Josepha became Katarina Vogelhuber. ), “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. Then they went back and let the whistle try again. Ever since the 1880’s, when the Viennese operettes of Johann Strauss, Franz von Suppé and Karl Millöcker became internationally popular, and especially following Franz Lehàr’s worldwide phenomenon Die lustige Witwe which became The Merry Widow in London’s West End (8 June 1907, Daly’s 778 performances) and on Broadway (21 October 1907, New Amsterdam, 416 performances), American and English impresarios maintained a network of local representatives, agents and correspondents for the purposes of acquiring and licensing Berlin and Viennese operette for English language adaptation and production. [24](o. Zum ersten Mal wird am Samstag 25. ), “News of the Stage,” in: New York Times, 19 January 1937. William Gaxton refused to rehearse until his contract was signed, at double the salary offered to Jimmy Savo, and with onerous riders, including Gaxton’s right of approval of all his dialogue and lyrics. Ihre Tänze sind das fließende Band, das die Handlung aufrollt, heranträgt, in Takte und Akte teilt. 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]. [7], While the basic narrative structure of the German original remained intact, several characters and much of the topical humor was Anglicized for local tastes. [4]The present-day home to the English National Opera (ENO). Cloud effects were designed to extend from the stage overhead above the audience. Stoll’s attraction, billed in its published sheet music as a “Musical Play” and in the daily newspapers as a “Play with Music and Dance”, was performed twice daily at 2:30 and 8:15 from Monday to Saturday, for a grueling 12–performance week. 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. Immers, “Im “Weißen Rössl am Wolfgangsee, dort steht das Glück vor der Tür”. A legal notice appeared in the New York papers on 5 May 1936, announcing that Jack L. Warner on behalf of Warner Brothers had acquired the exclusive film rights to White Horse Inn from Felix Bloch Erben, (the 1935 Austrian film by Carl Lamac notwithstanding), and intended to co-produce the New York stage production. Gaxton, arriving one week late in rehearsals, described Charell’s unique modus operandi: This is the only show I have ever been in where we began using props at the opening rehearsals. For London audiences, Wilhelm Giesecke, the comic but irascible Berlin manufacturer of men’s underwear, became John Ebenezer Grinkle, a choleric, paunchy Oldham[8] manufacturer of ladies’ patent underwear, the “Apollo” combination, and one-piece “Vestinicks” that buttons up the front. McGonigle’s daughter Ottilie/Ottoline was renamed Natalie for American audiences. 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. A late Act 3 comic ballad for Sylvester and Gretel, penned by revue writers Will Irwin and Norman Zeno, “In a Little Swiss Chalet,[59]” was considered superfluous on opening night and then dropped. Otto Siedler, later Valentine Sutton in London, reappeared as Donald Hutton. 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. Dezember 1931. Following a run of nearly a year, Stoll sub-licensed White Horse Inn to his younger protegé Prince Littler, its physical production and ensemble were cut down for touring purposes, and it was seen throughout the 1933, ‘34 and ‘35 seasons in Manchester, Birmingham, Nottingham, Liverpool and other major venues. 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]. The Rockefeller family interests hoped to establish the Center Theatre permanently as New York City’s largest popular legitimate stage venue to rival the now obsolete Hippodrome; for their share, the Rockefellers were prepared only to extend the stage 16 feet, and to pay for other such renovations and Austrian tyrol enhancements to the theatre. Advance word of the show’s success in Berlin, London, Vienna, Paris, etc. [53](o. “It Would Be Wonderful” was revised into the heavy-handed “I Cannot Live Without Your Love.” London’s saccharine “Happy Cows” was discarded in favor of a choral “Cowshed Rhapsody” by the show’s German music advisor, Adam Gelbtrunk. It was Belasco’s too…. [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. 