Sigmund Romberg's Greatest Musical
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German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
The Student Prince in Old Heidelberg (1927) Performing Live: Neil Brand Friday Night Gala: 23 March 2018
The Student Prince in Old Heidelberg (1927) Performing live: Neil Brand Friday Night Gala: 23 March 2018 In 1899 Wilhelm Meyer-Forster published his novel Karl Heinrich about the impossible love between a crown prince and an innkeeper's daughter. He made it into a play Alt- Heidelberg in 1901. Two years later the play opened in New York in a translation by Rudolf Bleichmann, Old Heidelberg. A film adaptation directed by John Emerson and starring Wallace Reid and Dorothy Gish came out in 1915. A German film version was made in 1923 by Hans Behrendt, with Paul Hartmann and Eva May. An operetta version by Dorothy Donnelly and Sigmund Romberg, The Student Prince, opened in New York in 1924, breaking all box-office records. Noting its success, in 1926 MGM decided to make a film of it directed by Ernst Lubitsch. MGM secured Hans Kraly, Lubitsch's regular scenarist, to make the screen adaptation and chose two of their biggest stars for the principal roles. The romantic Ramon Novarro, who had just played the lead in Ben-Hur, was ideally cast as the Crown Prince. But the casting of Norma Shearer, wife of MGM's 'boy wonder' Irving Thalberg, proved troublesome. The usually genial Lubitsch protested saying she was too grandly mannered for the part. An extract from Sam Marx's book Mayer and Thalberg describes what happened when Thalberg and Shearer returned from honeymoon and Shearer began work on the set: “Mein Gott,” Lubitsch shouted. “I can get a waitress from the commissary who will do better than you!” The tearful star asked that Thalberg be called to the set. -
Exoticism and Auto-Exoticism in Opera and Operetta
HStud 27 (2013)2, 291–311 DOI: 10.1556/HStud.27.2013.2.7 TURKS, HUNGARIANS, AND GYPSIES ON STAGE: EXOTICISM AND AUTO-EXOTICISM IN OPERA AND OPERETTA LYNN HOOKER Indiana University, IN, USA E-mail: [email protected] The tradition of European “classical music” has long evoked the exotic, and two of the most prominent exotic referents in that tradition are the Middle East, first and foremost the Turk, and the Hungarian Gypsy, raising the questions of how these “exotic” traditions are related, and what their comparison might tell us about the idea of musical exoticism more broadly. In this essay, I briefly survey the “Turkish style” and its use in Classical-period opera; discuss its replacement by Hungar- ian-Gypsy style in the nineteenth century; and finally examine the interesting juxta- position of Turkish and Hungarian-Gypsy topics in two fin-de-siècle Central Euro- pean operettas, Der Zigeunerbaron by the Austrian Johann Strauss Jr. and Gül baba by the Hungarian Jenõ Huszka. An examination of these works and their reception reveals fissures between the Viennese and Budapest versions of operettas featuring “exotic” topics and characters, and between the operetta industries in the two cities. These details offer a fascinating look at the dividing line between exoticism and auto-exoticism and at the significance of references to Turkish and Hungar- ian-Gypsy topics in the Central European cultural climate of this period – in short, a reconsideration of what it means to be Hungarian, and for whom. Keywords: Hungarian music, exoticism, auto-exoticism, Hungarian-Gypsy style, Turkish style (alla turca), operetta, Johann Strauss Jr., Jenõ Huszka The tradition of European “classical music” has long evoked the exotic: “linking [works] to some especially fascinating, attractive, or fearsome place: to an Else- where and, usually, to its inhabitants and their supposed inclinations and ways” (Locke, 2009, 1). -
The Student Prince Program 2018
