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	<title>Operetta Research Center &#187; Emily Soldene</title>
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		<title>Revisiting the Emily Soldene Biography. Or: the Postscripta of Publication</title>
		<link>http://operetta-research-center.org/revisiting-emily-soldene-biography-postscripta-publication/</link>
		<comments>http://operetta-research-center.org/revisiting-emily-soldene-biography-postscripta-publication/#comments</comments>
		<pubDate>Sun, 14 Aug 2022 08:45:43 +0000</pubDate>
		<dc:creator><![CDATA[kevin]]></dc:creator>
				<category><![CDATA[British Operetta]]></category>
		<category><![CDATA[Offenbach & Co.]]></category>
		<category><![CDATA[Arthur Sullivan]]></category>
		<category><![CDATA[Emily Soldene]]></category>
		<category><![CDATA[Jacques Offenbach]]></category>
		<category><![CDATA[Kurt Gänzl]]></category>
		<category><![CDATA[W. S. Gilbert]]></category>

		<guid isPermaLink="false">http://operetta-research-center.org/?p=23727</guid>
		<description><![CDATA[<p>When you have spent more than 20 years researching and writing a book, when you have lived and breathed the</p>
<p>The post <a rel="nofollow" href="http://operetta-research-center.org/revisiting-emily-soldene-biography-postscripta-publication/">Revisiting the Emily Soldene Biography. Or: the Postscripta of Publication</a> appeared first on <a rel="nofollow" href="http://operetta-research-center.org">Operetta Research Center</a>.</p>
]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Diversity Of Questions &amp; Multiplicity Of Approaches: Kaspar Maase&#8217;s &#8220;Einführung in die Populärkulturforschung&#8221;</title>
		<link>http://operetta-research-center.org/diversity-questions-multiplicity-approaches-kaspar-maases-einfuhrung-die-popularkulturforschung/</link>
		<comments>http://operetta-research-center.org/diversity-questions-multiplicity-approaches-kaspar-maases-einfuhrung-die-popularkulturforschung/#comments</comments>
		<pubDate>Wed, 31 Jul 2019 11:54:36 +0000</pubDate>
		<dc:creator><![CDATA[kevin]]></dc:creator>
				<category><![CDATA[In Print]]></category>
		<category><![CDATA[Anneliese Rothenberger]]></category>
		<category><![CDATA[Emily Soldene]]></category>
		<category><![CDATA[Gay & Lesbian Studies]]></category>
		<category><![CDATA[Jacques Offenbach]]></category>
		<category><![CDATA[Kaspar Maase]]></category>
		<category><![CDATA[Kurt Gänzl]]></category>
		<category><![CDATA[Laurence Senelick]]></category>
		<category><![CDATA[Nazi Operetta]]></category>
		<category><![CDATA[Popular Culture]]></category>
		<category><![CDATA[Volker Klotz]]></category>

		<guid isPermaLink="false">http://operetta-research-center.org/?p=17981</guid>
		<description><![CDATA[<p>How do you solve a problem like – operetta? The question has been asked many times over, especially since so</p>
<p>The post <a rel="nofollow" href="http://operetta-research-center.org/diversity-questions-multiplicity-approaches-kaspar-maases-einfuhrung-die-popularkulturforschung/">Diversity Of Questions &#038; Multiplicity Of Approaches: Kaspar Maase&#8217;s &#8220;Einführung in die Populärkulturforschung&#8221;</a> appeared first on <a rel="nofollow" href="http://operetta-research-center.org">Operetta Research Center</a>.</p>
]]></description>
		<wfw:commentRss>http://operetta-research-center.org/diversity-questions-multiplicity-approaches-kaspar-maases-einfuhrung-die-popularkulturforschung/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>A Memorial For J D Wallace: The Man Who Turned &#8220;Belle of New York&#8221; Into The Biggest Hit Of Its Era</title>
		<link>http://operetta-research-center.org/memorial-j-d-wallace-man-turned-belle-new-york-biggest-hit-era/</link>
		<comments>http://operetta-research-center.org/memorial-j-d-wallace-man-turned-belle-new-york-biggest-hit-era/#comments</comments>
		<pubDate>Mon, 03 Jun 2019 09:32:54 +0000</pubDate>
		<dc:creator><![CDATA[kevin]]></dc:creator>
				<category><![CDATA[News]]></category>
		<category><![CDATA[Emily Soldene]]></category>
		<category><![CDATA[Gustave Kerker]]></category>
		<category><![CDATA[J D Wallace]]></category>
		<category><![CDATA[Kurt Gänzl]]></category>
		<category><![CDATA[Opéra-bouffe]]></category>