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? > 2021. The façade of the London Coliseum was adorned with tyrolean green, blue, red and white architectural detail. ), “[White Horse] Inn, with a cast of 130, will be second $250,000 show in Center,” in: Variety, 5 August 1936. you may rightly ask. ), “Stebbins to produce The White Horse Inn;” George Ross, “So This Is Broadway,” in: New York World-Telegram, 14 April 1936. Given the show’s name, it was a natural fit when White Horse whiskey proposed that a white horse sketch without any specific product wording be placed on the front curtain, for a $50,000 fee. [54]Already in the 1934 Austrian film, the men’s underpants had been exchanged for a bathing suit. Various – Im Weissen Rössl - Grosser Querschnitt Mit Den Höhepunkten Der Operette Label: EMI Electrola – SME 83 919, EMI Electrola – CSDW 7264 Format: Vinyl, LP Country: Germany Released: Genre: Classical. In the face of rumors and confusion, morale backstage was not great. Im weißen Rößl erlebte am 18. A. Allerdings ist ihm gerade nicht zum Lachen zumute, denn er ist unglücklich in seine Chefin, die Rössl … Here was a unique opportunity to shed Graham’s operetta conventions for a faster, modern White Horse Inn. The public response for the first three months was exceptionally strong. This was no doubt possible only because Stoll retained the entire German production team, Erik Charell as conceiver and director, Hans Müller as its original author, Ernst Stern as the production designer, and Max Rivers for dances. Waiters on parade: the grand marching scene from London, 1931. 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. Happily, White Horse Inn elicited a handful of rave notices from the most influential critics. You can have your favorite wine, 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. She remained in the UK and became a naturalized British citizen, starring in a revival of A Waltz Dream (Ein Walzertraum), Dancing City and No Sky So Blue following her success in a full year’s run of White Horse Inn. The dirndls for the chorus, designed by Ernst Stern. [16] The London premiere of White Horse Inn was also duly noted in the New York Times on 27 April 1931: It requires 250 people and a revolving stage to conduct a love affair in the Alps. Ottilie Giesecke wurde in Brigitte umbenannt. 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. A. [73](o. [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. Souvenir broschure of the original 1930 Berlin production of “Im weißen Rössl”. Der Wendepunkt zum Musical Benes was a Czech composer of popular songs and films, based in Vienna; his operette, Auf der grünen Wiese premiered at the Vienna Volksoper in 1936, and was later filmed. “Der tapfere Soldat”: What Recordings Are There Of The 1908 Oscar Straus Show? The foremost American practitioners of this trans-Atlantic business were the Messrs. Shubert, brothers Lee and J.J., whose revisions of Walter Kollo’s Wie einst im Mai andHeinrich Berté’sDas Dreimäderlhaus, became American cash cows under the titles Maytime and Blossom Time. Die Mitwirkenden sind zwar traurig über die Verschiebung, jedoch top motiviert, Sie im August 2021 auf der Leuker Freilichtbühne gesanglich verwöhnen zu dürfen. Operette: «Im weissen Rössl» kommt 2022 nach Sirnach. So…Prosit. full of photographs of the 1932 production. A. Die Operette wurde 1930 uraufgeführt und gilt auch heute noch mit seiner schwungvollen Orchestermusik, den satirischen Dialogen und temporeichen Tänzen als absoluter Hit. Warner Brothers never did make any film of White Horse Inn; perhaps international political tensions made the jolly denizens of St. Wolfgang a dubious prospect for film success. On 14 May 1952, industry reports announced that Charell at long last had secured the rights to Im weißen Rössl from Warner Brothers, with the intent of making a new on-site film shot in English, French and German. – On the other side of the Atlantic, in Berlin and Vienna, American jazz became the derniere crie, also in operetta and especially in revues. A. [42]Louis Sobol, “The Voice of Broadway,” in: New York Evening Journal, 25 May 1936. 