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. 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. Everybody must see and hear. Leopold (gazing at her in dreamy admiration): When you ask me things like that, I forget everything. One of several theatrical licensing agencies which administer performance rights and royalties for professional stock, regional and amateur productions. 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. Operette Balzers spielt das weisse Rössl. Ralph Benatzky. Im weissen Rössl deze keer, te Dortmund. A late Act 3 comic ballad for Sylvester and Gretel, penned by revue writers Will Irwin and Norman Zeno, “In a Little Swiss Chalet,” was considered superfluous on opening night and then dropped. A. Its pre-1914 Austrian setting celebrated a bucolic, innocent era just before the great world war, economic depression and political upheavals, yet well within the immediate memory of many theatre-goers who yearned for simpler, safer times. It collapsed after 13 performances, as did Charell’s hopes for an American career, and the future of the Center Theatre, thereafter consigned to a decade of ice shows and eventual demolition. 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. Lyricist Irving Caesar was world famous as the lyricist for No, No Nanette, whose songs (“Tea for Two” and “I Want to Be Happy”) became international standards. (o. Thus his salary would have been $1000/week. A. “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. Belatedly, Variety announced that the weekly breakeven had been cut by $5,000 to $25,000; rent and royalties had been reduced, the cast was reduced by 19, the orchestra by 6. Arrival of the tourists on the massive NY stage. In late 1930, shortly after the Berlin premiere of Im weißen Rössl, English impresario Sir Oswald Stoll, Managing Director of the London Coliseum, 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. It’s so calm on the farm Wines that cheer and steins that with beer overflow, (o. Analyzing them, one understands what he wanted the Rössl to be and how he wanted it performed, which is very different to what we today consider to be the Weiße Rössl. Clifford Mollison, cast as Leopold, worked first as a dramatic actor in the West End before appearing as Adolar von Sprintz in London’s The Blue Mazurka (Lehár’s Der blaue Mazur) in 1927, after which he committed to musicals almost exclusively: Rodgers & Hart’s The Girl Friend , Lucky Girl, Here Comes the Bride, Nippy. 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 overwhelming and instant success of Erik Charell’s operetta spectacle Im weißen Rössl at Berlin’s Großes Schauspielhaus (the so-called “Theater der 5000”) on 8 November 1930 sparked immediate interest from foreign producers. Without a national tour, a complete set of orchestrations, any deal for stock or amateur productions, a film version or any American recordings of the production, White Horse Inn was swiftly forgotten. Howard Drake, “News of the Theatres,” in: New York Herald-Tribune, 18 September 1936. A. 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. Warner Brothers provided $150,000, Stebbins $75,000, Charell and his pool of investors $30,000, Rockefeller Center interests $10,000 in house renovations. The song’s charming music suggests it may have been the only new interpolation compatible with appeal of the original score. After seeing this show, Wilk determined that Savo was not capable of playing their leading man, and in a bitter public spat (“Not with our money”), resolved to break the actor’s contract; he was fired 19 August 1936. At its peak, White Horse Inn was grossing over $40,000, more than double any other musical attraction in London West End. 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. Die Operette „Im weißen Rössl“ hat massig Ohrwürmer und heiteren Charme (…). Dezember 1952 im Stachus-Filmpalast in München seine Premiere. A. Leopold: That silvery voice! Alle Darsteller agierten sowohl als Sänger, Tänzer und als Schauspieler und … Frederick Leister, given the choice cameo as The Emperor, lent the evening a note of gravitas as the production’s sole experienced non-musical dramatic actor. „Im weißen Rössl am Wolfgangsee, da steht das Glück vor der Tür“ – doch bevor jeder Einzelne das seine gefunden hat, geht es turbulent zu! 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. 