Editing Operetta (section)

===Germany===
[[File:Paul Lincke (timbre allemand).jpg|thumb|160px|left|[[Paul Lincke]], father of the Berlin operetta]]
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, 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"),<ref>[https://www.youtube.com/watch?v=mu13dTdnuh0 "''Berliner Luft''"] conducted by [[Plácido Domingo]] with the [[Berlin Philharmonic]]</ref> 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 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.<ref>Daly, Nicholas (2017-12-14). "2. Modernism, operetta, and Ruritania: Ivor Novello's Glamorous Night". In Ortolano, Scott (ed.). ''Popular Modernism and Its Legacies: From Pop Literature to Video Games''. Bloomsbury Publishing USA. {{ISBN|978-1-5013-2512-0}}.</ref>

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 is [[Leon Jessel]]'s extremely popular 1917 ''[[Schwarzwaldmädel]]'' (''Black Forest Girl'').<ref>Lamb, Andrew. [https://archive.org/details/unset0000unse_c3i0/page/203 <!-- quote="black forest girl" jessel. --> ''150 Years of Popular Musical Theatre''.] [[Yale University Press]], 2001. p. 203.</ref> 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 was an unforeseen theatrical development.<ref>Garde, Ulrike; Severn, John R. (2020-10-30). "2. 1930s jazz operetta and internationalisation then and now Risks, ethics, aesthetics". ''Theatre and Internationalization: Perspectives from Australia, Germany, and Beyond''. Routledge. {{ISBN|978-1-000-20905-1}}.</ref>

Notable German operetta composers include [[Paul Lincke]], [[Eduard Künneke]], [[Walter Kollo]], [[Jean Gilbert]], [[Leon Jessel]], [[Rudolf Dellinger]], [[Walter Goetze]] and [[Ludwig Schmidseder]].