Acknowledgements

The research for this book was undertaken during 2014–19 and was made possible by the award of a substantial advanced grant from the European Research Council for a project titled ‘German Operetta in London and New York’ (GOLNY). I wish to thank the ERC for having confidence in my ability to carry this project through the five years of research in Berlin, London, New York, and Vienna. Some of my findings have been disseminated already in conference papers, and an earlier version of what is now Chapter 8 appeared in The Musical Quarterly, 99:2 (2017), 254–79.

Many librarians, archivists and curators have helped with my research. I would like to extend particular thanks to these libraries: Wienbibliothek im Rathaus, Österreichische Nationalbibliothek, Staatsbibliothek zu Berlin, and the British Library Rare Books & Music reading room. I am also grateful for the assistance provided to me in the following archives: Musikarchiv, Akademie der Künste (Berlin); Josef Weinberger (in London and Vienna); V&A Theatre and Performance Archives (Olympia, London); Theatre Collection (Bristol); Billy Rose Theatre Division (New York Public Library for the Performing Arts); Shubert Archive (New York); and Ruth T. Watanabe Special Collections, Sibley Music Library (Rochester, NY).

I extend my gratitude and thanks to all those who have had an involvement with the GOLNY research project over its five years: Anastasia Belina, Senior Research Fellow; Melissa Gallimore, Digitization Officer; Corey Benson, Web Designer and Technician; and staff in the Research Office of the Faculty of Arts, Humanities and Cultures at the University of Leeds. I also want to thank Kate Brett of Cambridge University Press for her support and encouragement, and the anonymous reviewers who offered me helpful and insightful suggestions. Finally, I wish to state how enormously grateful I am to William A. Everett for the close reading he gave to my work and for the constructive advice he proffered.