#helen traubel

[haveyouseenthismovie-poll]

[make-a-little-mischief]

Daily dose of Jer

Jerry in first photo: "hey...hey...I'm about to be cute...like, really super cute...and adorable...are you ready??"

Jerry in second photo: teeeeheeee am too cute even for me

Seriously how sweet is this boy ❤️

📷 credit / thank you to @lovejl12

[jerrylewis-thekid]

Did I already write that I love this man? No, Yes?? Ok it's worth repeating: I love this man.

(X)

[jerrylevitch]

Besides watching Jerry performing with Dean or even Sammy, I think the most fun I get watching him perform with another person, is with Helen Traubel. I want their laughter and fun with each other. Hahaha Also I think Helen laughed more at him on stage than anyone.

[thisobscuredesireforbeauty]

The Ladies Man (Dir. Jerry Lewis, 1961). Source

[natehoodreviews]

Watching Stanley Donen’s Deep in My Heart, a biographical musical about the life of famed musical and operetta composer Sigmund Romberg, I was reminded of an observation I once made about Michael Curtiz’s Yankee Doodle Dandy (1942): the film doesn’t so much have dancing as it does choreographed walking and stylized standing.

The music in Deep in My Heart seem like aural realizations of Curtiz’s vivant tableaux, rich with swelling strings, languid with mellow brass. I can appreciate that Romberg’s music from the turn of the twentieth century was remarkable for its time and widely beloved. But looking back, it all seems drained of lifeblood. What bothers me is how the film elects to present it. Usually the musical pieces are performed by one or two singers and/or dancers who croon to the rhythms of a static camera and even more static melodies. Donen isolates the music as the focal point of each of these scenes, leaving our eyes to wander over the threadbare studio sets and occasionally garish costumes. The film clocks in at a staggering 132 minutes. Every single one of them can be felt tick-ticking by.

To read the rest of this review, click on the link!

Published on TheRetroSet.com

[kwebtv]

TV Guide  -  November 3 - 9, 1962

Stanley Augustus Holloway OBE (October 1, 1890 – January 30, 1982)  Actor, comedian, singer and monologist. He was famous for his comic and character roles on stage and screen, especially that of Alfred P. Doolittle in My Fair Lady. He was also renowned for his comic monologues and songs, which he performed and recorded throughout most of his 70-year career.

In 1964, he appeared as Bellomy in the Hallmark Hall of Fame television production of The Fantasticks. 

Holloway played Pooh-Bah in a 1960 US television Bell Telephone Hour production of The Mikado, produced by the veteran Gilbert and Sullivan performer Martyn Green. Holloway appeared with Groucho Marx and Helen Traubel of the Metropolitan Opera.

In 1962 Holloway played the role of an English butler called Higgins in a US television sitcom called Our Man Higgins. It ran for only a season. His son Julian also appeared in the series. . He returned to the US a few more times after that to take part in The Dean Martin Show three times and The Red Skelton Show twice.  (Wikipedia)

[outoftowninac]

THE BLUE PARADISE

1915

The Blue Paradise is a three-act operetta with a book by Edgar Smith, music by Edmund Eysler and lyrics by Herbert Reynolds. It is based on the German operetta A Day in Paradise by Leo Stein and Bela Jenbch.  Additional musical numbers were by Sigmund Romberg, Leo Edwards and Cecil Lean.

The original production was produced by the Shuberts, with staging and scenic design by J.H. Benrimo, and choreography by Ed Hutchinson.

Set in Vienna, it tells the story of Mizzi, a flower girl at the Blue Paradise Inn, who must say goodbye to her sweetheart Rudolph, as he travels to America to find his fortune. When he returns many years later, however, he finds that the sweet girl he loved has turned into a bitter shrew. 

The musical is remembered not for its plot, but for containing one of Romberg’s runaway hit songs, “Auf Wiedersehn”.  It was also notable for being the Broadway debut of Vivienne Segal, who took over the leading role of Mizzi during out-of-town tryouts in Washington DC. It launched an impressive career. 

Speaking of out-of-town tryouts, The Blue Paradise played at Atlantic City’s Apollo Theatre on June 15, 1915.  Cecil Lean (Rudolph) was the star of note. Reviews were mixed. 

“Miss Mayfield...her songs were delivered in a region of the head known in surgery as the occipital frontalis, and most of her lines were chanted, rather than spoken.” ~  LOUIS W. CLINE, PRSS OF ATLANTIC CITY 

The out-of-town tour also played Providence RI, Hartford CT, Washington DC, Asbury Park NJ, and Long Branch NJ.  

