504:
391:... the plays themselves did not normally tend to indecency." Some contemporary critics took a sterner view; in an 1885 article, the critic Thomas Heyward praised Planché ("fanciful and elegant") and Gilbert ("witty, never vulgar"), but wrote of the genre as a whole, "the flashy, 'leggy', burlesque, with its 'slangy' songs, loutish 'breakdowns', vulgar jests, paltry puns and witless grimacing at all that is graceful and poetic is simply odious. … Burlesque, insensate, spiritless and undiscriminating, demoralizes both the audience and the players. It debases the public taste." Gilbert expressed his own views on the worth of burlesque:
330:
entertainment, often in ways that bear no relation to the original play." Wells gives, as an example of the puns in the texts, the following: Macbeth and Banquo make their first entrance under an umbrella. The witches greet them with "Hail! hail! hail!": Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told "These showers of 'Hail' anticipate your 'reign'". Musically, Shakespearean burlesques were as varied as the others of the genre. An 1859 burlesque of
1879:
135:
534:
717:
194:. The English style of burlesque was successfully launched in New York in the 1840s by the manager and comedian William Mitchell, who had opened his Olympic Theatre in December 1839. Like the London prototypes, his burlesques included characters with nonsensical names such as Wunsuponatyme and The King of Neverminditsnamia, and made fun of all kinds of music currently being presented in the city.
66:, burlesques featured musical scores drawing on a wide range of music, from popular contemporary songs to operatic arias, although later burlesques, from the 1880s, sometimes featured original scores. Dance played an important part, and great attention was paid to the staging, costumes and other spectacular elements of stagecraft, as many of the pieces were staged as
202:'s success was attributed to his skill in appealing to the lower middle classes. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. From the 1850s onwards, burlesquing of Italian, French and, later in the century, German opera was popular with London audiences.
22:
524:
The depiction of female sexuality in
Victorian burlesque was an example of the connection between women as performers and women as sexual objects in Victorian culture. Throughout the history of theatre the participation of women on stage has been questioned. Victorian culture, according to Buszek in
329:
notes that although parodies of
Shakespeare had appeared even in Shakespeare's lifetime, the heyday of Shakespearean burlesque was the Victorian era. Wells observes that the typical Victorian Shakespeare burlesque "takes a Shakespeare play as its point of departure and creates from it a mainly comic
286:
By the 1880s, almost every truly popular opera had become the subject of a burlesque. Generally appearing after an opera's premiere or following a successful revival, they usually enjoyed local production runs, often for a month or longer. The popularity of stage burlesque in general and operatic
521:, which were male roles played by women; likewise, men eventually began to play older female roles. These reversals allowed viewers to distance themselves from the morality of the play, focusing more on joy and entertainment than catharsis, a definitive shift away from neoclassical ideas.
808:, which defines the word as "That species of literary composition, or of dramatic representation, which aims at exciting laughter by caricature of the manner or spirit of serious works, or by ludicrous treatment of their subjects; a literary or dramatic work of this kind."
350:
395:
The question whether burlesque has a claim to rank as art is, I think, one of degree. Bad burlesque is as far removed from true art as is a bad picture. But burlesque in its higher development calls for high intellectual power on the part of its professors.
50:
in which a well-known opera or piece of classical theatre or ballet is adapted into a broad comic play, usually a musical play, usually risqué in style, mocking the theatrical and musical conventions and styles of the original work, and often quoting or
164:. In these pieces, comedy stemmed from the incongruity and absurdity of the grand classical subjects, with realistic historical dress and settings, being juxtaposed with the everyday modern activities portrayed by the actors. For example,
287:
burlesque in particular seems to have stemmed from the many ways in which it entertained a diverse group, and the manner in which it fed and fed on the circus-like or carnivalesque atmosphere of public
Victorian London.
