Skip to main content Accessibility help
×
Hostname: page-component-76fb5796d-zzh7m Total loading time: 0 Render date: 2024-04-27T16:28:49.654Z Has data issue: false hasContentIssue false

Part III - Operetta since 1900

Published online by Cambridge University Press:  14 November 2019

Anastasia Belina
Affiliation:
University of Leeds
Derek B. Scott
Affiliation:
University of Leeds
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2019

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Recommended Reading

Frey, Stefan. Was sagt ihr zu diesem Erfolg: Franz Lehár und die Unterhaltungsmusik des 20. Jahrhunderts. Frankfurt: Insel, 1999.Google Scholar
Linhardt, Marion. Residenzstadt und Metropole: Zu einer kulturellen Topographie des Wiener Unterhaltungstheaters (1858–1918). Berlin: De Gruyter, 2012 (orig. pub. Tübingen: Niemeyer, 2006).Google Scholar
Quissek, Heike. Das deutschsprachige Operettenlibretto: Figuren, Stoffe, Dramaturgie. Stuttgart: Verlag J. B. Metzler, 2012.Google Scholar
Yates, W. E. Theatre in Vienna: A Critical History, 1776–1995. Cambridge: Cambridge University Press, 1996.Google Scholar

Recommended Reading

Bartmuss, Hartmut. Hugo Hirsch: ‘Wer wird denn weinen …’ Berlin: Hentrich & Hentrich, 2012.Google Scholar
Becker, Tobias. Inszenierte Moderne. Populäres Theater in Berlin und London, 1880–1930. Munich: De Gruyter Oldenbourg 2014.Google Scholar
Becker, Tobias. ‘Die Anfänge der Schlagerindustrie: Intermedialität und wirtschaftliche Verflechtung vor dem Ersten Weltkrieg’, Lied und Populäre Kultur, 58 (2013): 1140.Google Scholar
Gänzl, Kurt. The Encyclopedia of the Musical Theatre. 2 vols. Oxford: Blackwell Reference, 1994.Google Scholar
Grosch, Nils, ed. Aspekte des modernen Musiktheaters in der Weimarer Republik, Aspekte des modernen Musiktheaters in der Weimarer Republik. Münster: Waxmann, 2004.Google Scholar
Jansen, Wolfgang. Glanzrevuen der Zwanziger Jahre. Berlin: Hentrich, 1987.Google Scholar
Jarchow, Ute. Analysen zur Berliner Operette: Die Operetten Walter Kollos (1878–1940) im Kontext der Entwicklung der Berliner Operette. München: AVM, 2013.Google Scholar
Jelavich, Peter. Berlin Cabaret. Cambridge, MA: Harvard University Press, 1993.Google Scholar
Karl, Viola. Eduard Künneke (1885–1953): Komponistenportrait und Werkverzeichnis. Berlin: Ries & Erler, 1995.Google Scholar
Katz, Pamela. The Partnership: Brecht, Weill, Three Women, and Germany on the Brink. New York: Doubleday, 2015.Google Scholar
Klotz, Volker. Operette: Porträt und Handbuch einer unerhörten Kunst.Kassel: Bärenreiter, rev. ed. 2004 (orig. pub. Munich: Piper, 1991).Google Scholar
Lamb, Andrew. 150 Years of Popular Musical Theatre. New Haven, CT: Yale University Press, 2000.Google Scholar
Lange, Kerstin. Tango in Paris und Berlin: Eine transnationale Geschichte der Metropolenkultur um 1900. Göttingen: Vandenhoeck & Ruprecht, 2015.Google Scholar
Lareau, Alan. Victor Hollaender: Revue meines Lebens: Erinnerungen an einen Berliner Unterhaltungskomponisten um 1900. Berlin: Hentrich & Hentrich, 2014.Google Scholar
Morat, Daniel, Becker, Tobias, Lange, Kerstin, Niedbalski, Johanna, Gnausch, Anne and Nolte, Paul. Weltstadtvergnügen: Berlin 1880–1930. Göttingen: Vandenhoeck & Ruprecht, 2016.Google Scholar
Otte, Marline. Jewish Identities in German Popular Entertainment, 1890–1933. Cambridge: Cambridge University Press, 2006.Google Scholar
Platt, Len, Becker, Tobias and Linton, David, eds. Popular Musical Theatre in London and Berlin, 1890–1939. Cambridge: Cambridge University Press, 2014.Google Scholar
Sebestyén, György. Paul Ábrahám: Aus dem Leben eines Operettenkomponisten. Vienna: Verlag der Österreichischen Staatsdruckerei, 1987.Google Scholar
Traubner, Richard. Operetta: A Theatrical History. New York: Routledge, 2003.Google Scholar

