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101-591: Lord Piccolo is an operetta in two acts with music by Henri Berény and a German-language libretto by Rudolph Schanzer & Carl Lindau . It premiered at the Johann Strauss Theater in Vienna on 9 January 1910. When the work was later adapted into the English language for Broadway by A. E. Thomas and Edward A. Paulton, their modified version retitled the work Little Boy Blue . The operetta

202-513: A metonym for empire, has also been re-interpreted in the modern age as a conception of cosmopolitanism, and was used by 1930s modernists as the title of a Shanghai -based, English-language journal of world arts and letters T'ien Hsia Monthly . Cosmopolitanism can be traced back to Diogenes of Sinope ( c.  412 B.C. ), the founder of the Cynic movement in Ancient Greece . It

303-649: A boy. A comedy of errors ensues as the two attempt to outsmart the Duke. Matters are further complicated for Daisy by the arrival of her lover Gaston, the Marquis de la Tour, who has followed her from Paris, and may reveal her identity. Fortunately he does not recognize her in her disguise. Eventually Daisy's identity is revealed upon her brother's return. All ends well when she and Gaston become engaged to be married. American opera producer Henry W. Savage decided to adapt Henri Berény's German language operetta Lord Piccolo for

404-459: A century after Durkheim. In his posthumously published (1957) "Professional Ethics and Civic Morals" Durkheim wrote that: If each State had as its chief aim not to expand or to lengthen its borders, but to set its own house in order and to make the widest appeal to its members for a moral life on an ever-higher level, then all discrepancy between national and human morals would be excluded. … The more societies concentrate their energies inwards, on

505-515: A city". Contemporary usage defines the term as "citizen of the world". Definitions of cosmopolitanism usually begin with the Greek etymology of "citizen of the world". However, as Appiah points out, "world" in the original sense meant "cosmos" or "universe", not earth or globe as current use assumes. In the United States , two forms of cosmopolitanism have been established. For one, there

606-424: A cosmopolitan world moving beyond today's conception of nation-states. These scholars argue that a truly cosmopolitan identity within global citizenship will take hold, diminishing the importance of national identities. The formation of a global citizens movement would lead to the establishment of democratic global institutions, creating the space for global political discourse and decisions, would in turn reinforce

707-404: A cosmopolitan world would consist of a plurality of states, which would use global and regional consensus to gain greater bargaining power against opponents. States would also utilize the power of civil society actors such as Non-governmental organizations ( NGOs ) and consumers to strengthen their legitimacy and enlist the help of investors to pursue a cosmopolitan agenda. Other authors imagine

808-459: A failure of Gilroy's theory to address the practical difficulties of estranging oneself from the familiar. The Venus Project , an international, multidisciplinary educational organization created by Jacque Fresco , works to spread cosmopolitan ideas by transcending artificial boundaries currently separating people and emphasizing an understanding of our interdependence with nature and each other. Some forms of cosmopolitanism also fail to address

909-621: A global economy, or subjugates it to the nation-state model. Cosmopolitanism sees global capital as a possible threat to the nation state and places it within a meta-power game in which global capital, states and civil society are its players. It is important to mark a distinction between Beck's cosmopolitanism and the idea of a world state. For Beck, imposing a single world order was considered hegemonic at best and ethnocentric at worst. Rather, political and sociological cosmopolitanism rests upon these fundamental foundations: A number of philosophers, including Emmanuel Levinas , have introduced

1010-399: A journey to different sites of great suffering that ultimately leads him toward developing compassion. In "The Planet", Paul Gilroy explores how the construction and naturalization of race and the hierarchies produced by difference shape the hatred of others. It is the deconstruction of these ideologies that can lead to the compassion and humanization of others. Thus individual responsibility

1111-464: A looser but related sense, "cosmopolitan" is also used to describe places where people of various ethnic, cultural and/or religious backgrounds live together and interact with each other. The word derives from the Ancient Greek : κοσμοπολίτης , or kosmopolitês , formed from " κόσμος ", kosmos , i.e. "world", "universe", or "cosmos", and πολίτης , " politês ", i.e. "citizen" or "[one] of

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1212-658: A musical genre around 1850 in Paris. In 1870, the centre for operetta shifted to Vienna when Paris fell to the Prussians. The form of operetta continued to evolve through the First World War . There are some common characteristics among operettas that flourished from the mid-1850s through the early 1900s, beginning with the French opéra-bouffe . They contain spoken dialogue interspersed between musical numbers, and often

1313-514: A peaceful manner. Kant makes the additional claim that all human beings have the basic right of resort: the right to present oneself in a foreign land. The right of resort is derived from Kant's understanding of the Earth's surface as essentially communal, and further emphasizing his claims on equally shared universal rights among all human beings. The philosophical concepts of Emmanuel Levinas , on ethics, and Jacques Derrida , on hospitality, provide

