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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. [ABSTRACT FROM AUTHOR]

The reciprocal principle of the synthetic performer's self-training is the focus of this study because it is a fundamental pillar of role construction in musicals and operetta performances. By the term synthetic I distinguish that performer who has mastered the vocal, dance and acting arts, through which he realizes his roles in a given musical-stage work. The definition Synthetic is most accurate because of its broadness. The purpose of the independent work is to help the artist, within a rehearsal period, to prepare for each subsequent stage of the process. It is important to be able to get to the point where, when you go out in front of an audience, you will feel confident, completely removed from the feeling of fear and mistakes. When the actor has worked out individual elements calmly during self-preparation, they remain in him as safe places and he incorporates them during rehearsals. The process that the performer enters into while exploring the role on their own, much more quickly and naturally reaches the building moment of unlocking the SPONTANEOUS GAME. It is important during the independent work that the performer calmly and analytically outlines for himself exactly who in his role makes him insecure. The three main aspects that a synthetic artist should work on are: - the actor's construction of the textual part of the overall structure of the musical-stage work. - vocal learning and situating in the role structure of the individual musical numbers. The logical linking of the previous acting scene and the musical number. The discovery and exploration of the musical touches given by the composer to enable the performer to build a full-blooded vocal-artistic image. - overall plastic ideas, searching, by improvising the most accurate physical characteristic of the character, during the rehearsals with the choreographer these ideas can be shared and become the basis for developing the dance passages. Another direction in which the performer can practice independently is working out and perfecting dance passages already set by the choreographer. There is a triunity between these elements of the musical and the operetta, with certain binary relationships between each of the elements. Particular attention is needed on the accompaniment. Again, by asking specific questions, one must gain insight into the relationship between the accompaniment, the message of the song, and the musical score. The synthetic performer may experiment different physical body behaviours during the performance of a musical number in order to be able to suggest ideas during rehearsals to continue working on with the director, choreographer and scene partners. [ABSTRACT FROM AUTHOR]

My frequent appearances on the stage of the Romanian National Opera in Timisoara during my childhood cemented my desire to pursue a career in the performing arts. As the title of this work suggests, it was a challenge for me to combine three arts: singing, acting and dancing. I love the arts and the stage and I want to be a good operetta character, a musical performer, a good actor, a master of the art of using words, thoughts and emotions. Communicating emotions and ideas through gestures and movements, with the help of a universally accessible language, we tend towards this complex ideal that I call the comic june, the absolute performer. [ABSTRACT FROM AUTHOR]

Between the last decade of the 19th century and the first ones of the 20th century, a large number of Italian operetta companies crossed the Atlantic to explore the South American theatre market, formed largely by an immigrant audience. On these tours, many artists ended up settling in the New World. This was the case of Clara Weiss, an Italian actress-singer who became capo-comic in South America, but remained closely linked to the Italian operettistic world, establishing a bridge between the two universes. [ABSTRACT FROM AUTHOR]

The object of this presentation is Júlia Hajdu (1925–1987), the first and only female Hungarian operetta composer. Although there is no abundance of female composers in either international or Hungarian music literature, most of the few were canonically mistreated, despite their creations being worthy of research. The author of choice, Júlia Hajdu, had a rather rich artistic career during which she excelled in various musical genres, such as the composition of dance songs, operettas, revues, dance suites, and incidental music. Besides composing, she was also an outstanding pianist. At the Zeneakadémia (Liszt Ferenc Academy of Music), her master teachers were Zoltán Kodály (1882–1967) and György Ránki (1907–1992) – the latter, too, being a composer of operettas. Hajdu studied folk music from Kodály and jazz orchestration from Ránki. Hajdu's name was soon mentioned next to the best-known creators of popular genres by both her contemporaries and the critics of the age. Among others, she worked on the popular music shows of Magyar Televízió (Hungarian Television) and was employed as Hanna Honthy's piano accompanist. Hajdu recorded hundreds of dance songs, revues, and dance suites, as well as fourteen operettas, including those for radio and television broadcasts. Her career is to be explored within the cultural, political, and civilizational contexts of state socialism, thus understanding her work as not only another oeuvre of an operetta composer, but also as a representation of the artistic sentiment of a whole era. During her active years, she had to make compromises which she later interpreted as assertions of herself as a female artist in a male-dominated cultural milieu. After recognizing various narrative patterns in her creations, I aim to discuss Hajdu's career along two of the most prevalent and recurring issues: the "female composer as a sensation" narrative, and the "significance of the master teacher" narrative. [ABSTRACT FROM AUTHOR]

