Franz Lehár's 1928 Berlin operetta Friederike boasts an unusual subject: a romantic incident in the early life of Johann Wolfgang von Goethe. Weimar Berlin is usually considered as a haven for experimentation between high and low culture, a bifurcated view which has dominated German studies, but in this article I argue that Friederike is best considered as an example of the middlebrow. I examine the many sources which contributed to Friederike, from Goethe to Wagner to contemporary plays; analyse the score's stylistic allusions and the performance of star tenor Richard Tauber; and finally turn to Lehár's rhetorical positioning of his work on the Berlin theatrical scene. I argue that operetta scholarship itself has traditionally been ill-equipped to deal with Lehár's late works and operetta more generally, and that middlebrow studies’ nuanced consideration of questions of art, commerce and prestige can contribute more widely to operetta and Weimar historiography.

Leonard Bernstein's Trouble in Tahiti created a stepping stone towards his own brand of serious but accessible music theater. While he dedicated the opera in seven scenes to Marc Blitzstein, that path was paved by the formal innovations of Kurt Weill. A comparative analysis of Trouble in Tahiti with Lady in the Dark reveals that Bernstein derived essential impulses from Weill's musical play, although the few statements he made about his music indicate ambivalence and competition, particularly with regard to Weill's American works. As Bernstein's female protagonist, Dinah, struggles to define herself vis-à-vis the institution of marriage, the themes of psychoanalysis, Hollywood glamour and the use of song as a meta-dramatic topic emerge as common threads. Select harmonies, instrumentation and rhythmic devices further evince debts to the precursor of Weill. But while Liza of Lady in the Dark finds her musical cure, Dinah does not meet with personal fulfilment.

In this article I argue that the longstanding practice of depicting Italian Americans as opera lovers stems from a tradition associating Italian immigrants with mechanical music devices. As a growing number of Italian unskilled labourers entered the United States in the second half of the nineteenth century, they were stereotyped as street musicians, and especially as organ grinders, in mainstream popular culture. Beginning in the 1900s, recording manufacturers strove to make home phonographs appealing to the middle class by breaking the chain of mechanical, social and racial associations that connected the phonograph with earlier musical devices such as the barrel organ, and with those who played them. Because of the prominent marketing role that record labels assigned to Italian opera, this commercial strategy had important consequences for the genre as well as for Italian immigrants, who leveraged opera's renewed visibility and audibility into an effective vessel for social and political empowerment.

Hopscotch: An Opera for 24 Cars was a celebrated site-based and technetronic musical performance that sought to bring opera into various communities in Los Angeles, many of which were economically disadvantaged. In the process, this opera set off a firestorm of protests that ultimately resulted in confrontations with community members, protests that would test the very premise of the dissemination of opera and performance outside spaces of privilege and in communities of colour. Informed by the concept of transit-oriented performance, this article analyses some ways in which neoliberalism is distorting opera's modern-day resonances.

Sergei Prokofiev's operatic career exhibits a multitude of exceptional successes and failures, political and cultural idiosyncrasies and compromises, and bold convictions and uncertainties. Prokofiev considered himself an opera composer and showed his affinity for it from an early age, completing his first opera by age nine and continuing his work in the art form for the remainder of his life and career. Each opera takes on vastly different subjects, topics and time periods, evidence of his diverse selection of libretto sources. For his mature works, Prokofiev adapted literary works from Russia's nineteenth-century greats (Dostoyevsky and Tolstoy), a Russian twentieth-century symbolist author (Bryusov) and two socialist-realist authors (Katayev and Polevoy). He adapted two other operas from the eighteenth century with Richard Brinsley Sheridan's comic opera libretto for The Duenna and Carlo Gozzi's fiaba L'amore delle tre melarance.