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The article reviews on Edwin Lester's establishment of the Los Angeles Civic Light Opera and its success in producing light operas and musicals. Topics include the founding of the organization, the selection of notable productions, the introduction of original works, and the transition to Broadway tours.

The article focuses on the Nizhny Novgorod Opera's presentation of Mieczysław Weinberg's operetta "Die Liebe des d'Artagnan," highlighting its historical significance and the challenges faced in its recent production. Topics include the adaptation of the operetta with added Soviet-era elements, the mixed success of integrating ballet into the performance, and the outstanding musical direction by Iwan Welikanow, despite the controversial circumstances surrounding him.

The article presents the discussion on Barrie Kosky, renowned for his innovative approach to operetta, brings his unique vision to Johann Strauss II's "Die Fledermaus" at the Bayerische Staatsoper in Munich. Topics include extravagant hats and whimsical attire, evoke the spirit of 19th-century Vienna, transporting the audience to a world of elegance and decadence; and Otto Pichler's lively and dynamic dance sequences add to the spectacle, enhancing the production's visual appeal.

The article reports that the term "zarzuela" evokes a stage overflowing with chulapas, manolos, sparklers and Manila shawls, that is, the prototype of zarzuela comes to mind of the 19th and 20th centuries, It reports the lyrical form had its origins in the XVII century, in the Golden Age, modifying its format since then to the model standard we know today.

The article focuses on celebrating the 60th birthdays of three prominent figures in the world of arts: Elena Mosuc, a Romanian soprano; Elena Prokina, a Russian soprano; and Katharina Thalbach, a German actress and director. The piece also acknowledges the upcoming 70th birthday of Jochen Kowalski, a countertenor known for his roles in opera, operetta, and lieder, and the 80th birthday of David Atherton, a British conductor associated with the Royal Opera House and London Sinfonietta.

The article presents the discussion on last operetta of the Weimar Republic defining the genre's traditions. Topics include Jaromir Weinberger's operetta Fruhtingssturme being the last operetta of the Weimar Republic shuttered by the Nazis; and framing the work as a dress rehearsal of the fictional opera where octogenarian da Ponte reacting to the own memories.

The article presents Jewish musicians Elisabeth Heymann's reminisces about her father, the Jewish composer Werner Richard Heymann, who was a prominent figure in the early sound film operetta genre in Germany. Topics include how Heymann's family takes care of his musical legacy and has published a songbook and a memoir of exiled artists; and Weimar Republic hits remain part of Germany's cultural memory,orchestrating happy childhood memories with music.

The article discusses the famous operettas composed by Franz Lehar in the 20th century. Topics include "The Merry Widow" which is considered as the famous Silver Age operetta, "The Count of Luxembourg" which is known for its lively libretto, memorable waltzes and songs and interesting characters and "Giuditta" which premiered at the 1934 Vienna Opera starring Richard Tauber and Jarmila Novotna.

The article explores the history of French and Viennese operettas produced during the period of 1850 to 1900. It describes the difference of operettas from operas and the recording of operetta songs. It also discusses notable French and Viennese operetta recordings, including those composed by Jacques Offenbach, Reynaldo Hahn, Johann Strauss Jr. and Carl Millocker.

The article reviews the performance of the operetta "Hopfen und Malz" at the Eduard-von-Winterstein-Theater in Annaberg-Buchholz, Germany premiered on January 21, 2023, focusing on composer Daniel Behle's talent as a tenor and composer.

This article interprets the playIm weißen Rößlas a space for Jewish and non-Jewish interaction.Im weißen Rößlhas been performed as a Volkssänger piece, as an operetta, and as a musical comedy. In each version, the tradition or topos ofSommerfrische(the summer vacation on the countryside) has played a central role. I focus on two versions that were staged in New York in the 1940s and claim that cultures and identities were negotiated in its cultural translations. These multi-faceted negotiations were reflected in conceptions and perceptions of ‘place’ and ‘space’. Special attention is given to the sphere of the ‘in-between’ in the context of migration. [ABSTRACT FROM PUBLISHER]

An article on the performance of operettas in German theaters is presented. Works composed by Paul Abraham including "Roxy und ihr Wunderteam" are analyzed, alleged influences of National Socialism on German operettas such as "Weiße Rössl" are criticized, and alleged trends in the popularity of operetta and musical theater are identified.

