Editing Jacques Offenbach (section)

===Influence===
Offenbach had a considerable influence on some later French composers, although his immediate successor, Lecocq, strove to distance himself and went out of his way to avoid rhythmic devices familiar from Offenbach's works.<ref>Traubner (1984), p. 71</ref> [[Francis Poulenc]] in his biography of [[Emmanuel Chabrier]] wrote that as a great admirer of Offenbach, Chabrier took to imitating him explicitly in some details: "Hence {{lang|fr|'Donnez-vous la peine de vous asseoir'|italic=no}} ({{lang|fr|chanson du pal}}) is directly derived from {{lang|fr|'Roi barbu qui s'avance, bu qui s'avance'}} in {{lang|fr|La belle Hélène}}".<ref name=p30>Poulenc, p. 30</ref> Poulenc traces the influence through Chabrier and [[André Messager]] to his own music.<ref name=p30/> The composer and musicologist [[Wilfrid Mellers]] finds music modelled on Offenbach's in Poulenc's {{lang|fr|[[Les mamelles de Tirésias]]}}.<ref>Mellers, pp. 100–101</ref>

The musician and author [[Fritz Spiegl]] wrote in 1980, "Without Offenbach there would have been no [[Savoy opera|Savoy Opera]]&nbsp;... no {{lang|de|[[Die Fledermaus]]}} or ''[[Merry Widow]]''".<ref>[[Fritz Spiegl|Spiegl, Fritz]]. "Less than serious", ''[[The Times Literary Supplement]]'', 10 October 1980, p. 1128</ref> The two creators of the Savoy operas – the librettist, Gilbert, and the composer, Sullivan – were both indebted to Offenbach and his partners for their satiric and musical styles, even borrowing plot components.<ref>Gammond, pp. 87 and 138</ref> For example, Faris argues that the mock-oriental ''Ba-ta-clan'' influenced ''[[The Mikado]]'', including its character names, Offenbach's Ko-ko-ri-ko and Gilbert's Ko-Ko.<ref>Faris, p. 53</ref>{{refn|Faris also compares {{lang|fr|[[Le pont des soupirs]]}} (1861) and ''[[The Gondoliers]]'' (1889): "in both works there are choruses ''à la barcarolle'' for gondoliers and ''contadini'' [in] [[Major third|thirds]] and [[Major sixth|sixths]]; Offenbach has a Venetian admiral telling of his cowardice in battle; Gilbert and Sullivan have their Duke of Plaza-Toro who led his regiment from behind".<ref name="Faris, p. 84"/> Offenbach's {{lang|fr|Les Géorgiennes}} (1864), like Gilbert and Sullivan's ''[[Princess Ida]]'' (1884), depicts a female stronghold challenged by males in disguise.<ref>Faris, p. 111</ref>|group= n}} The best-known instance in which a Savoy opera draws on Offenbach's work is ''[[The Pirates of Penzance]]'' (1879), where both Gilbert and Sullivan follow the lead of {{lang|fr|[[Les brigands]]}} (1869) in their treatment of the police, who plod along ineffectually in heavy march-time.<ref name=g97/> {{lang|fr|Les brigands}} was presented in London in 1871, 1873 and 1875;<ref name=g97/> before the first of these, Gilbert made an English translation of Meilhac and Halévy's libretto.<ref name=mp/>{{refn|Gilbert's 1871 translation was made and published to secure the British copyright for the publisher and was not intended for performance; it was used later for productions in defiance of Gilbert's wishes.<ref name=mp>"''The Brigands''", ''[[The Morning Post]]'', 16 September 1889, p. 2</ref> |group=n}}

However much the young Sullivan was influenced by Offenbach,{{refn|In 1875 two of Sullivan's short operettas, ''[[The Zoo]]'' and ''[[Trial by Jury]]'', were playing in London as companion pieces to longer Offenbach works, {{lang|fr|Les Géorgiennes}} and {{lang|fr|La Périchole}}.<ref>Gammond, p. 113</ref> ''Trial by Jury'' was written specifically as an afterpiece for that production of {{lang|fr|La Périchole}}.<ref>Crowther, p. 118</ref>|group= n}} the influence was evidently not in only one direction. Hughes observes that two numbers in Offenbach's {{lang|fr|[[Maître Péronilla]]}} (1878) bear "an astonishing resemblance" to "My name is John Wellington Wells" from Gilbert and Sullivan's ''[[The Sorcerer]]'' (1877).<ref>Hughes, p. 40</ref>