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. August 2019 / besuchte Vorstellung: 12. Lea Seidl demonstrating how to properly dress and dance in an Alpine setting. [35]Donita Ferguson, “White Horse Inn, the Showpiece of 1936-37,” in: New York Woman, 23 September 1936. „Im weißen Rössl am Wolfgangsee, da steht das Glück vor der Tür“, so heißt es im Titellied der Operette. Although Gaxton savored success without Moore in Rodgers & Hart’s A Connecticut Yankee and Cole Porter’s Anything Goes, his un-remarkable singing voice was never recorded, and he was decidedly less fun without Victor Moore. On 18 September 1936, 1256 costumes were delivered for the cast of 162, of whom 104 were chorus, with 8 changes apiece[51]. Benatzky was particularly good in adapting American style music for German needs, demonstrating a great feeling for the new rhythms which he also included in his other work, created without Charell. ), “White Horse Inn reaching $40,000 gross weekly at Coliseum, London,” in: Variety, 13 May 1931. ), “Lunts Want Stravinsky to do a score; Kaufman Trial,” in: New York Daily News, 24 January 1937. [16]C. Hooper Trask, “But the Germans Like It,” in: New York Times, 4 November 1928; “More Musical Musketeers,” in: New York Times, 13 October 1929; “Mainly Erik Charell: Turning to a Native Form of German Music, He Achieves Success,” in: New York Times, 28 December 1930. 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. Mit dem «Im weissen Rössl» von Ralph Benatzky wird ab Januar 2022 bei der Operette Sirnach die Serie von modernen und zugleich traditionell ausgerichteten Operetten aus den 1930er-Jahren fortgesetzt. To get a Sigismund, a Sigismund, as groom?[77]. Im weissen Rössl deze keer, te Dortmund. A. in The Observer stated: One’s immediate reactions blend awe with pleasure, and the impressions that remain are like a dream such as might trouble the journey home from narrowly escaped avalanches and Baedecker gone-mad. 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. 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]. ), “News of the Stage,” in: the New York Times, 25 May 1936. 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. [43]George Ross, “So This Is Broadway,” in: New York World-Telegram, 14 July 1936. Sometimes classified as an operetta, the show … The march of the waiters, as seen by Ernst Stern. 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. Als u er een weekje gaat logeren bent u 2000-2500 euro kwijt. Zum ersten Mal wird am Samstag 25. Das Salzkammergut Salon Ensemble gestaltet diese Operetten-Abende im legendären Hotel â und als Gast des bekannten Hotels sollten Sie sich die Melodien nicht entgehen lassen. [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. Die Inszenierung von Claus J. Frankl lebte von viel Bewegung, lustigen Einfällen und umwerfender Situationskomik. Australia picked up on the London success and J. C. Williamson Ltd., the leading local producer, mounted its own version in Sydney (31 May 1934, Theatre Royal) and Melbourne (28 July 1934, Her Majesty’s) followed by a continental tour, becoming a huge favorite for decades to come. An examination today of Harry Graham’s libretto suggests that his text is decidedly old-fashioned, in the declamatory style typical of English operetta of the 1910s and 1920s, but it does stick closely to the German original. St. Wolfgang, the Salzkammergut, the White Horse Inn et al. For New York audiences, Wilhelm Giesecke/John Ebenezer Grinkle, became William McGonigle, manufacturer of the one-piece Lady Godiva bathing suit, which buttons up the front with no back. Josepha Vogelhuber, Wirtin zum «Weissen Rössl»: Frauke Schäfer Leopold Brandmeyer, Oberkellner: Roman Martin Wilhelm Giesecke, Berliner Fabrikant: Uwe Schönbeck Ottilie Giesecke, seine Tochter: Stefanie Frei Dr. Otto Siedler, Rechtsanwalt: Peter Bernhard Sigismund Sülzheimer, Sohn Gieseckes Konkurrenten: Javier Hagen April 1931. Naught can rouse you from your dreams, [21]Maschwitz and Grün formed a loose partnership in writing