1414-520: A renewed model for global citizenship : institutional cosmopolitanism. It advocates some reforms in global governance to allow world citizens to take more directly a part into political life. A number of proposals have been made in order to make this possible. Cosmopolitan democracy , for example, suggests strengthening the United Nations and other international organizations by creating a World Parliamentary Assembly. "Cosmopolitanism" became

1515-400: A rhetorical weapon used by nationalists against "alien" ideas that went counter to orthodoxy. European Jews were frequently accused of being "rootless cosmopolitans." Joseph Stalin in a 1946 Moscow speech attacked writings in which "the positive Soviet hero is derided and inferior before all things foreign and cosmopolitanism that we all fought against from the time of Lenin, characteristic of

1616-620: A sense of "affinity" or "endearment" towards others, which the Stoics termed Oikeiôsis . The task of world citizens becomes then to "draw the circles somehow towards the centre, making all human beings more like our fellow city dwellers, and so forth". In his 1795 essay "Perpetual Peace: A Philosophical Sketch", Immanuel Kant stages a ius cosmopoliticum (cosmopolitan law/right) as a guiding principle to help global society achieve permanent, enduring peace. Kant's cosmopolitan right stems from an understanding of all human beings as equal members of

1717-400: A simpler form of music. Many scholars have debated as to which composer should be credited as the inventor of operetta; Jaques Offenbach or Hervé. It is concluded that Hervé completed the groundwork, and Offenbach refined and developed the art form into the concept of operetta as we know it today. Therefore, "Offenbach is considered the father of French operetta – but so is Hervé." Hervé

1818-595: A social, ethical enterprise and a cultural enterprise. In "The Planet", Gilroy describes the cases of Tom Hurndall and Rachel Corrie ; each seems to exemplify what might be considered Gilroy's figure of the cosmopolitan. Both Hurndall and Corrie removed themselves (geographically) from their home cultures, presumably both physically and mentally estranging themselves from their own cultures and histories. Hurndall and Corrie were both killed in 2003 (in separate incidents). Gilroy's model of estrangement might actually undermine itself through its examples; this might be construed as

1919-446: A sociality of common political engagement among all human beings across the globe, and, secondly, suggests that this sociality should be either ethically or organizationally privileged over other forms of sociality. The ancient Chinese philosopher Mozi in preserved scripts said that "universal love and mutual benefit" could be attained "to regard other people's countries as one's own". The Chinese term tianxia (all under Heaven),

2020-487: A theoretical framework for the relationships between people in their everyday lives and apart from any form of written laws or codes. For Levinas, the foundation of ethics consists in the obligation to respond to the Other. In Being for the Other, he writes that there is no "universal moral law," only the sense of responsibility (goodness, mercy, charity) that the Other, in a state of vulnerability, calls forth . The proximity of

2121-562: A transatlantic style, and the presence of ragged marching tunes. Berlin operettas also sometimes included aspects of burlesque , revue , farce , or cabaret . Paul Lincke pioneered the Berlin operetta in 1899 with Frau Luna , which includes " Berliner Luft " ("Berlin Air"), which became the unofficial anthem of Berlin. His Lysistrata (1902) includes the song and tune " The Glow-Worm ", which remains quite popular internationally. Much later, in

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2222-416: A triangulation point in that he remains neutral about multiculturalism, but his philosophical analysis of truth and practice can be deployed to argue against Searle and in favor of Taylor. At a conference on "Philosophy in a Multicultural Context", Rasmus Winther excavated the philosophical assumptions and practices connected with cosmopolitanism and multiculturalism. He develops Bruno Latour 's conception of

2323-401: A universal community. Cosmopolitan right thus works in tandem with international political rights, and the shared, universal right of humanity. Kant's cosmopolitan right is fundamentally bound to the conditions of universal hospitality and the right of resort. Universal hospitality is defined as the right to be welcomed upon arrival in foreign territory, but is contingent on a guest arriving in

2424-612: A world without sovereign nation-states, territorially organized in small autonomous but not-sovereign cantonal polities, complemented by strong world organizations. Criticizing the abstract nature of most versions of cosmopolitanism, Charles Blattberg has argued that any viable cosmopolitanism must be "rooted," by which he means based upon a "global patriotism." More general philosophical reviews of cosmopolitanism and multiculturalism are also available. Carol Nicholson compares John Searle 's opposition to multiculturalism with Charles Taylor 's celebration of it. She uses Richard Rorty as

2525-574: Is Leon Jessel 's extremely popular 1917 Schwarzwaldmädel ( Black Forest Girl ). These bucolic, nostalgic, home-loving operettas were officially preferred over Berlin-style operettas after 1933, when the Nazis came to power and instituted the Reichsmusikkammer (State Music Institute), which deprecated and banned "decadent" music like jazz and similar "foreign" musical forms. In the beginning of twenty-first century, German revival of operetta

