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The term operetta arises in the mid-eighteenth-century Italy and it is first acknowledged as an independent genre in Paris around 1850. [2] Castil-Blaze's Dictionnaire de la musique moderne claims that this term has a long history and that Mozart was one of the first people to use the word operetta, disparagingly, [7] describing operettas as "certain dramatic abortions, those miniature ...
Franz Lehár. The Merry Widow (German: Die lustige Witwe [diː ˈlʊstɪɡə ˈvɪtvə]) is an operetta by the Austro-Hungarian composer Franz Lehár.The librettists, Viktor Léon and Leo Stein, based the story – concerning a rich widow, and her countrymen's attempt to keep her money in the principality by finding her the right husband – on an 1861 comedy play, L'attaché d'ambassade (The ...
For definition and discussion of the genre, see Operetta. Operettas by composer: Paul Abraham (1892–1960) Victoria und ihr Husar (1930) Die Blume von Hawaii (1931)
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Naughty Marietta is an operetta in two acts, with libretto by Rida Johnson Young and music by Victor Herbert.Set in New Orleans in 1780, it tells how Captain Richard Warrington is commissioned to unmask and capture a notorious French pirate calling himself "Bras Pique" – and how he is helped and hindered by a high-spirited runaway, Contessa Marietta.
La Vie parisienne (French pronunciation: [la vi paʁizjɛn], Parisian life) is an opéra bouffe, or operetta, composed by Jacques Offenbach, with a libretto by Henri Meilhac and Ludovic Halévy. [1] This work was Offenbach's first full-length piece to portray contemporary Parisian life, unlike his earlier period pieces and mythological subjects.
The theatre-sized orchestration, as in the published full score of the operetta, includes one flute doubling on piccolo, one oboe, two clarinets rotating between an E-flat, B-flat, and bass, one bassoon, two horns, two trumpets, two trombones, one tuba, standard orchestral percussion, harp, and strings.
Boccaccio, oder Der Prinz von Palermo [2] [3] (Boccaccio, or the Prince of Palermo) is an operetta in three acts by Franz von Suppé to a German libretto by Camillo Walzel and Richard Genée, based on the play by Jean-François Bayard, Adolphe de Leuven, Léon Lévy Brunswick and Arthur de Beauplan, based in turn on The Decameron by Giovanni Boccaccio.