im weißen rössl operette

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you may rightly ask. Its generic music and lyrics are totally unrelated to the characters and plot, and would comfortably fit into any dozen musical comedies. Zum ersten Mal wird am Samstag 25. A. The actress Carol Stone, comedian Fred Stone’s daughter, was signed to play Natalie (otherwise Ottolie/Ottoline), Hutton’s object of affection[49]. afforded audiences “down under” a touristic adventure and visual feast they would otherwise be unlikely to explore in person. The sheer logistics of mounting a White Horse Inn production required several months of prior planning. [59]Swiss (?) So wurde die Handlung in die Gegenwart versetzt, was es ermöglichte, dass Sigismund Sülzheimer in einem Hubschrauber vor dem Hotel Weißes Rössl eintrifft. Buchen Sie direkt bei uns und sichern Sie sich exklusive Vorteile, Senden Sie Ihre unverbindliche Anfrage ab. The earliest public announcement of an American Rössl disclosed in April 1932 that Broadway entrepreneur Earl Carroll[23] was negotiating with Oswald Stoll to bring the entire British production intact to New York upon its London closing; he claimed that the entire company could set sail and open in one month’s time. Had the White Horse Inn played a traditional 8-performance week, it might reasonably have run as long as Chu Chin Chow, Maid of the Mountains or Me and My Girl, all of which attained runs of nearly 4 years. Directed by Werner Jacobs. In Ihrem stilvollen Zimmer im Weissen Rössl haben Sie die Gelegenheit, noch weitere Weisse Rössl-Momente zu genießen. With such international sounds, it is hardly surprising that the Rössl went on a very successful international tour. Die Operette „Im weißen Rössl“ hat massig Ohrwürmer und heiteren Charme (…). Their joint effort Im weißen Rössl was to be the last of the great Schauspielhaus revue operettas, in many ways their opus magnum. Im Jahr 1960 wurde die Operette unter dem Titel Im weißen Rößl von Werner Jacobs erneut verfilmt. White Horse Inn afforded the producers a unique opportunity for promotional tie-ins, now common practice in theatre and film some 70 years later, but seldom deployed in the New York theatre industry in 1936. On 18 September 1936, 1256 costumes were delivered for the cast of 162, of whom 104 were chorus, with 8 changes apiece[51]. [31](o. [27]Herbert Drake, “Producers and Plays,” in: New York Herald-Tribune, 30 July 1933. Überraschen Sie Ihre Lieben und Bekannten mit einem Gutschein vom Hotel Im Weissen Rössl in St. Wolfgang. [60]Brooks Atkinson, “White Horse Inn an Elaborate Musical Show, Opens the Season in Rockefeller City, in: New York Times, 2 October 1936. Erik Charell and his American producers took a free hand in adapting Berlin’s original Benatzky/Stolz/Gilbert/Granichstaedten score; strangely, any successful interpolations used in the previous English, Viennese, Hungarian, French or Australian productions were discarded[56]. [10] H.H., “White Horse Inn”, in: The Observer, 17. After seeing this show, Wilk determined that Savo was not capable of playing their leading man[45], and in a bitter public spat (“Not with our money”), resolved to break the actor’s contract; he was fired 19 August 1936. To get a Sigismund, a Sigismund, as groom?[77]. Going West: The White Horse Inn and Hollywood. Erik Charell arrived in New York harbor on the Normandie on 25 May 1936[41] for casting and pre-production, accompanied by Hans Müller, Max Rivers and Ernst Stern – all three Jewish refugees from their own country. In his very first own revue An Alle, Erik Charell introduced Berlin in 1923 to George Gershwin’s Rhapsody in Blue. Der Abend hat Ihnen gefallen? Stebbins was expected to return from Florida on 1 April 1936 for pre-production; several props from the London production had been salvaged and were already stored at the Center Theatre. With a top ticket price of $3.85, the production grossed between weekly $40,000-$53,000 out of a possible $60,000 for the first 15 weeks of its run, against a breakeven of $30,000. Period: Early 20th century: Piece Style Early 20th century: Instrumentation voices, orchestra External Links Wikipedia Ibdb [42]Louis Sobol, “The Voice of Broadway,” in: New York Evening Journal, 25 