Ambitionierte Vergangenheitsbewältigung: „Lass uns die Welt vergessen – Volksoper 1938“
Zu ihrem 125-jährigen Jubiläum leistete sich die Wiener Volksoper eine Haupt- und Staatsaktion-Premiere mit dem etwas umständlichen Titel Lass uns
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Sensationelle Wiederentdeckung von Joseph Beers „Prinz von Schiras“
Von den vielen tragischen Schicksalen jüdischer Operettenkomponisten (verfolgt, vertrieben, ermordet, selbst wenn sie im Exil überlebt haben, bei der Rückkehr
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Exploring Evelin Förster’s New Book Project: German Illustrated Sheet Music Covers as a Mirror of Society
Vamps, policemen, harem dancers, waiters, dandies, grotesque dancing couples, and film stars populate the covers of early twentieth century sheet
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Lehár’s “Giuditta” As A Mash-Up With Ödön von Horváth’s “Sladek, Or: The Black Army”
The premiere of the new production of Lehár’s last operetta Giuditta is coming up at Bayerische Staatsoper in Munich. It’s
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World Premiere Recording of Ábrahám’s Jazzy 1932 “Ball at the Savoy” In English
Paul Abrahám’s flavorsome jazz operetta, which premiered to great acclaim in 1932 Berlin at Großes Schauspielhaus, only to have its
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Dumbing Down Operetta: Thomas Macho’s New Lehár Movie On Arte
Obviously, there are many ways to present history, including musical history. At the moment, you can watch the amazing Viola
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Cancel Culture Reaches “Land des Lächelns” At Manhattan School Of Music
Here’s the curious case of Dona D. Vaughn and the state of operetta in 2020. As artistic director of opera
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“Ball at the Savoy”: An “Alluring Hotch-Potch” At Drury Lane (1933)
It might be imagined by those who underrate the virility of convention that the good old-fashioned musical comedy would not
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Ábrahám’s “Ball at the Savoy” At Drury Lane In A 1933 Oscar Hammerstein Production
Paul Abraham’s Ball im Savoy opened at Berlin’s Großes Schauspielhaus in December 1932 with a superstar cast – and was
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Embarrassment of Riches? A New Franz Lehár Reader At Böhlau Publishing
The only way I can describe my reaction to this attractively packaged new Franz Lehár reader, published to coincide with
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Bringing Back Abraham: “Märchen Im Grand Hotel” At Staatstheater Hannover
It’s hard to believe, but this is actually only the second fully staged production of Paul Abraham’s Märchen im Grand
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“…was verloren ging”: A New Book About Operetta Before & After 1933
Im Jahr 2005 profilierte sich die Staatsoperette Dresden mit einer überregional vielbeachteten Konferenz, die den Titel Operette unterm Hakenkreuz trug.
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Berlin’s Entertainment Industry In The 1920s As Seen By Willy Römer & On Sheet Music Covers
Tea might be the only simple pleasure left to us, as Oscar Wilde once remarked. But you need to be
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‘Babylon Berlin’: A Philharmonic Discourse with Florian Illies, Manfred Görtemaker And Tilman Krause
Ah yes, the Weimar Republic. Again? While the Museum für Fotografie in Berlin is currently showing a marvelous exhibition on
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GIUDITTA: Musical play in 5 scenes by Paul Knepler and Fritz Löhner-Beda. Music by Franz Lehár
Giuditta was the last of the series of darkly coloured romantic operettas (this one purposely titled ‘musikalische Komödie’) composed by
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Lehár’s “Giuditta”: A New Recording From Munich With Ulf Schirmer
There are many reasons why one can fall head-over-heels for Lehar’s “musikalische Komödie” Giuditta, first produced in January 1934 at
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Remembering Concentration Camp Buchenwald
Today, 70 years ago, the concentration camp Buchenwald was liberated on April 12. From an operetta perspective this particular camp
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Goethe as a musical hero: The case of Lehár’s “Friederike”
Franz Lehár was not the first to think of Goethe as an opera or operetta hero. There was the precedent
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DAS LAND DES LÄCHELNS Romantic Operette in 3 acts
Die gelbe Jacke, written to a libretto by the partner of Lehár’s earliest success, Der Rastelbinder (1902), and of his
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