		<guid isPermaLink="false">http://operetta-research-center.org/?p=17571</guid>
		<description><![CDATA[<p>Today, in the expanses of Rookwood Cemetery, Sydney, Australia, with only the workmen as witnesses, a vacant-looking plot of earth</p>
<p>The post <a rel="nofollow" href="http://operetta-research-center.org/memorial-j-d-wallace-man-turned-belle-new-york-biggest-hit-era/">A Memorial For J D Wallace: The Man Who Turned &#8220;Belle of New York&#8221; Into The Biggest Hit Of Its Era</a> appeared first on <a rel="nofollow" href="http://operetta-research-center.org">Operetta Research Center</a>.</p>
]]></description>
		<wfw:commentRss>http://operetta-research-center.org/memorial-j-d-wallace-man-turned-belle-new-york-biggest-hit-era/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Claude Marius (1850-1896): Opéra-Bouffe&#8217;s Male Object Of Desire</title>
		<link>http://operetta-research-center.org/claude-marius-opera-bouffe-object-desire/</link>
		<comments>http://operetta-research-center.org/claude-marius-opera-bouffe-object-desire/#comments</comments>
		<pubDate>Fri, 31 May 2019 10:11:49 +0000</pubDate>
		<dc:creator><![CDATA[kevin]]></dc:creator>
				<category><![CDATA[Offenbach & Co.]]></category>
		<category><![CDATA[Emily Soldene]]></category>
		<category><![CDATA[Gender Studies]]></category>
		<category><![CDATA[Hervé]]></category>

		<guid isPermaLink="false">http://operetta-research-center.org/?p=17521</guid>
		<description><![CDATA[<p>Monsieur Marius (Claude Marius Duplany, b Paris, 18 February 1850) was a &#8216;Frenchman, play producer, actor, raconteur, and optimist’ (they</p>
<p>The post <a rel="nofollow" href="http://operetta-research-center.org/claude-marius-opera-bouffe-object-desire/">Claude Marius (1850-1896): Opéra-Bouffe&#8217;s Male Object Of Desire</a> appeared first on <a rel="nofollow" href="http://operetta-research-center.org">Operetta Research Center</a>.</p>
]]></description>
		<wfw:commentRss>http://operetta-research-center.org/claude-marius-opera-bouffe-object-desire/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>High Kicks, Or: The History Of The CanCan In English-Language Theater</title>
		<link>http://operetta-research-center.org/history-cancan-english-language-theater/</link>
		<comments>http://operetta-research-center.org/history-cancan-english-language-theater/#comments</comments>
		<pubDate>Sat, 01 Dec 2018 11:30:05 +0000</pubDate>
		<dc:creator><![CDATA[kevin]]></dc:creator>
				<category><![CDATA[British Operetta]]></category>
		<category><![CDATA[Emily Soldene]]></category>
		<category><![CDATA[Kurt Gänzl]]></category>
		<category><![CDATA[Lydia Thompson]]></category>