197:
Unlike pantomime, which aimed at all ages and classes, burlesque was aimed at a narrower, highly literate audience; some writers, such as the Brough brothers, aimed at a conservative middle class audience, and
622:
contributed original music to the burlesques, which were extended to a full-length two- or three-act format. These later Gaiety burlesques starred Farren and Leslie. They often included Leslie's
1795:
525:
2012, viewed paid female performance as being closely associated with prostitution, "a profession in which most women in the theatre dabbled, if not took on as a primary source of income".
697:
In the early 1890s, Farren retired, Leslie died, and musical burlesque went out of fashion in London, as the focus of the Gaiety and other burlesque theatres changed to the new genre of
1470:
77:
Originally short, one-act pieces, burlesques were later full-length shows, occupying most or all of an evening's programme. Authors who wrote burlesques included
1666:
362:
The dialogue for burlesques was generally written in rhyming couplets, or, less often, in other verse forms, such as blank verse; it was notable for its bad
1489:
1790:
296:
1752:
1110:, Vol. 31, No. 2 (Summer, 1980), pp. 294–96, Folger Shakespeare Library in association with George Washington University, accessed 2 February 2011
1078:, Vol. 16, No. 1 (Winter, 1965), pp. 49–61, Folger Shakespeare Library in association with George Washington University, accessed 2 February 2011
585:
1732:
127:
and may be considered an extension of the introductory section of pantomime with the addition of gags and 'turns'." Another antecedent was
1697:
1359:
1769:
1581:
1737:
705:
declared that burlesque "is dead as a doornail and will never be revived." From her retirement, Nellie Farren endorsed this judgment.
557:
from the 1860s to the early 1890s. In the 1860s and 1870s, burlesques were often one-act pieces running less than an hour and using
1800:
1757:
1727:
644:
1631:
766:
119:
770:, "the various genre terms were always applied freely", and by the 1860s their use had become "arbitrary and capricious": see
634:
430:, the American playwright Charles Walcot encapsulated the character of burlesque in the epilogue, addressed to the audience by
1674:
1557:
1712:
1679:
387:, although "an almost indispensable element of burlesque was the display of attractive women dressed in tights, often in
1600:
674:. The title was a pun, and the worse the pun, the more Victorian audiences were amused. The last Gaiety burlesques were
1687:
1872:
1785:
1412:
818:
1722:
603:
218:
received their
British premieres in 1855 and 1856 respectively; British burlesques of them followed quickly.
1958:
825:, Oxford University Press, 2008. Oxford Reference Online. Oxford University Press, accessed 16 February 2011
509:
172:. In the early burlesques, the words of the songs were written to popular music, as had been done earlier in
1845:
1928:
1624:
660:
848:
771:
503:
1923:
1913:
1857:
579:
469:
In a similar vein, ten years later, Gilbert gave an
English viewpoint on burlesque, in his epilogue to
423:
302:
875:, Vol. 26, No. 3 (Autumn, 1973), pp. 365–82, University of California Press, accessed 2 February 2011
1933:
804:
415:
223:
74:, to show off women's legs in tights, and some of the older female roles were taken by male actors.
1948:
1918:
698:
682:
574:
1180:, Vol. 13, No. 2 (May, 1961), pp. 82–85, Johns Hopkins University Press, accessed 2 February 2011
1805:
1747:
1346:, Vol. 10, No. 2 (December 1966), pp. 145–76, Indiana University Press, accessed 2 February 2011
977:
267:
149:
1903:
1882:
1617:
1367:
1257:, 28 June 1923, p. 21, one of a series of articles later published in a 1925 book of same name.
1033:, Vol. 15, No. 1 (March 2003), pp. 33–66, Cambridge University Press, accessed 2 February 2011
973:
626:, written under his pseudonym, "A. C. Torr", and were usually given an original score by Lutz:
554:
259:
1589:
1519:
Reinhardt, Paul (December 1968). "The
Costume Designs of James Robinson Planché (1796-1880)".
