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Operetta : a Sourcebook, Volume I /
Operetta developed in the second half of the 19th century from the French opéra-comique and the more lighthearted German Singspiel. As the century progressed, the serious concerns of mainstream opera were sustained and intensified, leaving a gap between opéra-comique and vaudeville that necessitat...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Newcastle-upon-Tyne :
Cambridge Scholars Publishing,
2015.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Letellier, Robert Ignatius. | |
| 245 | 1 | 0 | |a Operetta : |b a Sourcebook, Volume I / |c Robert Ignatius Letellier. |
| 264 | 1 | |a Newcastle-upon-Tyne : |b Cambridge Scholars Publishing, |c 2015. | |
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| 505 | 0 | |a Intro; Table of Contents; Introduction; Acknowledgements; Illustrations; Chronology; 1. French Operetta; 2. Austro-Hungarian Operetta; The Imperial Operetta (1855-1870); The Bourgeois Operetta (1870-1890); Operetta of the Belle-Epoche (1890-1914); The Comédie Musicale (1918-1930); L'Opérette Marseillaise (1930-1939) & L'Après-Guerre (1945-1960); The Golden Age (1845-1900); The Silver Age (1900-1930); The Revue-Operetta (1920-1960); Jacques Offenbach (1819); Florimond Rongé (Hervé) (1825); Alexandre-Charles Lecocq (1832); Clément Philibert Léo Delibes (1836); Paul Lacôme (1838). | |
| 505 | 8 | |a Claude-Firman Bernicat (1842)Edmond Audran (1842); Léon Vasseur (1844); Louis Varney (1844); Gaston Serpette (1846); Jean-Robert Planquette (1848); Victor Roger (1853); André-Charles-Prosper Messager (1853); Louis-Gaston Ganne (1862); Claude-Antoine Terrasse (1867); Henri Christiné (1867); Reynaldo Hahn (1875); Charles Cuvillier (1877); Vincent Scotto (1874); Jósef Zygmunt Szulc (1875); Gaston Gabaroche (1884); Henri Goublier (1888); Maurice Yvain (1891); Raoul Moretti (1893); Louis Beydts (1895); Werner Richard Heymann (1896); Roger Dumas (1897); Jean Boyer (1901); Marguerite Monnot (1903). | |
| 505 | 8 | |a Francis Lopez (1916)Claude-Michel Schönberg (1944); Adolf Müller, Sr. (1801); Heinrich Proch (1809); Carl Binder (1816); Franz von Suppé (1819); Franz Friedrich Richard Genée (1823); Johann Strauss II (1825); Adolf Müller, Jr. (1839); Carl Joseph Millöcker (1842); Alphons Czibulka (1842); Carl Johann Nepomuck Adam Zeller (1842); Karl Michael Ziehrer (1843); Richard Heuberger (1850); Alfred Grünfeld (1852); Joseph Hellmesberger (1855); Heinrich Berté (1858); Karl Rudolf Michael "Charles" Weinberger (1861); Johann Strauss III (1866); Heinrich Reinhardt (1865); Hugo Felix (1866). | |
| 505 | 8 | |a Georg Jarno (1868)Oscar Straus (1870); Franz Lehár (1870); Leo Fall (1873); Edmund Eysler (1874); Oskar Nedbal (1874); Fritz Kreisler (1875); Anselm Götzl (1876); Emmerich Kálmán (1882); Leo Ascher (1880); Robert Stolz (1880); Ludwig Rochlitzer (1880); Oskar Jascha (1881); Rudi Gfaller (1882); Heinrich Strecker (1893); Jara Beneš (1897); Hanns Jelinek (1901); Frank Fox (1902); Franz Josef Reinl (1903); Josef Beer (1908); Hans Lang (1908); Franz Ferdinand (Ferry) Zelwecker (1911); Igo Hofstetter (1926); Charles Kálmán (1929); Udo Jürgens (1934). | |
| 520 | |a Operetta developed in the second half of the 19th century from the French opéra-comique and the more lighthearted German Singspiel. As the century progressed, the serious concerns of mainstream opera were sustained and intensified, leaving a gap between opéra-comique and vaudeville that necessitated a new type of stage work. Jacques Offenbach, son of a Cologne synagogue cantor, established himself in Paris with his series of opéras-bouffes. The popular success of this individual new form of entertainment light, humorous, satirical and also sentimental led to the emergence of operetta as a sepa. | ||
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