English language pasticcio operettas drawn from light classical composers: the Hungarian confection Paprika (also known as Magyar Melody) in 1938 and 1939, Waltz Without End (1942, after Chopin), Summer Song (1956, after Dvorák). Buster West, a comic dancer, was chosen for the role of Sylvester/Sigismund; previous Broadway appearances in Greenwhich Village Follies (1923), George White’s Scandals (1926) and the forgotten musical Ups-a-Daisy lead to vaudeville tours of every major European city, according to his program biography. The only plausible rationale is that Warner Brothers, as was the then-common practice with musical films among all Hollywood studios, often junked a show’s original stage score for other new and inferior songs they owned or controlled. How Is Our “Woke-Ass Culture” Dealing With The Supposed Racism Of “Zigeunerbaron”? Ende der 1920er Jahre gab Regisseur und Produzent Erik Charell eine Bearbeitung des Alt-Berliner Lustspiels »Im weißen Rössl« zu einer frivol-komischen Melange aus Schwank, Operette … Lea Seidl as Josepha was given an all new Act 2 solo “Why Should We Cry for the Moon,” prior to the Act 2 Finale. With such international sounds, it is hardly surprising that the Rössl went on a very successful international tour. Giesecke’s daughter Ottilie was renamed Ottoline for London audiences. In late 1930, shortly after the Berlin premiere of Im weißen Rössl, English impresario Sir Oswald Stoll, Managing Director of the London Coliseum[4], was seeking a musical spectacle capable of filling this spacious 2200-seat house located just north of Trafalgar Square, in an altogether new policy, a reprieve from the house’s previous diet of variety[5]. Every time she looks at me with her lovely eyes… every time she speaks to me with her silvery voice… I forget everything. Ihr Romantik Hotel am Wolfgangsee wurde international bekannt durch die Operette Weisses Rössl am Wolfgangsee von Ralph Benatzky. Nearly 50 years later, Spialek’s orchestrations for the 1936 Rodgers & Hart musical On Your Toes were restored for its 1983 revival, creating a sensation, and launching a vogue for recovering and recording historic musical theatre scores with their original orchestrations intact. A. ), “News of the Stage: The White Horse Inn Dilemma,” in: New York Times, 2 April 1937. The New York Times’ Berlin correspondent C. Hooper Trask filed frequent accounts of the popular Berlin theatre scene, in particular Charell’s productions of Casanova, Die drei Musketiere and Im weißen Rössl. [25]Howard Barnes, “The Playbill: Lunts in Shakespeare,” in: New York Herald-Tribune, 15 January 1933. Ãberraschen Sie Ihre Lieben und Bekannten mit einem Gutschein vom Hotel Im Weissen Rössl in St. Wolfgang. Why is it Sigismund is so divinely handsome? Mit der Ankunft der zahlreichen Urlauber gerät … 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. The Observer remarked on Lea Seidl: Yet out of the welter emerges such charming personal achievements as Miss Seidl’s innkeeper (…) a performance so clear in outline, sympathetic in characterisation and charmingly sung, that one is tempted to start instanter for these Tyrolean heights.[10]. 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. With Charell absent and no firm plans to tour, the production sets ($53,000) were burned, its costumes ($65,000) dispersed for $1500, its orchestrations lost. With Peter Alexander, Waltraut Haas, Karin Dor, Adrian Hoven. [15](o. Der argentinische Tango, vor dem Krieg noch als ‚unanständig’ verfemt, war mit einem Male salonfähig […], und die jungen Leute, die jahrelang in den Schützengräben ihr Vergnügen entbehrt hatten, hupften in den abgehackten Synkopen des Foxtrotts. [70] Milwaukee and St. Louis reportedly offered $300,000 in guarantees for touring dates the next season. Whether this legal action might have influenced Cantor not to appear in White Horse Inn is unknown. Why is it men, on seeing him, feel so much less men? Ein Vöglein hat gepfiffen, da hat sie es begriffen”. [76]Close examination of the production typescript, on deposit at the New York Public Library, credited to David Freedman and Irving Caesar, reveals