1830:
980:
wrote successful burlesques, sometimes jointly and sometimes alone. Their burlesques include
230:
by
William F. Vandervell (both 1857) were followed by five different burlesque treatments of
174:
1238:"Representing 'Awarishness': Burlesque, Feminist Transgression, and the 19th-Century Pin-up"
1123:
925:, Vol. 15, No. 1 (March 2003), p. 42, Cambridge University Press, accessed 2 February 2011
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628:
550:
279:
8:
1825:
1692:
1575:
471:
1908:
1840:
1835:
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1280:
917:
parody, which was labelled "a burlesque extravaganza": see Marvin, Roberta
Montemorra.
745:
410:
25:
1938:
1815:
1810:
1742:
1553:
1497:
785:, the three terms are used interchangeably: see Adams, W. Davenport. "Burlesque: Old
676:
542:
537:
405:
271:
263:
251:
55:
text or music from the original work. Victorian burlesque is one of several forms of
1528:
654:
368:
355:
332:
243:
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were burlesqued. In a 2003 study of the subject, Roberta
Montemorra Marvin noted:
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1953:
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570:
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England and in the New York theatre of the mid-19th century. It is a form of
43:
1651:
1594:
1508:
1027:"Verdian Opera Burlesqued: A Glimpse into Mid-Victorian Theatrical Culture"
919:"Verdian Opera Burlesqued: A Glimpse into Mid-Victorian Theatrical Culture"
730:
418:, Planché were all in their respective lines professors of true burlesque.
397:
343:
338:
319:
315:
208:
191:
128:
67:
63:
47:
1597:
at
Musicals101.com, The Cyber Encyclopedia of Musical Theatre, TV and Film
1406:
21:
1717:
910:
691:
671:
619:
611:
342:, and some from traditional airs and popular songs of the day including "
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contained 23 musical numbers, some from opera, such as the serenade from
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86:
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Biographical file for John D'Auban, list of productions and theatres,
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56:
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Lawrence, W. J., rev. J. Gilliland. "Thompson, Lydia (1838–1908)",
740:
666:
623:
558:
401:
179:
52:
236:
Ill Treated Trovatore, or the Mother the Maiden and the Musicianer
1601:"A Guide to Classical Burlesque - Funny Ha Ha or Funny Peculiar?"
1590:
Information about Burlesque from the Victoria & Albert Museum
190:, and some of the large-scale burlesque spectacles were known as
1609:
1574:
294:
wrote five opera burlesques early in his career, beginning with
168:
opens with the gods of Olympus in classical Greek dress playing
735:
569:
starred as the Gaiety Theatre's "principal boy" from 1868, and
123:, Victorian burlesque was "related to and in part derived from
1058:, Oxford University Press, 2004; online edition, January 2008
939:"Public Music Performances in New York City from 1800 to 1850"
577:
joined the theatre in 1876. Early Gaiety burlesques included
187:
169:
109:
Burlesque theatre became popular around the beginning of the
42:, is a genre of theatrical entertainment that was popular in
1244:, 1999, vol. 43, issue 4, pp. 141–162, accessed 4 March 2012
349:
1224:, 1999, vol. 5, issue 3, pp. 336–366, accessed 4 March 2012
565:
and other music that the audience would readily recognize.
562:
376:
Mephistopheles: "Along the Riviera dudes her praises sing."
1436:, Oxford University Press, 2004, accessed 3 February 2011
1008:, Oxford University Press, 2004, accessed 3 February 2011
363:
314:, became famous for their burlesques, by such authors as
1307:
Stewart, Maurice. 'The spark that lit the bonfire', in
498:
1218:"Classical Mythology in the Victorian Popular Culture"
573:
choreographed the burlesques there from 1868 to 1891.
465:
This disgraceful Hiawatha, Mongrel, doggerel Hiawatha!
