Talk:Jacques Offenbach/GA1

GA Review
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Reviewer: Adam Cuerden (talk · contribs) 07:03, 22 June 2013 (UTC)

Right then. Let's go through things in order


 * 1)  Well-written: This is a quite well-written article. There's two bits that should be fixed:
 * 2) The rather strange punctuation of "M. Choufleuri restera chez lui le . . ."
 * 3) This paragraph, which is a bit of a trainwreck of ideas. Honestly, almost all of this is repeating previous sections...  Actually, I'll get this one. It's probably easier to fix it than to explain what I want. I've redistributed he material, cutting one sentence that contained information that had already appeared twice in the article. Adam Cuerden (talk) 11:15, 22 June 2013 (UTC)
 * Offenbach's earliest operettas were one-act pieces for small casts. More than 30 of these were presented before his first full-scale "opéra bouffon", Orphée aux enfers, in 1858, and he composed over 20 more of them during the rest of his career.[4][138] Lamb, following the precedent of Henseler's 1930 study of the composer, divides the one-act pieces into five categories: "(i) country idylls; (ii) urban operettas; (iii) military operettas; (iv) farces; and (v) burlesques or parodies."[139] Following the success of Orphée aux enfers, Offenbach enjoyed his greatest success in the 1860s. As throughout his composing career, he produced a large number of works, some of which caught the public fancy more than others. Most of his greatest successes from the decade have remained among his best known: La belle Hélène (1864), La vie parisienne (1866), La Grande-Duchesse de Gérolstein (1867), and La Périchole (1868).[4] In Offenbach's last decade, he took note of a change in public taste: a simpler, more romantic style was now preferred. Harding writes that Lecocq had successfully moved away from satire and parody, returning to "the genuine spirit of opéra-comique and its peculiarly French gaiety."[140] Offenbach followed suit in a series of 20 operettas; the musician and writer Antonio de Almeida names the finest of these as La fille du tambour-major (1879).[126]
 * 1)  Verifiable with no original research: The  Barkouf section could use having its source made unambiguous. Please fix this. (I've marked it with a citation needed). I've also marked two other points.  Adam Cuerden (talk) 10:19, 22 June 2013 (UTC)
 * 2) Broad in its coverage: Indeed, the main issue with this article is that it covers what turns out to be such a wide subject, but it handles itself with aplomb, and definitely passes here.
 * 3) Neutral: ✅
 * 4) Stable: ✅
 * 5) Illustrated, if possible, by images: ✅. I didn't check every image, but I didn't see any likely to be unfree in the first place.

So, long story short, fix those three issues, post on my talk page, and we can promote this. Adam Cuerden (talk) 07:03, 22 June 2013 (UTC)


 * I've fixed M. Choufleur's dots. (I think the author of his article is French, and there are many little ways in which French and English punctuation differ. Dealt with here by simple piping.)
 * All three "citation needed" tags now attended to and removed. Rather odd that we overlooked these three bits until now, and as well to have them all properly attributed. Tim riley (talk) 18:51, 23 June 2013 (UTC)
 * It's surprisingly easy to miss that kind of thing - the article is long and complicated, so you can miss things like that easily unless you specifically look. As for M. Choufleur, I mainly just wanted to make sure those were ellipses, and not some complicated French thing. My French really is terrible, I'm afraid.
 * But, anyway, it's a strong article; I rather think you could go straight to FAC from here, although doing to standard pre-FAC peer-review wouldn't hurt. You've done excellent work on it, and I'm very happy to promote it to GA. Good luck at FA! Adam Cuerden (talk) 19:46, 23 June 2013 (UTC)

Thank you very much for your expeditious and eagle-eyed review. I shall convene a council of war to consider FAC. Much in your debt meanwhile. Tim riley (talk) 21:08, 23 June 2013 (UTC)