Editing Jacques Offenbach (section)

===War and aftermath===
Offenbach returned hurriedly from a trip to Ems and [[Wiesbaden]] just before the outbreak of the [[Franco-Prussian War]] in 1870. He then went to his home in [[Étretat]] in Normandy and arranged for his family to move to the safety of [[San Sebastián]] in northern Spain, joining them shortly afterwards.<ref>Yon, p. 396</ref><ref>Faris, p. 164</ref> Having risen to fame under Napoleon III, satirised him, and been rewarded by him, Offenbach was universally associated with the old régime: he was known as "the mocking-bird of the [[Second French Empire|Second Empire]]".<ref>Canning, Hugh. "I love Paris", ''[[The Sunday Times]]'', 5 November 2000, p. 10</ref> When the empire fell in the wake of Prussia's crushing victory at [[Battle of Sedan|Sedan]] in September 1870, Offenbach's music was suddenly out of favour. France was swept by violently anti-German sentiments, and despite his French citizenship and {{Lang|fr|Légion d'honneur|italic=no}}, his birth and upbringing in Cologne made him suspect. His operettas were now frequently vilified as the embodiment of everything superficial and worthless in Napoleon III's régime.<ref name=ashley/> {{lang|fr|La Grande-Duchesse de Gérolstein}} was banned in France because of its [[antimilitarist]] satire.<ref>Clements, Andrew. [https://www.theguardian.com/music/2005/oct/14/classicalmusicandopera.shopping2?INTCMP=SRCH "Offenbach: La Grande-Duchesse de Gérolstein"], {{webarchive|url=https://web.archive.org/web/20170328034417/https://www.theguardian.com/music/2005/oct/14/classicalmusicandopera.shopping2?INTCMP=SRCH |date=28 March 2017 }}, ''[[The Guardian]]'', 14 October 2005</ref>

[[File:Perichole-royalty-1875.jpg|thumb|upright|left|Programme for the 1875 London production of ''[[La Périchole]]''|alt=poster for ''The Secret'' and ''La Périchole'' with cast lists surrounded by drawings of characters]]
Although his Parisian audience deserted him, Offenbach had by now become highly popular in London's West End. [[John Hollingshead]] of the [[Gaiety Theatre, London|Gaiety Theatre]] presented Offenbach's operettas to large and enthusiastic audiences.<ref>Gammond, p. 100</ref> Between 1870 and 1872, the Gaiety produced fifteen of his works. At the [[Royalty Theatre]], [[Richard D'Oyly Carte]] presented {{lang|fr|La Périchole}} in 1875.<ref>Young, pp. 105–106</ref> In Vienna, too, Offenbach works were regularly produced. While the war and its aftermath ravaged Paris, the composer supervised Viennese productions and travelled to England as the guest of the [[Edward VII of the United Kingdom|Prince of Wales]].<ref>Gammond, p. 102</ref>

By the end of 1871 life in Paris had returned to normal, and Offenbach ended his voluntary exile. His new works {{lang|fr|[[Le roi Carotte]]}} (1872) and {{lang|fr|[[La jolie parfumeuse]]}} (1873) were modestly profitable, but lavish revivals of his earlier successes did better at the box office. He decided to go back into theatre management and took over the [[Théâtre de la Gaîté (rue Papin)|Théâtre de la Gaîté]] in July 1873.<ref>Gammond, p. 104</ref> His spectacular revival of {{lang|fr|Orphée aux enfers}} there was highly profitable; an attempt to repeat that success with a new, lavish version of {{lang|fr|Geneviève de Brabant}} proved less popular.<ref>Harding, p. 198</ref> Along with the costs of extravagant productions, collaboration with the dramatist [[Victorien Sardou]] culminated in financial disaster. An expensive production of Sardou's {{lang|fr|[[La Haine (drama)|La haine]]}} in 1874, with incidental music by Offenbach, failed to attract the public to the Gaîté, and Offenbach was forced to sell his interests in the Gaîté and to mortgage future royalties.<ref>Harding, pp. 199–200, and Yon, p. 502</ref>

In 1876 a successful tour of the US in connection with its [[U.S. Centennial|Centennial Exhibition]] enabled Offenbach to recover some of his losses and pay his debts. Beginning with a concert at [[Madison Square Garden (1879)|Gilmore's Garden]] before a crowd of 8,000 people, he gave a series of more than 40 concerts in New York and Philadelphia. To circumvent a Philadelphia law forbidding entertainments on Sundays, he disguised his operetta numbers as liturgical pieces and advertised a "Grand Sacred Concert by M. Offenbach". "{{lang|fr|Dis-moi, Vénus|italic=no}}" from {{lang|fr|La belle Hélène}} became a "{{lang|fr|Litanie}}", and other equally secular numbers were billed as "{{lang|fr|Prière}}" or "{{lang|fr|Hymne}}".<ref>O'Connor, Patrick. "The Embodiment of Success", ''[[The Times Literary Supplement]]'', 10 October 1980, p. 1128</ref> The local authorities were not deceived,<ref>Gammond, p. 116</ref> and withdrew authorisation for the concert at the last minute.<ref>"Offenbach in America", ''[[The Musical Times]]'', 1 April 1877, p. 168 {{doi|10.2307/3351964}} {{subscription required}}</ref> At [[Booth's Theatre]], New York, Offenbach conducted {{lang|fr|La vie parisienne}}<ref>[https://www.nytimes.com/1876/06/13/archives/amusements-the-opera-bouffe.html "Amusements – The Opera Bouffe"], {{webarchive|url=https://web.archive.org/web/20160305033350/http://query.nytimes.com/gst/abstract.html?res=9800E6DB1F3FE73BBC4B52DFB066838D669FDE&scp=10&sq=Offenbach&st=p |date=5 March 2016 }}, ''[[The New York Times]]'', 13 June 1876</ref> and his recent (1873) {{lang|fr|La jolie parfumeuse}}.<ref name=grove/> He returned to France in July 1876, with profits that were handsome but not spectacular.<ref name=teneo/>

Offenbach's later operettas enjoyed renewed popularity in France, especially {{lang|fr|[[Madame Favart]]}} (1878), which featured a fantasy plot about the real-life French actress [[Marie Favart|Marie Justine Favart]], and {{lang|fr|[[La fille du tambour-major]]}} (1879), which was the most successful of his operettas of the 1870s.<ref name=axxi/>