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The Early Reception of Operetta in Russia, 1860s-1870s

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The Early Reception of Operetta in Russia, 1860s-1870s. / Frame, Murray.

In: European History Quarterly, Vol. 42, No. 1, 01.2012, p. 29-49.

Research output: Contribution to journalArticle

Harvard

Frame, M 2012, 'The Early Reception of Operetta in Russia, 1860s-1870s' European History Quarterly, vol 42, no. 1, pp. 29-49.

APA

Frame, M. (2012). The Early Reception of Operetta in Russia, 1860s-1870s. European History Quarterly, 42(1), 29-49doi: 10.1177/0265691411427830

Vancouver

Frame M. The Early Reception of Operetta in Russia, 1860s-1870s. European History Quarterly. 2012 Jan;42(1):29-49.

Author

Frame, Murray / The Early Reception of Operetta in Russia, 1860s-1870s.

In: European History Quarterly, Vol. 42, No. 1, 01.2012, p. 29-49.

Research output: Contribution to journalArticle

Bibtex - Download

@article{0d4c9095f19042bbb60afbbe87311a6a,
title = "The Early Reception of Operetta in Russia, 1860s-1870s",
author = "Murray Frame",
year = "2012",
volume = "42",
number = "1",
pages = "29--49",
journal = "European History Quarterly",
issn = "0265-6914",

}

RIS (suitable for import to EndNote) - Download

TY - JOUR

T1 - The Early Reception of Operetta in Russia, 1860s-1870s

A1 - Frame,Murray

AU - Frame,Murray

PY - 2012/1

Y1 - 2012/1

N2 - <p>This article explores the popular and critical reception of operetta in Russia during its European heyday, which broadly coincided with the transformative reign of Tsar Alexander II (1855-1881). It argues that the genre consistently drew audiences from most social strata and should not be considered, as some historians have suggested, a uniquely 'bourgeois' form of entertainment closely associated with the rise of the middle classes. It also argues that operetta crystallized a range of wider concerns about Russian culture and politics during the era of the Great Reforms. Many critics attacked operetta's frivolity and eroticism (held to be inconsistent with the aims of art), while radicals and conservatives regarded it as symptomatic of a new climate of political uncertainty (the former with hope, the latter with trepidation). The critical responses to operetta thus testified to its popularity and to the rapidity of change in Russia during the 1860s and 1870s.</p>

AB - <p>This article explores the popular and critical reception of operetta in Russia during its European heyday, which broadly coincided with the transformative reign of Tsar Alexander II (1855-1881). It argues that the genre consistently drew audiences from most social strata and should not be considered, as some historians have suggested, a uniquely 'bourgeois' form of entertainment closely associated with the rise of the middle classes. It also argues that operetta crystallized a range of wider concerns about Russian culture and politics during the era of the Great Reforms. Many critics attacked operetta's frivolity and eroticism (held to be inconsistent with the aims of art), while radicals and conservatives regarded it as symptomatic of a new climate of political uncertainty (the former with hope, the latter with trepidation). The critical responses to operetta thus testified to its popularity and to the rapidity of change in Russia during the 1860s and 1870s.</p>

KW - Culture

KW - Operetta

KW - Russia

KW - Theatre

U2 - 10.1177/0265691411427830

DO - 10.1177/0265691411427830

M1 - Article

JO - European History Quarterly

JF - European History Quarterly

SN - 0265-6914

IS - 1

VL - 42

SP - 29

EP - 49

ER -

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