Page 553 - Weiss, Jernej, ur./ed. 2021. Opereta med obema svetovnima vojnama ▪︎ Operetta between the Two World Wars. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 5
P. 553
summaries
schiedlicher Weise auch bei seinen Schülern, z. B. Alban Berg, Hanns Eis-
ler und Anton Webern.
Schlüsselwörter: Schönberg, Operette, Populäre Musik, Vokalmusik,
Instrumentalmusik
Luisa Antoni
Trieste (and Gorizia) in the glittering light of trilingual
operettas
The author researches the pre-war and interwar musical scene in Trieste
and Gorizia. Her research shows clearly for the first time that operettas
were performed in all three languages of the territory (Italian, Slovene and
German). Performers included both Italian and German travelling compa-
nies, while there was no shortage of local artists and performers, above all
in Slovene clubs and societies. The German contribution, which dated back
to the nineteenth century, was most vibrant and served as a model for Ital-
ian and Slovene efforts. Composers such as Franz Lehár and Franz Suppé
cultivated strong ties with Trieste. Meanwhile, the question of local Slovene
operettas versus foreign imports was, in Trieste, the subject of a polemic
between Emil Adamič and Mirko Polič. This rich musical dramatic activi-
ty was brought to an end by Fascism, which imposed exclusively Italian op-
erettas. Following the exodus of Slovene musicians, actors and intellectu-
als from Trieste, the number of Italian productions increased even further
and operetta also served as a tie with the Italian-speaking communities in
Istria and Dalmatia.
Keywords: Operetta, Trieste, Gorizia, German travelling companies, Ital-
ian travelling companies
Kevin Clarke
Operetta As Safe Space
Was the operetta world of Jacques Offenbach in 1860s Paris a protected
world where authors, actresses and audiences could behave in ways un-
imaginable “outside” – with regard to moral conduct, sexual activity, gen-
der norms and political explicitness? Is that why this morally “dangerous”
form of musical theater became so popular worldwide and caused such out-
rage at the same time? These are the aspects Dr. Kevin Clarke wants to ex-
amine, discussing how a “sexually liberated” form of original operetta got
replaced by a nostalgic version of the genre, and how different generations
have subsequently found different types of “safe spaces” in operetta, espe-
551
schiedlicher Weise auch bei seinen Schülern, z. B. Alban Berg, Hanns Eis-
ler und Anton Webern.
Schlüsselwörter: Schönberg, Operette, Populäre Musik, Vokalmusik,
Instrumentalmusik
Luisa Antoni
Trieste (and Gorizia) in the glittering light of trilingual
operettas
The author researches the pre-war and interwar musical scene in Trieste
and Gorizia. Her research shows clearly for the first time that operettas
were performed in all three languages of the territory (Italian, Slovene and
German). Performers included both Italian and German travelling compa-
nies, while there was no shortage of local artists and performers, above all
in Slovene clubs and societies. The German contribution, which dated back
to the nineteenth century, was most vibrant and served as a model for Ital-
ian and Slovene efforts. Composers such as Franz Lehár and Franz Suppé
cultivated strong ties with Trieste. Meanwhile, the question of local Slovene
operettas versus foreign imports was, in Trieste, the subject of a polemic
between Emil Adamič and Mirko Polič. This rich musical dramatic activi-
ty was brought to an end by Fascism, which imposed exclusively Italian op-
erettas. Following the exodus of Slovene musicians, actors and intellectu-
als from Trieste, the number of Italian productions increased even further
and operetta also served as a tie with the Italian-speaking communities in
Istria and Dalmatia.
Keywords: Operetta, Trieste, Gorizia, German travelling companies, Ital-
ian travelling companies
Kevin Clarke
Operetta As Safe Space
Was the operetta world of Jacques Offenbach in 1860s Paris a protected
world where authors, actresses and audiences could behave in ways un-
imaginable “outside” – with regard to moral conduct, sexual activity, gen-
der norms and political explicitness? Is that why this morally “dangerous”
form of musical theater became so popular worldwide and caused such out-
rage at the same time? These are the aspects Dr. Kevin Clarke wants to ex-
amine, discussing how a “sexually liberated” form of original operetta got
replaced by a nostalgic version of the genre, and how different generations
have subsequently found different types of “safe spaces” in operetta, espe-
551
