<?xml version="1.0" encoding="UTF-8"?><rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	
	>
<channel>
	<title>Comments for Operetta Research Center</title>
	<atom:link href="http://operetta-research-center.org/comments/feed/" rel="self" type="application/rss+xml" />
	<link>http://operetta-research-center.org</link>
	<description>The #1 Archive for Musical Theater</description>
	<lastBuildDate>Tue, 24 Feb 2026 19:54:13 +0000</lastBuildDate>
		<sy:updatePeriod>hourly</sy:updatePeriod>
		<sy:updateFrequency>1</sy:updateFrequency>
	<generator>https://wordpress.org/?v=3.9.40</generator>
	<item>
		<title>Comment on “I Would Like To See More Women Writing About Operetta”: Micaela Baranello Discusses Her Book “The Operetta Empire” by Mike Berliner</title>
		<link>http://operetta-research-center.org/micaela-baranello-discusses-new-book-operetta-empire/#comment-14501</link>
		<dc:creator><![CDATA[Mike Berliner]]></dc:creator>
		<pubDate>Tue, 24 Feb 2026 19:54:13 +0000</pubDate>
		<guid isPermaLink="false">http://operetta-research-center.org/?p=21918#comment-14501</guid>
		<description><![CDATA[Why in the world would anyone care if a the writer was male or female?  It&#039;s the content, not gender, that counts.]]></description>
		<content:encoded><![CDATA[<p>Why in the world would anyone care if a the writer was male or female?  It&#8217;s the content, not gender, that counts.</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on Ethel Jackson (1877-1957): Broadway&#8217;s First “Merry Widow” by Capt. Bligh</title>
		<link>http://operetta-research-center.org/ethel-jackson-1877-1957-broadways-first-merry-widow/#comment-14450</link>
		<dc:creator><![CDATA[Capt. Bligh]]></dc:creator>
		<pubDate>Mon, 09 Feb 2026 15:36:16 +0000</pubDate>
		<guid isPermaLink="false">http://operetta-research-center.org/?p=20484#comment-14450</guid>
		<description><![CDATA[Informative and interesting article.]]></description>
		<content:encoded><![CDATA[<p>Informative and interesting article.</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on Pure Viagra: Pablo Luna’s “Benamor” Triumphs at Theater an der Wien by Harald Vienna</title>
		<link>http://operetta-research-center.org/real-queerness-pablo-lunas-benamor-triumphs-theater-der-wien/#comment-14441</link>
		<dc:creator><![CDATA[Harald Vienna]]></dc:creator>
		<pubDate>Tue, 03 Feb 2026 22:18:19 +0000</pubDate>
		<guid isPermaLink="false">http://operetta-research-center.org/?p=25818#comment-14441</guid>
		<description><![CDATA[But the whole evening/plot doesn&#039;f work any more as soon as the audience thinks that Dario is a gay man and Benamor a lesbian charakter. I like stagings where you can have a queer plot in your mind that goes with the told story - but to make Benamor a queer story all of the plot would have to be changed!]]></description>
		<content:encoded><![CDATA[<p>But the whole evening/plot doesn&#8217;f work any more as soon as the audience thinks that Dario is a gay man and Benamor a lesbian charakter. I like stagings where you can have a queer plot in your mind that goes with the told story &#8211; but to make Benamor a queer story all of the plot would have to be changed!</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on A Bold New “Sissy”: Gender-Reversed Kreisler Triumphs in Bremen by Kristina</title>
		<link>http://operetta-research-center.org/frank-hilbrich-bold-new-sissy-gender-reversed-operetta-triumphs-bremen/#comment-14423</link>
		<dc:creator><![CDATA[Kristina]]></dc:creator>
		<pubDate>Fri, 23 Jan 2026 00:58:28 +0000</pubDate>
		<guid isPermaLink="false">http://operetta-research-center.org/?p=25747#comment-14423</guid>
		<description><![CDATA[I completely agree with Peter. What a dissapointment. Making fun out of love story, being cynical. Awful trends.. and I&#039;m only born &#039;93.. Keep your Christian values (love, sacrifice, service,..), or you gonna end up with someone else&#039;s, Europe.. Visiting Bremen, b]]></description>
		<content:encoded><![CDATA[<p>I completely agree with Peter. What a dissapointment. Making fun out of love story, being cynical. Awful trends.. and I&#8217;m only born &#8217;93.. Keep your Christian values (love, sacrifice, service,..), or you gonna end up with someone else&#8217;s, Europe.. Visiting Bremen, b</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on Fritzi Massary Revisited: An Interview With Her New Biographer by Helmut Schwarzer</title>
		<link>http://operetta-research-center.org/fritz-massary-revisited-interview-biographer-robert-wennersten/#comment-14396</link>
		<dc:creator><![CDATA[Helmut Schwarzer]]></dc:creator>
		<pubDate>Sat, 10 Jan 2026 23:32:16 +0000</pubDate>
		<guid isPermaLink="false">http://operetta-research-center.org/?p=3677#comment-14396</guid>
		<description><![CDATA[Sadly, Robert E. Wennersten died Oct. 29, 2025, age 86. (see obituary notice at the Neptune Society.