2626-497: Is a political cosmopolitan nationalism that has defined and constructed other races . On the other hand, ethno-cultural cosmopolitanism that celebrates multiculturalism has benefited from an upswing in the United States after World War II . A definition of cosmopolitanism that handles this issue is given in a recent book on political globalization: Cosmopolitanism can be defined as a global politics that, firstly, projects

2727-591: Is a very good thing), is a very limited concept. (Derrida cited in Bennington 1997). A further state of cosmopolitanism occurred after the Second World War . As a reaction to the Holocaust and other atrocities, the concept of crimes against humanity became a generally accepted category in international law. This clearly shows the appearance and acceptance of a notion of individual responsibility that

2828-433: Is about a Scottish Earl's niece who impersonates her missing brother in order to obtain his inheritance from their uncle. The Earl of Goberdeen is trying to locate his missing nephew who is heir to his Scottish fortune. His last known whereabouts were in the city of Paris, and the earl has hired a detective, Dupont, to look for him in that city. Dupont can not locate the earl's nephew, but succeeds in finding his sister Daisy,

2929-524: Is being aware of what Judith Butler calls the precariousness of life in self and other; being a cosmopolitan seems to be, above all, a social, ethical enterprise. In Cosmopolitanism: Ethics in a World of Strangers , Kwame Anthony Appiah notes how social ethics seem to operate: Whatever obligation one might have to another, especially a foreign other, that obligation does not supersede the obligations one has to those people most familiar to them. However, as Judith Butler questions, "at what cost do I establish

3030-439: Is considered to exist toward all of humankind. Philosophical cosmopolitans are moral universalists : they believe that all humans, and not merely compatriots or fellow-citizens, come under the same moral standards. The boundaries between nations, states, cultures or societies are therefore morally irrelevant. A widely cited example of a contemporary cosmopolitan is Kwame Anthony Appiah. Some philosophers and scholars argue that

3131-463: Is lighter than opera in terms of its music, orchestral size, and length of the work. Apart from its shorter length, the operetta is usually of a light and amusing character. The subject matter may portray "lovers' spats, mistaken identities, sudden reversals of fortune, and glittering parties". It sometimes also includes satirical commentaries. "Operetta" is the Italian diminutive of "opera" and

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3232-642: The Gounod parody Le petit Faust (1869) and Mam'zelle Nitouche (1883). Jacques Offenbach is most responsible for the development and popularization of operetta—also called opéras bouffes or opérettes —giving it its enormous vogue during the Second Empire and afterwards. In 1849, Offenbach obtained permission to open the Théâtre des Bouffes Parisiens, a theatre company that offered programs of two or three satirical one-act sketches. The company

3333-567: The Grand Opera House in April 1913; making its total number of Broadway performances 184. The cast was led by actress Gertrude Bryan in the role of Daisy. Others in the cast included John Dunsmure as The Earl of Goberdeen, Otis Harlan as Dupont, Charles Meakins as Gaston, and Maude Odell as Amaranth. Operetta Operetta is a form of theatre and a genre of light opera . It includes spoken dialogue, songs, and dances. It

3434-786: The Prussian defeat in 1866 , operetta became the sign of a new age in Austria, marked by modernity and industrialization. The most significant composer of operetta in the German language was the Austrian Johann Strauss II (1825–1899). Strauss was recruited from the dance hall and introduced a distinct Viennese style to the genre. Strauss was highly influenced by the work of Offenbach, so much so that he collaborated with many of Offenbach’s librettists for his most popular works. His operetta, Die Fledermaus (1874), became

3535-554: The World Social Forum ; and so on. Globalization , a more common term, typically refers more narrowly to the economic and trade relations and misses the broader cultural, social, political, environmental, demographic, values and knowledge transitions taking place. Thich Nhat Hanh discusses what he calls "Interbeing" as a way of living one's life in relation to others; "Interbeing" might easily be compared to cosmopolitanism. Nhat Hanh's philosophical beliefs are grounded in

3636-427: The "comique" part of the genre name had become misleading: Georges Bizet 's Carmen (1875) is an example of an opéra comique with a tragic plot. The definition of "comique" meant something closer to "humanistic", meant to portray "real life" in a more realistic way, representing tragedy and comedy next to each other, as Shakespeare had done centuries earlier. With this new connotation, opéra comique had dominated

3737-486: The 1860s and 1870s are described as rowdy and loud. Operetta was considered one of the major controversies about Italian music and culture between the 1860s and the 1920s. During that period, strong nationalistic undertones in Italy strived to unify its national identity. Recognizing operetta as a foreign genre, operetta was perceived as an art form that would contaminate Italian opera or illegitimately undermine its primacy on

3838-432: The 1920s and 1930s, Kurt Weill took a more extreme form of the Berlin operetta style and used it in his operas, operettas, and musicals. It is arguable that some of Kurt Weill 's compositions could be considered modernist operetta. The Berlin-style operetta coexisted with more bourgeois, charming, home-loving, and nationalistic German operettas – some of which were called Volksoperetten (folk operettas). A prime example

