of the classic operettas still in repertory. Lehár assisted in leading operetta into the Silver Age of Viennese Operetta. During this time, Viennese Censorship laws were changed in 1919. Lehár is most responsible for giving the genre renewed vitality. Studying at the Prague Conservatory Lehár began as a theatre violinist and then took off as a composer in the Austro-Hungarian Empire. During this 1905, Lehár’s Die lustige Witwe (The Merry Widow) paved a pathway for composers such as Fall, Oscar Straus, and Kálmán to continue the tradition of Operetta. Lehár, was also one of the first composers who began to incorporate into film. [2] The Viennese tradition was carried on by Oscar Straus, Carl Zeller, Karl Millöcker, Leo Fall, Richard Heuberger, Edmund Eysler, Ralph Benatzky, Robert Stolz, Leo Ascher, Emmerich Kálmán, Nico Dostal, Fred Raymond, Igo Hofstetter, Paul Abraham and Ivo Tijardović in the 20th century. Germany In the same way that Vienna was the center of Austrian operetta, Berlin was the center of German operetta. Berlin operetta often had its own style, including, especially after World War I, elements of jazz and other syncopated dance rhythms, a transatlantic style, and the presence of ragged marching tunes. Berlin operettas also sometimes included aspects of burlesque, revue, farce, or cabaret. Paul Lincke pioneered the Berlin operetta in 1899 with Frau Luna, which includes "Berliner Luft" ("Berlin Air"), which became the unofficial anthem of Berlin. His Lysistrata (1902) includes the song and tune "The Glow-Worm", which remains quite popular internationally. Much later, in the 1920s and 1930s, Kurt Weill took a more extreme form of the Berlin operetta style and used it in his operas, operettas, and musicals. It is arguable that some of Kurt Weill's compositions could be considered modernist operetta. The Berlin-style operetta coexisted with more bourgeois, charming, home-loving, and nationalistic German operettas – some of which were called Volksoperetten (folk operettas). A prime example is Leon Jessel's extremely popular 1917 Schwarzwaldmädel (Black Forest Girl). These bucolic, nostalgic, home-loving operettas were officially preferred over Berlin-style operettas after 1933, when the Nazis came to power and instituted the Reichsmusikkammer (State Music Institute), which deprecated and banned "decadent" music like jazz and similar "foreign" musical forms. In the beginning of twenty-first century, German revival of operetta was an unforeseen theatrical development. Notable German operetta composers include Paul Lincke, Eduard Künneke, Walter Kollo, Jean Gilbert, Leon Jessel, Rudolf Dellinger, Walter Goetze and Ludwig