		<guid isPermaLink="false">http://operetta-research-center.org/?p=16205</guid>
		<description><![CDATA[<p>To say precisely who were the first English dancers to perform the cancan in the English-language theatre is pretty impossible.</p>
<p>The post <a rel="nofollow" href="http://operetta-research-center.org/history-cancan-english-language-theater/">High Kicks, Or: The History Of The CanCan In English-Language Theater</a> appeared first on <a rel="nofollow" href="http://operetta-research-center.org">Operetta Research Center</a>.</p>
]]></description>
		<wfw:commentRss>http://operetta-research-center.org/history-cancan-english-language-theater/feed/</wfw:commentRss>
		<slash:comments>4</slash:comments>
		</item>
		<item>
		<title>Trying To Define Opéra-Bouffe: An Article From &#8220;The Era&#8221; 1870 About &#8220;Chilpéric&#8221; At The Lyceum</title>
		<link>http://operetta-research-center.org/trying-define-opera-bouffe-era-1870-chilperic/</link>
		<comments>http://operetta-research-center.org/trying-define-opera-bouffe-era-1870-chilperic/#comments</comments>
		<pubDate>Fri, 31 Aug 2018 08:50:12 +0000</pubDate>
		<dc:creator><![CDATA[kevin]]></dc:creator>
				<category><![CDATA[British Operetta]]></category>
		<category><![CDATA[Offenbach & Co.]]></category>
		<category><![CDATA[Emily Soldene]]></category>
		<category><![CDATA[Hervé]]></category>
		<category><![CDATA[Jacques Offenbach]]></category>
		<category><![CDATA[Kurt Gänzl]]></category>
		<category><![CDATA[Opéra-bouffe]]></category>

		<guid isPermaLink="false">http://operetta-research-center.org/?p=15697</guid>
		<description><![CDATA[<p>In his 2 volume biography Emily Soldene: In Search of a Singer Kurt Gänzl chronicles the initial success of opéra</p>
<p>The post <a rel="nofollow" href="http://operetta-research-center.org/trying-define-opera-bouffe-era-1870-chilperic/">Trying To Define Opéra-Bouffe: An Article From &#8220;The Era&#8221; 1870 About &#8220;Chilpéric&#8221; At The Lyceum</a> appeared first on <a rel="nofollow" href="http://operetta-research-center.org">Operetta Research Center</a>.</p>
]]></description>
		<wfw:commentRss>http://operetta-research-center.org/trying-define-opera-bouffe-era-1870-chilperic/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Magic Mike Live. Or: What About The Objectification Of Men In Operetta?</title>
		<link>http://operetta-research-center.org/magic-mike-live-objectification-men-operetta/</link>
		<comments>http://operetta-research-center.org/magic-mike-live-objectification-men-operetta/#comments</comments>
		<pubDate>Tue, 21 Aug 2018 10:44:41 +0000</pubDate>
		<dc:creator><![CDATA[kevin]]></dc:creator>
				<category><![CDATA[News]]></category>
		<category><![CDATA[Barihunks]]></category>
		<category><![CDATA[Emily Soldene]]></category>
		<category><![CDATA[Florenz Ziegfeld]]></category>
		<category><![CDATA[Gay & Lesbian Studies]]></category>
		<category><![CDATA[Gender Studies]]></category>
		<category><![CDATA[Henry E. Dixey]]></category>

		<guid isPermaLink="false">http://operetta-research-center.org/?p=15649</guid>
		<description><![CDATA[<p>In a recent article for The Times, Jamie Stoker reported on casting for London’s Magic Mike Live. The headline says</p>
<p>The post <a rel="nofollow" href="http://operetta-research-center.org/magic-mike-live-objectification-men-operetta/">Magic Mike Live. Or: What About The Objectification Of Men In Operetta?</a> appeared first on <a rel="nofollow" href="http://operetta-research-center.org">Operetta Research Center</a>.</p>
]]></description>
		<wfw:commentRss>http://operetta-research-center.org/magic-mike-live-objectification-men-operetta/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Amy Sheridan: Royal Milkmaid, Queen Of Burlesque, And Concubine</title>
		<link>http://operetta-research-center.org/amy-sheridan-royal-milkmaid-queen-burlesque-concubine/</link>
		<comments>http://operetta-research-center.org/amy-sheridan-royal-milkmaid-queen-burlesque-concubine/#comments</comments>
		<pubDate>Sat, 28 Jul 2018 09:13:41 +0000</pubDate>
		<dc:creator><![CDATA[kevin]]></dc:creator>
				<category><![CDATA[British Operetta]]></category>
		<category><![CDATA[Amy Sheridan]]></category>
		<category><![CDATA[Burlesque]]></category>
		<category><![CDATA[Emily Soldene]]></category>
		<category><![CDATA[Gender Studies]]></category>
		<category><![CDATA[Kurt Gänzl]]></category>

