ABSTRACT
THE THEATER an der Wien and the Carltheater had become the temples of Viennese operetta. Had today’s long-run syndrome (and attendant advertising) existed in the 1870s, the works of Strauss and Suppé alone would have filled these theatres for months and months, but managers then had to have a supply of many works by other authors and composers to fill up their theatrical calendars. French works were still popular, but other Viennese composers, eager for the success of Strauss and Suppé, were writing operettas, and managers like Steiner and Jauner encouraged them. Millöcker, Zeller, Genée, and other composers and their librettists thus had their chances. Curiously, the libretti to almost all the great Viennese operettas of this period were by Genée and his partner, Zell.
