Contents
- Bruno Bower, Elisabeth Honn Hoegberg, Sonja Starkmeth - Introduction
Part 1: International Travel
2. Matteo Paoletti - "The operetta season considerably decreased our losses": Art and business from Italian/South American ledgers of the 1900s
3. John Graziano - The Widow and the Waltz: âVienneseâ Operetta in New York, (1907-1930)
4. Gy¶ngyi Heltai - Transnational influences in the early period of the Budapest Operetta Theatre (1922-1926)
Part 2: Politics and National Identity
5. VojtÄch Frank - Dunayevsky, Czech Edition: On Soviet Operetta in Czechoslovakia, Its Cultural Significance, and Its Artistic Character
6. Ryszard Daniel Golianek - Changing Perspectives: Poland and the Poles in German Operetta
7. Lynn M. Hooker - Hungary and Hungarianism Old and New on the Operetta Stage
Part 3: Class and Gender
8. Sonja Starkmeth - âCome and Buy! Buy! Buy!â â" Places of Commerce in Late Victorian Popular Musical Theatre (1890 â" 1900)
9. Elisabeth Honn Hoegberg - A Star is Born: The Travesti Protagonist from Chabrier to Hahn
10. John Rigby - Der Zarewitsch (1927): Gender Ambiguity and the Repression of Sexual Identity
Part 4: Genre Transformations
11. Bruno Bower - Burlesque Quotation Practices in Gilbert and Sullivanâs Savoy Operas and the Creation of Middle-Class Identity
12. David Larkin and Chantal Nguyen - Moving things around: The Australian Balletâs adaptation of The Merry Widow (1975)
13. Pierre Degott â" âTreu sein, das liegt mir nichtâ: Sexual Predation and Textual Correction
14. Stephanie Ruozzo - Broadway Royalty: Jerome Kernâs Princess Theatre Shows as the Heirs of Operetta
Examples
Example 3.1: Leo Fall, Das Puppenm¤del, No. 4, âLied des Tiboriusâ, mm. 62-70
Example 3.2. Jerome Kern, The Doll Girl, âWill it all end in smoke?â, mm. 33-40
Example 3.3: Jerome Kern, The Doll Girl, âIf we were on our honeymoonâ mm. 1-12
Example 3.4: Jerome Kern, The Doll Girl, âIf we were on our honeymoonâ, mm. 37-44
Example 3.5: Jerome Kern, The Doll Girl, âIf we were on our honeymoonâ, mm. 53-60
Example 3.6: Jerome Kern, The Doll Girl, âIf we were on our honeymoonâ, mm. 73-88
Example 9.1a: âLargo al factotum,â mm. 44-47
Example 9.1b: âLargo al factotum,â mm. 189-192
Example 9.1c: âRondeau du colporteur,â mm. 5-10, bottom
Example 9.2a: âLargo al factotum,â mm. 119-123
Example 9.2b: âRondeau,â mm. 115-124
Example 9.3a: âNon piu andraiâ, mm. 1-8
Example 9.3b: âEtre aim©,â mm. 21-26
Example 9.4a: Don Giovanni, Act I finale, mm. 92-94
Example 9.4b: Don Giovanni, Act I finale, mm. 107-110
Example 9.4c: âEtre aim©,â mm. 11-16
Example 9.5: âEtre aim©,â mm. 21-27
Example 9.6: âEtre aimeâ mm. 96-101
Example 10.1: Der Zarewitsch, âEiner wird kommen,â mm. 9â"26.
Example 11.1a: Opening of She Wore a Wreath of Roses, Bayley/Knight
Example 11.1b: Act 1 finale, âAlthough our dark careerâ, Pirates of Penzance, Gilbert/Sullivan
Example 11.2a: Melody from The Fine Old English Gentleman, arr. Russell
Example 11.2b: Act 1 No.5, âBehold the Lord High Executionerâ, Gilbert/Sullivan
Example 11.3a: Melody from Oh why should we bewail the dead, Russell
Example 11.3b: Act 1 No.3, âOh better far to live and dieâ, Pirates of Penzance, Gilbert/Sullivan
Example 11.4a: âAgnus Deiâ, Messe solennelle de Saint-C©cile, Gounod
Example 11.4b: Act 1 finale, âIâm telling a terrible storyâ, Pirates of Penzance, Gilbert/Sullivan
Example 12.1: Waltz tunes used in Ballet, No. 4
Example 12.2: Operetta No. 4 âO Vaterlandâ, mm. 9â"12 (top); Ballet No. 3, mm. 40â"43
Example 12.3: Operetta No. 4 âDa gehâ ich zu Maximâ, mm. 49â"56 (top); Ballet No. 3
(transposed from E-flat), mm. 73â"80 (bottom)
Example 12.4: Merry Widow ballet No. 11 (a) slow Vocalise theme; (b) accelerated finale
Example 12.5a: Operetta No. 11, mm. 52â"55 (string parts only)
Example 12.5b: Ballet No. 15, mm. 26â"29 (string parts only), bottom
Example 12.6: Ballet No. 19, Lippen schweigenâ melody and added descant, mm 113â"144
Example 12.7: Ballet No. 1, mm. 89â"96
Example 14.1: âThirteen Collar,â verse
Example 14.2: âThirteen Collar,â chorus
Example 14.3: âBabes in the Wood,â mm. 3-16
Example 14.4: âBabes in the Wood,â mm. 17-48
Example 14.5: âA Peach of Life,â mm. 1-8
Example 14.6: âThe Sun Shines Brighter,â mm. 75-82
Figures
Figure 7.1: The Second Vienna Award and the return of Kolozsv¡r
Figure 7.2: Cover of K¡lm¡nâs âSz©p v¡ros Kol³zsv¡râ
Figure 10.1: Rita Georg, Franz Leh¡r and Richard Tauber in 1927
Figure 10.2: Friedrich Ebert (r) and Defence Minister Gustav Noske, on the cover of
Illustrierte Zeitung, 21 August 1919.
Figure 12.1: Layout of Ballet, No. 4
Figure 12.2: Comparative layout of Act 1 in operetta and ballet (simplified)
Figure 12.3: Comparison of Daniloâs opening number (operetta and ballet versions)
Figure 12.4: Still from Merry Widow flashback scene (The Australian Ballet production, 2018)
Figure 12.5: Still from Merry Widow Act 3 finale (The Australian Ballet production, 2018)
Tables
Table 2.1: Comparison of box office revenues at Citt di Milano, 1912-1913
Table 3.1: Comparison of the German and English versions of Tiborius and Yvetteâs duet, âOn
Our Honeymoonâ
Table 4.1: Obtained stage rights for the Budapest Operetta Theatre (title, composer)
Table 4.2: Premiers of Budapest Operetta Theatre (title, composer)
Table 5.1: Soviet operetta premieres in Czech-speaking theatres
Table 6.1: German operettas with Polish motifs
Table 6.2. Settings of the operettasâ plots
Table 6.3. The operettasâ main characters
Table 6.4 Contexts of the text Poland has not perished yet in Polnische Hochzeit and DÄbrowski-Mazurka
Table 12.1: Dance types in The Merry Widow (operetta)
Table 12.2: Comparison of the operetta and ballet versions at the start of Act 2
Appendix: Viennese, German, and Hungarian Operettas Produced in New York, 1907-1930
