The waltz as a structural and dramaturgical factor in the Viennese operetta of Johann Strauss: genre-stylistic and conductor-interpretative dimensions

Abstract

The article examines the role of the waltz in the structure of the Viennese operetta of the 19th century, focusing on the works of Johann Strauss II, one of the most prominent representatives of Austrian musical culture in the second half of the 19th century. The research methodology is based on a comprehensive approach that integrates musicological, genre-stylistic, historical-cultural, and conductor’s interpretative analysis. Special attention is given to the conductor-interpreting aspect, which defines the specifics of performing the waltz as a key musical-dramaturgical element of the operetta. The study analyzes the main genre and stylistic features of Strauss’s waltzes, including The Blue Danube, Die Fledermaus, Der Zigeunerbaron, and others, identifying patterns in the construction of series of contrasting waltzes, the combination of lyrical and energetic fragments, and the integration of the dance form into the operetta’s dramaturgical structure. The article examines conducting principles such as tempo and dynamics regulation, phrasing, and balancing between dance-like lightness and symphonic integrity, which ensure emotional expressiveness and stage effectiveness. It is demonstrated that the waltz in Strauss’s works is not merely a decorative genre element but an integral means of musical-dramaturgical construction, capable of conveying characters’ emotional states, creating musical-theatrical color, and influencing the development of performance traditions. The prospects for further research are outlined, including comparative analysis of various productions, study of specific interpretations, and examination of their impact on contemporary musical-stage practice.