Background
Romberg was born as Siegmund Rosenberg to a Jewish family, Adam and Clara Rosenberg, in Gross-Kanizsa (Hungarian: Nagykanizsa) during the Austro-Hungarian kaiserlich und königlich (Imperial and Royal) monarchy period.
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Hungarian-born composer Sigmund Romberg (1887–1951) arrived in America in 1909 and within eight years had achieved his first hit musical on Broadway. This early success was soon followed by others, and in the 1920s his popularity in musical theater was unsurpassed. In this book, William Everett offers the first detailed study of the gifted operetta composer, examining Romberg’s key works and musical accomplishments and demonstrating his lasting importance in the history of American musicals. Romberg composed nearly sixty works for musical theater as well as music for revues, for musical comedies, and, later in life, for Hollywood films. Everett shows how Romberg was a defining figure of American operetta in the 1910s and 1920s (Maytime, Blossom Time, The Student Prince), traces the new model for operetta that he developed with Oscar Hammerstein II in the late 1920s (The Desert Song, The New Moon), and looks at his reworked style of the 1940s (Up in Central Park). This book offers an illuminating look at Romberg’s Broadway career and legacy. Hungarian-born composer Sigmund Romberg (1887–1951) arrived in America in 1909 and within eight years had achieved his first hit musical on Broadway. This early success was soon followed by others, and in the 1920s his popularity in musical theater was unsurpassed. In this book, William Everett offers the first detailed study of the gifted operetta composer, examining Romberg’s key works and musical accomplishments and demonstrating his lasting importance in the history of American musicals. Romberg composed nearly sixty works for musical theater as well as music for revues, for musical comedies, and, later in life, for Hollywood films. Everett shows how Romberg was a defining figure of American operetta in the 1910s and 1920s (Maytime, Blossom Time, The Student Prince), traces the new model for operetta that he developed with Oscar Hammerstein II in the late 1920s (The Desert Song, The New Moon), and looks at his reworked style of the 1940s (Up in Central Park). This book offers an illuminating look at Romberg’s Broadway career and legacy. Hungarian-born composer Sigmund Romberg (1887–1951) arrived in America in 1909 and within eight years had achieved his first hit musical on Broadway. This early success was soon followed by others, and in the 1920s his popularity in musical theater was unsurpassed. In this book, William Everett offers the first detailed study of the gifted operetta composer, examining Romberg’s key works and musical accomplishments and demonstrating his lasting importance in the history of American musicals. Romberg composed nearly sixty works for musical theater as well as music for revues, for musical comedies, and, later in life, for Hollywood films. Everett shows how Romberg was a defining figure of American operetta in the 1910s and 1920s (Maytime, Blossom Time, The Student Prince), traces the new model for operetta that he developed with Oscar Hammerstein II in the late 1920s (The Desert Song, The New Moon), and looks at his reworked style of the 1940s (Up in Central Park). This book offers an illuminating look at Romberg’s Broadway career and legacy.
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Romberg was born as Siegmund Rosenberg to a Jewish family, Adam and Clara Rosenberg, in Gross-Kanizsa (Hungarian: Nagykanizsa) during the Austro-Hungarian kaiserlich und königlich (Imperial and Royal) monarchy period.
In 1889 Romberg and his family moved to Belišće, which was then in Hungary, where he attended a primary school. Influenced by his father, Romberg learned to play the violin at six, and piano at eight years of age. He enrolled at Osijek gymnasium in 1897, where he was a member of the high school orchestra. He went to Vienna to study engineering, but he also took composition lessons while living there. He moved to the United States in 1909 and, after a brief stint working in a pencil factory, was employed as a pianist in cafés.
He eventually founded his own orchestra and published a few songs, which, despite their limited success, brought him to the attention of the Shubert brothers, who in 1914 hired him to write music for their Broadway theatre shows. That year he wrote his first successful Broadway revue, The Whirl of the World. He then contributed songs to several American musical adaptations of Viennese operettas, including the successful The Blue Paradise (1915). Even more successful was the musical Maytime, in (1917). Both involved love across generations and included nostalgic waltzes, along with more modern American dance music. At the same time, Romberg contributed songs to the Shuberts' popular revues The Passing Show of 1916 and The Passing Show of 1918 and to two vehicles for Al Jolson: Robinson Crusoe, Jr. (1916), an extravaganza burlesqueing the familiar story, and Sinbad (1918), an Arabian Nights-themed musical. Romberg wrote another Jolson vehicle in 1921, Bombo. He wrote the music for the musical comedy Poor Little Ritz Girl, which also had songs by Richard Rodgers.
Romberg's adaptation of melodies by Franz Schubert for Blossom Time (1921, produced in the UK as Lilac Time) was a great success.[9] He subsequently wrote his best-known operettas, The Student Prince (1924), The Desert Song (1926) and The New Moon (1928), which are in a style similar to the Viennese operettas of Franz Lehár. He also wrote Princess Flavia (1925), an operetta based on The Prisoner of Zenda. His other works, My Maryland (1927), a successful romance; Rosalie (1928), together with George Gershwin; and May Wine (1935), with lyrics by Oscar Hammerstein II, about a blackmail plot; and Up in Central Park (1945), are closer to the American musical in style. Romberg also wrote a number of film scores and adapted his own work for film.
Columbia Records asked Romberg to conduct orchestral arrangements of his music (which he had played in concerts) for a series of recordings from 1945 to 1950 that were issued both on 78-rpm and 33-1/3 rpm discs. These performances are now prized by record collectors. Naxos Records digitally remastered the recordings and issued them in the U.K. (They cannot be released in the U.S. because Sony Music Entertainment, which is a parent company of Columbia Records, holds the copyright for their American release.) Much of Romberg's music, including extensive excerpts from his operettas, was released on LP during the 1950s and 1960s, especially by Columbia, Capitol, and RCA Victor. Nelson Eddy and Jeanette MacDonald, who appeared in an MGM adaptation of The New Moon in 1940, regularly recorded and performed his music. There have also been periodic revivals of the operettas.
Romberg died in 1951, aged 64, of a stroke at his Ritz Towers Hotel suite in New York City and was interred in the Ferncliff Cemetery in Hartsdale, New York.
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Quotations: He once said, talking about musical trends: “I don’t care what the form is. But a melody is still a melody. Nothing succeeds like a popular tunc — a romantic tune. Romantic music will never die because deep at the roots of all people is the theme of love.”
Member American Society Composers. Mason.; Clubs: Lambs, Rotary (New York).
Romberg married twice. Little is known about his first wife, Eugenia, who appears on a 1920 federal census form as being Austrian. His second wife was Lillian Harris, whom he married on March 28, 1925, in Paterson, New Jersey. They had no children. Lillian Harris was born March 8, 1898, and died April 15, 1967, in New York City.