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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 ...
His other major operettas included The Charlatan, Chris and the Wonderful Lamp, The Free Lance, and The American Maid. [6] Bierley later speculated that, had Sousa not been the leader of the United States Marine Band, "he probably would have chosen a career in theater music".
Sousa adopted characteristics of their style like short recitatives and chorus finales. Most of the songs in the operettas were Sousa's own composition. According to author Paul E. Bierley, Sousa's operettas displayed a "high standard of morality". - is all of that sourced to the
Operetta (literally "little opera") is a genre of light opera – light in terms of the subject matter and light in terms of the music itself. Operetta also shares many characteristics with musical theatre. The following is a list of composers who have written works in this genre:
Murillo ou La corde du pendu (Aylic Langlé, 1853, also with music by Meyerbeer) Romulus (Dumas, Feuillet, Bocage, 1854) Le songe d'une nuit d'hiver (Plouvier, 1854) Le Brésilien, one-act 'comédie-vaudeville' by Meilhac and Halévy, songs by Offenbach, first performed at the Théâtre du Palais-Royal, 9 May 1863. The 'Ronde du Brésilien ...
One of the most popular theatrical forms in the early decades of the 20th century in America was the operetta, and its most famous composer was Irish-born Victor Herbert. It was announced in 1912 that Italian-born operetta diva Emma Trentini would be starring on Broadway in a new operetta by Herbert with lyricist Otto Harbach entitled The Firefly.
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