The article previews several performances from December 1-31, 2014 which include French soprano Sabine Devieilhe at the Cité de la musique (Paris, France), Russian classical pianist Evgeny Kissin at the Auditorium (Bordeaux, France), and the operetta "La Chauve-Souris" composed by Johann Strauss and performed at the Opéra-Comique (Paris, France).

The article presents information about theater publisher Eva Giesel. It mentions that she has been involved with the part of the socio-cultural offer in Jutta Speidel's new HORIZONT house Domagkpark, the association for homeless children and mothers. It mentions that Giesel has worked in the fields of drama, opera, operetta, musical and ballet.

The article presents a biographical essay on the life of composer and musical theater founder Richard Genée, who was born in Vienna, Austria, and initiated and supported the growth of the musical genre of the operetta in Vienna in the late 19th century. Among the young composers whom he encouraged in this musical form were Franz von Suppé, Johann Strauß junior, and Carl Millöcker. The article describes him as multi-talented and unique, and pays tribute to his accomplishments

The article focuses on the works of poet William Schwenk (W. S.) Gilbert. It mentions that the fist successful work of Gilbert is the one-act opera "Trial by Jury" which was a collaboration with a person named Sullivan. Other works of Gilbert and Sullivan include "Pinafore," "The Mikado" and "The Grand Duke."

The article is an international opera performance schedule for March 2010, including the operetta "Die Fledermaus" at the Bolshoi Theater in Moscow, Russia, March 17-21, the opera "Elektra" at the Opera Narodowa in Warsaw, Poland, March 24, 26, 28, and 31, and the opera "La Bohéme" at Opera North in Leeds, England March 2, 3, 9, and 12.

The article talks about the operetta "Gurrelieder," which was started by composer Arnold Schoenberg in 1900 and completed in 1911 except for the final chorus. It premiered in Vienna, Austria in February 1913 and the second performance was conducted by Schoenberg himself in Leipzig, Germany. The operetta premiered in the U.S. in 1932 and Schoenberg criticized the April 11, 1932 performance in Philadelphia, Pennsylvania. The author also provides insights into the various live recordings and recommends those done in Berlin and Vienna.

The article presents an interview with opera singer Anna Prohaska on operetta, her role models, and her CD music release "Serpent & Fire". Other topics of conversation include improvisation in Prohaska's singing of arias, alleged structural management changes at the Deutsche Grammophon music publishing company, and her role in a production of the opera "Die Fledermaus" composed by Wolfgang Amadeus Mozart.

The article features opera composer Zdeneê Fibich from the Czech Republic. It traces the composer's life and works and how he became involved in opera. It cites some of his dramatic compositions, including "Medea" in 1863 and the operetta "Gutta von Guttenfels" in 1867. It also presents his stage melodrama "The Courtship of Pelops" in 1892, which was staged at the International Theatre and Music Exhibition in Vienna, Austria.

The article presents a study which attempts to give an example of a musicological study of Jacques Offenbach's music. It analyzes one of the ensemble numbers of the one-acter "Monsieur Choufleuri restera chez lui le…." The plot of this piece and the operetta-like circumstances of its genesis and first performance are discussed.

Presents a schedule of international festivals related to opera in 2005. Operetta festival in Bad Ischl, Austria featuring Eva Lehár; Internationale Haydntage festival in Eisenstadt, Austria; Melbourne International Festival of Arts in Melbourne, Australia.

