (West, Held / Zeller, 1894) have been chosen for their topival relevance. Although music was never part of the actual censorship act, it probably still played a role in the decisions made about the operettas.
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Tomoff, Kiril. "Of Gypsy Barons and the Power of Love: Operetta Programming and Popularity in the Postwar Soviet Union." Cambridge Opera Journal 30, no. 1 (March 2018): 29–59. http://dx.doi.org/10.1017/s0954586718000083.
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AbstractThis article utilises a nearly unique collection of material (theatre box office data) and the reports of Soviet bureaucrats charged with overseeing musical theatre to analyse the programming and reception of operetta performed in the Soviet Union from 1945 to 1948, a period during which Soviet society shifted from world war to Cold War, and music, musical life and musical theatres underwent ideological scrutiny and endured intervention by the Communist Party’s Central Committee. It argues that although official programming and audience preferences were rarely in sync, their disjuncture followed a surprising pattern according to which Russian operetta-going audiences proved both more conservative and more patriotic than those responsible for the programming in operetta theatres. Marked differences between this Russian pattern and patterns observable in other republics – Ukraine gets particular attention – also attest to the diversity of taste and official ambitions for musical programming in the postwar Soviet Union.
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VARI, Orsolya, and Stela DRAGULIN. "The appropriation of the necessary technique in singing performance." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 321–30. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.35.
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This article wants to highlight the fact that for an opera/operetta performer, just talent and voice are not enough, he must have a multilateral, detailed and disciplined training. Of course, the nature of the voice is the starting point of any path in subsequent evolution. To reach a high level of interpretation you have to go through certain stages of approaching an opera/operetta role. You can't start the road without knowing your vocal apparatus, its components and how to use it, for later to be able to get to the interpretation, style and personal note. A perfect opera/operetta performer will be the one who, in addition to his voice, is able to understand the subtleties of music and implicitly of the libretto, and will also have a very fair and organized technical and informational training, "The sincerity of the expressiveness of a voice that does not take into account the real personal potentials, she will be doubtful” (Cîmpeanu 1975, 28).
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Petrenko, Oksana. "Director's Modeling of Art Project Based on Jacques Offenbach's Opereta "The Key on the Pavement"." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 2(55) (June 16, 2022): 140–54. http://dx.doi.org/10.31318/2414-052x.2(55).2022.266553.
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The author considered the modern trends in the development of the operetta theater under the influence of a change in its paradigm. The main elements of the play's design are analyzed from the point of view of the director's vision of a creative graduate student. The content of the director's expansion of the libretto of Jacques Offenbach's operetta "The Key on the Pavement" is clarified, which consists in adding inserted episodes in order to modernize the work and so to dynamize it by finding new colors, namely: the prologue - an interactive scene of the meeting of the audience by mimance artists in the hall of the theater for direct involving the audience in the theatrical action and the dance-pantomime scene during the overture with the greeting of the newlyweds and the handing over of wedding gifts. The director's means of expression, the nature of their synthesis in an artistic project are outlined. The director's model of the artistic project based on J. Offenbach's operetta "The Key on the Pavement" in the author's vision of a creative graduate student has been determined. The content of the director's expansion of the libretto of J. Offenbach's operetta "The Key on the Pavement" is clarified, which consists in adding some episodes this innovation gives the operetta a modern structure that attracts the contemporary audience. The main elements of the director's idea of the play were revealed: scenographic solution, mise-en-scène drawing, director's characterization of the personages with the development of their psychological portraits, supertasks and artistic images of the characters of the play. The director's idea of the project was formed in the context of the composer's conceptual vision for a harmonious combination of form and content. It has been proven that the most vivid directorial means of expressiveness of contemporary theater art is the use of multimedia and the latest art technologies. Emphasis is placed on their compliance with the requirements of the time, on special attention to the balance and expediency of their use, harmony with the original work. The vectors of further scientific research in the context of modernization of operetta performances, which are caused by the change of the theater paradigm and the search for modern directorial means of expression to increase the impact on the audience, are predicted.
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Bąkowska, Nadzieja. "Maska czy gęba? Operetka Witolda Gombrowicza w kontekście komedii dell’arte." Poznańskie Studia Polonistyczne. Seria Literacka, no. 38 (October 15, 2020): 103–23. http://dx.doi.org/10.14746/pspsl.2020.38.5.
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The article is an attempt at placing Operetka (Operetta) in the context of commedia dell’arte by comparing the basic structural and ideological characteristics of Witold Gombrowicz’s drama with the key traits of the commedia dell’arte genre. The author of Ferdydurke, who coined the phrase przyprawiać (komuś) gębę (put the screws to someone’s mug), brings to the grotesque distortion any manifestations of form domination both in life and in art. Ironically, it is the elements of Operetka, related to commedia dell’arte – a thoroughly conventionalised and schematised genre, that become the tool for a sort of removal of mask or mug. Given the mask, protagonists are given “a mug”, and cannot be themselves, they can only be what is allowed by the mask they were given and so they become its prisoner, in a way. The only antidote to “the mug” is nudity that frees one from any mask that forces them to play the designated roles. The article aims to present the relationship between Operetka and the commedia dell’arte genre, with particular emphasis on analysing the Gombrowicz’s concept of form against the convention of mask and costume in the commedia dell’arte, and on the “nudity” vs. “mask” opposition that focuses the drama’s main artistic and existential issues, while it is also precisely the point where the relationship between Gombrowicz’s work and Italian commedia dell’arte is seen most clearly.