May 1936. It had taken Charell and his attorneys many months to conclude these complex negotiations to secure the hefty $200,000 capitalization. Het hotel waar de operette zich afspeelt, bestaat nog steeds onder de naam “Romantik Hotel Im Weissen Rössl”. IRB 1 Language German, English, French Composer Time Period Comp. „Im weißen Rössl am Wolfgangsee, da steht das Glück vor der Tür“, so heißt es im Titellied der Operette. [11]Judy Blair in Little Tommy Tucker, Dolly in Rio Rita (both 1930), Babs Bascombe in Follow Thru (1929) later succeeding Ada May as its star, Peggy Ann (starring role on tour), Happy-Go-Lucky, No, No Nanette, Mercenary Mary, Yoicks etc. Working with uncommon haste and skill, librettist Harry Graham adapted the original German libretto and lyrics for English ears, and White Horse Inn opened exactly five months later in London on 8 April 1931. The entire White Horse Inn score was freshly orchestrated by Hans Spialek, whose graceful and witty instrumentation blessed 12 Rodgers & Hart musicals, and nine Cole Porter shows. On 24 July 1936 it was announced that diminutive Broadway comic Jimmy Savo had been signed by Charell. Im schönen Salzkammergut ist Oberkellner Leopold in Herzensnöten: Seine Chefin, die burschikose »Rössl«-Wirtin, hat es ihm angetan. However, both Cantor and Jolson had been absent from the musical stage since 1930, preferring the luxury of musical films. Once again, the Center Theatre in Rockefeller Center, which had turned legit with The Great Waltz[32] in October 1934, then lapsed back into films in September 1935, was chosen as the premier venue. Das Libretto stammt vom Komponisten zusammen mit Hans Müller-Einigen und Erik Charell. White Horse Inn (or The White Horse Inn), (German title: Im weißen Rößl), is an operetta or musical comedy by Ralph Benatzky and Robert Stolz in collaboration with a number of other composers and writers, set in the picturesque Salzkammergut region of Upper Austria. Far more common were popular vocal 78rpms by big bands and popular vocalists. [5]“Variety” or “music hall” were the terms commonly used in England for a loosely assembled entertainment of performers, novelty acts, sketches, specialties and musical numbers, changed weekly. Once again, Giesecke becomes a vacationing Berliner (not an Englishman or American on holiday), and the only interpolations were those by Benatzky and Stolz (“Im Prater blüh’n wieder die Bäume”). ), “Lunts Want Stravinsky to do a score; Kaufman Trial,” in: New York Daily News, 24 January 1937. For example, contemporary rivals to White Horse Inn which played during its New York run were Cole Porter’s failure Red, Hot and Blue and Rodgers and Hart’s hit On Your Toes. It’s unlikely that anyone would have thought her as wicked or naughty as Camilla Spira or Lea Seidl though. [57]Perhaps because Harry Graham’s lyric “I go to fight a savage foe” and Leopold’s last stand for the Fatherland sounded particularly militaristic and lacked Leopold’s self-deprecatory humor. [40]David Freedman obituary, in: Variety, 9 December 1936. ), “[The Eternal] Road may fold before May 15, needing coin to tour, if and when,” in: Variety, 14 April 1937. The St. Louis Municipal Opera, known nationwide for its popular summer season of open air musical revivals, staged its own White Horse Inn in the summer of 1938[76]. [36] New York World-Telegram columnist Willela Waldorf welcomed confirmation of the show’s New York opening, noting that Leo Singer had announced it for production in 1934 at the Casino, and that Otto Harbach, lyricist for Jerome Kern’s Roberta, was sought for Americanizing the text (the man who wrote the lyrics for “Smoke Gets in Your Eyes”[37]). A. Immers, “Im “Weißen Rössl am Wolfgangsee, dort steht das Glück vor der Tür”. Advance word of the show’s success in Berlin, London, Vienna, Paris, etc. No longer was the Hippodrome under consideration as a potential venue as it currently housed Billy Rose’s colossal vanity production, Rodgers & Hart’s Jumbo. Life begins, life and love are twins, you’ll agree; created unreasonable expectations. Whereas performers often lent their name or image to print advertisements for fashion, food or luxury items, as a testimonial, the White Horse Inn producers were more ambitious. But