Recommended Reading

Bortolotto, Mario. ‘Sul teatro d’operetta’. Nuova rivista musicale italiana, 3 (1971): 420–42.Google Scholar
Fiorentino, Waldimaro. L’operetta italiana. Storia, analisi critica, aneddoti. Bolzano: Catinaccio, 2006.Google Scholar
La Gioia, Diana. I libretti italiani d’operetta nella Biblioteca Nazionale di Roma. Florence: Olschki, 1979.Google Scholar
Niccolai, Michela. ‘“Oh fior di thé, t’amo credi a me!” Alcuni aspetti della ricezione del mito-Butterfly nella canzone e nell’operetta fino agli anni Trenta’. In Groos, Arthur and Bernardoni, Virgilio, eds., Madama Butterfly: l’orientalismo di fine secolo, l’approccio pucciniano, la ricezione. Florence: Leo Olschki, 2008, 375–91.Google Scholar
Niccolai, Michela. ‘Portraits de femmes exotiques dans le café-chantant et l’opérette italiens (1910–1940 environ)’. In Niccolai, Michela and Rowden, Clair, eds., Musical Theatre in Europe 1830–1945. Turnhout: Brepols, 2017, 325–47.Google Scholar
Oppicelli, Ernesto. Operetta. Da Hervé al Musical Hall. Genoa: Sagep Editrice, 1985.Google Scholar
Piano, Roberto. Addio giovinezza: l’operetta a Torino. Turin: Beppe Grande editore, 2002.Google Scholar
Recupido, Giovanni. ‘Un signore senza pace di Dino Rulli (1925): un esempio della ricezione del jazz nell’operetta italiana degli anni venti’. In Niccolai, Michela and Rowden, Clair, eds., Musical Theatre in Europe 1830–1945. Turnhout: Brepols, 2017, 311–24.Google Scholar
Sorba, Carlotta. ‘The Origins of the Entertainment Industry: The Operetta in Late Nineteenth-Century Italy’. Journal of Modern Italian Studies, 11, no. 3 (2006): 282302.Google Scholar
Traversetti, Bruno. L’operetta. Milan: Mondadori, 1985.Google Scholar

Recommended Reading

Filler, Witold. Rendez-vous z Warszawską operetką / Rendez-vous with Warsaw operetta. Warsaw: Państwowy Instytut Wydawniczy, 1961.Google Scholar
Sempoliński, Ludwik. Wielcy artyści małych scen / Great artists of small stages. Warsaw: Czytelnik, 1977.Google Scholar
Szwankowski, Eugeniusz. Teatry Warszawy w latach 1765–1918 / Warsaw theatres in 1765–1918. Warszawa: Państwowe Wydawnictwo Naukowe, 1979.Google Scholar
Wypych-Gawrońska, Anna. Warszawski teatr opertowy i operetkowy w latach 1880–1915 / Warsaw opera and operetta theatre in 1880–1915. Częstochowa: Wydawnistwo im. Stanisława Podobińskiego, 2011.Google Scholar

Recommended Reading

Coward, Noël. Present Indicative. London: Heinemann, 1937.Google Scholar
Ellis, Vivian. I’m on a See-Saw: An Autobiography. London: Michael Joseph, 1953.Google Scholar
Everett, William A., ed. The Cambridge Companion to the Musical. Cambridge: Cambridge University Press, 2008.Google Scholar
Ewen, David. The Book of European Light Opera. New York: Holt, Rinehart and Winston, 1962.Google Scholar
Harding, James. Ivor Novello. London: W. H. Allen, 1987.Google Scholar
Hyman, Alan. The Gaiety Years. London: Cassell, 1975.Google Scholar
Lamb, Andrew. Leslie Stuart: The Man Who Composed Florodora. London: Routledge, 2002.Google Scholar
MacQueen-Pope, Walter. J. Ivor: The Story of an Achievement. London: W. H. Allen, 1951.Google Scholar
Niccolai, Michela and Rowden, Clair, eds. Musical Theatre in Europe 1830–1945. Turnhout: Brepols, 2017.Google Scholar
Noble, Peter. Ivor Novello: Man of the Theatre. London: Falcon Press, 1951.Google Scholar
Norton, Richard C., ‘Coward & Novello’. Operetta Research Center Amsterdam. http://operetta-research-center.org/coward-novello/ (accessed 9 May 2019).Google Scholar
Platt, Len. Musical Comedy on the West End Stage, 1890–1939. Basingstoke: Palgrave Macmillan, 2004.Google Scholar
Platt, Len, Becker, Tobias and Linton, David, eds. Popular Musical Theatre in London and Berlin, 1890–1939. Cambridge: Cambridge University Press, 2014.Google Scholar
Short, Ernest. Sixty Years of Theatre. London: Eyre & Spottiswoode, 1951.Google Scholar
Snelson, John. ‘The Waltzing Years: British Operetta 1907–1939’. In Niccolai, Michela and Rowden, Clair, eds. Musical Theatre in Europe 1830–1945. Turnhout: Brepols, 2017. 241–66.Google Scholar
Webb, Paul. Ivor Novello: A Portrait of a Star [1999]. London: Haus Publishing, rev. ed. 2005.Google Scholar