Light Opera of Portland presents THE STUDENT PRINCE A Spectacular Light Opera Book and Lyrics by Dorothy Donnelly Music by Sigmund Romberg THANK YOU SPECIAL THANKS TO Home Depot for discounts on supplies for building the set MKTX for marketing and promotion support Dennis Freeze for photography Gallery Theater for lending costumes City of Beaverton for rehearsal space TVFR for use of Firestation 65 community room for rehearsals Brother’s Bookkeeping for setting up and managing our books Set Design and Construction Joe Rosenthal, David Ridley, Dennis Britten, Dennis Freeze, David Smith, Gabrielle Widman, Jacob Mott, Linda Smith, Pat Lach, Ron Swingen Costume Design and Construction Lucy Tait, Barbara Berger, Elaine Dinsel, Phyllis Fort, Cynthia Mintun, Marguerite Kendall, Sandra King Donors Dennis Britten, Paul Crable, Phyllis Fort, Helens Pacific Costumes, Catherine Huard, Jilane and David Onasch, Wanda Silverman, David & Linda Smith YOUR DONATION The Light Opera of Portland is a 501c3 organization. Please donate to help us continue providing excellent light opera. LOoP depends on the generous donations of our friends and patrons to support our ongoing efforts of providing high-quality, entertaining light opera productions. Whether you made the suggested donation upon entering or choose to add to your donation upon exiting, be assured your contribution is helping this young theatre company bring you more of the fun of treasured theatre works in the future. Please let us know particularly if you are able to help by donating space to store our sets, rehearsal space or performance space. Thank you for your help. Sponsored by Jilane and David Onasch THE STUDENT PRINCE A Spectacular Light Opera Book and Lyrics by Dorothy Donnelly Music by Sigmund Romberg Directed by Dennis Britten Music directed by Linda Smith Costumes by Lucy Tait Set by Joe Rosenthal Produced by David Smith March 16 7:30 PM | March 17 2:00 PM | March 18 6:30 PM March 23 7:30 PM | March 24 7:30 PM | March 25 2:00 PM Alpenrose Opera House 6149 Shattuck Rd. -
1914 the Ascap Story 1964 to Page 27
FEBRUARY 29, 1964 SEVENTIETH YEAR 50 CENTS New Radio Study 7A^ I NEW YORK-Response Ratings, a new and unique continuing study measuring radio station and jockey effectiveness, will he 'r, launched in next week's issue. This comprehensive radio analysis- another exclusive Billboard feature-will he carried weekly. Three different markets will be profiled in each issue. It will kick off in the March 7 Billboard with a complete study of the New York, Nashville, and San Francisco markets. In subsequent weeks, the study will consider all key areas. This service has been hailed by broadcast The International Music -Record Newsweekly industry leaders as a major breakthrough in station and personality Radio -TV Programming Phono-Tape Merchandising Coin Machine Operating analysis. Beatles Business Booms But Blessings Mixed Beatles Bug BeatlesGross r z As They 17 Mil. Plus Paris Dealer, 31-4*- t 114 In 6 Months 150 Yrs. Old, Control Air NEW YORK - In the six By JACK MAHER six months prior to the peak of Keeps Pace NEW YORK - While a few their American success, Beatles manufacturers were congratu- records grossed $17,500,000 ac- Story on Page 51 lating the Beatles for infusing cording to EMI managing direc- new life and excitement into the tor John Wall. record business others were This figure, which does not quietly venting their spleen include the huge sales of Beatles against the British group. records ín the U. S., shows the At the nub of their blasphe- staggering impact the group has mies was the enormous amount had on the record industry t r 1.+ra. -
Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2020 Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star Caleb Taylor Boyd Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Film and Media Studies Commons, Music Commons, and the Sociology Commons Recommended Citation Boyd, Caleb Taylor, "Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star" (2020). Arts & Sciences Electronic Theses and Dissertations. 2169. https://openscholarship.wustl.edu/art_sci_etds/2169 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Todd Decker, Chair Ben Duane Howard Pollack Alexander Stefaniak Gaylyn Studlar Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star by Caleb T. Boyd A dissertation presented to The Graduate School of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2020 St. Louis, Missouri © 2020, Caleb T. Boyd Table of Contents List of Figures ................................................................................................................................ -
Untitled, It Is Impossible to Know