		<guid isPermaLink="false">http://operetta-research-center.org/?p=15309</guid>
		<description><![CDATA[<p>Amy Sheridan was something of a phenomenon. When she died, in 1878, at a Brighton boarding house, aged 39, of</p>
<p>The post <a rel="nofollow" href="http://operetta-research-center.org/amy-sheridan-royal-milkmaid-queen-burlesque-concubine/">Amy Sheridan: Royal Milkmaid, Queen Of Burlesque, And Concubine</a> appeared first on <a rel="nofollow" href="http://operetta-research-center.org">Operetta Research Center</a>.</p>
]]></description>
		<wfw:commentRss>http://operetta-research-center.org/amy-sheridan-royal-milkmaid-queen-burlesque-concubine/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Annette Dasch As Horror Diva. Or: A First Class Operetta Execution. &#8220;Fledermaus&#8221; In Berlin</title>
		<link>http://operetta-research-center.org/annette-dasch-horror-diva-first-class-operetta-execution-fledermaus-berlin/</link>
		<comments>http://operetta-research-center.org/annette-dasch-horror-diva-first-class-operetta-execution-fledermaus-berlin/#comments</comments>
		<pubDate>Thu, 10 May 2018 10:14:18 +0000</pubDate>
		<dc:creator><![CDATA[kevin]]></dc:creator>
				<category><![CDATA[New articles & reviews]]></category>
		<category><![CDATA[Annette Dasch]]></category>
		<category><![CDATA[Deutsche Oper Berlin]]></category>
		<category><![CDATA[Emily Soldene]]></category>
		<category><![CDATA[Johann Strauss]]></category>
		<category><![CDATA[Manuel Brug]]></category>
		<category><![CDATA[Rolando Villazon]]></category>

		<guid isPermaLink="false">http://operetta-research-center.org/?p=14754</guid>
		<description><![CDATA[<p>No, it’s not exactly news that there are – and always have been – multiple audiences for operetta. And they</p>
<p>The post <a rel="nofollow" href="http://operetta-research-center.org/annette-dasch-horror-diva-first-class-operetta-execution-fledermaus-berlin/">Annette Dasch As Horror Diva. Or: A First Class Operetta Execution. &#8220;Fledermaus&#8221; In Berlin</a> appeared first on <a rel="nofollow" href="http://operetta-research-center.org">Operetta Research Center</a>.</p>
]]></description>
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		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>E. A. Dupont&#8217;s &#8220;Das alte Gesetz&#8221;. Or: What #MeToo Has To Do With Operetta And Offenbach</title>
		<link>http://operetta-research-center.org/dupont-das-alte-gesetz-metoo/</link>
		<comments>http://operetta-research-center.org/dupont-das-alte-gesetz-metoo/#comments</comments>
		<pubDate>Sat, 17 Feb 2018 09:46:34 +0000</pubDate>
		<dc:creator><![CDATA[kevin]]></dc:creator>
				<category><![CDATA[On Screen]]></category>
		<category><![CDATA[Emily Soldene]]></category>
		<category><![CDATA[Ernst Deutsch]]></category>
		<category><![CDATA[Gender Studies]]></category>
		<category><![CDATA[Henny Porten]]></category>
		<category><![CDATA[Hervé]]></category>
		<category><![CDATA[Jacques Offenbach]]></category>
		<category><![CDATA[Johann Strauss]]></category>