3939-496: The American stage. He hired playwrights Albert Ellsworth Thomas (1873–1947) and Edward A. Paulton (1866–1939) to adapt the libretto by Shanzer and Lindau into English; ultimately resulting in the operetta being retitled Little Boy Blue . Thomas and Paulton wrote most of the new lyrics to the show but there were also contributions by other writers, including William F. Kirk and Edward Madden . While much of Berény's original score

4040-462: The Christian tradition, also a certain call for a citizen of the world as, precisely, a brother. St. Paul says that we are all brothers, that is sons of God, so we are not foreigners, we belong to the world as citizens of the world; and it is this tradition that we could follow up until Kant for instance, in whose concept of cosmopolitanism we find the conditions for hospitality. But in the concept of

4141-404: The French operatic stage since the decline of tragédie lyrique . The origins of French operetta began when comic actors would perform dances and songs to crowds of people at fairs on open-air stages. In the beginning of the 18th century these actors began to perform comic parodies of known operas. These performances formed operetta as a casual genre derived from opéra comique , while returning to

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4242-694: The Making of Race and Nation in Canada," where she discusses a discourse in which Muslim people fall into a good/bad dichotomy: a "good Muslim" is one who has been Westernized and a "bad Muslim" is one who visibly rejects Western cultural influences. Thobani notes that it is through media representations that these ideas become naturalized. Individuals who embrace Western ideals are considered fully "human" and are more likely to be afforded dignity and protection than those who defend their non-Westernized cultural identities . According to those who follow Beck's reasoning,

4343-476: The Other for the continuous formation of language, culture, and identity means that we are responsible to others and that they are responsible to us. Also once we've formed a will, it becomes possible to recognize this social interdependence. When we have gained the capacity for recognition, the imperative is to perform that recognition and thereby become ethically responsible to the Other in conscience . Cosmopolitanism shares some aspects of universalism – namely

4444-469: The Other is an important part of Levinas's concept: the face of the Other is what compels the response. For Derrida, the foundation of ethics is hospitality, the readiness and the inclination to welcome the Other into one's home. Ethics, he claims, is hospitality. Pure, unconditional hospitality is a desire that underscores the conditional hospitality necessary in our relationships with others. Levinas's and Derrida's theories of ethics and hospitality hold out

4545-457: The Other's address and begin to form culture and identity. After the formation of the will, we choose whether to identify with the addresses by others and, as a result, continue the process of forming identity. During this process, it is possible to recognize ourselves in our interactions with Others. Even in situations where we engage in the most minimal interaction, we ascribe identities to others and simultaneously to ourselves. Our dependence on

4646-467: The Philippines, Mexico, Cuba, and the United States. Through the transfer of operetta among different countries, cultural cosmopolitanism emerged in the previous century. Operetta as a genre lost favor in the 1930s and gave way to modern musical theatre . Important operetta composers include Johann Strauss , Jacques Offenbach , Franz Lehár , and Francisco Alonso . The term operetta arises in

4747-417: The advance of globalization and the increased facility of travel and communication, some thinkers consider that the political system based on the nation-state has become obsolete and that it is time to design a better and more efficient alternative. Jesús Mosterín analyzes how the world political system should be organized in order to maximize individual freedom and individual opportunity. Rejecting as muddled

4848-496: The appearance of strong national schools in both nations. By the 1870s, however, Offenbach's popularity declined. The public showed more interest in romantic operettas that showed the "grace and refinement" of the late Romantic period. This included Messager 's operetta Véronique and Louis Ganne 's Les saltimbanques . The 20th century found French operetta even more out of favor as the international public turned to Anglo-American and Viennese operettas, which continued to develop

4949-604: The art form into the late Romantic era. Offenbach was unabashed about spreading operetta around the continent. In 1861, he staged some of his recent works at the Carltheater in Vienna , which paved the way for Austrian and German composers. Soon, Vienna became the epicenter of operetta productions. It is because of the Viennese operetta, not the French, that the term is used to describe a full-length work. Additionally, after

5050-455: The centuries and ranges depending on each country's history with the genre. It is often used to refer to pieces that resemble the one-act compositions by Offenbach in contrast with his full length compositions, ‘opéra-bouffe’. Offenbach invented this art form in response to the French government's oppressive laws surrounding the stagings of works that were larger than one act or contained more than four characters. Operetta became recognized as

5151-399: The concept of the " Other ". For Levinas, the Other is given context in ethics and responsibility; we should think of the Other as anyone and everyone outside ourselves. According to Levinas, our initial interactions with the Other occur before we form a will—the ability to make choices. The Other addresses us and we respond: even the absence of response is a response. We are thus conditioned by

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5252-502: The contemporary workings of humanism" (32). Thus, there is the idea that not all "human" lives will be supported in the same way, indeed, that some human lives are worth more protection than others. Others have extended this idea to examine how animals might be reconfigured as cosmopolitan, present the world-over with varying identities in different places. This idea is reiterated in Sunera Thobani 's "Exalted Subjects: Studies in