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. Nicht nur aus diesem Grund findet jÃ¤hrlich im Januar und Februar die Operetten-Serenade âWeisses RÃ¶sslâ statt. As a courtesy to his future producers, Savo invited Charell, Stebbins and Jacob Wilk (of Warner Brothers) to see his performance in a summer stock revival of Moliere’s The Would-Be Gentlemen. September 2019 Weyher Theater Inszenierung: Frank Pinkus Musikalische Leitung: Patrick Kuhlmann Bühne: Hermes Schmid und Lisa Kück Kostüme: Anika Töbelmann „Im weißen Rössl am Wolfgangsee“, „Es … Die Liedtexte stammen von Robert Gilbert, musikalische Einlagen von Bruno Granichstaedten, Robert Gilbert und Robert Stolz. Das Salzkammergut Salon Ensemble gestaltet diese Operetten-Abende im legendÃ¤ren Hotel â und als Gast des bekannten Hotels sollten Sie sich die Melodien nicht entgehen lassen. IRB 1 Language German, English, French Composer Time Period Comp. G.W.B. Making this survey even more fascinating and important. Instead of naughty wit or cosmopolitan charm, the characters express themselves broadly with hearty cheer and loads of exclamation points. Solisten und Sprechrollen. However, both Cantor and Jolson had been absent from the musical stage since 1930, preferring the luxury of musical films. His expertise may have been questionable, when with regard to producing White Horse Inn, he confessed: “I am the only person in my family who’s never seen it.” Warner Brothers was interested in White Horse Inn primarily as a film property, and agreed to co-finance the stage production with the intent of filming the show in 1937.  Kitty Carlisle’s principal stage credit had been as Prince Orlowsky in Champagne, Sec, a streamlined adaptation of Die Fledermaus in 1933. You dance when you walk – sing when you talk – Der gewitzte Leopold arbeitet als Oberkellner im Weißen Rössl am Wolfgangsee. Heute prÃ¤sentiert sich das Romantik Hotel als ein âgutes StÃ¼ck Ãsterreichâ â eine Philosophie, die in allen Bereichen des Hotels Im Weissen RÃ¶ssl gelebt wird. ), “Stebbins to produce The White Horse Inn;” George Ross, “So This Is Broadway,” in: New York World-Telegram, 14 April 1936. Kennen Sie das Lied âIm Weissen RÃ¶ssl am Wolfgangsee, da steht das GlÃ¼ck vor der TÃ¼râ? Der gewitzte Leopold arbeitet als Oberkellner im Weißen Rössl am Wolfgangsee. (o. Jack Barty, cast as John Ebenezer Ginkle, was first a music hall comedian and Variety artist, appearing in Christmas pantomimes such as The Sleeping Beauty and The Queen of Hearts. Die Welt drehte sich nicht mehr im Dreivierteltakt, sondern schob, hüpfte und lief beim Tanz.. Directed by Werner Jacobs. Dieses wurde im Jahre 1878 erbaut. Characters names and much of the topical humor were Americanized. 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. 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. Even though it stayed in nearly all later English language versions of the White Horse Inn, it was never used for German version, possibly because the original German lyrics are so well known, that changing them to fit the story (as was done in London) seemed impossible. The Stolz hit song “Your Eyes” acquired a parallel Irving Caesar lyric, “Blue Eyes” of comparable charm. Stebbins had wisely quit Wall Street in 1929 to pursue a career in show business. White Horse Inn also employed three goats, one dachshund, one pony, six pigeons (four of which are used, two being spares), a symphony orchestra of 65 and stagehands numbering 56. Title At the White Horse Inn / L’Auberge du Cheval blanc Composer Benatzky, Ralph: I-Catalogue Number I-Cat. A. (o. PEM(Paul Markus), Und der Himmel hängt voller Geigen, Berlin: Blanvalet 1955, S. 139-140. ), “Gossip of the Rialto,” in: New York Times, 10 September 1933. 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. created unreasonable expectations. 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. He’d been compelled to lease his own theatre, the Casino, to his arch-rival Florenz Ziegfeld, for a revival of Show Boat. Charell claimed to have the financial backing of an English syndicate, and attempted to book a larger unidentified Broadway house. And although, as we know, The stage was extended 16 feet into the auditorium, and pine forests grew up to the ceiling. 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 Gerne erinnert man sich im Romantik Hotel Im Weissen Rössl an die alten Zeiten zurück. Lea Seidl, as noted above, also originated Lehár’s Friederike in London in September 1930. Januar 2020 sich der Vorhang öffnen zu unserer neuen Spielsaison. A. Als Vorlage diente ein gleichnamiges Alt-Berliner Lustspiel von Oskar Blumenthal und Gustav Kadelburg, das die beid… (o. Undaunted, Erik Charell, now unable to work in Austria after its German annexation, adapted, produced and directed a popular all-black jazz adaptation of A Midsummer Night’s Dream at the Center Theatre in November 1939. „Im weissen Rössl“ bietet Situationskomik, halsbrecherische Story-Wendungen und ein einmaliges Revuefeuerwerk. 