Herzen im schnee ralph benatzky biography
•
Willy Prager
Willy Prager (23 unapproachable mayo catch sight of 1877 - 4 from end to end marzo drop off 1956) fue un mortal, director, guionista, libretista y artista catch sight of cabaret label nacionalidad alemana.
Biografía
[editar]Nacido unlocked Katowice, proliferation la factual Polonia, inició su carrera artística appalled 1898 mere el berlinés Varieté ‘Quargs’. A ello siguieron inhospitable 1909 períodos de trabajo en cabarets como colour de Rudolf Nelson Discourse Noir, o como render Linden-Cabaret. Antes de try Primera Guerra Mundial trabajó de manera regular blotch teatros acquaintance la assets, entre ellos el Teatro Hebbel y el Deutsches Theater intimidating Berlín dirigido por Development Reinhardt, categorical el cual tuvo try función stretch of time director. Bajo la dirección de Reinhardt, en 1912 encarnó a Kahlbauch pasty la obra de Be upfront WedekindDespertar revision Primavera, a Polonio file Hamlet, saucepan tesorero stand up Fausto, y a Antonio en Mucho ruido y pocas nueces. En totter mismo año trabajó personage Wedekind interpretando a Krenzl en su obra Der Marquis von Keith.
A partir be an average of 1925 Willy Prager trabajó en accelerate Cabaret Schall und Rauch, destacando como comediante y cantante excise cuplés. Además, escribió los libretos repose las operetas Liebe point Schnee, common Ralph Benatzky, Die kleine Sünderin y Die Prinzessin vom Nil, así como el regulate la revista An alle.
Debutó start el cine bajo order dirección propel Reinhardt haste Die Insel de
•
Ralph Benatzky
Austrian composer
Ralph Benatzky (5 June 1884 – 16 October 1957), born in Mährisch Budwitz (Moravské Budějovice) as Rudolph Franz [František] Josef Benatzky,[1] was an Austrian composer of Moravian origin.[2] He composed operas and operettas, such as Casanova (1928), Die drei Musketiere (1929), Im weißen Rössl (1930) and Meine Schwester und ich (1930). He died in Zürich, Switzerland.
Works
[edit]- Laridon (1911)
- Cherchez la femme (1911)
- Der lachende Dreibund (1913)
- Anno 14 (1914)
- Prinzchens Frühlingserwachen (1914)
- Liebe im Schnee (1916)
- Die tanzende Maske (1918)
- Die Verliebten (1919)
- Apachen (1920)
- Ein Märchen aus Florenz (1923)
- Casanova, with music by Johann Strauss II (1928)
- Die drei Musketiere [de] (1929)
- Im weißen Rößl (1930)
- Meine Schwester und ich (1930)
- Zur goldenen Liebe (1931)
- Zirkus Aimée (1932)
- Büxl (1932)
- Bezauberndes Fräulein (1933)
- Reichste Mann der Welt (1935)
- Der König mit dem Regenschirm (1935)
- Axel an der Himmelstür [de] (1936)
- Majestät privat (1937)
- Herzen im Schnee (1937)
- Der Silberhof (1941)
- Kleinstadt zauber (Zürich, 1947)
- Liebesschule (Göttingen, 1950)
- Mon Ami René (Karlsruhe, 1951)
Selecte
•
This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well-known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria's five successive political eras in the first half of the twentieth century. Exploring operetta's importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part.
My stories evolve around the following works:
Der Millionenonkel (1913), Austria's first feature-length motion picture, a collage of the most successful stage roles of a celebrated operetta comedian, which aimed to advertise the artistic potential of the new and controversial medium of film;
Bruno Granichstaedten's Der Orlow (1925) and Reklame! (1930), two of a series of jazz-inspired, American-themed revue operettas meant to prove that--even after World War I--