5353-486: The cosmopolitical in Kant there are a number of conditions: first of all you should, of course, welcome the stranger, the foreigner, to the extent that he is a citizen of another country, that you grant him the right to visit and not to stay, and there are a number of other conditions that I can't summarise here quickly, but this concept of the cosmopolitical which is very novel, very worthy of respect (and I think cosmopolitanism

5454-637: The development of both the West End in London and Broadway in New York. American audiences were first introduced to operetta through Gilbert and Sullivan's H.M.S. Pinafore in 1878 . American operetta composers included Victor Herbert , whose works at the beginning of the 20th century were influenced by both Viennese operetta and Gilbert and Sullivan. He was followed by Sigmund Romberg and Rudolph Friml . Nevertheless, American operetta largely gave way, by

5555-518: The earl's niece, who is working as a barmaid in Paris. She also does not know where her brother is, having separated from him since they were children. Meanwhile, the Earl of Goberdeen obtains the services of Amaranth, a fortune teller and seer, to locate his nephew. Frustrated at his failure and desiring to fulfill his contract with the Earl of Goberdeen, Dupont convinces Daisy to go to Scotland and pretend to be her brother. He successfully disguises her as

5656-469: The end of World War I, to musicals , such as the Princess Theatre musicals, and revues , followed by the musicals of Rodgers and Hart , Cole Porter , Irving Berlin and others. Another notable operetta in English is Candide by Leonard Bernstein . It was advertised as a “comic operetta.” Candide’s score in some ways was typical for its announced genre with some waltzes, but Bernstein added

5757-558: The familiar as the criterion" for valuing others? If one values the familiar more than the foreign, what are the consequences? Paul Gilroy offers a possible alternative to this emphasis on familiarity arguing that "methodical cultivation of a degree of estrangement from one's own culture and history ... might qualify as essential to a cosmopolitan commitment." This estrangement entails a "process of exposure to otherness" in order to foster "the irreducible value of diversity within sameness." For Gilroy, being cosmopolitan seems to involve both

5858-527: The first images of our fragile planet floating in the vastness of space; the emergence of global warming and other ecological threats to our collective existence; new global institutions such as the United Nations , World Trade Organization , or International Criminal Court ; the rise of transnational corporations and integration of markets often termed economic globalization ; the emergence of global NGOs and transnational social movements, such as

5959-628: The format in England with their long-running collaboration during the Victorian era . With W. S. Gilbert writing the libretti and Sullivan composing the music, the pair produced 14 comic operas, which were later called Savoy Operas . Most were enormously popular in Britain, the U.S., and elsewhere. Gilbert, Sullivan, and their producer Richard D'Oyly Carte themselves call their joint works comic operas to distinguish this family-friendly fare from

6060-606: The genre renewed vitality. Studying at the Prague Conservatory Lehár began as a theatre violinist and then took off as a composer in the Austro-Hungarian Empire. During this 1905, Lehár's Die lustige Witwe ( The Merry Widow ) paved a pathway for composers such as Fall , Oscar Straus , and Kálmán to continue the tradition of Operetta. Lehár was also one of the first composers who began to incorporate into film. [2] The Viennese tradition

6161-427: The globally acceptable notion of human dignity that must be protected and enshrined in international law. However, the theory deviates in recognising the differences between world cultures. In addition, cosmopolitanism calls for equal protection of the environment and against the negative side effects of technological development. Human dignity, however, is convoluted because it is necessary to first distinguish who has

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6262-421: The importance of considering how best to interact with the Other and others, and what is at stake. Derrida in an interview with Bennington (1997) summarized "cosmopolitanism", There is a tradition of cosmopolitanism, and if we had time we could study this tradition, which comes to us from, on the one hand, Greek thought with the Stoics, who have a concept of the 'citizen of the world'. You also have St. Paul in

6363-408: The imposition of Western cultural norms, democracy and Christianity to name only two, has historically resulted in nationalist violence; however, Appiah has implied that democracy is a pre-requisite for cosmopolitan intervention in developing nations. Much of the political thinking of the last two centuries has taken nationalism and the framework of the sovereign nation-state for granted. With

6464-505: The individual's human dignity, and the moral code guiding the society is found in that country's way of interpreting human dignity and human rights. Thus, rather than finding solidarity through national culture, or a particular traditional religious doctrine, society would be unified by its adherence to political values, i.e. individual rights and a defence of human dignity. Durkheim's cult of the individual has many similarities to John Rawls ' political liberalism , which Rawls developed almost

6565-435: The interests of monopoly capitalism . Its opposite was not chauvinist bourgeois nationalism , but patriotism ; love of one's native place, one's country. Love of the homeland was said to be one of the deepest feelings of the working people, expressed in the struggle against conquerors and oppressors. Television journalist Jeff Greenfield believes that in the 21st century cosmopolitanism was viewed by Vladimir Putin in as