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Gombrowicz, Witold, Allen Kuharski, and Dariusz Bukowski. ""History (An Operetta)": An Unfinished Play." PAJ: A Journal of Performance and Art 20, no. 1 (January 1998): 99. http://dx.doi.org/10.2307/3245884.
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Clark, Walter Aaron. "Zarzuela: Spanish Operetta, American Stage (review)." Notes 58, no. 1 (2001): 117–18. http://dx.doi.org/10.1353/not.2001.0128.
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Baranello, Micaela. "Arabella,Operetta, and the Triumph ofGemütlichkeit." Opera Quarterly 31, no. 4 (December 2015): 199–222. http://dx.doi.org/10.1093/oq/kbv013.
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Shakhmamedova, Naiba. "Modal Intonation Features of Crowd Scenes in the Operetta “O olmasyn, bu olsun” (“Not that, so this”) by U. Hajibeyli." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 1 (June 4, 2021): 73–88. http://dx.doi.org/10.31866/2616-7581.4.1.2021.233340.
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The article analyses the features of the crowd scenes’ structure in the operetta “O olmasyn, bu olsun” (1910) by the outstanding composer Uzeyir Hajibeyli (1885–1948), who founded the Azerbaijani professional composer school at the beginning of the 20th century. In this operetta rich in comic imagery, the composer’s style is reflected in choral scenes influenced by harmonious recitatives and musical patterns and analyzed as a philosophical sphere of reflection of events in the comical plane. He also interprets the development of the operetta genre as a genre of contemporary music in the professional traditions of Western European music in Azerbaijan, as well as the features of intonation that are relevant in Azerbaijani folk music in terms of its structure and thematic focus. The purpose of the research is to analyze the modal features of the operetta “O olmasyn, bu olsun”. For this, the variety of characters available in the work, the line of development of these characters as an issue to study the compatibility of the inner world of characters, given both emotionally and comically, come to the fore. It is also noteworthy that the comparison of moods and intonations in the events taking place in the crowd scenes is naturally reflected here. The research methodology draws attention to the comparative and historical analysis of music theory and history of music, axiological and cultural approaches. Here, the principle of using texts in musical scenes reflects the originality of the composer’s style. Our analysis made it important to consider the research of various researchers who adhere to the principle of secularism. The scientific novelty of the research lies in the fact that for the first time in U. Hajibeyli's operetta “O olmasyn, bu olsun”, an extensive analysis of fret features in crowd scenes with different editions was carried out. The emergence of these features also serves as an example for musicians and composers working in the field of musical composition. Conclusions. The analysis of the modal intonations’ features of crowd scenes in the operetta by U. Hajibeyli “O olmasyn, boolsun” shows the clarity of the intonation principles in Azerbaijani folk music from the point of view of the correspondence of images. This aspect also shaped the composer’s intonation concept. Musical materials suitable for the composer’s comedy scene explain the different situations of the protagonist. The article draws attention to the combination of images and choral performance used in public scenes, for example, the combination of mood and intonation. The use of historical, musical theory, composition, modal intonation features on the public stage is more consistent with the fret concept created by the composer U. Hajibeyli.
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Vesic, Ivana. "Under political and market pressures: The staging of operetta in interwar Belgrade." Muzikologija, no. 33 (2022): 121–52. http://dx.doi.org/10.2298/muz2233121v.
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In this paper, I will focus on the reconstruction of the history of operetta companies established in interwar Belgrade. I gave priority to those ensembles that held regular performances for a longer period of time in the late 1920s and late 1930s. Aside from making a detailed overview of several more stable operetta theatres in Belgrade at the time, including their repertoire and leading artists, the attention will also be paid to uncovering the broader context of their work. The issues of state cultural policy and the rise of competitiveness inside the local spheres of culture and entertainment will also be discussed.
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Bulycheva, Anna V. "“I laughed like a madman at the music alone...” Borodin’s operetta heroic warriors in Victor Krylov's letters to Nikolay Savitsky." Contemporary Musicology, no. 3 (2020): 66–110. http://dx.doi.org/10.56620/2587-9731-2020-3-066-110.
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The article is the first publication of 22 letters by playwright Viktor Krylov to Nikolay Savitsky, Stage Director of the Moscow Opera Сompany. The letters were discovered in 2020 in the State Historical Museum. The preparation of the article included dating and commenting on the letters. All the letters date from 1866 to 1867. Most of them are devoted to Heroic Warriors (1867), an operetta by Alexander Borodin based on the libretto by Krylov. The discovered documents allow to trace back how the operetta was composed, beginning with the emergence of Krylov's idea. The article clarifies the chronology of Krylov's work on the libretto as well as Borodin's work on the music of Heroic Warriors. It also reveals some previously unknown details of the composer's concept. Krylov writes in detail about passing two stages of theatrical censorship. It allows to establish the correct date of the final approval by the Theater and Literature Committee: July 29, not June 29 as previously thought. This fact explains why Borodin did not have enough time to compose fully original music for the operetta as well as why he was so often forced to parody works of other composers.