Recommended Reading

Dompke, Christoph. Unterhaltungsmusik und NS-Verfolgung. Neumünster: Von Bockel 2011.Google Scholar
Drewniak, Bogusław. Das Theater im NS-Staat. Szenarium deutscher Zeitgeschichte 1933–1945. Düsseldorf: Droste 1983.Google Scholar
Grünberg, Ingrid. ‘“Wer sich die Welt mit einem Donnerschlag erobern will …” Zur Situation und Funktion der deutschsprachigen Operette in den Jahren 1933–1945’. In Heister, Hanns-Werner and Klein, Hans-Günter, eds., Musik und Musikpolitik im faschistischen Deutschland. Frankfurt a. M.: Fischer 1984. 227–42.Google Scholar
Haken, Boris von. Der ‘Reichsdramaturg’. Rainer Schlösser und die Musiktheater-Politik in der NS-Zeit. Neumünster: Von Bockel 2007.Google Scholar
Hüpping, Stefan. Rainer Schlösser (1899–1945). Der ‘Reichsdramaturg’. Bielefeld: Aisthesis 2012.Google Scholar
Kauffmann, Matthias. Operette im ‘Dritten Reich’. Musikalisches Unterhaltungstheater zwischen 1933 und 1945. Neumünster: Von Bockel, 2017.Google Scholar
Kieser, Klaus. Das Gärtnerplatztheater in München 1932–1944. Zur Operette im Nationalsozialismus. Frankfurt am Main: Lang, 1991.Google Scholar
Odenwald, Florian. Der nazistische Kampf gegen das ‘Undeutsche’ in Theater und Film 1920–1945. Munich: Utz, 2006.Google Scholar
Rischbieter, Henning, ed. Theater im ‘Dritten Reich’: Theaterpolitik, Spielplanstruktur, NS-Dramatik. Seelze-Velber: Kallmeyer, 2000.Google Scholar
Schaller, Wolfgang, ed. Operette unterm Hakenkreuz. Zwischen hoffähiger Kunst und ‘Entartung’. Beiträge einer Tagung der Staatsoperette Dresden. Berlin: Metropol, 2007.Google Scholar

