The Operetta Empire - Baranello, Micaela
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"Vienna's 'Silver Age' operetta was simultaneously a successful international culture industry and a distillation of the city's multiethnic local identities, a sentimental escapist entertainment and an increasingly ambitious art. Micaela Baranello captures the glamorous yet contested nature of this long-dismissed genre through a sophisticated explication of the creation and reception of some of twentieth-century Europe's most popular theatrical works."--Lynn M. Hooker, author of Redefining Hungarian Music from Liszt to Bartók "A pioneering study of twentieth-century Viennese operetta that…mehr

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Produktbeschreibung
"Vienna's 'Silver Age' operetta was simultaneously a successful international culture industry and a distillation of the city's multiethnic local identities, a sentimental escapist entertainment and an increasingly ambitious art. Micaela Baranello captures the glamorous yet contested nature of this long-dismissed genre through a sophisticated explication of the creation and reception of some of twentieth-century Europe's most popular theatrical works."--Lynn M. Hooker, author of Redefining Hungarian Music from Liszt to Bartók "A pioneering study of twentieth-century Viennese operetta that shows the limits of, and presents a much-needed challenge to, the musicological fixation on high-status musical modernism in Vienna."--Derek B. Scott, author of German Operetta on Broadway and in the West End, 1900-1940 "In this well-researched volume, Baranello celebrates the extraordinary nature and significance of early twentieth-century Viennese operetta, a repertory clearly deserving of such an investigation. Her work is destined to occupy a prominent place in the expanding literature on musical theater in general and operetta in particular."--William A. Everett, author of Sigmund Romberg
Autorenporträt
Micaela Baranello is Assistant Professor of Musicology at the University of Arkansas. Her publications include articles in the Journal of the American Musicological Society, Cambridge Opera Journal, Opera Quarterly, Nineteenth-Century Music Review, and the New York Times.