The foundation will engage itself for the existence and the care of the art of operetta in its politic-cultural, artistic and organizational interests. In the definition of the term "operetta" the foundation proceeds in principle from the conceptional character of the classical operetta, how it developed and reflected through and since Offenbach in the Parisian, Viennese and Berlin operetta. Similar developments like the American and english operetta are to be integrated. Category-related works like the cheerful MUSE with similar content and artistic level are also included.

The foundation by its competent members will advance the development of new works, which resume the conceptional criteria of the classical operetta in the sense of modern appropriation. In the same way the modernity of the interpretation of the classical character is promoted.

Substantial request of the foundation is it to ensure that the operetta as essential stage form of the music culture is valued similar to the opera.

All tencencies, it to disqualify as form of cheap amusing theatre, one advances toward decided.

Duration and care of the operetta stands for the foundation in closest connection with colleges of music and other technical training institutes as well as concert halls, which contain this category in their operational sequence by program.

The foundation will go all out for culture- and local-politically as also internationally for the fact that the needs and desires of the citizen after this category of musical art, in particular the population in the demographic chance, in the future again will be existent in sufficient and high levelled way by appropriate new offers and new talented and trained artists.

Task of the foundation will also be to operate for the art kind operetta as for its interpreters as recruiting and appreciating Public Relation in international media and public.

Special task of the foundation is the category-specific training and advancement of the new generation of artists in the branch of operetta. This concerns the technical training of the soloists like also the purposeful advancement of composers and authors. Also young conductors, stage directors and stage designers are included into this circle.