The Viennese Operetta has various sources, like the French Opéra-comique and the operettas by Jacques Offenbach, the Italian Opera buffa, the German Singspiel as well as the Viennese Volkstheater. From its beginning in the 18th Century the music played an essential role in this genre, but especially in the plays of Johann Nestroy and Ferdinand Raimund this genre and its music attained its culminating point. The stage music of the plays by Raimund has a remarkable variety: the most important musical species are choirs, melodramas, duets and especially songs performed by a single actor. Franz von Suppé, who is regarded as the ?founder of the Viennese Operetta? started his theatre career by conducting and composing stage music for plays of the Viennese Volkstheater. Therefore it is not very surprising that he included elements of this genre into his later voluminous operettas, as in his first important three-acted operetta ?Fatinitza?. Indeed the libretto, based on a French subject, shows nearly no similarities with the subjects of the plays of the Viennese Volkstheater, but there exist remarkable parallels between distinct musical numbers of ?Fatinitza? and the songs of the Viennese Volkstheater, especially for the entrance songs. In this genre usually main protagonists introduce themselves with an entrance song. In ?Fatinitza? two actors introduce themselves in a similar manner. Moreover also a typical Viennese couplet, performed by an Ottoman pasha is included in this operetta. This song can likewise be part of a play of the Viennese Volkstheater. In contrast, the couplets of the French Operetta, like the plays of Offenbach, show many differences compared with the songs of the Viennese Volkstheater. These couplets are, for example, integrated in the running action, the actor addresses not directly to the audience, and the composition of the songs differs strikingly from songs of the Viennese Volkstheater.