from the outset, the producers quarreled. [73](o. ), “White Horse Inn is projected here: Spectacular play, with cast of 250, would turn theatre into village—London backing,” in: New York Times, 22 July 1933. No. Ticketes unter www.operette-balzers.li [14]At its peak, White Horse Inn was grossing over $40,000, more than double any other musical attraction in London West End. [39]Jolson would make an implausible Leopold. David Freedman was ultimately contracted to prepare the new American libretto; at the time of his signing, Freedman was the “most prolific and best known of radio script writers”[40] especially for his work for Eddie Cantor. The joyous refrain of “Im Salzkammergut” becomes very contemporary (telephones included) as “High Up on the Hills”: High up on the hills – up on the hills, Josepha became Katarina Vogelhuber. The Stolz hit song “Your Eyes” acquired a parallel Irving Caesar lyric, “Blue Eyes” of comparable charm. Neither the Austrian film of 1934, nor the German remakes of 1952 and 1960 were ever commercially released in the US, only the Argentine film El caballo blanco was shown briefly in 1948. In den Hauptrollen sind Peter Alexander und Waltraud Haas zu sehen. Im weißen Rößl erlebte am 18. Warner Brothers was reportedly cold to the idea of a national tour which might compete with their film. [12]Harry Graham, White Horse Inn, production typescript, circa 1931, on deposit at New York City Public Library, Lincoln Center. Dieses wurde im Jahre 1878 erbaut. [56]Dropped were Stolz’ “Adieu, mein kleiner Gadeoffizier” from Das Lied Ist Aus film which became “Good-bye” in London; Australia’s “Lend Me a Dream” by Ivor Novello; France’s “Je vous emmènerai dans mon joli bateau” composed by Anton Profès; Vienna’s two by Granichstaedten “Ich hab’ es fünfzigmal geschworen” and “Zuschau’n kann I net.”. Red, Hot and Blue’s popular hits were recorded by Eddy Duchin, Ruby Newman, Will Osborne, Leo Reisman, Guy Lombardo and Leonard Joy on the same labels. Von. and a lot of other documents here : http://194.254.96.55/cm/?for=fic&cleoeuvre=22, The only way I can describe my reaction to this attractively packaged new Franz Lehár reader, published to coincide with, My first theatre visit of 2020 was an ominous forewarning of what was to come: On 2 January I saw, Dance: The Secret Star Of Operetta? [44]Richard Barrios, “A Song in the Dark: The Birth of the Musical Film” (Oxford University Press, 1995), p. 347. November 1930. Josepha Vogelhuber, Wirtin Leopold Brandmeyer, Zahlkellner Dr. Otto Siedler, Rechtsanwalt Wilhelm Giesecke, Berliner Fabrikant Ottilie, seine Tochter Sigismund Sülzheimer, Sohn des Konkurrenten Gieseckes Prof. Dr. Hinzelmann, Urlauber Klärchen, seine Tochter Kaiser Franz Joseph Der Piccolo Der Reiseführer Both stars demanded that musical vehicles be tailored to their talents, whereas White Horse Inn was decidedly an ensemble show, not exclusively a vehicle for the role of Leopold. ), “News of the Stage,” in: the New York Times, 25 May 1936. Choosing Seidl for his production meant casting a decidedly naughty, frivolous woman as the Rössl proprietress, a representative of Berlin’s Roaring Twenties, a reckless “Sally Bowles” of operetta. Im weißen Rößl Alt ernative. More sexy, perhaps, but not as incongruously funny. Cloud effects were designed to extend from the stage overhead above the audience. Undaunted, Charell in early September 1933 announced that a “well-known brewery” was offering the English syndicate $25,000 for the beer concession to the American production[28]. G.W.B. Der gewitzte Leopold arbeitet als Oberkellner im Weißen Rössl am Wolfgangsee. A. He announced that the production would tour next season. Only three recognizable hit tunes (“The White Horse Inn,” “Blue Eyes,” and “I Cannot Live Without Your Love”) were retained, but with new and unfamiliar lyrics! ), Newspaper clipping dated 6 February 1937. ), “Charell wants [White Horse] Inn to tour next season,” in: Variety, 21 April 1937. 78rpm cast album won a huge public in 1943. 