117:, which means "ridicule or mockery". According to the
70:. Many of the male roles were played by actresses as
1174:"Mrs. John Wood and the Lost Art of Burlesque Acting"
1130:, New York: Appleton-Century-Crofts, 1962, pp. 467–68
1550:
W. S. Gilbert, A Classic Victorian & His Theatre
945:, Vol. 6 (1970), pp. 5–50, accessed 2 February 2011
712:
131:, in which new words were fitted to existing tunes.
1139:Heyward, Thomas, "Burlesque: Its Uses and Abuses",
482:
Forgive the jokes you've heard five thousand times;
113:. The word "burlesque" is derived from the Italian
1585:. Vol. 4 (11th ed.). 1911. p. 836.
1527:(4). The Johns Hopkins University Press: 524–44.
1502:Good Old Gaiety: An Historiette & Remembrance
297:Dulcamara, or the Little Duck and the Great Quack
1895:
1796:Mathematics, science, technology and engineering
855:. Oxford Music Online, accessed 3 February 2011
777:. Oxford Music Online, accessed 3 February 2011
943:Anuario Interamericano de Investigacion Musical
586:The Bohemian G-yurl and the Unapproachable Pole
178:. Later in the Victorian era, burlesque mixed
1222:International Journal of the Classic Tradition
485:Forgive each breakdown, cellar-flap, and clog,
1625:
873:Journal of the American Musicological Society
610:Beginning in the 1880s, when comedian-writer
479:So for burlesque I plead. Forgive our rhymes;
379:Walerlie: "Oh, did you Riviera such a thing?"
491:And, above all – oh, ye with double barrel –
1770:United Kingdom of Great Britain and Ireland
1253:Sherson, Erroll, "Lost London Playhouses",
549:Burlesque became the specialty of London's
1632:
1618:
1152:Gilbert, W. S., Letter to Blanche Reives,
1089:
1087:
960:Speaight, George. "All froth and bubble",
1518:
1407:Arthur Lloyd Music Hall site (on Gaiety)
1260:
1232:
1230:
1192:Three types of dance popular in burlesque
1021:
1019:
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488:Our low-bred songs – our slangy dialogue;
300:(1866), the most successful of which was
1400:
532:
517:Actresses in burlesque would often play
502:
348:
133:
20:
1547:
1434:Oxford Dictionary of National Biography
1209:
1207:
1084:
1056:Oxford Dictionary of National Biography
1006:Oxford Dictionary of National Biography
840:
838:
836:
834:
823:The Oxford Dictionary of Literary Terms
767:Grove Dictionary of Music and Musicians
494:Forgive the scantiness of our apparel!
459:Jokes and puns, good, bad, and so-so, –
120:Grove Dictionary of Music and Musicians
1896:
1292:"Theatrical Humour in the Seventies",
1227:
1014:
956:
954:
811:
781:. In an 1896 article on Burlesque in
1613:
1485:Princeton: Princeton University Press
1448:Adams, W. Davenport. "Burlesque: Old
1430:"Edwardes, George Joseph (1855–1915)"
1002:"Brough, Robert Barnabas (1828–1860)"
645:Frankenstein, or The Vampire's Victim
561:and parodies of popular songs, opera
240:Il Trovatore or Larks with a Libretto
1509:"A History of The Musical Burlesque"
1204:
1124:"History of British musical theatre"
891:(London: Henry and Co., 1891), p. 44
869:"Popular Music and the Ballad Opera"
831:
499:Gender reversal and female sexuality
453:Nigger airs, old glees, and catches,
951:
447:And the work of paste and scissors,
13:
1483:Anatomy of Criticism: Four Essays.
1273:
1266:"Mr. D'Auban's 'Startrap' Jumps".
614:joined the Gaiety, composers like
441:Love to laugh at all things funny,
14:
1970:
1639:
1567:
1469:Adams, William Davenport (1904)
528:
1878:
1877:
1605:The Curious Adventures of Kittie
1340:"The Uses of Victorian Laughter"
1128:The Complete Book of Light Opera
715:
456:Interspersed with gems of Op'ra,
1442:
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1133:
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322:, both in Britain and the U.S.