Just days before the Broadway opening, producers postponed for a few days to make some last-minute adjustments to the cast. This was likely to give Vivienne Segal, who had recently replaced a performer said to be ill, more time to adjust to the principal part of Mizzi. 

The Blue Paradise opened on Broadway on August 15, 1915 at the Casino Theatre on Broadway and 39th Street. It was a smash hit.  At the end of May 1916, the show moved to the 44th Street Theatre to make way for another smash hit, Very Good Eddie. Eddie had been evicted from its first home, the popular Princess. Blue finished up at the 44th Street a month later with a record-setting run of 356 performances. It is now considered the fourth longest run of a book musical during the 1910s. 

In February of 1930, the Casino Theatre was demolished to make room for the expanding garment district. The 44th Street Theatre was razed in 1945 to add to the New York Times building.

A pre-air conditioning story about The Blue Paradise: 

“It was warm last night - very warm. It was the sort of a night that makes the theatre ono of the lost places the general public thinks of going. The real test of it theatrical production's merit Is the 87-in-the-shade evening. Half a house means It Is a hit; three-quarters a big success, and capacity a marvelous show good for a year on Broadway. The mediocre play cannot successfully combat heat, whereas It may struggle along fairly well against rain or cold. And all this brings me to my story, I stepped up to the box office at the Casino last night, possessing an ambition to see ‘The Blue Paradise.’ Good seats would be plentiful, I thought, because of the heat. Tickets for the last two seats on the lower floor were handed me and the treasurer said I was lucky to have arrived early enough to get them. The house was sold out.”

In the Fall of 1916, the show spawned three road companies that began in Chicago, Philadelphia, and Brooklyn, respectively. 

The song “Auf Wiedersehn” was heard in the 1932 musical short Mail Order Bride. In 1954, it was on screen again, sung by Helen Traubel, in the Sigmund Romberg biopic Deep in My Heart. 

The film premiered in Atlantic City on Christmas Eve at the Apollo Theatre on the Boardwalk, the same venue that had hosted the live out-of-town tryout of The Blue Paradise nearly 40 years earlier. Although it was only for the span of “Auf Wiedersehn” - that brings this blog full circle. 

[joaquimblog]

HELEN TRAUBEL CANTA EL MILD UND LEISE MÉS TRIAT

La versió del “Mind und leise” cantada per la soprano nord-americana Helen Traubel (Saint Louis, Missouri, 16 de juny, 1899 – Santa Monica, Califòrnia, 28 de juliol, de 1972) ha estat la més triada de les 12 proposades, obtenint 29 vots dels 196 emesos, és a dir un 15% dels participants. Arran de la seva Sieglinde cantada al MET sota la direcció de Barbirolli, el 28 de desembre de 1939B, va…

[uyamt]

薔薇（ばら） 　「ヘレン トローベル」 Rose ‘Helen Traubel’

[make-a-little-mischief]

Final installment of "Jerry Tortures Helen with His Love"

These two are the epitome of the "awww" face

[sonyclasica]

ARTUR RODZIŃSKI Y LA FILARMÓNICA DE NUEVA YORK

THE COMPLETE COLUMBIA ALBUM COLLECTION

Las grabaciones de Artur Rodzinski y la Filarmónica de Nueva York para Columbia publicadas por Sony Classical en una caja de 16 CD. Disponible el 23 de abril de 2021.

Artur Rodziński (1892-1958) —considerado el director joven más interesante de Estados Unidos durante la década de 1930— movilizaba al público allí donde iba como invitado, incluida Filadelfia, donde trabajó con Stokowski, y Nueva York, donde su concierto de la Elektra de Strauss en 1937 continúa considerándose un hito en la historia de la Filarmónica. El director polaco, fogoso y volátil (según se dice, guardaba una pistola cargada en el bolsillo para protegerse de los músicos descontentos), cuyo estilo ágil y dinámico emulaba el de su ídolo Toscanini, dirigió y desarrolló la Filarmónica de Los Ángeles (1929-33) y la Orquesta de Cleveland (1933-43), con las que estrenó en Estados Unidos la ópera Lady Macbeth of the Mtsensk District de Shostakovich en 1935. Mientras tanto, también trabajó en Europa, convirtiéndose en el primer estadounidense naturalizado en dirigir la Filarmónica de Viena en el Festival de Salzburgo. Allí, Toscanini admiró su trabajo y en 1938 eligió a Rodziński para formar su nueva Orquesta Sinfónica de la NBC.

