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Shouldn't this article at least be part of the Category:Compositions by Franz Lehár, and possibly of Category:1909 compositions? -- Michael Bednarek ( talk) 11:27, 3 January 2011 (UTC)
I don't have an objection. -- Ssilvers ( talk) 04:42, 4 January 2011 (UTC)
Alternately, should it be merged into Der Graf von Luxemburg, so that these related works are described together? They were originally together, if I recall correctly, but they were split when an editor objected to adding information about the English-language adaptation. See also The Merry Widow and The Dollar Princess for starters. I estimate that there are a few dozen of these highly-successful English-language adaptations of European operettas. When they have been split from the original work, an idea that I never liked, I have treated them like musicals, because then the editor mentioned above was less likely to delete material from them. Voce, now that you have been doing some editing in this area, I would value your advice (and assistance) if you think there is a better model. All the best! -- Ssilvers ( talk) 21:20, 13 January 2011 (UTC)
It's Lehar. I think it's an operetta. Here is where the opera cat was removed: [3]. Here is an article by the adapter discussing its adaptation from German to English. Note that it refers to all operettas as musicals: [4]. You can see how the line between operetta and musicals is blurred further, as part of the adaptation involved cutting some finale music and replacing it with dialogue. -- Ssilvers ( talk) 15:12, 14 January 2011 (UTC)
From the Hood quote it certainly looks as though it's altered enough (and both versions were successful enough) for each to have a separate article - that's one issue. (Although I do wonder about the 1983 Sadler's Wells version. If it had a new book and lyrics, it clearly wasn't Hood and Ross's version - so is it a version of Count, or of Graf? Does anyone know about the music?)
As for the other - I'd say it's definitely an operetta. Unless we can prove some substantial alteration of the music - style, vocal range, whatnot - it's the music from an operetta, and the show is an operetta. (Don't get me started on Category:Musicals based on operas. Oy.)
On an unrelated note, doesn't anyone who's already worked on this article know how the plot resolves? "Things work out okay and there's pretty music" isn't quite what one hopes to get out of a synopsis. — Preceding unsigned comment added by Roscelese ( talk • contribs) 06:02, 15 January 2011
Do you have e-mail enabled? I can e-mail you the JSTOR article. (Sorry - I'd do it myself but I'm working on at least three new articles right now.) I'll also move the bit about Sadler's Wells to the Graf page. Roscelese ( talk ⋅ contribs) 07:35, 15 January 2011 (UTC)
The following was a reader's comment by User:RayKay2 which had been mistakenly placed in the article itself. I'm transferring it here. Voceditenore ( talk) 05:13, 17 September 2012 (UTC)
[A reader's comment: Some of Hood's assertions here are puzzling. He claims the entire role of Brissard was invented and introduced in the London production. However, Brissard and Juliet are the main subplot characters in the original German libretto, and have several important songs. See http://en.wikipedia.org/wiki/Der_Graf_von_Luxemburg.]
This article is rated Start-class on Wikipedia's
content assessment scale. It is of interest to the following WikiProjects: | ||||||||
|
Shouldn't this article at least be part of the Category:Compositions by Franz Lehár, and possibly of Category:1909 compositions? -- Michael Bednarek ( talk) 11:27, 3 January 2011 (UTC)
I don't have an objection. -- Ssilvers ( talk) 04:42, 4 January 2011 (UTC)
Alternately, should it be merged into Der Graf von Luxemburg, so that these related works are described together? They were originally together, if I recall correctly, but they were split when an editor objected to adding information about the English-language adaptation. See also The Merry Widow and The Dollar Princess for starters. I estimate that there are a few dozen of these highly-successful English-language adaptations of European operettas. When they have been split from the original work, an idea that I never liked, I have treated them like musicals, because then the editor mentioned above was less likely to delete material from them. Voce, now that you have been doing some editing in this area, I would value your advice (and assistance) if you think there is a better model. All the best! -- Ssilvers ( talk) 21:20, 13 January 2011 (UTC)
It's Lehar. I think it's an operetta. Here is where the opera cat was removed: [3]. Here is an article by the adapter discussing its adaptation from German to English. Note that it refers to all operettas as musicals: [4]. You can see how the line between operetta and musicals is blurred further, as part of the adaptation involved cutting some finale music and replacing it with dialogue. -- Ssilvers ( talk) 15:12, 14 January 2011 (UTC)
From the Hood quote it certainly looks as though it's altered enough (and both versions were successful enough) for each to have a separate article - that's one issue. (Although I do wonder about the 1983 Sadler's Wells version. If it had a new book and lyrics, it clearly wasn't Hood and Ross's version - so is it a version of Count, or of Graf? Does anyone know about the music?)
As for the other - I'd say it's definitely an operetta. Unless we can prove some substantial alteration of the music - style, vocal range, whatnot - it's the music from an operetta, and the show is an operetta. (Don't get me started on Category:Musicals based on operas. Oy.)
On an unrelated note, doesn't anyone who's already worked on this article know how the plot resolves? "Things work out okay and there's pretty music" isn't quite what one hopes to get out of a synopsis. — Preceding unsigned comment added by Roscelese ( talk • contribs) 06:02, 15 January 2011
Do you have e-mail enabled? I can e-mail you the JSTOR article. (Sorry - I'd do it myself but I'm working on at least three new articles right now.) I'll also move the bit about Sadler's Wells to the Graf page. Roscelese ( talk ⋅ contribs) 07:35, 15 January 2011 (UTC)
The following was a reader's comment by User:RayKay2 which had been mistakenly placed in the article itself. I'm transferring it here. Voceditenore ( talk) 05:13, 17 September 2012 (UTC)
[A reader's comment: Some of Hood's assertions here are puzzling. He claims the entire role of Brissard was invented and introduced in the London production. However, Brissard and Juliet are the main subplot characters in the original German libretto, and have several important songs. See http://en.wikipedia.org/wiki/Der_Graf_von_Luxemburg.]