It is a fact that the operetta enjoys for more than 150 years older and young people continously. Unfortunately, however, this stage art, which is so rich of melodies, of funny and pointedly stories, danceable and colourful, was neglected in the past decades artistically and from the optical level. It was assumed the stage art musical would have run off rank of the operetta. In the meantime, it turned out, however, the fact that this music stage category is actually still present and received its place on all stages of the german-language theatres. Also worst and dear-loosest productions could not destroy the works and above all the music.Still the public flows however into the most moderate operetta productions, although it does not get unfortunately nearly anywhere more high-quality productions offered. Also the younger public is interested very much to hear the melodies of operetta and to spend an entertaining evening, which is rich of melodies. Many young people prove to find those in concerts of operetta and with young artists such as André Rieux, Max Raabe. It concerns thus a cultural market gap, which is to be filled with pure operetta theatres with young ensembles, mixed with experienced artists. Such a development will bring an avalanche in rolling, which is worldwide to be a strong marketing effect in cultural and economic way. Countries such as China and since years Japan are potential markets for this music category from the there honoured western culture. 


The training as a musical artist requires singing training, which is aligned by microphone only to the transmission. In the specialized jargon this training is called "Belting". The technology of the singing training for the operetta is based on that of the opera singing. The singers sing (in normal concert halls and theatres) without microphone. Which unites both stage arts are the dancing and the linguistic training, but only the art of operetta keeps the life feeling of the orchestra-sound together with the singing. 


Productions of operetta, which correspond to today´s standard of commercial musical productions, which means the accustomed optic of such stage designs and are presented from the content wise conversion on hithest level, first-class and attractive artists, category-specific, recent and humorous direction, high level in music - can be marketed extremely versatile and successfully national and internationally. Also an extensive and purposeful marketing can be accomplished by a play plan planned on a long-term basis before the premiere. Also video- and sound reproduction industry will profit at a commercial evaluation of such operetta productions, since specific operetta theateres create new stars of music, which are then consulted by the media for shows in TV etc. Thus a commercial effect is obtained, which serves again the theatre as advertising-significant multiplication. The commercial broad effect of this popular category is comparable to the very popular Volksmusik (folklore), although the operetta is far away from the rustically beer tent character, but rather the character of the elegant world, mixed with an ESPRIT near to the public.

Productions of operetta are much more successful than those of the commercial musical, because they contain melodies, which became over more than 150 years Evergreens and which Germany - like those of the operetta from Vienna and Austria/Hungary - have characterized and kept its world-wide popularity.

Marguerite Kollo - operetta foundation