Westermeyer also emphasizes that the Merry Widow paved the way for the US-American craze for Viennese waltz operettas on a scale unheard of before. Instead, he describes the 19 th century works by Johann Strauss and colleagues as “ Die romantische Operette” and “ Die Operette unter der Vorherrschaft des Wiener Walzers.” Which is a very precise label pointing to the essence of these works. He does not use the word “silver” in his 1931 publication anywhere. Interestingly, Karl Westermeyer describes the Merry Widow as the initiator of the “ neuzeitliche Wiener Stil,” i.e. You can work that into many variations, which is exactly what Viennese operetta librettists did. The Merry Widow certainly was the start of a new wave of operettas “Made in Vienna” which influenced almost everything that followed in terms of plot structure, with two constantly battling lovers at the core who cannot express their feelings (“Lippen schweigen”) until the final scene when they find out that they were smitten with each other all along. If you believe that any review contained on our site infringes upon your copyright, please email us.A scene from Weber’s Burlesque “The Merry Widow and the Devil,” 1909.
FRANZ LEHAR PLUS
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