An interview with South African artist William Kentridge is presented. When asked about his choice of "Confessions of Zeno," by Italo Svevo as the subject of his operetta, he notes the familiarity he felt about the protagonist upon reading the novel. Kentridge believes that his work in several different art forms is about his indecision and inability to be satisfied with himself. He also sees being an artist as an unnatural and hard thing to do.

Presents information on the operetta `The Merry Widow,' conducted by Asher Fisch. Cast; Scenes; Intermission feature.

Focuses on Franz Lehar's operetta titled `The Merry Widow.' Most critical value in the operetta; Signs of the characters' worldly wisdom, in musical terms; Information on Franz Lehar.

On June 15, 1968, and again in August 1988, OPERA NEWS ran articles about operas that weren't generally available on record. Many, but not all, of the oversights noted in [...]

Looks at the cross-over production of Florenz Ziegfeld's musical "Showboat". Blending of the elements of musical comedy and operetta; Uniqueness of the musical's plot; Difficulties experienced by producers Jerome Kern and Oscar Hammerstein II in the production of the musical.

Presents an operetta entitled `The Land of Smiles,' by Rosanne Dingli.

The article presents information on several musical scores composed by Jerome Kern. The record set "Jerome Kern 1934-1938" includes songs from the sound tracks of films "Sweet Adeline" and "Roberta." The inclination of Kern toward operetta is influenced by European and U.S. musical theatre. The score for the musical "Show Boat" is the most popular work by Kern.

The article discusses the increasing popularity of the British operattas of dramatist W. S. Gilbert and composer Arthur Sullivan among large and small opera companies. Topics covered include the fun subversive and satirical aspects of Gilbert and Sullivan's works, and the all-male shows of British theater director Sasha Regan at the Union Theatre in London, England.

The author relates his experiences in playwriting and his insights about theater. He was impressed with the loyalty of English theater audiences to their old stage favorites. He considers co-writing the play "The Free Lance" with John Philip Sousa as one of his most agreeable experiences in collaboration. He also adapted other pieces including the operetta "The Doll Girl," by Leo Fall, a musical version of "The Girl From Maxim's," and "The Laughing Husband," by Edward Eisler.

This article focuses on the theatrical production "The Red Mill," by Victor Herbert. In plot and atmosphere and musical style it is enough like some dozens of other operettas of the sathe epoch to serve a generalized purpose. Few persons now between the ages of forty-five and eighty can have failed to see in their youth something enough like it to prepare them for a recherche die tamsperdu. In fact, most of them may be pardoned if they remain not certain whether they ever actually saw "The Red Mill" or only the same thing under several other names.

The article presents information on performance of various motion pictures. The direction and the photography of the film "Shanghai Express," were excellent. The latest vehicle of a competent actor, George Arliss, "The Man Who Played God," turn out to be an elementary and slightly smug exercise in the old problem "Is There a God?" "Das Lied Ist Aus" is one of the better examples of the German film operetta which became a vogue with "Zwei Herzen." "The Song Is Over" is pleasant, leisurely entertainment, particularly since it is reinforced by an exploit of Mickey Mouse.

This article focuses on the play "Oedipus Rex," by Maureen C. Howard. Not only is the Oedipus melodrama. It is upon the whole not very good melodrama. It is not possible to suspend disbelief sufficiently to accept anything so monstrous as that Oedipus and Jocasta, during many years of marriage, never exchanged such simple confidences as would have brought out the entire story. It may be pleasingly romantic to marry a gentleman with a mysterious past; the woman never lived whom, after marriage, did not seek to render that past the reverse of mysterious.

The article discusses the image of Danbury, Connecticut as the leading hat manufacturer in the U.S. Danbury claims that it made the first hat in the country. The launch of the operetta "La Vie Parisienne" in Paris, France has revived the interest and demand for women's hat. Danbury is producing about 10,000 dozen of women's hat per day. Some of the largest hat makers in Danbury are Frank H. Lee Co., George McLachlan Hat Co. and Mallory Hat Co.