Offenbach's popularity with Viennese audiences led composers there to follow his lead. He encouraged Johann Strauss to turn to operetta when they met in Vienna in 1864, but it was not until seven years later that Strauss did so.<ref name=g75/> In his first successful operetta, {{lang|de|Die Fledermaus}} (1874), and its successors, Strauss worked on the lines developed by his Parisian colleague. The libretto for {{lang|de|Die Fledermaus}} was adapted from a play by Meilhac and Halévy,<ref>{{cite Grove|last=Lamb|first=Andrew|author-link=Andrew Lamb (writer)|id=O005972|title=Fledermaus, Die ('The Bat')|year=2002|orig-year=1992}} {{subscription required}}</ref> and the operetta specialist [[Richard Traubner]] comments that Strauss was influenced by "the two brilliant party scenes" in Offenbach's {{Lang|fr|La vie parisienne}}.<ref>Traubner (2001), p. 641</ref> A leading Viennese critic demanded that composers "remain within the realm of pure operetta, a rule strictly observed by Offenbach",<ref name=g75>Gammond, pp. 75–77</ref> and among Strauss's later stage works was ''[[Prinz Methusalem]]'' (1877), described by Lamb as "a satirical Offenbachian piece".<ref>{{cite Grove|last=Lamb|first=Andrew|author-link=Andrew Lamb (writer)|id=O904817|title=Strauss, Johann (opera) (Baptist)|year=2002|orig-year=1992}} {{subscription required}}</ref>

In Gammond's view, the Viennese composer most influenced by Offenbach was [[Franz von Suppé]], who studied Offenbach's works carefully and wrote many successful operettas using them as a model.<ref>Gammond, p. 77</ref> Traubner writes that Suppé's early works frankly imitated Offenbach's, and his operas – and Strauss's – were "unmistakably Parisian (as much derived from Meilhac and Halévy as from Offenbach)".<ref>Traubner (1984), p. 103</ref> Suppé's {{lang|de|Das Pensionnat}} (The Boarding School, 1860) not only emulates Offenbach, but refers to him in the first act, when the heroine, the schoolgirl Sophie, and her friends learn about the can-can and proceed to dance it. <ref>Selenick, p. 87</ref> Suppé's most enduring one-act success, {{lang|de|[[Die schöne Galathée]]}} (The Beautiful Galatea, 1865),<ref name=t106>Traubner (1984), p. 106</ref> was modelled, in both title and style, on Offenbach's {{lang|fr|La belle Hélène}} which had been a great success in Vienna earlier that year.<ref name=t106/>

[[File:Carjat etienne portrait de jacques-offenbach.jpg|Offenbach by [[Étienne Carjat]], early 1860s|thumb|upright=1.25|alt=photograph of slim middle-aged white man with moustache, side whiskers and receding dark hair, standing in mid-19th-century day clothes, appearing pleased]]
In the ''Cambridge Opera Journal'' in 2014 the musicologist Micaela Baranello writes that [[Franz Lehár]]'s operettas have a strong Offenbachian element, alongside what she calls a "folksy, imaginary" {{lang|de|[[Mitteleuropa|Mitteleuropan]]}} one. She cites eight numbers in ''[[The Merry Widow]]'' as in the Parisian tradition, including "the percussive nonsense syllables familiar from Offenbach".<ref>Baranello, pp. 175, 190 and 194</ref> Elsewhere in Europe, Offenbach was an important influence on the development of [[zarzuela]] in Spain,<ref>San Martin, p. 338</ref> and the 20th-century German composer [[Kurt Weill]] described his own {{lang|de|[[Der Kuhhandel]]}} (Cattle Trading) as "an operetta influenced by Offenbach".<ref>Filler, p. 503</ref>

In his 1957 article, Lubbock wrote, "Offenbach is undoubtedly the most significant figure in the history of the 'musical'", and traced the development of musical theatre from Offenbach via Sullivan, Lehár, Messager and [[Lionel Monckton]] to [[Irving Berlin]] and [[Rodgers and Hammerstein]].<ref name=lubbock>[[Mark Lubbock|Lubbock, Mark]]. "The Music of 'Musicals'", ''[[The Musical Times]]'', Vol. 98, No. 1375 (September 1957), pp. 483–485 {{JSTOR|937354}} {{subscription required}}</ref> Lamb writes, "During the nineteenth century the works of Offenbach, Johann Strauss, and Gilbert and Sullivan had scarcely less success in the New World than in the Old",<ref>Lamb, p. 133</ref> and according to the historian Adrian Wright the 1858 New York premiere of {{lang|fr|Les deux aveugles}} made Offenbach "a [[Broadway theatre|Broadway]] constant", putting his works in vogue in America until the end of the century.<ref>Wright, p. 5</ref> He influenced some American composers such as [[John Philip Sousa]] in his operetta ''[[El Capitan (operetta)|El Capitan]]'' (1896).<ref>Lamb, p. 138</ref> Sousa's contemporary, [[David Braham]], was dubbed "the American Offenbach", and included phrases from Offenbach's scores in his own music.<ref>Franceschina, pp. 2–3</ref> Later, Lamb finds echoes of ''La Vie parisienne'' in [[Cole Porter]]'s ''[[Fifty Million Frenchmen]]'' (1929), although the influence in that case is more that of Meilhac and Halévy than of Offenbach.<ref>Lamb, p. 181</ref> In a 2005 study of [[Lerner and Loewe]], [[Gene Lees]] writes, "The wellspring of the American musical is to be found in the opéra-bouffe of Jacques Offenbach", and [[Alan Jay Lerner]] said that Offenbach "was indeed the father of us all".<ref>Lees, p. 12</ref>