ABSTRACT
THE 1920s saw a new flowering of operetta in Paris and Berlin. Just before and during World War I there had been several French and German works that on one hand attempted to capture the suavity of the Viennese operettas of the period while on the other managed to retain the boisterousness of the popular topical revues so popular in both capitals. The results were not unlike similar works in London and New York, mixing romantic love songs with satirical or just comical couplets. This style persisted throughout the 1920s.