VICTOR HERBERT ................. 16820$ $$FM 04-14-08 14:34:09 PS PAGE i ................. 16820$ $$FM 04-14-08 14:34:09 PS PAGE ii VICTOR HERBERT A Theatrical Life C:>A<DJA9 C:>A<DJA9 ;DG9=6BJC>K:GH>INEG:HH New York ................. 16820$ $$FM 04-14-08 14:34:10 PS PAGE iii Copyright ᭧ 2008 Neil Gould All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, mechanical, photocopy, recording, or any other—except for brief quotations in printed reviews, without the prior permission of the publisher. Library of Congress Cataloging-in-Publication Data Gould, Neil, 1943– Victor Herbert : a theatrical life / Neil Gould.—1st ed. p. cm. Includes bibliographical references (p. ) and index. ISBN-13: 978-0-8232-2871-3 (cloth) 1. Herbert, Victor, 1859–1924. 2. Composers—United States—Biography. I. Title. ML410.H52G68 2008 780.92—dc22 [B] 2008003059 Printed in the United States of America First edition Quotation from H. L. Mencken reprinted by permission of the Enoch Pratt Free Library, Baltimore, Maryland, in accordance with the terms of Mr. Mencken’s bequest. Quotations from ‘‘Yesterthoughts,’’ the reminiscences of Frederick Stahlberg, by kind permission of the Trustees of Yale University. Quotations from Victor Herbert—Lee and J.J. Shubert correspondence, courtesy of Shubert Archive, N.Y. ................. 16820$ $$FM 04-14-08 14:34:10 PS PAGE iv ‘‘Crazy’’ John Baldwin, Teacher, Mentor, Friend Herbert P. Jacoby, Esq., Almus pater ................. 16820$ $$FM 04-14-08 14:34:10 PS PAGE v ................ -
Jeff Warren JEFF WARREN (Capt
about th Dhea tre at Guy S. Little, Jr. first Opera stars, Mr. Little went on to Columbia University In only two years, the and the American Theatre Wing, garnering the knowl- one of the outstanding edge and experience which would make possible his e summer stock world. Summer of Musicals. uity theatre between Chi- In the past two seasons, some twenty top shows f the few musical theatres were produced at The Grand, including ROBERTA, he latest Broadway musi- CALL ME MADAM, FINIAN'S RAINBOW, THE PA- an air-conditioned indoor JAMA GAME, ANNIE GET YOUR GUN, THE KING medy to his home town AND I, SHOWBOAT and OKLAHOMA! Now an Equity ealized after years of train- theatre, established with midwest audiences and con- that direction. Trained in siderably enlarged in scope, Summer of Musicals ami, where he played launches its thiid and most exciting season to date, pre- Theatre and appeared senting six recent Broadway releases which have never support to Metropolitan been seen in Central Illinois and four all-time favorites. Z6out the -Shod$ The Midwest Premiere of BELLS ARE RINGING, lighted by the "Peer Gynt Ballet" and wonderful songs Broadway smash hit which starred Judy Holliday, opens like "Strange Music." Since its introduction in 1944, it the season. This delightful show, which includes tunes has rapidly taken its place in the standard operetta like "The Party's Over" and "Just in Time" is the won- repetoire. derfully wacky story of Ella Peterson, who completely SAY, DARLING, which starred Johnny Desmond, upsets a telephone answering sewice but wins the Vivian Blaine and David Wayne in the original New hearts of everyone she meets. -
Broadway Sheet Music Collection Print Collection 31 Finding Aid Prepared by Siduri Beckman
Broadway sheet music collection Print Collection 31 Finding aid prepared by Siduri Beckman. Last updated on July 26, 2016. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2016 June 28 Broadway sheet music collection Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 5 Controlled Access Headings..........................................................................................................................5 Collection Inventory...................................................................................................................................... 7 - Page 2 - Broadway sheet music collection Summary Information Repository University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts Title Broadway sheet music collection Call number Print Collection 31 Date [inclusive] 1918-1929 Extent 2 linear feet (6 boxes) Language English Language Note The bulk of the material is -
ROMBERG Time (1887-1948)
