![]() Desiring again a truly national version of this new genre, the great and homegrown Viennese success, Johann Strauss II was convinced to leave his extremely successful post as ‘Hofballmusikdirektor’ to compose his first operetta, Indigo, or the Forty Thieves, which was produced in 1871. The operetta was initially made wildly popular by works of the German born, French composer Jacques (born Jacob) Offenbach. ![]() Later in the 19th century a new and lighter form of Opera emerged in Vienna: the Operetta. Less than 15 years later Ludwig van Beethoven borrowed characteristic ‘Singspiel’ elements found in the Magic Flute for his own opera “Fidelio” which premiered in 1805 in Vienna’s elegant Theater an der Wien and was the only opera composed by the great Beethoven. In 1791 it was once again Mozart with his “Magic Flute” (“Die Zauberflöte”) who cleared the way for future opera productions in the German language in Vienna. In 1783 the “National Singspiel” disbanded, however the success of Mozart’s opera was a strong signal that the people of Vienna desired operas in their native tongue and in the following years theatres in Vienna were offering operas in the German language. This was the first Viennese commission for the young Mozart, composed in the Singspiel character, which offered interludes of spoken dialogues interspersed with music in the style of popular songs, ballads, arias and ensembles. Mozart, which was a huge and immediate success. In 1782 the Singspiel produced “Die Entführung aus dem Serail”, composed by the 26 year old W. This changed in 1778, when the Austrian Emperor, Joseph II, decided to foster operas written in the German language by establishing the “National Singspiel” at the Vienna Burgtheater. In the late 18th century most Viennese composers wrote operas not in their native German language but in Italian or French.
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