6666-597: The interior life, the more they will be diverted from the disputes that bring a clash between cosmopolitanism – or world patriotism, and patriotism … Societies can have their pride, not in being the greatest or the wealthiest, but in being the most just, the best organised and in possessing the best moral constitution. Ulrich Beck (May 15, 1944 – January 1, 2015) was a sociologist who posed the new concept of cosmopolitan critical theory in direct opposition to traditional nation-state politics. Nation-state theory sees power relations only among different state actors, and excludes

6767-428: The local community of our birth, and the community of human argument and aspiration". A common way to understand Stoic cosmopolitanism is through Hierocles ' circle model of identity, which states that individuals should regard themselves as concentric circles: the first one around the self, followed by immediate family, extended family, local group, citizens, countrymen, humanity. Within these circles human beings feel

6868-428: The metaphysical notion of free will, he focuses on political freedom, the absence of coercion or interference by others in personal decisions. Because of the tendencies to violence and aggression that lurk in human nature, some constraint on freedom is necessary for peaceful and fruitful social interaction. Especially, there is no rational ground for curtailing the cultural freedoms (of language, religion and customs) in

6969-484: The mid-eighteenth-century Italy and it is first acknowledged as an independent genre in Paris around 1850. Castil-Blaze 's Dictionnaire de la musique moderne claims that this term has a long history and that Mozart was one of the first people to use the word operetta, disparagingly, describing operettas as "certain dramatic abortions, those miniature compositions in which one finds only cold songs and couplets from vaudeville". The definition of operetta has changed over

7070-413: The most performed operetta in the world, and remains his most popular stage work. In all, Strauss wrote 16 operettas and one opera, most with great success when first premiered. Strauss's satire was often generic, unlike Offenbach who commented on real-life matters. Strauss's operettas, waltzes, polkas, and marches often have a strongly Viennese style, and his popularity causes many to think of him as

7171-509: The name of the nation, the church, or the party. From this point of view, the Internet provides a much more attractive model than the nation-state. Neither is there any just reason for restraining the free circulation of people, ideas, or goods. Mosterín thinks that the nation-state is incompatible with the full development of freedom, whose blossoming requires the reorganization of the world political system along cosmopolitan lines. He proposes

7272-520: The national composer of Austria. The Theater an der Wien never failed to draw huge crowds when his stage works were first performed. After many of the numbers the audience would call noisily for encores. Franz von Suppé , also known as Francesco Ezechiele Ermenegildo, Cavaliere Suppé-Demelli, was born in 1819 and his fame rivals that of Offenbach. Suppé was a leading composer and conductor in Vienna and most known for his operetta Leichte Kavallerie (1866), Fatinitza (1876), and Boccaccio (1879). Suppé

7373-425: The newer musicals, with each influencing the other. The distinctive traits of operetta are found in the musical theatre works of Jerome Kern , Richard Rodgers and Stephen Sondheim . Operetta was first created in Paris, France in the middle of the 19th century in order to satisfy a need for short, light works in contrast to the full-length entertainment of the increasingly serious opéra comique . By this time,

7474-419: The notion of citizenship at a global level. Nested structures of governance balancing the principles of irreducibility (i.e., the notion that certain problems can only be addressed at the global level, such as global warming ) and subsidiarity (i.e., the notion that decisions should be made at as local a level possible) would thus form the basis for a cosmopolitan political order. Daniele Archibugi proposes

7575-426: The objective and subjective conditions arising in today's unique historical moment, an emerging planetary phase of civilization , creates a latent potential for the emergence of a cosmopolitan identity as global citizens and possible formation of a global citizens movement . These emerging objective and subjective conditions in the planetary phase include improved and affordable telecommunications; space travel and

7676-528: The only ones benefitting from this partnership are well-placed individuals and not the nation itself. Others highlighted the importance of moving beyond Western liberal values. Drawing on classical realism, they consider liberalism insufficient to promote equality between nations, breaking the iron laws of competition between states; instead, they look at Byzantine and other pre-modern cultures. Likewise, Mahmood Mamdani in Good Muslim, Bad Muslim suggests that

7777-542: The philosopher as public diplomat. Emile Durkheim (1858–1917) observed the development of what he called the 'cult of the individual', which is a new religion that replaced the Christianity that was dying out, and which is centered around the sacredness of human dignity. This new religion would provide the new foundations of Western society, and these foundations are closely related to human rights and individual nation's constitutions. A society's sacred object would be

7878-642: The political leftovers, is many times applauded." In the German Democratic Republic , cosmopolitanism was characterized as a bourgeois - imperialist ideology that rejects the nations' right to independence and national sovereignty . Cosmopolitanism was said to promote the dismantling of national and patriotic traditions and national culture . It was said to be advocated by the Anglo-American imperialism with an aim to establish world hegemony ( World Government ) operating in