CMYK N 8.110866 Sigmund Playing AXOS Historical ADD ROMBERG Time (1887-1948) h THIS COMPACTAND COPYING OF BROADCASTING DISC PROHIBITED. UNAUTHORISED PUBLIC PERFORMANCE, RESERVED. TRANSLATIONS ALLAND TEXTS ARTWORK, THIS SOUND RECORDING, RIGHTS IN 74:35 8.110866 Romberg conducts Romberg, Volume 1 2003 HNH International Ltd. Shirlee Emmons, Lois Hunt, Genevieve Rowe, Sopranos Jo Cameron, Lillian Cornell, Mezzo-Sopranos Stuart Churchill, Eric Mattson, Richard Wright, Tenors Lawrence Brooks, William Diehl, Warren Galjour, Baritones RCA Victor Chorus • The Robert Shaw Chorale • Robert Shaw, Chorus master BLOSSOM TIME: Sigmund Romberg is often 1 Blossom Time Waltzes 3:10 considered to be the link between Romberg conducts • 1 2 Tell Me Daisy 4:44 two musical worlds, the richly 3 Song of Love 3:13 melodic operetta and the © 4 THE BLUE PARADISE: Auf Wiedersehen 5:01 American stage musical. Born in 2003 HNH International Ltd. 5 MAYTIME: Will You Remember 3:19 Hungary, he emigrated to THE STUDENT PRINCE: America in 1909 where he found 6 Drinking Song 2:50 work as a pianist and conductor at 7 Deep in my Heart, Dear 3:41 a bistro which became a stepping- 8 Ballet Music 3:24 stone to a composing career in Tin 9 Golden Days 4:49 Pan Alley and later Broadway. 0 Serenade 4:56 Romberg contributed songs to ! Student Prince Waltzes 3:02 some 66 stage shows and 7 screen @ ROSALIE: West Point Song 4:11 musicals. At the height of his # THE NIGHT IS YOUNG: When I Grow Too Old to Dream 3:01 career, two companies across the DESERT SONG: street from each other, performed $ Riff Song 3:43 Maytime simultaneously. -
'The Student Prince"
Grand Theatre--.Sullivan, Illinois 'The Student Prince" July 14 through July 19 American Premiere of Beethoven's The Glorious How and the Canadian Premiere of The Lone- recently featured with the New York City some Train in which he starred in the role of . Center Opera Company in Street Scene and The BaNad of Baby Doe. Chosen for the Metropoli- in Canada for his acting, his poetry and his ,. tan Opera Auditions of the Air, Miss Wolff has singing. appeared with the Met as Ninetta in La Peri- chole. In the musical comedy field. she has ROBERT GWALTNEY (Lutz), now in his toured with Brigadoon and with Harry Belafonte third season at the Grand, has delighted this in Sing Man Sing. In addition, she has appeared summer's audiences with his portrayals as in ooeretta off-Broadway and as Meg in Damn Sandor in Bells Are Ringing. Omar in Kismet, Yankees at the Lambertville Music Circus. Her and Big Jule in Guys adDolk After leaving ' television credits include NBCs Tonight Show. Sullivan last summer, Mr. Gwaltney went to the Sharon Playhouse in Connecticut, where he ap- ' CHARLES RICH (The Prince) is equally at peared with Ronald Rogers in The Vagabond home in opera, operetta or musical comedy. He King. He then played two weeks in Rochester, . '. has played leading roles in La Traviata, The New York, at the Show Boat Club inKiss He Mikado, and Brigadoon, to list only a few of Kate. During the season in New York this year. his many credits. Milwaukee audiences have Mr. Gwalmey was seen in the off-Broadway seen him at Melody Circus and with the Floren- pmduction of The Saimlilness of BIugerie Kemp I Y tine Opera Company. -
Ernst Lubitsch & the Transnational Twenties: the Student Prince in Old Heidelberg (USA 1927)
UC Berkeley TRANSIT Title Ernst Lubitsch & the Transnational Twenties: The Student Prince in Old Heidelberg (USA 1927) Permalink https://escholarship.org/uc/item/6t02590p Journal TRANSIT, 10(2) Author McCormick, Rick Publication Date 2016 DOI 10.5070/T7102031166 Peer reviewed eScholarship.org Powered by the California Digital Library University of California McCormick: Ernst Lubitsch & the Transnational Twenties: The Student Prince in Old… Ernst Lubitsch & the Transnational Twenties: The Student Prince in Old Heidelberg (USA 1927) TRANSIT vol. 10, no. 2 Rick McCormick The silent cinema was already transnational to a degree that would be difficult to maintain once film industries began to convert to sound cinema, and Ernst Lubitsch epitomized the transnationalism of the 1920s. His last two films in Germany were financed with American money; arriving in Hollywood at the end of 1922, he brought other German artists and technicians with him and sent for more over the course of the decade. Lubitsch used European—mostly Central European—plays and operettas as the basis of his American films, and he followed the German cinema closely in the 1920s, imitating technical innovations and popular genres, meanwhile publishing articles in the trade journals in Germany. In 1927 he made his first silent operetta film, which was also his first American film set in Germany: The Student Prince in Old Heidelberg, a film meant to compete with similar films being made in Germany. In discussing this film, I will demonstrate that it is not only transnational in terms of the movements mentioned above of artists, technicians, ideas, styles, and genres back and forth across the Atlantic, but also because of the ethnic, gender, and sexual politics of the film and its production itself.