The Origin of Modern Operetta

In the eighteenth century, the term operetta simply referred to a short opera. However, since the nineteenth century, the term has denoted a light theatrical work with spoken dialogue, dancing, and relatively simple music in a popular style. The composer who established modern operetta as an international genre was Jacques Offenbach (1819-1880).

Based in Paris, France, he composed mainly for the Bouffes-Parisiens, a theater that he founded in 1855, managed from 1855 to 1862, and remained associated with for many more years. His works are marked by lilting melodies, elegant stylings, brilliant characterizations, and delicious humor, both musical and verbal (his principal librettists were H. Crémieux, L. Halévy, and H. Meilhac).

Here is a list of Offenbach's principal operettas: Ba-ta-clan ("Paraphernalia," the title of a national anthem, 1855); Orphée aux enfers ("Orpheus in the Underworld," 1858, revised 1874); Barkouf (the name of a dog, 1860); Le carnaval des revues ("The Carnival of Revues," 1860); La belle Hélène ("The Beautiful Helen," 1864); Barbe-bleue ("Bluebeard," 1866); La vie parisienne ("The Parisian Life," 1866, revised 1873); La Grande-Duchesse de Gérolstein ("The Grand Duchess of Gerolstein," 1867); Robinson Crusoé (1867); and La Périchole (the name of a Gypsy singer, 1868, revised 1874).

Many of Offenbach's stage works are comic treatments of familiar subjects. Examples include Greek mythology (Orphée aux enfers, La belle Hélène), other literary material (Barbe-bleue, Robinson Crusoé), and contemporary society and politics (La vie parisienne, La Grande-Duchesse de Gérolstein).