 En 1943, Rodziński se convirtió en director musical de la Filarmónica de Nueva York (entonces todavía conocida como la Orquesta Filarmónica-Sinfónica de Nueva York) y rápidamente despidió a 14 músicos, incluido el concertino. Este movimiento aumentó la tensión que ya existía entre él y el director de la orquesta, pero resultó en un conjunto revitalizado. El famoso crítico-compositor Virgil Thomson escribió: "Ahora tenemos una orquesta que es un placer escuchar... y se lo debemos todo a Artur Rodziński".

 Rodziński acumuló una discografía bastante considerable en una carrera discográfica relativamente corta. Durante su periodo en Cleveland, realizó varias grabaciones importantes para Columbia Masterworks, y continuó su asociación con el sello después de asumir su cargo en Nueva York. La nueva caja de 16 discos de Sony Classical con las grabaciones de Rodziński en Nueva York, grabadas en gran parte en el Carnegie Hall entre 1944 y 1946, llenará un vacío importante en el catálogo clásico.

 Rodziński fue quizás más asociado con el repertorio ruso y Wagner. Ambos son importantes en la nueva colección de Sony. Su “Pathétique” fue elogiada por Gramophone por su “claridad notable” y la “voluntad musical de dar a cada nota lo que merece… tomando en cuenta los valores tonales de cada frase… como si nunca antes hubieras escuchado una nota de Tchaikovsky”. La Segunda Sinfonía de Rachmaninoff permaneció en el catálogo hasta bien entrada la era de los LP y se incluyó en un CD recopilatorio, lo que llevó al crítico de ClassicToday a escribir: “Hay una explosividad en la interpretación de Rodziński que te mantiene al borde del asiento ... La fuerza y precisión de la Filarmónica están a la par con las del director". Otras obras rusas importantes que se incluyen son Pictures at an Exhibition de Mussorgsky, "Mozartiana" y las suites de Cascanueces de Tchaikovsky, la Quinta Sinfonía de Prokofiev y el Segundo Concierto para piano de Rachmaninoff con el solista György Sándor.

 Wagner ocupa dos discos completos. La gran soprano estadounidense Helen Traubel aparece en fragmentos de Lohengrin y Tristan und Isolde, así como en el Acto I, escena 3 y todo el Acto III de Die Walküre con otros artistas distinguidos de la Metropolitan Opera, incluido el barítono Herbert Janssen en el papel de Wotan. En el lanzamiento inicial de 78 rpm, el crítico de Gramophone tenía palabras entusiastas para Isolde de Traubel: “La voz es rica y completa y tiene mucho de la calidad trágica y heroica que exige el papel ... en mi opinión, una Isolda mucho más convincente en todos los sentidos [que Kirsten Flagstad]… Mme. Traubel [en el Liebestod] se eleva grandiosamente al fabuloso clímax y nos da un Fa sostenido final maravillosamente claro”. High Fidelity, en su crítica de una reedición del LP, describió a la Brünnhilde de Traubel como "una de sus actuaciones grabadas más exitosas”, ensalzando “la pura nobleza de este enorme, pleno y uniforme eje de sonido”. Siegfried Idyll de Wagner también se incluye en esta edición.

 El abanico de Artur Rodziński se refleja además en generosas muestras de música francesa (Cuarto Concierto para piano de Saint-Saëns con Robert Casadesus y varias obras de Bizet, Ibert, Franck, Satie, Offenbach y Debussy), repertorio estadounidense (Gershwin, Copland y Morton Gould) y sinfonías de Brahms (No. 1 y 2) y Sibelius (No. 4). Esta colección meticulosamente transferida y remasterizada de las grabaciones de la Filarmónica de Nueva York de Rodziński representa una generosa recompensa para los numerosos y pacientes admiradores del director.

