Show Summary Details

Page of

PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice).

date: 23 January 2021

Abstract and Keywords

This chapter suggests that operetta served as the genre of the nouveau riche compared with the old money of opera proper at the end of the nineteenth century. For its audiences in Paris, Vienna, and London, operetta was the height of chic, offering a happier and more glamorous—if also more ridiculous—version of what they saw in their own lives. Yet a transformation occurred as the genre became less predicated on ephemeral topicality and its most admired early works came to be seen as historical, indeed canonic. Thus, Johann Strauss II’s Die Fledermaus, Franz Lehár’s Die lustige Witwe, and Emmerich Kálmán’s Die Csárdásfürstin are today among the top fifty most frequently performed operatic works worldwide. Along the way, a critical and creative evolution has occurred in the comparison of new and canonic works. This chapter is paired with Raymond Knapp’s “Canons of the American musical.”

Access to the complete content on Oxford Handbooks Online requires a subscription or purchase. Public users are able to search the site and view the abstracts and keywords for each book and chapter without a subscription.

Please subscribe or login to access full text content.

If you have purchased a print title that contains an access token, please see the token for information about how to register your code.

For questions on access or troubleshooting, please check our FAQs, and if you can''t find the answer there, please contact us.