ABSTRACT
CLOSE on the heels of The Merry Widow were numerous Viennese operettas by other composers, mounted by the managers of the Theater an der Wien, the Carltheater, and other theatres, not only for the delectation of the Viennese but also for the scouts of international producers looking for operetta hits of the stature of Lehár’s triumph. Almost any halfway decent Viennese work was bought for American, British, or French consumption, in addition to the usual traffic throughout Central and Northern Europe. Not all were presented, but among those that were, there was always the hope that another blockbuster would be found.
