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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]

The article discusses the 1905 operetta "Die lustige Witwe (The Merry Widow)," by Franz Lehár. An overview of the role that Lehár's librettists' knowledge of Montenegro's culture played in the operetta, including in regard to the libretto's portrayal of the ethnic otherness of the country, is provided. An overview of the theatrical production of "Die lustige Witwe," including in regard to a 1906 protest in Vienna, Austria disrupting the performance, is also provided.

The article discusses the history of the musical performance of Viennese operetta, which began in Vienna, Austria, with composer Wolfgang Amadeus Mozart in the 18th century. It analyzes the social and political role of the genre of operetta in the history of the 20th century, including its unpopularity in North America due to its associations with Germany and the Third Reich movement. The work of various composers and performers is examined, including Jerome Kern, Elisabeth Schwarzkopf, and Franz Lehár. The article discusses the performance of various operettas in the 20th century including "Showboat," "The Countess Maritza," and "A Little Night Music."