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The Cambridge Companion to Operetta

The Cambridge Companion to Operetta

c.£19.99

Part of Cambridge Companions to Music

Anastasia Belina, Derek B. Scott, John Kendrick, Lisa Feurzeig, Bruno Bower, Lynn Hooker, Jan Smaczy, Stefan Frey, Christopher Webber, Raymond Knapp, Pentti Paavolainen, Avra Xepapadakou, Micaela Baranello, Tobias Becker, Valeria De Lucca, Matthias Kauffmann
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  • Publication planned for: November 2019
  • availability: Not yet published - available from November 2019
  • format: Paperback
  • isbn: 9781316633342

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About the Authors
  • Those whose thoughts of musical theatre are dominated by the Broadway musical will find this book a revelation. From the 1850s to the early 1930s, when urban theatres sought to mount glamorous musical entertainment, it was to operetta that they turned. It was a form of musical theatre that crossed national borders with ease and was adored by audiences around the world. This collection of essays by an array of international scholars examines the key figures in operetta in many different countries. It offers a critical and historical study of the widespread production of operetta and of the enthusiasm with which it was welcomed. Furthermore, it challenges nationalistic views of music and approaches operetta as a compositional genre. This Cambridge Companion contributes to a widening appreciation of the music of operetta and a deepening knowledge of the cultural importance of operetta around the world.

    • Provides an accessible and informative overview of the cultural history of operetta in different countries and its place in the history of musical theatre
    • Introduces the reader to the way operetta was received by diverse audiences
    • Offers the first collection of essays in English by an international group of scholars on the subject of operetta - spanning its composition, music and performance
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    Product details

    • Publication planned for: November 2019
    • format: Paperback
    • isbn: 9781316633342
    • dimensions: 247 x 174 mm
    • contains: 11 b/w illus. 2 tables 6 music examples
    • availability: Not yet published - available from November 2019
  • Table of Contents

    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.

  • Editors

    Anastasia Belina, Royal College of Music, London
    Anastasia Belina is Assistant Head of Undergraduate Programmes at Royal College of Music, London. She is author and editor of A Musician Divided (2013), Die tägliche Mühe ein Mensch zu sein (2013), Wagner in Russia, Poland and the Czech Lands (2013, co-edited edition), and The Business of Opera (2015, co-edited with Derek B. Scott). Between 2014 and 2019 she worked with Derek B. Scott on an ERC-funded project German Operetta in London and New York in 1907–37. She is currently working on the BBC and AHRC project Forgotten Female Composers for which she is researching the life and work of Augusta Holmès.

    Derek B. Scott, University of Leeds
    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.

    Contributors

    Anastasia Belina, Derek B. Scott, John Kendrick, Lisa Feurzeig, Bruno Bower, Lynn Hooker, Jan Smaczy, Stefan Frey, Christopher Webber, Raymond Knapp, Pentti Paavolainen, Avra Xepapadakou, Micaela Baranello, Tobias Becker, Valeria De Lucca, Matthias Kauffmann

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