Franz Lehár's 1928 Berlin operetta Friederike boasts an unusual subject: a romantic incident in the early life of Johann Wolfgang von Goethe. Weimar Berlin is usually considered as a haven for experimentation between high and low culture, a bifurcated view which has dominated German studies, but in this article I argue that Friederike is best considered as an example of the middlebrow. I examine the many sources which contributed to Friederike , from Goethe to Wagner to contemporary plays; analyse the score's stylistic allusions and the performance of star tenor Richard Tauber; and finally turn to Lehár's rhetorical positioning of his work on the Berlin theatrical scene. I argue that operetta scholarship itself has traditionally been ill-equipped to deal with Lehár's late works and operetta more generally, and that middlebrow studies' nuanced consideration of questions of art, commerce and prestige can contribute more widely to operetta and Weimar historiography. [ABSTRACT FROM AUTHOR]

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The present article is the second part of a study that explores, from a cultural studies perspective, the way in which the Danube has inspired the music of its riparian countries across the ages. The first part, which will appear in another publication, analyses significant works composed in the other nine European countries crossed by the river, while this second part focuses on folklore, urban songs, operetta, and film music composed in Romania -- the land of the delta. As chance will have it, the first part will be published later than the second. Starting from the physical and metaphysical kinship between water and sound waves, this article shows how the Danube has constantly loomed large in the musical creation on its Romanian banks, reflecting the way of life of the inhabitants, their customs and traditions, their mentalities and philosophies, also preserving information about long-gone local places and conferring immortality (or at least an afterlife) to ephemeral generations. Stressing the river's function as border meant both to separate and to unite lands and peoples and to bring into bold relief both their similarities and differences, the study underlines another paradoxical duality of the Danube: its versatility and its individuality. Analysing a selection of folk songs, Ioan Ivanovici's famous waltz "Danube Waves", George Grigoriu's eponymous operetta, and four films from the perspective of their soundtrack, the article concludes that it is opportune to tackle the great shapeshifting river through music -- a language that needs no translation and a journey that knows no borders -- in order to capture one more facet of its cultural significance. [ABSTRACT FROM AUTHOR]

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„The land of smiles" by Franz Lehar is a very complex operetta: the music is very rich in sonorities, very dramatic when the conflict appears on the stage or when a character is suffering and very suggestive when recreating the cultural influence of the Asian continent, through musical motifs. These musical aspects have grown in me the interest and the desire to put in stage this operetta. I find it very challenging to recreate a ceremony of a culture not so familiar to our or to set some behavioral trajetory for a character who is such typical for an asian society (Sou-Chong). [ABSTRACT FROM AUTHOR]

This article interrogates representations of ethnicity in the long-lived musical play Rose-Marie from 1924, with music by Rudolf Friml and Herbert Stothart, book by Otto Harbach, and lyrics by Harbach and Oscar Hammerstein II, and its subsequent MGM film adaptations in 1936 and 1954. The story is set in Canada, and images of Indigenous people include white-created tropes of children of nature, vicious savages and drunkards. These views are manifested aurally through Indianist musical tropes of the time, and are especially evident in 'Indian Love Call' and 'Totem-Tom-Tom'. Whiteness is performed opposite portrayals of Indigenous people that range from the 'noble savage' of the famous 'Indian Love Call' to Wanda, a First Nations woman characterized as violent and over-sexualized in the 1924 and 1954 versions. Friml's multifarious score includes recognizable Indianist tropes of the time as well as quintessential operetta and musical comedy fare, thus musicalizing cultural differences through established Eurocentric means. In Rose-Marie, the title character's mobile ethnicity shifts from being presumably French-born French Canadian in the original to English Canadian in the 1936 film (starring Jeanette MacDonald) and French Canadian in the 1954 version (starring Ann Blyth). Although Rose-Marie and Wanda behave in similar ways, Rose-Marie's singing whiteness allows her to become a romantic lead, whereas Wanda, whose dance-dominated performance mode emphasizes a sensual physicality, is vilified because of her ethnic heritage. [ABSTRACT FROM AUTHOR]

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.

Between the last decade of the 19th century and the first ones of the 20th century, a large number of Italian operetta companies crossed the Atlantic to explore the South American theatre market, formed largely by an immigrant audience. On these tours, many artists ended up settling in the New World. This was the case for Clara Weiss, an Italian actress-singer who became capocomica in South America, but remained closely linked to the Italian operettistic world, establishing a bridge between the two universes.

