The chapter narrates the history of operetta in Berlin. Compared to Paris, London and Vienna, Berlin was a latecomer when it came to popular musical theatre. The first operettas performed here were successes from other cities. However, in the last year of the nineteenth century, Berlin saw the beginning of a homegrown operetta industry with the success of Paul Lincke’s Frau Luna. As elsewhere, operetta was intimately connected with its locale, performed in the Berlin accent, reflecting on life in the city and inventing and popularizing local characters. This was just as true for the new generation of composers. Yet, their success abroad increasingly turned operetta into an international commodity. Berlin operettas were played in Paris, London, New York and many other cities around the globe until World War I put a stop to such cosmopolitanism. After the war, Berlin replaced Vienna as the operetta capital. The chapter ends with the rise of National Socialism, which spelt exile and death for the Jewish composers, directors and actors, without whom Berlin operetta would not have been possible. By reconstructing this story, the chapter rediscovers what once was a thriving and genuinely popular culture.

It was, above all, the romantic melodies and rich harmonic textures of operetta that attracted British and American audiences. The music of operetta occupied a number of positions between popular musical theatre and opera. Dance rhythms formed an important part of the style of every operetta composer. American influence on German operetta had its source in the music-making of African Americans in the period just before the jazz craze of the 1920s. There was delight in mixing musical styles, and it is common to find Austro-German, Hungarian, and American styles in the same piece. While operettas with modern themes were increasingly characterized by syncopated rhythms in the 1920s, those with exotic themes were spiced up with augmented intervals, modal harmony, and ostinato rhythms. Most operetta composers in Vienna and Berlin were happy to have the help of orchestrators. Orchestrators were also on hand for New York productions.

It was, above all, the romantic melodies and rich harmonic textures of operetta that attracted British and American audiences. The music of operetta occupied a number of positions between popular musical theatre and opera. Dance rhythms formed an important part of the style of every operetta composer. American influence on German operetta had its source in the music-making of African Americans in the period just before the jazz craze of the 1920s. There was delight in mixing musical styles, and it is common to find Austro-German, Hungarian, and American styles in the same piece. While operettas with modern themes were increasingly characterized by syncopated rhythms in the 1920s, those with exotic themes were spiced up with augmented intervals, modal harmony, and ostinato rhythms. Most operetta composers in Vienna and Berlin were happy to have the help of orchestrators. Orchestrators were also on hand for New York productions.