Introduction Anastasia Belina and Derek B. Scott; Part I. Early Centres of Operetta: 1. French operetta: Offenbach and company John Kendrick; 2. Viennese Golden-Age operetta: drinking, dancing and social criticism in a multi-ethnic empire Lisa Feurzeig; 3. London and Gilbert and Sullivan Bruno Bower; 4. Hungarians and Hungarianisms in operetta and folk plays in the late Habsburg and post-Habsburg era Lynn Hooker; 5. Operetta in the Czech National Revival - the Provisional Theatre years Jan Smaczy; Part II. The Global Expansion of Operetta: 6. Going global: the international spread of Viennese Silver-Age operetta Stefan Frey; 7. Spain and Zarzuela Christopher Webber; 8. Camping along the American operetta divide (on the road to the musical play) Raymond Knapp; 9. Operetta in Russia and the USSR Anastasia Belina; 10. Operetta in the Nordic countries (1850-1970) Pentti Paavolainen; 11. Operetta in Greece Avra Xepapadakou; Part III. Operetta since 1900: 12. The operetta factory: production systems of Silver-Age Vienna Micaela Baranello; 13. Berlin operetta Tobias Becker; 14. Operetta in Italy Valeria De Lucca; 15. Operetta in Warsaw Anastasia Belina; 16. British operetta after Gilbert and Sullivan Derek B. Scott; 17. Operetta during the Nazi regime Matthias Kauffmann; 18. Operetta films Derek B. Scott; 19. 'Jazz was the dynamite that exploded the harmlessness of the Viennese operetta!' (Interviewer: Ulrich Lenz.) Interview with Barrie Kosky.
A collection of essays revealing how operetta spread across borders and became popular on the musical stages of the world.
Anastasia Belina is Senior Research Fellow at the University of Leeds. She is author and editor of A Musician Divided (2013), Die tagliche Muhe ein Mensch zu sein (2013), Wagner in Russia, Poland and the Czech Lands (2013, co-edited edition), and The Business of Opera (edited with Derek B. Scott, 2015). Between 2014 and 2019 she researched the reception of German operetta in Warsaw as part of a European Research Council funded project. She is currently working on the BBC and Arts and Humanities Research Council (AHRC) project Forgotten Female Composers for which she is researching the life and work of Augusta Holmes. Derek B. Scott is Professor of Critical Musicology at the University of Leeds. His books include Sounds of the Metropolis (2008), and Musical Style and Social Meaning (2010). His musical compositions include two symphonies for brass band and an operetta, Wilberforce. He has also worked professionally as a singer, actor and pianist in radio, TV, concert hall and theatre. In 2014, he was awarded an Advanced Grant by the European Research Council to fund a five-year project researching the twentieth-century reception of operettas from the German stage on Broadway and in the West End.
'... finally, a collection of essays published by Cambridge
University Press makes some of these new debates [about operetta]
available to an English speaking audience ... a great overview of
many new trends in scholarship ... attractively packaged and
priced.' Kevin Clarke, Operetta Research Center
'... the editors can be congratulated on the breadth and variety of the contents. Aimed at varying levels of knowledge as the chapters are, the book should provide informative reading for operetta students of a wide range of knowledge ...' Andrew Lamb, www.zarzuela.net
'I defy you not to learn something and expand your knowledge by reading this Companion. It is also the sort of book to return to again and again to look up a reference, or to find information in one of the many bibliographies. In short, a veritable mine of information and well worth the small price asked ... Highly recommended!' John Groves, Operetta Research Center
'[This book] deserves to take its place ... on the short (but growing) bookshelf of every operetta lover.' Richard Bratby, Gramophone
'The 18 essays in this excellent compendium look at the origin, development, and distinct national characteristics of various types of light musical dramatic types that came to be known collectively as operetta ... this book will interest scholars of Jewish studies as well as scholars of music and drama. The bibliography is excellent, as are lists of books and films ... Highly recommended.' W. E. Grim, Choice