 CONTENIDO DE LA CAJA

DISC 1: 

Brahms: Symphony No. 1 in C Minor, Op. 68 (Remastered)

DISC 2: 

Mussorgsky (orch. Ravel): Pictures at an Exhibition (Remastered)

Mussorgsky: Sorochintsky Fair, Act III: Gopak No. 5 (Remastered)

DISC 3: 

Prokofiev: Symphony No. 5 in B-Flat Major, Op. 100

DISC 4: 

Tchaikovsky: The Nutcracker Suite, Op. 71a, TH. 35 (Remastered)

Tchaikovsky: Suite No. 4 in G Major for Orchestra, Op. 61 "Mozartiana" with John Corigliano

Enescu: Romanian Rhapsody No. 1 in A Major, Op. 11 (Remastered)

Liszt: Mephisto Waltz No. 1, Sz. 514 (Remastered)

Wolf-Ferrari: Il segreto di Susanna (The secret of Susanna): Overture (Remastered)

DISC 5: 

Tchaikovsky: Symphony No. 6 in B Minor, Op. 74 "Pathétique"

DISC 6: 

Brahms: Symphony No. 2 in D Major, Op. 73  (Remastered)

DISC 7: 

Saint-Saens: Piano Concerto No. 4 in C Minor, Op. 44 (Remastered) with Robert Casadesus

Satie: 3 Morceaux en forme de poire, IES 38 (Remastered) – Gaby Casadesus

DISC 8: 

Gould: Spirituals for Orchestra (Remastered)

Copland: Lincoln Portrait (Remastered) with Kenneth Spencer

Gershwin: An American in Paris (Remastered)

DISC 9: 

Bizet: Symphony in C Minor (Remastered)

Bizet: Carmen, Act III: Entr'actev (Remastered)

Milhaud: Suite Française (Remastered) – Darius Milhaud

Ibert: Escales (Remastered)

DISC 10: 

Wagner: Die Walküre, Act III (Remastered) with Helen Traubel, Herbert Janssen

Wagner: Siegfried Idyll (Remastered)

DISC 11: 

Wagner: Die Walküre, Act I, Scene 3: "Love Duet" (Remastered) with Helen Traubel, Emery Darcy

Wagner: Tristan und Isolde: Prelude to Act I with Helen Traubel

Wagner: Tristan und Isolde, Act I, Scene 3: Isolde's Narrative - "Erfuhrest du meine Schmach" with Helen Traubel

Wagner: Tristan und Isolde: Prelude to Act III with Helen Traubel

Wagner: Tristan und Isolde, Act III, Scene 4: "Liebestod" with Helen Traubel

Wagner: Lohengrin, Act I, Scene 2: Elsa's Dream "Einsam in trüben Tagen" with Helen Traubel

Wagner: Lohengrin, Act III, Scene 2: Bridal Chamber Scene  with Helen Traubel

DISC 12: 

with the Columbia Symphony Orchestra

Rossini: Guillaume Tell: Overture (Remastered)

Mendelssohn: A Midsummer Night's Dream, Incidental Music, Op. 61 (Remastered)

Liszt: Hungarian Rhapsody No. 2 in C-Sharp Minor, S. 359, No. 4 (Remastered)

Tchaikovsky: Serenade for Strings in C Major, Op. 48: Waltz (Remastered)

Tchaikovsky: None but the Lonely Heart, Op. 6, No. 6 (Remastered) with Martha Lipton

Bizet: L'Arlésienne Suite No. 2: Farandole (Remastered)

Debussy: Suite bergamasque, L.75: III. Clair de lune (Remastered)

Rachmaninoff: Piano Concerto No. 2 in C Minor, Op. 18: I. Moderato (Remastered) with Leonard Pennario

DISC 13:

with the Columbia Symphony Orchestra

Offenbach: Orphée aux enfers: Overture (Remastered)

Franck: Symphony in D Minor: II. Allegretto (Remastered)

Debussy: Trois nocturnes, L. 91: No. 2 Fêtes (Remastered)

Prokofiev: Love for Three Oranges Suite, Op. 33a: III. March (Remastered)

Gershwin: Porgy and Bess, Act I: Summertime (Remastered) with Genevieve Rowe

Dinicu: Hora staccato (Remastered)

Rimsky-Korssakov: Scheherazade, Op. 35: III. The Young Prince and the Young Princess (Remastered)

Glière: The Red Poppy, Op. 70: Russian Sailor's Dance (Remastered)

DISC 14: 

Sibelius: Symphony No. 4 in A Minor, Op. 63

DISC 15: 

Rachmaninoff: Symphony No. 2 in E Minor, Op. 27

DISC 16: 

Rachmaninoff: Piano Concerto No. 2 in C Minor, Op. 18 (Remastered) with György Sándo

[jerrylevitch]

The Ladies Man (1961).

[tcm]

Remembering Jose Ferrer on his birthday, here with Helen Traubel in DEEP IN MY HEART ('54)