		<guid isPermaLink="false">http://operetta-research-center.org/?p=13992</guid>
		<description><![CDATA[<p>When we talk about popular musical theater our modern focus is mostly on the ‘artistic’ values of individual shows, e.g.</p>
<p>The post <a rel="nofollow" href="http://operetta-research-center.org/dupont-das-alte-gesetz-metoo/">E. A. Dupont&#8217;s &#8220;Das alte Gesetz&#8221;. Or: What #MeToo Has To Do With Operetta And Offenbach</a> appeared first on <a rel="nofollow" href="http://operetta-research-center.org">Operetta Research Center</a>.</p>
]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Offenbach&#8217;s sexy medieval spoof &#8220;Geneviève de Brabant&#8221;</title>
		<link>http://operetta-research-center.org/offenbachs-sexy-medieval-spoof-genevieve-de-brabant/</link>
		<comments>http://operetta-research-center.org/offenbachs-sexy-medieval-spoof-genevieve-de-brabant/#comments</comments>
		<pubDate>Tue, 30 Jun 2015 09:19:32 +0000</pubDate>
		<dc:creator><![CDATA[kevin]]></dc:creator>
				<category><![CDATA[Offenbach & Co.]]></category>
		<category><![CDATA[Emily Soldene]]></category>
		<category><![CDATA[Jacques Offenbach]]></category>
		<category><![CDATA[Kurt Gänzl]]></category>
		<category><![CDATA[Opéra-bouffe]]></category>

		<guid isPermaLink="false">http://operetta-research-center.org/?p=7370</guid>
		<description><![CDATA[<p>Of the great opéras-bouffes of Offenbach&#8217;s early years, the one which has suffered the most inexplicable eclipse in the 20th</p>
<p>The post <a rel="nofollow" href="http://operetta-research-center.org/offenbachs-sexy-medieval-spoof-genevieve-de-brabant/">Offenbach&#8217;s sexy medieval spoof &#8220;Geneviève de Brabant&#8221;</a> appeared first on <a rel="nofollow" href="http://operetta-research-center.org">Operetta Research Center</a>.</p>
]]></description>
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		<slash:comments>6</slash:comments>
		</item>
		<item>
		<title>Exporting Operette: The World Is Not Enough</title>
		<link>http://operetta-research-center.org/export-operetta-paris-vienna-rest-world/</link>
		<comments>http://operetta-research-center.org/export-operetta-paris-vienna-rest-world/#comments</comments>
		<pubDate>Fri, 27 Jun 2014 19:17:13 +0000</pubDate>
		<dc:creator><![CDATA[kevin]]></dc:creator>
				<category><![CDATA[Vienna Waltz Operetta]]></category>
		<category><![CDATA[Carl Millöcker]]></category>
		<category><![CDATA[Emily Soldene]]></category>
		<category><![CDATA[Emmerich Kálmán]]></category>
		<category><![CDATA[Franz Lehár]]></category>
		<category><![CDATA[Franz von Suppé]]></category>
		<category><![CDATA[Hortense Schneider]]></category>
		<category><![CDATA[Jacques Offenbach]]></category>
		<category><![CDATA[Jean Gilbert]]></category>
		<category><![CDATA[Johann Strauss]]></category>
		<category><![CDATA[Josefine Gallmeyer]]></category>
		<category><![CDATA[Karl Treumann]]></category>
		<category><![CDATA[Kurt Gänzl]]></category>
		<category><![CDATA[Leo Fall]]></category>
		<category><![CDATA[Marie Geistinger]]></category>
		<category><![CDATA[Opéra-bouffe]]></category>
		<category><![CDATA[Ralph Benatzky]]></category>
		<category><![CDATA[Zulma Bouffar]]></category>

		<guid isPermaLink="false">http://operetta-research-center.org/?p=2649</guid>
		<description><![CDATA[<p>What became eventually known as &#8220;operetta&#8221; or &#8220;opérette&#8221; didn’t start its life under that name. The earliest works of the</p>
<p>The post <a rel="nofollow" href="http://operetta-research-center.org/export-operetta-paris-vienna-rest-world/">Exporting Operette: The World Is Not Enough</a> appeared first on <a rel="nofollow" href="http://operetta-research-center.org">Operetta Research Center</a>.</p>
]]></description>
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		<slash:comments>0</slash:comments>
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