What caused the operetta, once biting, critical, witty, modern, and always frivolous, to collect dust so noticeably and undeservedly? To this day, it has rarely been treated as a distinct cultural, social, and theatrical phenomenon—the "light muse" was deemed unworthy of close examination, primarily evaluated based on musical characteristics rather than societal contexts and historical connections. For a long time, musical entertainment theater did not fit into any academic discipline, but only in recent years has a more nuanced engagement with the genre begun to emerge...
Today, visitors flock to the cinema, while in the past, they stormed operetta theaters, eagerly awaiting novelties and scandals involving their stars. Show business was in vogue, and glamour and glitter defined the productions; their performers became superstars and sought-after promoters for products ranging from cigarettes to luxury cars. The operetta also made a splash on Broadway and was a unique export item of Central European culture.
Vienna was especially influenced by operetta and entertainment culture until 1938. Today, all of Europe still draws from the rich past of a genre that captivated both Berlin and Munich. But who were the people behind this development? The composers, the librettists, the artists, the organizers? No one could bring an operetta to the stage alone; it was always a collaborative production: several authors and composers worked hand in hand, and personalities like Richard Tauber interpreted the works in unique ways.
The exhibition has been curated by Marie-Theres Arnbom and Kevin Clarke in collaboration with Stefan Frey, with design by Sam Madwar and Lothar Bienenstein. It explores the many facets of operetta: celebrity culture and commercialism are addressed alongside social criticism, politics, and racial persecution.