205-217. He also provided the lyrics for George Gershwin’s first break-out hit “Swanee” (1918) popularized by none other than Al Jolson, and wrote the American adaptation of Robert Katscher’s Die Wunder-Bar as a vehicle for Jolson in 1930. Maar eerst even Wolfgangsee zelf. Ort der Handlung ist das Hotel Weißes Rössl in St. Wolfgang im Salzkammergut in Österreich. Stolz’ slow-fox duet for the secondary lovers, Otto Siedler/Valentine Sutton and Ottilie/Ottoline, “Die ganze Welt ist himmelblau” became “Your Eyes.” Graham dispensed with Granichstaedten’s appeal from Leopold to Josepha (“Zuschau’n kann I net”) and replaced it with Stolz’ hit song “Adieu, mein kleiner Gardeoffizier” (from the film Das Lied ist aus) which in English became “Good-Bye,” and the show’s unexpected hit. ), “[White Horse] Inn, with a cast of 130, will be second $250,000 show in Center,” in: Variety, 5 August 1936. Despite the commercial successes of Jerome Kern’s Music in the Air, Vincent Youmans/Richard Whiting’s Take a Chance and Cole Porter’s Gay Divorce on Broadway in 1932, the first nine months of 1933 witnessed the premiere of no successful new musical productions, a collapse in sources of theatrical capital, and a diminished theatre-going public, who preferred the cheaper cost of films. [19] H.H., “White Horse Inn”, in: The Observer, a.a.O. Charell claimed to have the financial backing of an English syndicate, and attempted to book a larger unidentified Broadway house. The latter’s hit songs were recorded by Paul Whiteman, Ruby Newman, Hal Kemp and Henry King on the Victor, Decca, Brunswick and Bluebird labels. On 19 October 1948, Charell announced plans to revive L’Auberge du Cheval Blanc at the Théâtre Chatelet in Paris on 10 November; he had commenced discussion with Warner Brothers about a possible film version. [72]On 14 March 1937, a forthcoming national tour of White Horse Inn was announced, beginning with an open end run in Chicago, and a series of one-week stands in major Eastern cities. The central romantic duo, Josepha Voglhuber (sic) and Leopold Brandmayer, remained for the most part unchanged. After Germany, Austria, Italy and France it conquered the English speaking world with two productions which were both newly created and directed by Erik Charell himself. Why is it Sigismund is so divinely handsome? It too had a jazz band in the orchestra and brilliantly juxtaposed Austrian sounds played by a Schrammel Kapelle onstage with American beats coming from the orchestra pit. In the face of rumors and confusion, morale backstage was not great. Mit "Im Weißen Rössl" gelang Erfolgsregisseur Werner Jacobs ("Das sündige Dorf") eine legendäre Adaption der gleichnamigen Operette. Dezember 1931. Gaxton announced that he would not be willing to tour in White Horse Inn, by some accounts jealous of the generous praise lavished upon his young co-star, Kitty Carlisle. Robert Halliday, cast as Robert Hutton (Americanized Valentine Sutton/Dr. [74]A meeting of the Charivers Corporation, the corporate name for the producers, on Friday, 2 April 1937, won the production a brief reprieve and the production was announced to continue “indefinitely.” However, all the managerial indecision, indifference and squabbling had allowed the advance sale to dwindle to $11,000, and White Horse Inn closed on Saturday, 10 April 1937, after 221 performances. [18] G.W.B., “White Horse Inn”, in: The Era, 15. Making this survey even more fascinating and important. His British adaptations of Jacobi’s Szibill from Budapest, Stolz’s Der Tanz ins Glück, Der Fürst von Pappenheim, Gilbert’s Katja die Tänzerin, Oscar Straus’ Die Perlen der Cleopatra, and Franz Lehàr’s Der blaue Mazur had followed throughout the 1920s. A. Ticketes unter www.operette-balzers.li ), “Halt Called on Spending in “Inn” as Full Pay Starts with Show Not Ready; Erik Charell’s Antics,” in: Variety, 23 September 1936. [43]George Ross, “So This Is Broadway,” in: New York World-Telegram, 14 July 1936. Why is it he’s the one—and none before or since? Otto Siedler, the dapper city lawyer for whom our heroine Josepha pines, became Valentine Sutton; it is he who suggests the commercial marriage “union” between Ottiline and Sigismund, thereby cornering the “underwear market of the world.”, For its London debut, Charell and Stoll chose stalwart and proven musical comedy/operetta talents, none of whom could compete with the spectacle of the show itself. You can have your favorite wine, While Im weißen Rössl in its multiple international productions always freely accommodated musical interpolations, Charell and the American producers foolishly or inadvertently sabotaged one of the show’s greatest strengths, its hit score. By his own admission a neophyte, he presented Marc Connelly’s black biblical parable The Green Pastures in 1930. You’ll soon be toasting Miss Carlisle with it. Brooks Atkinson wrote in the New York Times: “A hospitable evening seasoned by good taste in lavish showmanship.”