Comments on: Eyes Wide Open: A New Generation of Operetta Superstars? http://operetta-research-center.org/eyes-wide-open-new-generation-operetta-superstars/ The #1 Archive for Musical Theater Tue, 24 Feb 2026 19:54:13 +0000 hourly 1 https://wordpress.org/?v=3.9.40 By: Robert H.Rempe, Ph.D. http://operetta-research-center.org/eyes-wide-open-new-generation-operetta-superstars/#comment-11392 Sat, 01 Jul 2023 14:15:48 +0000 http://operetta-research-center.org/?p=6369#comment-11392 Does anyone have any research on ROSE OF THE DANUBE, the 1934 American Scholastic Operetta by Arthur A.Penn and Geoffrey F.Morgan.
I have quite a lot and am willing to share?

]]> By: Robert H. Rempe, Ph.D. http://operetta-research-center.org/eyes-wide-open-new-generation-operetta-superstars/#comment-3398 Wed, 01 Feb 2017 23:18:05 +0000 http://operetta-research-center.org/?p=6369#comment-3398 THIS IS JUST A GENERAL QUESTION:
I am doing research on ROSE OF THE DANUBE the 1934 operetta by Arthur A. Penn and Geoffrey F. Morgan, published by Carl Fischer, Inc., LL.C., NYC. Do you know about this operetta? I have much research and data I would be happy to share???

]]> By: Alexandra Ivanoff http://operetta-research-center.org/eyes-wide-open-new-generation-operetta-superstars/#comment-1021 Sat, 28 Mar 2015 14:37:00 +0000 http://operetta-research-center.org/?p=6369#comment-1021 Kevin, your review makes me wonder who these excellent UdK teachers are! Perhaps you could interview some of them?
RE: the dilemma of why the classical houses spurn these young singers
1) casting at mainstream houses is done through agents who have worked years to build relationships to employ their stables of singers – often regardless of their appropriateness for the roles (esp. operetta).
2) Those young singers probably want those big touring vehicles because they pay well and they give them the kind of status and credits they need on their resumes – which gets them an agent.
3) The unfortunate split between “art” (opera & operetta) and “musical theatre” (a commercial enterprise) means that singers, regardless of what their true career talents may be forced to choose the latter to survive.

Operetta, while we who read this website adore it, is basically a niche product for a niche audience. I personally think it’s a glorious combination of art and musical theatre, but the industry pigeon-holes it unjustly as a dated and musty relic. Only a few countries (Germany being one) dust them off and give them new life. If only every opera house had a clone of Barrie Kosky to change this kind of thinking!

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