Films Referenced

Bitter Sweet (1933), dir. Herbert Wilcox. British and Dominions Film Corporation. (British Classics Collection, 2015).Google Scholar
Bitter Sweet (1940), dir. W. S. Van Dyke. MGM. Archive Collection. (Warner, 2011).Google Scholar
Blossom Time (1934), dir. Paul Stein. BIP. British Film Musicals of the 1930s, Vol 2, disc 1 (Network, 2014).Google Scholar
Die Blume von Hawai (1933), dir. Géza von Cziffra. Arion-Film.Google Scholar
Das Cabinet des Dr Caligari (1920), dir. Robert Wiene. Decla-Bioscop. Masters of Cinema. (Eureka Entertainment, 2014).Google Scholar
The Chocolate Soldier (1941), dir. Roy Del Ruth. MGM. Archive Collection. (Warner, 2012).Google Scholar
Die Csárdásfürstin (1934), dir. Georg Jacoby. Ufa. Die grossen Klassiker. (Ufa, 2000).Google Scholar
Die Csárdásfürstin (1951), dir. Georg Jacoby. Deutsche Styria Film. (Kinowelt, 2009).Google Scholar
The Dancing Years (1950), dir. Harold French. Associate British Pictures. The British Film. (Network, 2015).Google Scholar
Die 3-Groschen Oper (1931), dir. G. W. Pabst. Tobis Filmkunst. Klassiker Edition. (Ufa, 2008).Google Scholar
Die Drei von der Tankstelle (1930), dir. Wilhelm Thiele. Ufa. Klassiker Edition. (Ufa, 2009).Google Scholar
Friederike (1932), dir. Fritz Friedmann-Frederich. Indra-Film Rolf Raffé.Google Scholar
Die Försterchristl (1952), dir. Arthur Rabenalt. Carlton Film. (Filmjuwelen, 2013).Google Scholar
Die Försterchristel (1962), dir. Franz Gottlieb. Carlton Film. (Filmjuwelen, 2013).Google Scholar
Glamorous Night (1937), dir. Brian Desmond Hurst. Associated British Picture Corporation. British Film Musicals of the 1930s, Vol. 5, disc 2 (Network, 2016).Google Scholar
Golden Dawn (1930), dir. Ray Enright. Warner Bros and the Vitaphone Corporation. Archive Collection. (Warner, 2009).Google Scholar
Die große Attraktion (1931), dir. Max Reichmann. Münchner Lichtspielkunst (Emelka).Google Scholar
I Give My Heart (1935), dir. Marcel Varnay. Wardour Films. British Film Musicals of the 1930s, Vol. 6, disc 2 (Network, 2016).Google Scholar
Im weißen Rössl (1935), dir. Carl Lamac. Hade-Film. (Filmjuwelen, 2014).Google Scholar
Im weißen Rössl (1952), dir. Willi Forst. Carlton Film. (Kinowelt, 2004).Google Scholar
Im weißen Rössl (1960), dir. Werner Jacobs. Carlton Film. (Filmjuwelen, 2016).Google Scholar
The Jazz Singer (1927), dir. Alan Crosland. Warner Bros. (Warner Home Video, 2013).Google Scholar
Der Kongreß tanzt (1931), dir. Erik Charell. Ufa. Klassiker Edition. (Ufa, 2009).Google Scholar
Das Land des Lächelns (1930), dir. Max Reichman. Richard Tauber Tonfilm-Produktion.Google Scholar
Der letzte Walzer (1953), dir. Arthur Maria Rabenalt. Carlton Film and Eichberg-Film. (Filmjuwelen, 2013).Google Scholar
The Love Parade, (1929), dir. Ernst Lubitsch. Paramount Pictures. Comedias Musicales, Ernst Lubitsch, Vol. 1 (Regia Films, 2010).Google Scholar
Maytime (1937), dir. Robert Z. Leonard. MGM. Archive Collection. (Warner, 2012).Google Scholar
The Merry Widow (1925), dir. Erich von Stroheim. MGM. Archive Collection. (Warner, 2011).Google Scholar
The Merry Widow (1934), dir Ernst Lubitsch. MGM. Archive Collection. (Warner, 2013).Google Scholar
Mister Cinders (1934), dir. Frederic Zelnik. BIP. British Film Musicals of the 1930s, Vol. 2, disc 2 (Network, 2014).Google Scholar
My Song Goes Round the World (1934), dir. Richard Oswald. BIP. British Film Musicals of the 1930s, Vol. 3, disc 2 (Network, 2014).Google Scholar
Naughty Marietta (1935), dir. Robert Z. Leonard. MGM. Archive Collection. (Warner, 2011).Google Scholar
One Hour with You (1932), dir. Ernst Lubitsch. Paramount Pictures. Comedias Musicales, Ernst Lubitsch, Vol. 2 (Regia Films, 2010).Google Scholar
Die Privatsekretärin (1931), dir. Wilhelm Thiele. Greenbaum Film.Google Scholar
The Rogue Song (1930), dir. Lionel Barrymore and Hal Roach. MGM. Excerpt on YouTube, www.youtube.com/watch?v=qBff3jwIZrU (accessed 10 May 2019).Google Scholar
Ronny (1931), dir. Reinhold Schünzel. Ufa.Google Scholar
Rose-Marie (1936), dir. W. S. Van Dyke. MGM. Archive Collection. (Warner, 2015).Google Scholar
Schwarzwaldmädel (1950), dir. Hans Deppe. Berolina. (Filmjuwelen, 2013).Google Scholar
The Smiling Lieutenant (1931), dir. Ernst Lubitsch. Paramount Pictures. Comedias Musicales, Ernst Lubitsch, Vol. 2 (Regia Films, 2010).Google Scholar
Trois valses (1938), dir. Ludwig Berger. SOFROR.Google Scholar
Waltzes from Vienna (1934), dir. Alfred Hitchcock. Gaumont British Picture Corporation. (Universal Classics, 2012).Google Scholar
Ein Walzertraum (1925), dir. Ludwig Berger. Ufa.Google Scholar
Der Zarewitsch (1933), dir. Victor Janson. Prima-Tonfilm.Google Scholar
Zwei Herzen im Dreivierteltakt (1930), dir. Géza von Bolváry. Super-Film.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×