7979-414: The possibility of an acceptance of the Other as different but of equal standing. Isolation is not a feasible alternative in the world, therefore, it is important to consider how best to approach these interactions, and to determine what is at stake for ourselves and the others: what conditions of hospitality to impose, and whether or not we have responded to the call of the Other. Further, both theories reveal

8080-606: The potential for economic colonization by powerful countries over less powerful ones. Frantz Fanon , in The Wretched of the Earth , observes that when nations achieved independence from European colonizers, frequently there was no system in place to secure their economic future, and they became "manager[s] for Western enterprise...in practise set[ting] up its country as the brothel of Europe." When "third world" nations are drawn into economic partnerships with global capital, ostensibly to improve their national quality of life, often

8181-623: The precepts of Buddhist teachings, which involve compassion and understanding to protect and live in harmony with all people, animals, plants, and minerals. He further describes what he calls "Mindfulness Training of the Order of Interbeing" as being aware of sufferings created by, but not limited to, the following causes: fanaticism and intolerances that disrupt compassion and living in harmony with others; indoctrination of narrow-minded beliefs; imposition of views; anger; and miscommunication. Understanding and compassion for others seems to be achieved by

8282-444: The principal characters, as well as the chorus, are called upon to dance, although the music is largely derived from 19th-century operatic styles, with an emphasis on singable melodies. Operetta in the twentieth century is more complex and reached its pinnacle in Austria and Germany. Operetta is a precursor of the modern musical theatre or the "musical". In the early decades of the 20th century, operetta continued to exist alongside

8383-524: The right to be respected and second to consider what rights are protectable. Under cosmopolitanism, all humans have rights; however, history shows that recognition of these rights is not guaranteed. As an example, Judith Butler discusses a Western discourse of "human" in Precarious Life: The Powers of Mourning and Violence . Butler works through the idea of "human" and notes that "human" has been "naturalized in its 'Western' mold by

8484-615: The risqué French operettas of the 1850s and 1860s. Their works, such as H.M.S. Pinafore , The Pirates of Penzance and The Mikado , continue to enjoy regular performances throughout the English-speaking world. While many of these operas seem to be very light-hearted, works such as the Mikado were making political commentaries on the British government and military with one of the main topics being capital punishment which

8585-419: The schottische, gavotte, and other dances, and also entered the opera house with the aria “Glitter and Be Gay” Operetta was the first imported vocal genre in Italy. Since the 1860s, French and Viennese composers such as Offenbach , Hervé , Suppé , Strauss Jr and Lehár have significantly influenced the operatic tradition of Italy. The widespread popularity of foreign operetta in Italy reached its climax at

8686-472: The stage. It was not until the early twentieth century that Italian composers systematically engaged in writing operetta. Informational notes Citations Bibliography Further reading Cosmopolitanism For example, Kwame Anthony Appiah articulates a cosmopolitan community where individuals from varying locations (physical, economic, etc.) enter relationships of mutual respect despite their differing beliefs (religious, political, etc.). In

8787-724: The turn of the century, in particular with the success of La vedova allegra , which premiered in Milan in 1907. Italian operetta composers tended to stretch the definition of an "operetta" more than other nations in order to fit the beauty of Italian Romantic opera style. An example would be Giacomo Puccini , who developed his work in the realistic verisimo style, and would compose "operettas in three acts". Other notable composers of Italian operetta include Vincenzo Valente , Ruggero Leoncavallo , Pasquale Mario Costa , Pietro Mascagni , Carlo Lombardo , Enrico Toselli , Virgilio Ranzato and Giuseppe Pietri . The audiences of operetta during

8888-400: The understanding of others' suffering and the root causes of suffering. Therefore, to be responsible is to recognize and understand suffering, which then leads to compassion. It is through this process that others can be recognized as people. Other theorists, philosophers, and activists contend that recognizing suffering is necessary to end violence. In Scared Sacred , Velcrow Ripper takes

8989-518: Was a contemporary to Strauss and composed over 30 operettas 180 farces, ballets and other stage works. Recently, though most of his works have been fallen into obscurity, many of them have been reprised within films, cartoons, advertisements and so on. Both Strauss and Suppé are considered to be the most notable composers of the Golden Age of Viennese operetta. Following the death of Johann Strauss and his contemporary, Franz von Suppé , Franz Lehár

9090-509: Was a singer, composer, librettist, conductor, and scene painter. In 1842, he wrote the one act opérette , L'Ours et le pacha , based on the popular vaudeville by Eugène Scribe and X. B. Saintine . In 1848, Hervé made his first notable appearance on the Parisian stage, with Don Quichotte et Sancho Pança (after Cervantes ), which can be considered the starting point for the new French musical theatre tradition. Hervé's most famous works are

