By Richard Traubner
"Operetta: A Theatrical History" is taken into account the vintage historical past of this crucial musical theater shape. Traubner's booklet, first released in 1983, continues to be famous because the key historical past of the folk and productions that made operetta a world phenomenon. starting in mid-19th century Europe, the ebook covers all the key advancements within the shape, together with the landmark works by means of Strauss and his fans, Gilbert & Sullivan, Franz Lehar, Rudolf Friml, Victor Herbert, and lots of extra. The ebook completely captures the champagne-and-ballroom surroundings of the best works within the style. it's going to attract all enthusiasts of musical theatre background.
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Additional info for Operetta: A Theatrical History (Routledge Studies in Musical Genres)
By the time of the Revolution of 1789, the prominent opéras-comiques had ceased being comique. The Romantic movement contributed to this trend, with exotic and novellike plots being popular, making the music of the opéra-comique more and more like opéra. François Adrien Boïeldieu managed to be comic and romantic with his Ma Tante Aurore (1803), while the much later La Dame Blanche (1825) was nearly entirely romantic, after Walter Scott. It was La Dame Blanche (Opéra-Comique, 10 December 1825) that decisively changed opéra-comique, requiring virtuoso operatic voices singing against complicated, heavily charged orchestrations.
Like the vaudeville, the revue continued its ascent through the operetta period, well into this century. Parodies and burlesques of the latest operas, operettas, and plays were only to be expected in the latest revue. The development of the popular, nontheatrical, French song deserves (like the history of the opéra-comique) a tome to itself. By the end of the eighteenth century, the thensuburban cabarets in the fashionable public gardens were a popular setting for their performance. Visitors were regaled with comic, satirical, or sentimental songs, done in the chansonnier style that has persisted to this day.
Le Chalet (Opéra-Comique, 25 September 1834) had a libretto by Scribe and Mélesville set in Switzerland, with “the mountains of Appenzel” seen through the doors of the titular abode. Derived from a story by Goethe, the slight plot told of timid Daniel and his loved one, Bettly, whose chalet is besieged by a company of Swiss soldiers fighting for Austria, led by the swaggering Max. ” sing Max and his mercenaries as they pilfer poor Bettly’s supplies. Rousing military songs like this kept Le Chalet popular for years, one of Adam’s most enduring works.
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