It was not until the summer of 2005 when the Ohio Light Opera presented a new English translation of White Horse Inn by noted American operetta authority Richard Traubner, that American audiences were able to see and hear White Horse Inn once again. The sheer logistics of mounting a White Horse Inn production required several months of prior planning. Oswald Stoll was intent upon retaining as many of the production elements which made Charell’s Berlin production a success. Leopold: That silvery voice! Rehearsals however did not go smoothly. Directed by Werner Jacobs. [54]Already in the 1934 Austrian film, the men’s underpants had been exchanged for a bathing suit. Als Vorlage diente ein gleichnamiges Alt-Berliner Lustspiel von Oskar Blumenthal und Gustav Kadelburg, das die beid… A. White Horse Inn accumulated a profit of $160,000 against production costs of $263,000[64]. [40]David Freedman obituary, in: Variety, 9 December 1936. [71](o. 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. His theater, the Admiralspalast, stood on the opposite side of the Spree River in Berlin, across from Charell’s temple, the Grosses Schauspielhaus. [45](o. 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. Kern der der Operette “Im Weissen Rössl am Wolfgangsee“ sind schmelzende Liebesduette. Gaxton was Broadway’s preferred leading man, masculine, confident, dapper, elegant, droll, but never outwardly funny. Ralph Benatzky. [9] (o.A. Das Libretto stammt vom Komponisten zusammen mit Hans Müller-Einigen und Erik Charell. In Ihrem stilvollen Zimmer im Weissen Rössl haben Sie die Gelegenheit, noch weitere Weisse Rössl-Momente zu genießen. Alle Darsteller agierten sowohl als Sänger, Tänzer und als Schauspieler und … 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. Der Wendepunkt zum Musical Seventeen years earlier, Graham had adapted Jean Gilbert’s Die Kino-Königin as The Cinema Star for West End eyes and ears. Here was a unique opportunity to shed Graham’s operetta conventions for a faster, modern White Horse Inn. Why is it he’s the one—and none before or since? 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. 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. 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. 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. Every time she looks at me with her lovely eyes… every time she speaks to me with her silvery voice… I forget everything. 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”). According to expected traditional seasonal patterns, attendance slumped after 1 January 1937, and White Horse Inn grossed between $31,000-35,000 for the next eight weeks. Charell’s advantage: Where cinema could offer only black & white, White Horse Inn had brilliant color on stage and sets in 3-D! Überraschen Sie Ihre Lieben und Bekannten mit einem Gutschein vom Hotel Im Weissen Rössl in St. Wolfgang. Die Operette „Im Weissen Rössl“ trat gleich nach ihrer Uraufführung im Jahre 1930 ihren Siegeszug um die Welt an. Days later, the English syndicate terminated its negotiations for the Hippodrome[29] and abandoned the White Horse Inn project altogether[30]. Giesecke’s daughter Ottilie was renamed Ottoline for London audiences. 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. Ticketes unter Sometimes classified as an operetta, the show … For example, Karl and Leopold speak as Josepha makes her first entrance: Karl: Take my advice, Herr Leopold, as man to man. It was demolished in 1939. And to chew the new-mown hay; 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. In February 1936 the New York Times finally disclosed that a triumvirate of producers, Rowland Stebbins, Warner Brothers and the Rockefellers would present White Horse Inn in September 1936[33]. 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. Such is the moral lesson for tourists in ‘White Horse Inn’, an opulent and be-yodeled operetta by Erik Charell, which Sir Oswald Stoll is presenting on a colossal scale.[17]. Finally, Charell returned from the West Coast for one last look at White Horse Inn before returning to Paris. Ihr Romantik Hotel am Wolfgangsee wurde international bekannt durch die Operette Weisses Rössl am Wolfgangsee von Ralph Benatzky. The chorus and most of the company had been working a week or so before I arrived and they were using their props—bird cages, beer steins, or whatever they might be. 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. ), “News of the Stage: The White Horse Inn Dilemma,” in: New York Times, 2 April 1937. Operette Balzers spielt das weisse Rössl. 205-217. (…) Der Rhythmus, die Zweiteilung setzt sich bis ins Orchester fort, dessen Linke Jazz, dessen radikale Rechte Zither und Laute sind, Heimwehrlaute unter Steirerhut und Hahnenschwanz.[3]. On 18 September 1936, 1256 costumes were delivered for the cast of 162, of whom 104 were chorus, with 8 changes apiece[51]. Otto Siedler), boasted a constant stream of Broadway musical/operetta credits since his debut in 1921, including Pierre in Sigmund Romberg’s mega hit The Desert Song, Robert Mission in Romberg’s equally successful The New Moon and Schani (Strauss Jr.) in London’s Waltzes from Vienna. Stoll’s decision to play a 12-performance week was a nod to the expectations of the Coliseum’s traditional audience, but declining weekday attendance necessitated a premature closing. Giesecke/Grinkle’s nemesis, Smith of Hammersmith, purveyor of the “Hercules” combination, and one piece “Shirtopants” which buttons up the back, has dispatched his son, Sigismund Smith (formerly Sigismund Sülzheimer), to the White Horse Inn to negotiate a settlement between the rival manufacturers. Title At the White Horse Inn / L’Auberge du Cheval blanc Composer Benatzky, Ralph: I-Catalogue Number I-Cat. 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]. [48]Helen Ormsbee, “Gaxton Finds Great Difficulty in Filling Center Theater Stage,” in: New York Herald-Tribune, 27 September 1936. 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. Leopold: One woman, yes! The biggest thing in town for the money.”[63], Rocky Mountains: Trouble in the Alpine Paradise. 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. Arrival of the tourists on the massive NY stage. Greater headaches arose from the mechanical cows, whose heads and tails sway in unison as they moo, each manipulated from behind the set by a fleet of stagehands with ropes. April 1931. Operette in 3 Akten (1988 Remastered Version), Zweiter Akt: Rechtes Bein und linkes Bein - by Grit van Jüten/Peter Minich/Benno Hoffmann/Norbert Orth/Peter Kraus/Elke Schary/Hans Putz/Werner Singh/Chor des Bayerischen Rundfunks/Münchner Kinderchor/Münchner Rundfunkorchester/Willy Mattes/Anneliese Rothenberger on Amazon Music. Conspicuously absent from these accounts is the name Sir Oswald Stoll. 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 … A. Seen through the Critics’ Eyes: New York Reviews. 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. Im weißen Rößl ist eine Verfilmung der Operette Im weißen Rößl von Ralph Benatzky. 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. 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! [64](o. 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. This was known as “vaudeville” in France and the United States. You dance when you walk – sing when you talk – 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]. A flurry of proposals and counter-proposals for Warner Brothers to withdraw, for Rockefeller to take over the production, and for salary cuts were made, and then rejected. The song’s charming music suggests it may have been the only new interpolation compatible with appeal of the original score.

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