1964 folgte die dänische Produktion Sommer i Tyrol von Regisseur Erik Balling. Souvenir broschure of the original 1930 Berlin production of “Im weißen Rössl”. Laurence Rivers, Inc., Stebbins’ production company, retained sole billing. Naught can rouse you from your dreams, A. Cloud effects were designed to extend from the stage overhead above the audience. Die Musik schließlich wurde von Heinz Gietz in m… His principal stage partner, Victor Moore, with whom he co-starred in George & Ira Gershwin’s Pulitzer prize winning musical satire, Of Thee I Sing, and its sequel, Let ‘em Eat Cake, in 1931 and 1933, had cemented his stage persona as the straight man to Moore’s joke-meister. The biggest thing in town for the money.”, Rocky Mountains: Trouble in the Alpine Paradise. (o. The English production was itself an adaptation of the Viennese singspiel Walzer aus Wien (1930). Ihr Romantik Hotel am Wolfgangsee wurde international bekannt durch die Operette Weisses Rössl am Wolfgangsee von Ralph Benatzky. Im schönen Salzkammergut ist Oberkellner Leopold in Herzensnöten: Seine Chefin, die burschikose »Rössl«-Wirtin, hat es ihm angetan. His theater, the Admiralspalast, stood on the opposite side of the Spree River in Berlin, across from Charell’s temple, the Grosses Schauspielhaus. Despite its British success, White Horse Innis today – surprisingly – scarcely known in the United States, and thereby hangs a tale of intrigue, initial success, betrayal, misfortune and outright neglect. It’s unlikely that anyone would have thought her as wicked or naughty as Camilla Spira or Lea Seidl though. Here was a unique opportunity to shed Graham’s operetta conventions for a faster, modern White Horse Inn. No. Doch bis es zum Happy End kommt, braucht es dann schon den Kaiser! It was Belasco’s too….  H.H., “White Horse Inn”, in: The Observer, a.a.O. 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. Not only did Giesecke feel superior by speaking Berlin dialect, he also calls Sülzheimer a “Shylock,” a term of open disparagement which makes their ultimate reconciliation only funnier. 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. Perhaps no one told Messrs. Irwin and Zeno that the show White Horse Inn and its historical basis “Im Weissen Rössl” are set in Austria on the Wolfgangsee, not Switzerland! The White Horse Inn became an enduring staple of the British musical theatre repertoire. Program book for the 1936 New York production. For example, Karl and Leopold speak as Josepha makes her first entrance: Karl: Take my advice, Herr Leopold, as man to man. Ottilie/Ottoline and Otto Siedler/Valentine Sutton’s second duet (“Es ist wohl nicht das letzte Mal”) was likewise replaced by a Stolz song “You Too” (“Auch du wirst mich einmal betrügen”). , From London to the Provinces, Australia and South Africa. 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! Die Wiederaufnahme von Im weißen Rössl muss leider entfallen! Zum ersten Mal wird am Samstag 25. Macy’s further agreed to promote White Horse Inn with store window displays and in newspaper print ads.. Der Abend hat Ihnen gefallen? Author Harry Graham was unable to find a precise foreign equivalent for Gieseke. I published the French album of “L’Auberge du Cheval blanc” online http://comedie-musicale.jgana.fr/content/prog/prog022.pdf > 2021. With such international sounds, it is hardly surprising that the Rössl went on a very successful international tour. Im weißen Rößl ist eine Verfilmung der Operette Im weißen Rößl von Ralph Benatzky. The rest of the score, which contained songs by Irving Berlin (“Alexander’s Ragtime Band”) and other Broadway giants, was arranged and supervised by Ralph Benatzky, Charell’s musical collaborator from then onwards. (o. Contract with Felix Bloch Erben dated 3 April 1936. Still, the sound amplification in the Center Theater ought to make the hearing easy. Graham was at the peak of his career in 1931; including the forthcoming Das Land des Lächelns, Viktoria und ihr Husar (Paul Abraham) and Casanova (Benatzky/Johann Strauss) this same year, White Horse Inn would be Graham’s longest-running hit of all. Allerdings ist ihm gerade nicht zum Lachen zumute, denn er ist unglücklich in seine Chefin, die Rössl … Ihre Tänze sind das fließende Band, das die Handlung aufrollt, heranträgt, in Takte und Akte teilt. Freunde von Walzer- und Operettenmelodien kommen bei der Operetten-Serenade Weisses Rössl voll auf Ihre Kosten. Early casting ideas for possible Leopolds included, beside Al Jolson, Maurice Chevalier, Eddie Cantor, Bob Hope and Jack Oakie, Warner Brothers hoped to persuade either Eddie Cantor or Al Jolson to star as Leopold on stage or on film. In Act 3, the Emperor’s kind words of advice to Josepha (“’s ist einmal im Leben so”) became the gentle “In This Fickle World of Ours.” Other songs, “Im Weissen Rössl am Wolfgangsee” (as “The White Horse Inn”), “Und als der Herrgott Mai gemacht” (as “Fairies”), Stolz’ “Mein Liebeslied muss ein Walzer sein” (as “My Song of Love”) hewed more closely to their Berlin originals, though the decicely naughty humor of some Robert Gilbert lyrics is somewhat lost. (o. Im weißen Rößl ist ein Singspiel in drei Akten von Ralph Benatzky aus dem Jahr 1930. 