I met him once and we corresponded over the years on matters Massary.]]></description>
		<content:encoded><![CDATA[<p>Sadly, Robert E. Wennersten died Oct. 29, 2025, age 86. (see obituary notice at the Neptune Society.<br />
I met him once and we corresponded over the years on matters Massary.</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on Farewell, Yvonne Kálmán (1937-2025) by Eileen Bodoh Kalupa</title>
		<link>http://operetta-research-center.org/farewell-yvonne-kalman-1936-2025/#comment-14376</link>
		<dc:creator><![CDATA[Eileen Bodoh Kalupa]]></dc:creator>
		<pubDate>Tue, 06 Jan 2026 00:31:13 +0000</pubDate>
		<guid isPermaLink="false">http://operetta-research-center.org/?p=25665#comment-14376</guid>
		<description><![CDATA[Our Austrian-American Society of Milwaukee did a program some years ago on the life and music of Emmerich.  We met Yvonne at one of Kalman&#039;s operettas staged in Chicago.  And sent her a video we made of the program in Milwaukee.  Despite all the hardships Emmerich endured in his life, the music he left us is so soulful and beautiful and will resound in our hearts forever.]]></description>
		<content:encoded><![CDATA[<p>Our Austrian-American Society of Milwaukee did a program some years ago on the life and music of Emmerich.  We met Yvonne at one of Kalman&#8217;s operettas staged in Chicago.  And sent her a video we made of the program in Milwaukee.  Despite all the hardships Emmerich endured in his life, the music he left us is so soulful and beautiful and will resound in our hearts forever.</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on From Blue Danube to Rainbow Waltz: Yannick Nézet‑Séguin Leads Vienna’s New Year’s Concert by Johannes Glück</title>
		<link>http://operetta-research-center.org/yannick-nezet%e2%80%91seguin-neujahrskonzert-2026-rainbow-waltz/#comment-14370</link>
		<dc:creator><![CDATA[Johannes Glück]]></dc:creator>
		<pubDate>Sat, 03 Jan 2026 12:51:27 +0000</pubDate>
		<guid isPermaLink="false">http://operetta-research-center.org/?p=25784#comment-14370</guid>
		<description><![CDATA[Oddly, what the Vienna Philharmonic performed on Jan. 1 2026 was a strange, incoherent piece that sounded nothing like Ms. Price&#039;s charming &quot;Rainbow Waltz&quot;.]]></description>
		<content:encoded><![CDATA[<p>Oddly, what the Vienna Philharmonic performed on Jan. 1 2026 was a strange, incoherent piece that sounded nothing like Ms. Price&#8217;s charming &#8220;Rainbow Waltz&#8221;.</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on A Bold New “Sissy”: Gender-Reversed Kreisler Triumphs in Bremen by Tristan</title>
		<link>http://operetta-research-center.org/frank-hilbrich-bold-new-sissy-gender-reversed-operetta-triumphs-bremen/#comment-14334</link>
		<dc:creator><![CDATA[Tristan]]></dc:creator>
		<pubDate>Sat, 20 Dec 2025 15:59:33 +0000</pubDate>
		<guid isPermaLink="false">http://operetta-research-center.org/?p=25747#comment-14334</guid>
		<description><![CDATA[die berichterstatter jubeln wie immer...dabei auch das bremer haus fast leergespielt: 2. rang immer gesperrt?bemerken sie wohl nicht?]]></description>
		<content:encoded><![CDATA[<p>die berichterstatter jubeln wie immer&#8230;dabei auch das bremer haus fast leergespielt: 2. rang immer gesperrt?bemerken sie wohl nicht?</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on Guido Masanetz’s “In Frisco ist der Teufel los“ Comes to Komische Oper by Christoph Marti</title>
		<link>http://operetta-research-center.org/komische-oper-operette-guido-masanetzs-frisco-ist-der-teufel-los-comes-back-berlin/#comment-14330</link>
		<dc:creator><![CDATA[Christoph Marti]]></dc:creator>
		<pubDate>Fri, 19 Dec 2025 04:58:03 +0000</pubDate>
		<guid isPermaLink="false">http://operetta-research-center.org/?p=25527#comment-14330</guid>
		<description><![CDATA[The costumes are by Esther Bialas.]]></description>
		<content:encoded><![CDATA[<p>The costumes are by Esther Bialas.</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on „Zwei Cowboys im 3/4-Takt: Emmerich Kálmáns Arizona Lady, oder wie die Wiener Operette in den Wilden Westen kam“ by Gerrit Waidelich</title>
		<link>http://operetta-research-center.org/zwei-cowboys-im-34-takt-emmerich-kalmans-arizona-lady-oder-wie-die-wiener-operette-den-wilden-westen-kam/#comment-14322</link>
		<dc:creator><![CDATA[Gerrit Waidelich]]></dc:creator>
		<pubDate>Wed, 17 Dec 2025 10:38:39 +0000</pubDate>
		<guid isPermaLink="false">http://operetta-research-center.org/?p=5143#comment-14322</guid>
		<description><![CDATA[Welche Fülle von Informationen, die man sonst nirgends findet, vielen herzlichen Dank!]]></description>
		<content:encoded><![CDATA[<p>Welche Fülle von Informationen, die man sonst nirgends findet, vielen herzlichen Dank!</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on Rediscovering a Forgotten Gem: “Die gelbe Lilie” in Annaberg-Buchholz by Pálmány Lilla</title>