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Vari, Renata, and Stela Drăgulin. "The Evolution and Multiculturality of the Operetta Genre." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 119–28. http://dx.doi.org/10.24193/subbmusica.2020.2.09.
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"This article present how the musical genre of operetta has evolved from one time period to another, how it has been influenced by the tradition and the folklore of each country, and the kind of imprints it left on the culture that approached it. Starting from the fact that music is the universal language that includes ethnicities, nationalities, and geographical divisions, it is the one that brings together people from all backgrounds and it unites them in appreciation, participation, and education. The advantages derived from the approach of multicultural music education can be illustrated through all these elements - a much wider and interesting openness. Keywords: operetta, multiculturalism, universal language, interdisciplinarity, art."
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Sieradzka, Paulina. "Między konwencją a inwencją. Osobliwości językowe w listach abpa Adama Sapiehy skierowanych do prymasa Augusta Hlonda." Poznańskie Studia Polonistyczne. Seria Językoznawcza 24, no. 2 (January 29, 2018): 233–44. http://dx.doi.org/10.14746/pspsj.2017.24.2.14.
Full textAbstract:
In this text the stylistic features of Polish letters of Archbishop Adam Sapieha addressed to the Primate August Hlond. To these letters, the author arrived, by inquiring in Archdiocesan Archives in Gniezno. The relevant subject of the article is five puzzling expressions in terms of usage, meaning and construction. The first example: a coterie is a single lex, the other four: real rape, journalistic nerve, thick gloves and operettas performances are constant expressions. As demonstrated by the analysis of the occurence of words and the analysis of expressions, the word coterie reveals the pejorative relation of the speaker to the circumstances described. The expression of real rape is an idiolectic metaphor and the expression of journalistic nerve is a phraseological modification. The phrase to put thick gloves as well as the expression of operetta performances are contaminations. They prove the existence of Sapieha’s individual language and the efforts of the sender of the letters to make the word and its meaning as complete as possible.
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IORGA, Anca. "horeography in operetta performances – Case study: The ball of Prince Orlofsky from Die Fledermaus production by Johann Strauss – The Son, act II." Theatrical Colloquia 14, no. 1 (May 1, 2024): 174–83. http://dx.doi.org/10.35218/tco.2024.14.1.13.
Full textAbstract:
Operetta is a musical and dramatic performance similar to, yet shorter than opera, composed to a dramatic libretto with humorous elements. It is a complex production engaging the viewer in an appealing visual and audible experience marked by a harmonious blend of movement, colour and form. From a choreographic perpective, operetta brings a particular approach in that nearly the entire performance consists of planned dance sequences or ample parts of scenic movement. The research topic is the ball organised by Prince Orlofsky of Die Fledermaus (The Bat) operetta by Johann Strauss – The Son, a part of Act II, staged by Matteo Mazzoni, choreographed by Roxana Colceag and acted out by Victor Bucur. The wide range of sequences of dance steps in an operetta performance is due to the themes of such performances which allow and even impose the existence of choreographic moments, on the one hand, and to the rhythmic, danceable music often inspired from various dances specific to the geographical area where the action takes place, on the other. The performers must accurately execute the dance technical elements. The method used in creating the choreographic moment under research is immitation–based learning. Immitation is the best-known and frequently used dance composition means and consists in the reproduction by the performer, as faithfully as possible, of a dance phrase given by the choreographer. The scenic movement and the planned sequences of dance steps are the valuable fruit of the choreographer's searches and of the performers' endeavours towards achieving a flawless creative behaviour on stage, always starting from the director's perspective. In embodying their character, the performer does not truly rely on the external models they refer to, but on a great amount of spontaneity and creativity.
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Schweitzer, Marlis. "“DARN THAT MERRY WIDOW HAT”: THE ON- AND OFFSTAGE LIFE OF A THEATRICAL COMMODITY, CIRCA 1907–1908." Theatre Survey 50, no. 2 (November 2009): 189–221. http://dx.doi.org/10.1017/s0040557409990044.
Full textAbstract:
Decades before the rise of the international megamusical, Franz Lehár's operetta Die lustige Witwe (The Merry Widow) traveled the world, becoming a franchise surrounded by a constellation of commodities. Within two years of its opening in Vienna on 30 December 1905, the romantic tale of Hanna Glawari's second chance at love was playing in theatres across Europe and in “virtually every city in the German-speaking world,” including colonial communities in Africa and Asia. In Argentina, as many as five versions of the operetta opened simultaneously in Buenos Aires, each in a different language. By 1908, three Merry Widow road companies were touring the United States, and numerous burlesques of the piece were vying for the attention of theatregoers.