Paul Knepler

Paul Knepler (1879-1967) emerged as one of the most influential librettists of the golden age of Viennese operetta, collaborating with composers like Franz Lehár and Emmerich Kálmán. His work spanned the turbulent period from the early 20th century through World War II and into the post-war era, during which he helped shape the development of light opera and musical theatre.

Born in Vienna on October 29, 1879, Knepler grew up in a culturally enriched environment. His parents, Moriz and Pauline Knepler, encouraged their children's artistic development through piano lessons and regular attendance at theatre performances, operas, and concerts. His father operated a successful tobacco pipe business, particularly focused on the South American market.

After completing his studies at the University of Vienna, Knepler initially worked as a bank clerk. In 1905, he acquired the prestigious Wallishausser's Imperial and Royal Court Bookstore on the Hohen Markt. By 1910, he had transformed the business into a publishing house with an eclectic catalogue that included medical texts, literary works, and notably, the early publications of Wilhelm Stekel, a disciple of Sigmund Freud. He also published works by authors such as Alfons Bolz-Feigl and Friedrich Schreyvogl. In October 1916, Knepler transferred the publishing house to his brother Hugo, marking a significant shift in his career trajectory.

Despite lacking formal musical training, Knepler's entry into the world of music began in 1911 when he wrote lyrics for Josef Strauss's waltz "Dorfschwalben aus Österreich." His first major musical endeavour came in 1921 with the operetta "Josefine Gallmeyer," which premiered at Vienna's Bürgertheater. The production, for which he wrote both the libretto and music (with the assistance of a ghost-writer), achieved unexpected success with nearly 300 performances. He followed this with another operetta, "Wenn der Hollunder blüht," which premiered in 1924 at the Vienna Metropoltheater.

Knepler's most significant professional relationship was with Franz Lehár, for whom he became a preferred librettist. Their collaboration began with "Paganini" (1925), but reached its apex with "Giuditta" (1934), which premiered at the Vienna Staatsoper. "Giuditta," written with co-librettist Fritz Löhner, represented Lehár's final operetta and held special significance for the composer, who considered it his "favorite child." The production featured renowned performers Richard Tauber and Jarmila Novotna.

Throughout the 1930s, Knepler worked with several prominent composers:

• Eduard Künneke on "Die lockende Flamme" (1933)
• Robert Stolz on "Der verlorene Walzer" (1933)
• Oscar Straus on "Drei Walzer" (1935)
• Emmerich Kálmán on "Kaiserin Josephine" (1936)

He also achieved considerable success with adaptations of Karl Millöcker's works. In 1931, he updated "Countess Dubarry" into "Die Dubarry" for operetta star Gitta Alpár, and revised "Gasparone" for Leo Slezak with composer Ernst Steffan.

Exile and War Years

The Anschluss of March 1938 forced Knepler, who was Jewish, to flee Austria with his wife. After brief stays in Lugano and Zurich, they joined their son Georg in London in February 1939. In exile, Knepler maintained his cultural activities through the Austrian Centre, where he served on the board and contributed to the Laterndl cabaret, a theatre for German-speaking emigrants. However, he struggled to establish himself in the English theatre scene.

The challenges of exile are reflected in correspondence from this period. A 1942 letter from Emmerich Kálmán, writing from New York, describes the difficulties of their separated artistic community. Kálmán expressed frustration over a failed production of "Josephine," lamenting the absence of skilled librettists in America and the impossibility of collaborating with Knepler across the Atlantic.

After the war, in 1948, Knepler achieved one final success with Oscar Straus's "Die Musik kommt." By 1954, family considerations prompted his return to Vienna, where he remained active in the musical community until his death in 1967. He received recognition for his contributions to Viennese culture with an honorary grave at Vienna's Central Cemetery.

Knepler's contributions to musical theater included original songs that became standards of the operetta repertoire:

• - "Du bist meine Sonne" (1934)
• - "Freunde, das Leben ist lebenswert" (1934)
• - "Gern hab' ich die Frau'n geküsst" (1925)
• - "Niemand liebt dich so wie ich" (1925)

His work helped modernize the operetta format while maintaining its essential romantic and comedic elements. Through adaptations of earlier works and creation of new libretti, he bridged the gap between classical Viennese operetta and more contemporary musical theatre styles of the mid-20th century.

Professional archives of his work are maintained in the Vienna Library at City Hall, providing researchers and musicians access to his substantial contributions to musical theatre. His son, Georg Knepler, carried on his father's musical influence as a noted musicologist, becoming founder and rector of the German Academy of Music in Berlin.