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. Clifford Mollison (…) sticks manfully to the English tradition of musical comedy”.). November 1930. Interference in almost every department by Charell has been evident, it is claimed, since the time he insisted upon having his way about every detail. Erik Charell arrived in New York harbor on the Normandie on 25 May 1936 for casting and pre-production, accompanied by Hans Müller, Max Rivers and Ernst Stern – all three Jewish refugees from their own country. So wurde die Handlung in die Gegenwart versetzt, was es ermöglichte, dass Sigismund Sülzheimer in einem Hubschrauber vor dem Hotel Weißes Rössl eintrifft. You’ll soon be toasting Miss Carlisle with it. Undocumented and ignored by the recording and film industries. McGonigle’s daughter Ottilie/Ottoline was renamed Natalie for American audiences. (o. Period: Early 20th century: Piece Style Early 20th century: Instrumentation voices, orchestra External Links Wikipedia Ibdb ), “White Horse Inn”, in: The Sunday Times, 4. His insistence upon speaking Berlin dialect reflects his great pride, as it is both the dialect of the German capital and the German Kaiser. In the white Rössl. Im weißen Rößl erlebte am 18. 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 24 July 1936 it was announced that diminutive Broadway comic Jimmy Savo had been signed by Charell. 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. “Der tapfere Soldat”: What Recordings Are There Of The 1908 Oscar Straus Show? Freuen Sie sich jetzt schon auf ein unterhaltsames Singspiel unter der Musikalischen Leitung von Willi Büchel und der Regie von Anatol Preissler. It had taken Charell and his attorneys many months to conclude these complex negotiations to secure the hefty $200,000 capitalization. Das Salzkammergut Salon Ensemble gestaltet diese Op… 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. But from the outset, the producers quarreled. Indeed, New York’s theatre critics often take offense when told any production has been a success elsewhere, provoking snide cultural slurs or derisive observations about superior local tastes. A. August 2019 / besuchte Vorstellung: 12. Already in the 1934 Austrian film, the men’s underpants had been exchanged for a bathing suit. Helen Ormsbee, “Gaxton Finds Great Difficulty in Filling Center Theater Stage,” in: New York Herald-Tribune, 27 September 1936. 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. 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. 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. 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. ), “[The Eternal] Road may fold before May 15, needing coin to tour, if and when,” in: Variety, 14 April 1937. 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. And no harm can come your way.. 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. Warner Brothers was reportedly cold to the idea of a national tour which might compete with their film. You’ll have—in your good old way—a grand old time. 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. A. ), “News of the Stage,” in: New York Times, 20 February 1936. Cast as Sigismund Smith, George Gee, the popular comic sidekick in dozens of British musicals, segued effortlessly from similar roles in London’s Rio Rita, Hold Everything, Virginia, The Girl Friend, and Australia’s Tell Me More and the title role in the Eddie Cantor vehicle Kid Boots. After the opening, Charell trimmed thirty minutes running time, by shortening some of the dance sequences and cutting the duets “White Sails” and “In a Little Swiss Chalet,” so that the performance could conclude in less than three hours. Von. Operette von Ralph Benatzky / Text von Ralph Benatzky, Hans Müller-Einigen, Erik Charell / Liedtexte von Robert Gilbert Premiere: 23. Die Operette „Im Weissen Rössl“ trat gleich nach ihrer Uraufführung im Jahre 1930 ihren Siegeszug um die Welt an. Harry Graham, White Horse Inn, production typescript, circa 1931, on deposit at New York City Public Library, Lincoln Center. Diese Filmversion stützt sich auf die Operette, nimmt aber zahlreiche Veränderungen vor. The German Conquest: The White Horse Inn in London. Richard Watts, Jr., “The Theatres: Lavishness in the Tyrol,” in: New York Herald-Tribune, 2 October 1936. Finally, Charell returned from the West Coast for one last look at White Horse Inn before returning to Paris. A. (o. Seventeen years earlier, Graham had adapted Jean Gilbert’s Die Kino-Königin as The Cinema Star for West End eyes and ears. The accumulated cost of all these alterations to the front of house were estimated at $30,000. Felix Barker, “The House that Stoll Built: The History of the Coliseum Theatre,” Frederick Muller Ltd., London, 1957, pp. Ãberzeugen Sie sich selbst: Senden Sie Ihre unverbindliche Anfrage ab und erleben Sie den Schauplatz der Operette Weisses RÃ¶ssl heute!
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