Misplaced Pages

#524475

16-617: Schwarzwaldmädel premiered at the Komische Oper in Berlin in August 1917. The opera's touching libretto, appealing melodies, and elegant instrumentation proved immensely popular. It ran in Berlin for 900 performances, and within the next 10 years was performed approximately 6,000 times in Germany and abroad. The work is by far Leon Jessel's greatest success as an operetta composer, and it catapulted him to

32-475: A village in the Black Forest in 1815. It is a complex romantic intrigue centering around two friends from Berlin: Hans and Richard. The girls involved are Hans's current girlfriend Malwine; and Bärbele, the "Black Forest Girl," an orphaned maidservant. Blasius Römer, an aging organ master, is Bärbele's employer, but finds himself secretly attracted to her. After various entanglements and problems, all works out for

48-533: Is an anthology of archival recordings, contains selections from Schwarzwaldmädel sung by Hermann Prey , Rudolf Schock , and Erika Köth , along with selected operetta arias and duets by Lehár and Strauss . Schwarzwaldmädel has been filmed at least six times, as follows: Alte Komische Oper Berlin The old Komische Oper was a privately run Opera house in Berlin-Mitte , Friedrichstraße 104, at

64-514: Is named as the designer of the façade design. In addition to the Friedrichstraße railway station , the surrounding area was also home to the Admiralspalast , one of Berlin's most famous revue theatres in the 1920s, other theatres and various well-known hotels. This central location resulted in a high price for the land even at the time of construction, which in turn made it necessary to erect

80-519: The Reichsmusikkammer in 1937 through the end of World War II . Jessel died in 1942. Nevertheless, Schwarzwaldmädel has retained its popularity among Germans. It was quickly revived in 1945 and 1946 and remains the most popular operetta composed in Germany. According to Andrew Lamb in 150 Years of Popular Musical Theatre , " Schwarzwaldmädel represented all that was best in continental operetta." The picturesque opera takes place in

96-1005: The Haus der Polnischen Kultur ("House of Polish Culture") were built, which opened in 1955 and 1956, respectively. Both institutions moved to new locations in the 1970s and the buildings remained vacant until they were torn down in the late 1990s. A hotel was built at the site and opened in 2006. Hanns Bosenius, Paul Heidemann , Martin Hellberg , Erik Ode , Ewald Wenck , Blandine Ebinger , Hilde Gebühr , Ida Perry , Fee von Reichlin , Grethe Weiser 52°31′17.8″N 13°23′18.2″E  /  52.521611°N 13.388389°E  / 52.521611; 13.388389 Baroque Revival architecture The Baroque Revival , also known as Neo-Baroque (or Second Empire architecture in France and Wilhelminism in Germany),

112-623: The Internationale Neuheiten-Vertriebs-Gesellschaft . In 1929, the Berlin architect Martin Punitzer undertook a design modernisation reflecting the changing musical tastes, in which the plastic decorations inside the building, which were by then perceived as overloaded and old-fashioned, were removed. Opaque glass light boxes were installed on the façade above the entrance, following the contemporary trend towards electronic signage , which attracts attention especially in

128-545: The Weidendammer Bridge . It is not to be confused with today's Komische Oper Berlin , Behrenstraße 55-57. The naming Komische Oper referred to the Parisian Opéra-Comique . The house was built in about eleven months from December 1904 to November 1905. The Berlin building firm Lachmann & Zauber was commissioned with the planning and construction; the architect Arthur Biberfeld (1874-1959) employed there

144-510: The best for the young people. Schwarzwaldmädel has been recorded numerous times. A 1976 recording conducted by Willy Mattes , issued on CD in 1997 by EMI , features singers Dagmar Koller , Adolf Dallapozza , Benno Kusche , Brigitte Lindner, and Martin Finke. A 1953 recording conducted by Franz Marszalek , and issued on CD in 2006, features Gitta Lind , Gretl Schörg , Franz Fehringer , Benno Kusche, and Willy Hofmann. A 2000 EMI CD, which

160-475: The building on a relatively small site of 1,370 m², which was actually too cramped for a music theatre. The builder and first artistic director of the theatre (until 1911), Hans Gregor , described the auditorium as "amateurishly botched", which had 1,254 seats in the stalls and on three cantilevered tiers. In front of the 9.20 m wide stage opening, the orchestra pit provided space for up to 60 musicians. The auditorium, galleries and foyer were lavishly decorated,

176-464: The departure of the artistic director Hans Gregor, operettas were increasingly performed. The singer Aurelie Révy (1879-1957) took over as director of the Komische Oper. A highlight of this phase was the 1917 premiere of Schwarzwaldmädel . In the 1920s, the focus shifted - following the general taste of the time - towards revues . At the beginning of the 1920s, the house became the property of

SECTION 10

#1732908356525

192-473: The evening hours. At the same time, however, the company ran into financial difficulties and put the building up for sale at auction. In the mid-1930s, Kurt Strickrodt ran the house. The building was heavily damaged during the Second World War but remained in use until the early 1950s. It was demolished in 1952. In its place, the Haus der Tschechoslowakischen Kultur ("House of Czechoslovak Culture") and

208-407: The height of the world of European operetta. With the rise of Nazism in the late 1920s, Jessel, who had converted to Christianity in 1894 but was Jewish by birth, had his music boycotted in Germany as early as 1927. The last Nazi-era performance of Schwarzwaldmädel in Germany was in 1936, and recordings and distribution of Jessel's works were then banned outright within the entire Third Reich by

224-506: The sculptural ornamentation executed by the Berlin Bildhauerwerkstatt für Stuck- und Antragearbeiten Albert Kretzschmar could be classified stylistically between Neobaroque and Jugendstil . In the external appearance of the theatre, the neo-baroque features came to the fore through the colossal pilasters and the curves (roof, building edges and gable field), while the façades were made of light-coloured Cotta sandstone. After

240-562: The second half of the 19th century, and are integral to the Beaux-Arts architecture it engendered both in France and abroad. An ebullient sense of European imperialism encouraged an official architecture to reflect it in Britain and France , and in Germany and Italy the Baroque Revival expressed pride in the new power of the unified state. There are also number of post-modern buildings with

256-508: Was an architectural style of the late 19th and early 20th centuries. The term is used to describe architecture and architectural sculptures which display important aspects of Baroque style, but are not of the original Baroque period. Elements of the Baroque architectural tradition were an essential part of the curriculum of the École des Beaux-Arts in Paris, the pre-eminent school of architecture in

#524475