[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/all2en\/wiki1\/goldene-operentian-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/all2en\/wiki1\/goldene-operentian-wikipedia\/","headline":"Goldene Operentian \u2013 Wikipedia","name":"Goldene Operentian \u2013 Wikipedia","description":"Golden operetta era If one called a period of time in the history of the Viennese operetta from around 1860","datePublished":"2021-02-02","dateModified":"2021-02-02","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/all2en\/wiki1\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/all2en\/wiki1\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/44a4cee54c4c053e967fe3e7d054edd4?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/44a4cee54c4c053e967fe3e7d054edd4?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/de.wikipedia.org\/wiki\/Special:CentralAutoLogin\/start?type=1x1","url":"https:\/\/de.wikipedia.org\/wiki\/Special:CentralAutoLogin\/start?type=1x1","height":"1","width":"1"},"url":"https:\/\/wiki.edu.vn\/all2en\/wiki1\/goldene-operentian-wikipedia\/","wordCount":1014,"articleBody":"Golden operetta era If one called a period of time in the history of the Viennese operetta from around 1860 to around 1900. Due to the abuse by the National Socialists, it is no longer used scientifically. The transfiguration of the period from around 1860 to the end of the 19th century to one Golden era of the Viennese operetta began in the course of the old-Wien fashion in the 1920s (for example with Erich Wolfgang Korngold’s editing of the operetta One night in Venice by Johann Strauss (son) of 1923) and should compare the entertainment culture of the present, such as the contemporary revue operetta, a lost ideal. The term has been instrumentalized by the National Socialists since the 1930s and was directed against Jewish composers and text authors in this use. [first] In the Viennese population, interest in the music theater and the solvency during the Wilhelminian era increased vigorously. In addition to the expansion of the audience, its mobility, favored by the grinding of the city walls and the construction of the ring and the belt road. In 1858, the French operettas of the composer Jacques Offenbach entered Vienna. The Carltheater, the Theater am Franz-Josefs-Kai and later the Theater an der Vienna had quick success with these mostly one-act pieces. In order to create a counterweight to French fashion and emphasize their own artistic importance, the Viennese Kapellmeister subsequently put a revival of the “German” tradition, without losing sight of the changeable taste of the growing audience. The scene of the operettas during the “Golden era of the Viennese operetta” is almost always Vienna, which at that time was one of the cultural centers in the world as the capital of the Danube monarchy. A popular object of these operettas was the supposed life of aristocracy, while there were mainly citizens in the audience. Musically, works by Waltz and Polkamusik were dominated musically. In addition, there were often Hungarian folklore like the CS\u00e1rd\u00e1s. It was also typical of the operettas of this time their quick adaptation to current events. With the same total working hours, the production period was shortened by the fact that several librettists, a composer and sometimes an orchestrator took part in the same time. Due to their current topicality, the pieces quickly got out of fashion. [2] The Golden era of the Viennese operetta was characterized by the composer Franz von Supp\u00e8 ( Das pensionat , African claims , Boccaccio ), by Johann Strauss (son) (son) The bat , The gypsy baron , One night in Venice ), continue Carl Mill\u00f6cker ( The begging student , Gasparon , The poor Jonathan ), Richard Heuberger ( The opera ball ) and Carl Zeller ( The Obersteiger, the bird dealer ). Especially the bat Johann Strau\u00df is still worldwide in the repertoire of the OPerntheater. In Austria, others of these operettas are still played. In the premieres, the soprano Marie Geistinger, Josefine Gallmeyer or the comedian Alexander Girardi shone. Tenors like Karl Treumann were not as much in the foreground as in the time of the so -called silver operetta. In the last quarter of the 19th century, the Golden era of the Viennese operetta their climax. Carl Michael Ziehrer (1843\u20131922) was one of her last representatives. After the turn of the century, the Viennese operetta began to go different and musically different paths and passed into the second, further era of the Viennese operetta, whose start with the later world success of the funny widow of Franz Leh\u00e1r (1905). The theater scientist Marion Linhardt, for example, only makes a \u201cgeneral departure in the entertainment theater at the beginning of the 20th century\u201d, which can be outlined by three terms: [3] internationalization : Non-fashion are included in favor of better international marketability, and local peculiarities are dispensed with. Medialization : The emerging new media film and record as well as the variety and cabaret have an impact. Potentiation : Everyday life is increasingly met and the entertainment theater is for mass processing. These developments also affected the operetta, which led to an undisputed style of style. Moritz Cs\u00e1ky: The cultural memory of the Viennese operetta. Regional diversity in urban milieu . Hollitzer, Vienna 2021, ISBN 978-3-99012-950-0. Marion Linhardt: Residenzstadt and metropolis: To a cultural topography of the Viennese entertainment theater (1858\u20131918) . Max Niemeyer, T\u00fcbingen 2006, ISBN 3-484-66050-3.  \u2191  Kevin Clarke: Operetta in the Nazi era. In: Wolfgang Benz (ed.): Handbook of anti -Semitism. Vol. 7: Literature, film, theater and art . The Gruyter, Berlin 2015, ISBN 978-3-11-025873-8, S. 368-373.  \u2191  Linhardt: Residenzstadt and metropolis . 2006, S. 5.  \u2191  Linhardt: Residenzstadt and metropolis . 2006, S. 124\u00a0ff.   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