[60] Richard Watts stated in the Herald-Tribune: “A beautiful colorful and sufficiently lively show…It is my private opinion that ‘White Horse Inn’ is several times livelier than the previous European spectacle ‘The Great Waltz’, and at least as handsome.”[61] And Gilbert W. Gabriel wrote in the New York American: “Here, believe me, is a very magnum of delights. You’ll drink it with great gulps of pleasure in the costuming, the staging, the whole holiday air of the whole idea. Im weißen Rößl ist ein Singspiel in drei Akten von Ralph Benatzky aus dem Jahr 1930. Title At the White Horse Inn / L’Auberge du Cheval blanc Composer Benatzky, Ralph: I-Catalogue Number I-Cat. « Im weissen Rössl » wird verschoben auf August 2021 Aufgrund der aktuellen Coronakrise (COVID-19) und der unvorhersehbaren Ausgangslage müssen wir die Operette «Im weissen Rössl» schweren Herzens auf August 2021 verschieben.. A. In the summer of 1933 Erik Charell, now a refugee from the Nazi regime because of his Jewish background and homosexuality, accompanied by his production staff, arrived in New York on the Ile de France to negotiate an American production[26]. None of the new songs achieved any popularity whatsoever. Two years later in October 1935, Erik Charell, already in exile from the German regime, returned to New York to negotiate an American premier with prospective American producers and the film studios (MGM, 20th Century-Fox and Warner Brothers)[31]. [55]Irving Caesar and David Freedman, White Horse Inn typescript, 1936, on deposit at New York City Public Library, Lincoln Center. St. Wolfgang, the Salzkammergut, the White Horse Inn et al. Oswald Stoll was intent upon retaining as many of the production elements which made Charell’s Berlin production a success. Charell’s intended partner was the American producer Martin Beck, who was unable to secure the Radio City Music Hall for its stage premiere, after he determined the production would be too large for his own 1200-seat Martin Beck theatre[27]. Both the New York Times[65] and Variety[66] reported that Warner Brothers wished to withdraw from the production, claiming its investment was intended merely to secure its rights to make the film version. A. It seems that the English could not find an equivalent for “Und als der Herrgott Mai gemacht, da hab’ ich es ihr beigebracht. Das Salzkammergut Salon Ensemble gestaltet diese Operetten-Abende im legendären Hotel – und als Gast des bekannten Hotels sollten Sie sich die Melodien nicht entgehen lassen. Another brewery proposal was rejected as well on the same grounds. With the possible exception of Billy Rose’s Jumbo which capsized the preceding season at the Hippodrome, White Horse Inn was unquestionably the most lavish and eagerly awaited musical theatre premier of the New York season. [34](o. BRETTSPIEL Im Weissen Rössl Hier war der Kaiser Gast, hier ist der Gast König Taucht ein in die Welt des traditionsreichen Hotels und fühlt den Zauber der Saison. White Horse Inn’s London librettist, Harry Graham, had died 30 October 1936 at age 61, while most unexpectedly, David Freedman, its American librettist, died in his sleep of heart disease 8 December 1936 at the young age of 39. [32]American adaptation by Moss Hart of London’s Waltzes From Vienna, produced by Oswald Stoll at the Alhambra Theatre 17 August 1931 for 607 performances. Prospective American audiences, in particular the New York theatre-goers who read the New York Times, were well acquainted with the work of Erik Charell despite the fact that his shows had yet to be seen in America. The theatre ushers were likewise costumed, and costumed vendors carrying baskets of souvenirs mingled with the audience before and after the performance, and during the interval. The show’s first big hit song, the duet between Leopold and Josepha (“Es muss was Wunderbares sein!”) became “It Would Be Wonderful indeed, if you could love me.” A straightforward and adequate translation, but when indigenous Berlin humor pops up, Graham has difficulty finding any English equivalent. Stebbins was vacationing in Florida at the time, and his general manager Charles Stewart, saw no reason to cut salaries when the production had posted no losing weeks[67]. [29]The Hippodrome was a vast, 5200-seat theatre which occupied half a city block on Sixth Avenue between 43rd and 44th Streets in New York City. The biggest thing in town for the money.”