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This article examines the development of operetta and musicals in East and West Germany from 1949 until the reunification in 1989–90. It focuses on the special ideological requirements of popular musical entertainment in the socialist east, discusses how works by Offenbach and Strauss were adapted, considers how works from the Soviet Union were imported and examines how new works were created to fulfil the ideal of 'socialist realism'. The arrival of Broadway musicals in East Germany in the 1960s were typically made to fit into the system of state subsidized theatre. [ABSTRACT FROM AUTHOR]

Ernst Lubitsch epitomized the transnationalism of the cinema in the 1920s as the first German director to come to Hollywood and one who brought over a number of German film artists to Hollywood over the course of the decade. In America he followed developments in German cinema in terms of technical innovations and popular genres, and he published in the German film press. The Student Prince in Old Heidelberg was meant to compete with similar silent operetta films being made in Germany, and making the film, Lubitsch had the chance to return to Germany for the first time since 1922. The film was transnational not only because of its connection to the movements of artists, technicians, ideas, styles, and genres back and forth across the Atlantic, but also for the ethnic, gender, and sexual politics of the film and its production itself: e.g., the “migration background” not just of Lubitsch but also of the film’s male star, Ramón Novarro.

In May 1928, the Andrássy Street Theatre in Budapest planned to re-stage a one-act operetta play titled The First Kiss is Mine. Its libretto was written by Jenő Heltai, and the music was composed by Albert Szirmai. The new performance started out as a resounding success. But, referring to current laws on public morality, Ministry of Interior department in charge of controlling public and cultural programmes banned the play without delay, on 18 May, and Minister of the Interior, Béla Scitovszky ordered an investigation into the matter. People referred to the event as a scandal, and the press spoke of it as an absurdity, as the theatre enterprise was endangered by the resulting loss in income. After the ban, the actors were only allowed to perform the play for a commission sent from the Ministry of Interior, and finally, on 22 May, Scitovszky permitted the program after all, with some minor changes. In my study, I reconstruct and present the events of these few days with the help of contemporary journalistic sources (reports, interviews, etc.) – Budapesti Hírlap, Esti Kurir, Magyar Hírlap, Magyarország, Pesti Hírlap, Pesti Napló, Újság, 8 Órai Újság –, the circumstances of the prohibition, the protest and opinion of the playwrights, the position of the commission, the performance for the commission, and the background of the permission for the new performance. [ABSTRACT FROM AUTHOR]

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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. [ABSTRACT FROM AUTHOR]

We find Romanian theater germs in specific popular forms: the Herods, the outlaws (the Jians), the peasant wedding or the play of dolls, the Calusari or the Drăgaica fair. The first expressions of Romanian cult music went to the field of theater. The vaudeville was affirmed in the first half of the 19th century, and in the second half the center of interest moved in the direction of operetta and musical comedy. The birth certificate of Romanian opera was signed by Eduard Caudella with his historical opera called „Petru Rareş”. At the beginning of the 20th century different stylistic orientations combined with masterful transfigurations of Romanian folklore, the moment of synthesis of the genre being represented by the lyric tragedy „Oedip”, the masterpiece of George Enescu.

Artistic heritage constitutes a great wealth of values, customs, traditions and popular knowledge of material culture, arts and music in particular, and heritage and heritage are the history of our ancestors, and everythingthat is transmitted from singing, music and folkloric artistic dances from generation to generation.However, the lyrical and musical heritage (Gnasqi) has formed an important element as an artistic material for the operetta mold, and the operetta art became using the Gnostic heritage to present its performances artistically in order to preserve the Iraqi heritage and heritage.With the development of the art of operetta historically at the level of formulating lyrical and musical compositions, new structures developed in musical texts that were inspired by the ancient past as a folk heritage and present them in a contemporary way that reflects and preserves the image of the heritage, as the art of the operetta relied on important criteria that contributed to treating the dramatic text, singing and music as a treatment. Expressive, whether this singing is individual or collective, accompanied by ancient folk and historical folk dances, and most operetta tunes reflect the image of the heritage, whether it is singing or music, so it is therefore a Gnostic heritage that came to form a new contribution to the sustainability and preservation of history and identity.And since the art of operetta in the city of Basra is one of the important arts that wasdistinguished in reviving the Gnostic heritage in a renewed manner in line with the various melodic and rhythmic forms in the music of this city, these performances made the recipient live in a state of interaction between the themes of the folklore (singing and music) from which the art of operetta is formed. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

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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. [ABSTRACT FROM AUTHOR]

Many popular singers made film musicals in the period 1930–1960. This article focuses on two of the most popular and well-known chanteurs de charme in France, Tino Rossi and Georges Guétary, neither of whom has had academic work devoted to him. The article reviews their major films and their themes, and contrasts their reception and performance styles, arguing that they may well be seen in a relatively undifferentiated way, but that this disregards a shift in performance styles that is anchored in pre-war and post-war sensibilities. [ABSTRACT FROM AUTHOR]

Testimony of a touching teaching experience trougth which some teenagers gave voice to the children of Terezin concentration camp. The representation of the operetta "Brundibar", appropriately reduced and adapted, relives with all the context that produced it. [ABSTRACT FROM AUTHOR]

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Monday on February 24th 2020, in the Auditorium of Mihai Eminescu Central University Library in Iași 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-Țaga. 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. [ABSTRACT FROM AUTHOR]

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