1779:Economy, society and knowledge
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903:
894:
881:
861:
796:
758:
604:Galatea, or Pygmalion Reversed
450:And "the unities" destruction,
234:, two of them by H. J. Byron:
1:
1504:. London: Gaiety Theatre Co.
1475:. London: Chatto & Windus
1463:
1000:(1850). See Dereli, Cynthia.
962:The Times Literary Supplement
462:Come and see this mutilation,
1791:Economy, industry, and trade
1025:Marvin, Roberta Montemorra.
664:(1889) made fun of the play
7:
1552:. Oxford University Press.
1521:Educational Theatre Journal
1320:Hollingshead, pp. 14 and 55
1178:Educational Theatre Journal
998:The Last Edition of Ivanhoe
708:
661:Ruy Blas and the Blasé Roué
152:produced burlesques at the
10:
1975:
1515:, accessed 3 February 2011
1456:, 1 March 1896, pp. 144–45
1072:"Shakespearian Burlesques"
793:, 1 March 1896, pp. 144–45
444:Love the bold anachronism.
310:'s burlesque troupe, with
142:, for which Planché wrote
104:
1868:
1778:
1753:The Marquess of Salisbury
1665:
1647:
1548:Stedman, Jane W. (1996).
1472:A Dictionary of the Drama
1309:Gilbert and Sullivan News
964:, 1 October 1976, p. 1233
805:Oxford English Dictionary
438:Ye who love extravaganza,
372:(1888), a couplet reads:
224:Leicester Silk Buckingham
1488:Gilbert, W. S. (1869).
1298:, 20 February 1914, p. 9
751:
699:Edwardian musical comedy
683:Cinder Ellen up too Late
325:The Shakespeare scholar
220:Our Lady of the Cameleon
1748:William Ewart Gladstone
1738:The Viscount Palmerston
1582:Encyclopædia Britannica
1438:(subscription required)
1397:Hollingshead, pp. 63–64
1348:(subscription required)
1329:Hollingshead, pp. 57–58
1182:(subscription required)
1160:, November 1880, p. 104
1156:in "Modern Burlesque",
1143:, November 1885, p. 477
1112:(subscription required)
1080:(subscription required)
1060:(subscription required)
1035:(subscription required)
1031:Cambridge Opera Journal
1010:(subscription required)
947:(subscription required)
927:(subscription required)
923:Cambridge Opera Journal
877:(subscription required)
857:(subscription required)
827:(subscription required)
779:(subscription required)
346:", and "Nix my Dolly".
156:beginning in 1831 with
1713:The Viscount Melbourne
1667:Politics and diplomacy
1415:4 January 2008 at the
1270:, 17 April 1922, p. 17
1236:Buszek, Maria-Elena.
974:Robert Barnabas Brough
690:(1892, with lyrics by
546:
514:
507:American burlesque on
420:
359:
306:(1868). In the 1870s,
289:
242:(1880). The operas of
146:
28:
1311:(London) Spring 2003.
1108:Shakespeare Quarterly
1076:Shakespeare Quarterly
887:Adams, W. Davenport.
575:Edward O'Connor Terry
536:
506:
408:, the authors of the
393:
352:
284:
137:
34:, sometimes known as
24:
1959:19th-century theatre
1758:The Earl of Rosebery
1733:The Earl of Aberdeen
1595:History of Burlesque
1491:The Pretty Druidess,
1172:in Hewitt, Barnard.
723:Victorian era portal
629:Little Jack Sheppard
583:(1868, by Gilbert),
551:Royal Strand Theatre
1801:Society and culture
1419:accessed 1 Mar 2007
1370:on 10 December 2008
1104:"The Bard Debunked"
889:A Book of Burlesque
867:Moss, Harold Gene.