9191-520: Was an unforeseen theatrical development. Notable German operetta composers include Paul Lincke , Eduard Künneke , Walter Kollo , Jean Gilbert , Leon Jessel , Rudolf Dellinger , Walter Goetze and Ludwig Schmidseder . Offenbach's influence reached England by the 1860s. Arthur Sullivan , of the Gilbert and Sullivan duo, composed Cox and Box (1866) as a direct reaction to Offenbach's Les deux aveugles (1855). Gilbert and Sullivan solidified

9292-560: Was by far the most successful. It became the first repertory operetta and was staged hundreds of times across Europe and beyond. Offenbach's legacy is seen in operettas throughout the late 19th century and beyond by encouraging Strauss the Younger to bring the genre to Austria-Hungary. Offenbach also traveled to the US and England educating musicians on the more than 100 operettas he wrote during his lifetime. This international travel resulted in

9393-537: Was carried on by Oscar Straus , Carl Zeller , Karl Millöcker , Leo Fall , Richard Heuberger , Edmund Eysler , Ralph Benatzky , Robert Stolz , Leo Ascher , Emmerich Kálmán , Nico Dostal , Fred Raymond , Igo Hofstetter , Paul Abraham and Ivo Tijardović in the 20th century. In the same way that Vienna was the center of Austrian operetta, Berlin was the center of German operetta. Berlin operetta often had its own style, including, especially after World War I , elements of jazz and other syncopated dance rhythms,

9494-654: Was currently playing every evening in Europe in nine languages. In the USA, five companies were presenting it, and "the rush for tickets at the New Amsterdam Theatre" was likened to "the feverish crowding round the doors of a threatened bank". Stan Czech, in his Lehár biography, claims that by 1910 it had been performed "around 18,000 times in ten languages on 154 American, 142 German, and 135 British stages". The international embrace of operetta directly correlated with

9595-653: Was designed to entertain the public". Two other French composers, Robert Planquette and Charles Lecocq , followed Offenbach's model and wrote the operettas Les Cloches de Corneville ( The Bells of Normandy ) and La Fille de Madame Angot ( The Daughter of Madame Angot ). The two operettas were considered a major hit. The political limitations placed on Offenbach and Parisian theatre were gradually lifted, and operetta gained wide popularity. While Offenbach's earliest one-act pieces included Les deux aveugles , Le violoneux and Ba-ta-clan (all 1855) did well, his first full-length operetta, Orphée aux enfers (1858),

9696-513: Was said that when Diogenes was "Asked where he came from, he answered: 'I am a citizen of the world ( kosmopolitês )'". At the time, the broadest basis of social identity among Greeks was either the individual city-state or the culturally and linguistically homogeneous Hellenic group. Stoicism , another Greek school of thought that was founded roughly a century later, built upon Diogenes' idea, with many of its thinkers and adherents stressing that each human being "dwells [...] in two communities –

9797-552: Was so successful that it led to the elongation of these sketches into an evening's duration. However, Offenbach's productions were bound by the police prefecture in Paris, which specified the type of performance that would be allowed: "pantomimes with at most five performers, one-act comic musical dialogues for two to three actors, and dance routines with no more than five dancers; choruses were strictly forbidden." These rules defined what came to be defined as operetta: "a small unpretentious operatic work that had no tragic implications and

9898-630: Was still in use, there were also many changes made to the operetta's score for its Broadway production, including some new material by Berény himself. Paulton also contributed new music to the show, as did composers Paul Rubens and Arthur Weld . Weld also served as the music director for the New York production which was staged by Frank Smithson and choreographed by Jack Mason. Little Boy Blue premiered at Broadway's Lyric Theatre on November 27, 1911, where it ran for 176 performances; closing on April 27, 1912. The production then toured nationally, briefly returning to Broadway for eight more performances at

9999-751: Was still widely used at the time. English operetta continued into the 1890s, with works by composers such as Edward German , Ivan Caryll and Sidney Jones . These quickly evolved into the lighter song-and-dance pieces known as Edwardian musical comedy . Beginning in 1907, with The Merry Widow , many of the Viennese operettas were adapted very successfully for the English stage. To explain this phenomenon, Derek Scott writes, In January 1908, London’s Daily Mail claimed that The Merry Widow had been performed 450 times in Vienna, 400 times in Berlin, 350 times in St Petersburg, 300 times in Copenhagen, and

10100-468: Was the heir apparent. Lehar is widely considered the leading operetta composer of the 20th century and his most successful operetta, Die lustige Witwe ( The Merry Widow ), is one of the classic operettas still in repertory. Lehár assisted in leading operetta into the Silver Age of Viennese Operetta. During this time, Viennese Censorship laws were changed in 1919. Lehár is most responsible for giving

10201-498: Was used originally to describe a shorter, perhaps less ambitious work than an opera. Operetta provides an alternative to operatic performances in an accessible form targeting a different audience. Operetta became a recognizable form in the mid-19th century in France, and its popularity led to the development of many national styles of operetta. Distinctive styles emerged across countries including Austria-Hungary, Germany, England, Spain,

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