it is very closely modeled upon the New York version. A New Franz Lehár Reader At Böhlau Publishing, My Corona Year 2020 And Wolfgang Anheisser’s “Operetten Gala”, Why oh why oh why oh! Ganz im Gegenteil: Das von der Familie Peter geführte Romantik Hotel Im Weissen Rössl am Wolfgangsee ist eine Legende, die nicht müde wird, sich neu zu definieren. A. Note the absence of the dread word “operetta”! [70](o. The first day I rehearsed with the company I certainly hadn’t expected to hear the steamboat whistle blow on its cue. Days later, the English syndicate terminated its negotiations for the Hippodrome[29] and abandoned the White Horse Inn project altogether[30]. Disputes with representatives of the backers are known to have been frequent.[53]. A. [36]Howard Barnes, “The Playbill: Big Names for Golden: [White Horse] Inn again,” in: New York Herald-Tribune, 2 February 1936. [19] H.H., “White Horse Inn”, in: The Observer, a.a.O. Kennen Sie das Lied âIm Weissen Rössl am Wolfgangsee, da steht das Glück vor der Türâ? A. Leopold: One woman, yes! Alle Darsteller agierten sowohl als Sänger, Tänzer und als Schauspieler und … [8]From the British Midlands, which suggests “provincial” to London audiences. [41](o. Characters names and much of the topical humor were Americanized. 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. She had been the famous “Marie von der Haller Revue,” and was thus the star of Charell’s greatest competitor in the field of revue – Herman Haller. Everybody must see and hear. Why is it mothers, far and wide, would pay a ransom However, the producers were in open disagreement over promotion strategies, the future of the show, and the responsibility for covering weekly losses, should they occur. Under exclusive contract to Sam Goldwyn, Cantor currently commanded a fee of $175,000 per film, plus 15% of the gross, which no Broadway producer could hope to match[44]. Early casting ideas for possible Leopolds included, beside Al Jolson, Maurice Chevalier, Eddie Cantor, Bob Hope and Jack Oakie[43], Warner Brothers hoped to persuade either Eddie Cantor or Al Jolson to star as Leopold on stage or on film. Holdrio![55]. Sheet music cover from the New York production of “White Horse Inn”. Ginkle’s daughter, Ottoline, was played by Rita Page, a singing/dancing soubrette and veteran of featured roles in dozens of West End musicals. Heute präsentiert sich das Romantik Hotel als ein âgutes Stück Ãsterreichâ â eine Philosophie, die in allen Bereichen des Hotels Im Weissen Rössl gelebt wird. Oral sex was obviously not something to sing about in Great Britain 1931. A. ), Newspaper clipping dated 6 February 1937. Das Libretto stammt vom Komponisten zusammen mit Hans Müller-Einigen und Erik Charell. A. Ralph Benatzky. Freuen Sie sich jetzt schon auf ein unterhaltsames Singspiel unter der Musikalischen Leitung von Willi Büchel und der Regie von Anatol Preissler. [55]Irving Caesar and David Freedman, White Horse Inn typescript, 1936, on deposit at New York City Public Library, Lincoln Center. Its generic music and lyrics are totally unrelated to the characters and plot, and would comfortably fit into any dozen musical comedies. The central romantic duo, Josepha Voglhuber (sic) and Leopold Brandmayer, remained for the most part unchanged. A. 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. Another brewery proposal was rejected as well on the same grounds. Wodehouse character), which offers a whole set of new comic possibilities. Sometime in 1931, Jacob Wilk, executive for Warner Brothers Films, approached Erik Charell with regard to a possible American production of White Horse Inn. A. On 24 July 1936 it was announced that diminutive Broadway comic Jimmy Savo had been signed by Charell. Author Harry Graham was unable to find a precise foreign equivalent for Gieseke. A. [49]Her prior credits were minor, non-musical: Spring in Autumn (1933), Mackerel Skies, Jayhawker, and one film, Freckles. No American popular recordings whatsoever of any songs in White Horse Inn’s score were made during the New York run, inexplicable for the time.
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