472:The Pretty Druidess
32:Victorian burlesque
1929:History of theatre
1498:Hollingshead, John
1281:The Theatre Museum
1141:Tinsley's Magazine
1102:Jacobs, Henry E.,
982:The Enchanted Isle
937:Rogers, Delmer D.
853:Grove Music Online
775:Grove Music Online
746:Travesti (theatre)
547:
515:
411:Rejected Addresses
366:. For example, in
360:
175:The Beggar's Opera
147:
29:
26:Souvenir programme
1924:Theatrical genres
1914:Victorian culture
1891:
1890:
1743:Benjamin Disraeli
1728:The Earl of Derby
1723:Lord John Russell
1576:"Burlesque"
1559:978-0-19-816174-5
1388:Adams, pp. 254–55
1362:Carmen up to Data
1344:Victorian Studies
1338:Gray, Donald J.,
900:Reinhardt, p. 541
764:According to the
677:Carmen up to Data
543:Carmen up to Data
538:Florence St. John
353:Sheet music from
1966:
1934:Stock characters
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655:Faust up to Date
640:Pretty Esmeralda
635:Monte Cristo Jr.
580:Robert the Devil
369:Faust up to Date
356:Faust up to Date
333:Romeo and Juliet
303:Robert the Devil
16:Theatrical genre
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1507:Kenrick, John,
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1417:Wayback Machine
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845:Schwandt, Erich
843:
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826:
816:
812:
801:
797:
778:
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154:Olympic Theatre
140:Olympic Theatre
107:
17:
12:
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5:
1972:
1962:
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1680:British empire
1677:
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1654:
1652:← Georgian era
1648:
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1568:External links
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1479:Frye, Northrop
1476:
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1201:Gilbert, p. 25
1194:
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1045:Stedman, p. 62
1038:
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978:William Brough
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555:Gaiety Theatre
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529:Gaiety Theatre
527:
519:breeches roles
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454:
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442:
439:
434:as Minnehaha:
432:Mrs. John Wood
406:Geo Cruikshank
389:travesty roles
381:
380:
377:
308:Lydia Thompson
166:Olympic Revels
158:Olympic Revels
150:Madame Vestris
144:Olympic Revels
106:
103:
72:breeches roles
15:
9:
6:
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1904:Victorian era
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703:Seymour Hicks
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567:Nellie Farren
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383:According to
378:
375:
374:
373:
371:
370:
365:
358:
357:
351:
347:
345:
341:
340:
335:
334:
328:
327:Stanley Wells
323:
321:
317:
313:
312:Willie Edouin
309:
305:
304:
299:
298:
293:
292:W. S. Gilbert
288:
283:
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269:
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241:
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233:
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217:
216:
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205:
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195:
193:
192:extravaganzas
189:
185:
181:
177:
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167:
163:
162:J. R. Planché
159:
155:
151:
145:
141:
136:
132:
130:
126:
122:
121:
116:
112:
111:Victorian era
102:
100:
96:
95:W. S. Gilbert
92:
91:F. C. Burnand
88:
84:
80:
79:J. R. Planché
75:
73:
69:
68:extravaganzas
65:
60:
58:
54:
49:
45:
41:
37:
33:
27:
23:
19:
1873:Bibliography
1850:
1786:Demographics
1684:By location
1675:British Army
1604:
1580:
1549:
1524:
1520:
1513:Musicals 101
1512:
1501:
1490:
1482:
1471:
1453:
1449:
1444:
1433:
1424:
1408:
1402:
1393:
1384:
1372:. Retrieved
1368:the original
1361:
1354:
1343:
1334:
1325:
1316:
1308:
1303:
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1288:
1275:
1267:
1262:
1254:
1249:
1241:
1221:
1197:
1188:
1177:
1169:
1165:
1157:
1153:
1148:
1140:
1135:
1127:
1118:
1107:
1098:
1093:Wells, p. 55
1075:
1066:
1055:
1050:
1041:
1030:
1005:
997:
993:
989:
985:
981:
969:
961:
942:
933:
922:
915:Il trovatore
914:
905:
896:
888:
883:
872:
863:
852:
822:
813:
803:
798:
790:
786:
782:
774:
772:"Burlesque,"
765:
760:
731:Extravaganza
696:
687:
686:(1891), and
681:
675:
665:
659:
653:
649:
643:
639:
633:
627:
609:
602:
594:
590:
584:
578:
571:John D'Auban
548:
541:
523:
516:
508:
470:
468:
427:
422:In his 1859
421:
409:
398:Aristophanes
394:
384:
382:
367:
361:
354:
344:Buffalo Gals
339:Don Pasquale
337:
331:
324:
320:Robert Reece
316:H. B. Farnie
301:
295:
290:
285:
239:
235:
232:Il trovatore
231:
228:Our Traviata
227:
219:
213:
209:Il trovatore
207:
196:
173:
165:
157:
148:
143:
129:ballad opera
118:
114:
108:
76:
64:ballad opera
61:
40:extravaganza
39:
35:
31:
30:
18:
1831:Masculinity
1603:Allan, K.,
1454:The Theatre
1374:10 December
1214:Hall, Edith
996:(1849) and
911:H. J. Byron
849:"Burlesque"
819:"Burlesque"
791:The Theatre
783:The Theatre
701:. In 1896,
692:Adrian Ross
672:Victor Hugo
620:Osmond Carr
612:Fred Leslie
428:Hi-A-Wa-Tha
238:(1863) and
215:La traviata
200:H. J. Byron
99:Fred Leslie
83:H. J. Byron
1898:Categories
1500:. (1903)
1464:References
994:The Sphinx
990:Masaniello
616:Meyer Lutz
597:(1883, by
591:Blue Beard
513:, c. 1900.
426:burlesque
424:Longfellow
416:John Leech
184:music hall
87:G. R. Sims
53:pastiching
1909:Burlesque
1851:Burlesque
1826:Jewellery
1806:Cosmetics
1481:. (1957)
1295:The Times
1268:The Times
1255:The Stage
658:(1888).
559:pastiches
264:Meyerbeer
252:Donizetti
125:pantomime
57:burlesque
44:Victorian
1939:Parodies
1883:Category
1841:Painting
1836:Morality
1698:Scotland
1413:Archived
1409:Cuttings
992:(1857),
988:(1856),
984:(1848),
913:'s 1863
741:Pastiche
709:See also
688:Don Juan
680:(1890),
667:Ruy Blas
648:(1887),
642:(1887),
638:(1886),
632:(1885),
624:libretti
607:(1883).
593:(1882),
589:(1877),
402:Rabelais
180:operetta
36:travesty
1846:Theatre
1816:Fashion
1811:Erotica
1688:Ireland
1541:3204997
847:et al.
650:Mazeppa
510:Ben Hur
272:Rossini
244:Bellini
105:History
1954:Satire
1944:Humour
1821:Houses
1693:London
1556:
1539:
1494:London
1452:New",
1170:Quoted
1154:quoted
789:New",
736:Parody
601:) and
276:Wagner
268:Mozart
260:Handel
256:Gounod
48:parody
1858:Women
1537:JSTOR
986:Medea
752:Notes
595:Ariel
563:arias
385:Grove
280:Weber
248:Bizet
204:Verdi
188:revue
170:whist
115:burla
62:Like
1554:ISBN
1376:2008
802:The
652:and
618:and
553:and
364:puns
318:and
278:and
226:and
212:and
186:and
138:The
97:and
1529:doi
694:).
670:by
540:in
222:by
206:'s
160:by
38:or
1900::
1579:.
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1525:20
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1450:v.
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851:,
833:^
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475::
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400:,
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246:,
182:,
101:.
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89:,
85:,
81:,
59:.
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1562:.
1543:.
1531::
1378:.
1364:"
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