		<link>http://operetta-research-center.org/christian-von-gotz-annaberg-die-gelbe-lilie-operetta-von-michael-krasznay-krausz/#comment-14311</link>
		<dc:creator><![CDATA[Pálmány Lilla]]></dc:creator>
		<pubDate>Sun, 14 Dec 2025 23:54:44 +0000</pubDate>
		<guid isPermaLink="false">http://operetta-research-center.org/?p=25732#comment-14311</guid>
		<description><![CDATA[8 órai újság,17. majus 1934. 9. page:  

&quot;Author: In Vienna — Ábrahám, in Pest — Krasznai-Krausz
Yesterday afternoon, the waltz war that broke out between Pál Ábrahám and Mihály Krasznai-Krausz over the four measures that happen to be the same note for note in the waltzes of the operettas A Tale from the Grand Hotel and The Yellow Lily came before the Austrian Authors&#039; Association (A. K. M.) Court of Rights. The trial was preceded by a barrage of sharp statements, but the trial itself ended peacefully: the court ruled that there was no question of plagiarism, because both composers had written their waltzes independently a long time ago. Krasznai-Krausz stated that he had no intention of accusing Ábrahám of plagiarism, while Ábrahám stated that he did not doubt Krasznai-Krausz&#039;s good faith. Finally, they agreed that in Vienna the number would continue to be included in the Abraham piece and would be left out of the next production of The Yellow Lily, while in Budapest the Grand Hotel would be performed without the waltz in question. The matter was thus concluded to public satisfaction, with no winner or loser.&quot;]]></description>
		<content:encoded><![CDATA[<p>8 órai újság,17. majus 1934. 9. page:  </p>
<p>&#8220;Author: In Vienna — Ábrahám, in Pest — Krasznai-Krausz<br />
Yesterday afternoon, the waltz war that broke out between Pál Ábrahám and Mihály Krasznai-Krausz over the four measures that happen to be the same note for note in the waltzes of the operettas A Tale from the Grand Hotel and The Yellow Lily came before the Austrian Authors&#8217; Association (A. K. M.) Court of Rights. The trial was preceded by a barrage of sharp statements, but the trial itself ended peacefully: the court ruled that there was no question of plagiarism, because both composers had written their waltzes independently a long time ago. Krasznai-Krausz stated that he had no intention of accusing Ábrahám of plagiarism, while Ábrahám stated that he did not doubt Krasznai-Krausz&#8217;s good faith. Finally, they agreed that in Vienna the number would continue to be included in the Abraham piece and would be left out of the next production of The Yellow Lily, while in Budapest the Grand Hotel would be performed without the waltz in question. The matter was thus concluded to public satisfaction, with no winner or loser.&#8221;</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on Rediscovering a Forgotten Gem: “Die gelbe Lilie” in Annaberg-Buchholz by Pálmány Lilla</title>
		<link>http://operetta-research-center.org/christian-von-gotz-annaberg-die-gelbe-lilie-operetta-von-michael-krasznay-krausz/#comment-14310</link>
		<dc:creator><![CDATA[Pálmány Lilla]]></dc:creator>
		<pubDate>Sun, 14 Dec 2025 23:10:35 +0000</pubDate>
		<guid isPermaLink="false">http://operetta-research-center.org/?p=25732#comment-14310</guid>
		<description><![CDATA[I have thoroughly investigated the plagiarism accusations between Mihály Krausz and Pál Ábrahám in Hungarian newspapers. There was a similarity in one song, four bars of the song were almost exactly the same bar. Budapesti Hirlap, March 27, 1934. .Pál Ábrahám states that he wrote the song in question, “Philippe, mon ami,” in June 1933 and played it in front of a large group in Sankt Wolfgang at the same time. In September, he played the song again on the piano in the office of his stage publisher in Budapest, Dr. Sándor Marton, where Mihály Krausz happened to be present. Pál Ábrahám counter-accused Mihály Krausz in the plagiarism case and reported him to the Vienna Copyright Office.]]></description>
		<content:encoded><![CDATA[<p>I have thoroughly investigated the plagiarism accusations between Mihály Krausz and Pál Ábrahám in Hungarian newspapers. There was a similarity in one song, four bars of the song were almost exactly the same bar. Budapesti Hirlap, March 27, 1934. .Pál Ábrahám states that he wrote the song in question, “Philippe, mon ami,” in June 1933 and played it in front of a large group in Sankt Wolfgang at the same time. In September, he played the song again on the piano in the office of his stage publisher in Budapest, Dr. Sándor Marton, where Mihály Krausz happened to be present. Pál Ábrahám counter-accused Mihály Krausz in the plagiarism case and reported him to the Vienna Copyright Office.</p>
]]></content:encoded>
	</item>
</channel>
</rss>