[63], Rocky Mountains: Trouble in the Alpine Paradise. William Gaxton as Leopold was denied the London hit “Good-Bye”[57] and offered instead an Eric Coates adaptation with the same name, “Good-Bye, Au Revoir, Auf Wiedersehn.” Sigismund’s self-titled comic turn, became a bland duet for Sylvester with Gretel, “I Would Like to Have You Love Me” by Tin Pan Alley[58] writers Gerald Marks and Sammy Lerner. Ginkle’s daughter, Ottoline, was played by Rita Page, a singing/dancing soubrette and veteran of featured roles in dozens of West End musicals. The only plausible reason for this neglect is that White Horse Inn’s score was divided between eleven composers and lyricists, and two competing publishers, Chappell and Harms; however, to dispel this theory, the concurrent 1936 edition of the Ziegfeld Follies was divided between two publishers, and five of its songs were widely recorded. Built in 1905 to house mammoth spectacles, it had seldom operated profitably under a succession of theatrical managements. The Berlin cast of “Im weißen Rössl”, 1930. And to chew the new-mown hay; Sometime in 1931, Jacob Wilk, executive for Warner Brothers Films, approached Erik Charell with regard to a possible American production of White Horse Inn. The White Horse Inn producers demanded the obligatory introductory song for their heroine, and thus Katarina and ensemble were given a new Jára Benes song “Leave It to Katarina” which many critics admired. [25]Howard Barnes, “The Playbill: Lunts in Shakespeare,” in: New York Herald-Tribune, 15 January 1933. > 2021. The Emperor Scene: Kitty Carlisle and William Gaxton. Rehearsals however did not go smoothly. [54] His rival’s son, Sigismund Sülzheimer/Smith, was reinvented as Sylvester S. Somerset, a Massachusetts manufacturer of the Goona Goona, with buttons in the back, none in front. Mit der Ankunft der zahlreichen Urlauber gerät … Happily, White Horse Inn elicited a handful of rave notices from the most influential critics. The producers had exhausted the traditional five weeks of rehearsals at reduced salaries, and for the sixth and final week the entire company was on full salary; Equity denied the producers’ appeals on the grounds that Charell had already staged the show numerous times throughout Europe, and ought to be able to complete the task within the allotted five weeks. Die Welt drehte sich nicht mehr im Dreivierteltakt, sondern schob, hüpfte und lief beim Tanz.[2]. With the advent of talking films, London stage managements were attempting to match the challenge of the cinema, both in terms of a twice-daily performance schedule and sheer visual spectacle. Getragen von einem glänzend aufgelegten Schauspielerensemble, erzählt der Film ebenso romantische wie turbulent-humorvolle Geschichten von Liebe, Lügen und Eifersüchteleien. Charell even rehearses off-stage noises from the beginning. ), “News of the Stage—Savo controversy settled,” in: New York Times, 31 August 1936. At the same time, the music with its jazz band integrated into the orchestra, the big revue-style choreography and the ultra-modern stage effects gave it enough of a contemporary touch to prevent White Horse Inn from looking old-fashioned and stuffy. For a fee of $7,000, Stebbins, Warner Brothers, the Rockefellers and Charell did agree to accept New York’s largest and indisputably premiere department store Macy’s plan to remodel the lobby as an Austrian tyrol village, whereby ticket-holders entering the lobby were greeted by vendors dressed in authentic costume, selling ski outfits, sweaters, scarves and souvenirs.

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