September 2010

HEINZ ERHARDT zingt

Rudolf Schock / Benno Kusche in 'Neither' ne Oper H. Erhardt (photo: Bild + Funk 1979)

Rudolf Schock sings in an operatic parody Heinz Erhardt

But I'm starting to Jacques Offenbach (1819-1880 ) with whom the music genre 'operetta' in 1858, a true triumph begins (see "RS Dostal Nico sings ").
Offenbach's "operetta" Orphée aux Enfers (Orpheus in Unter der Welt) ' is the very first feature-length drama that "shameless" parody and ridicule. The pomposity and smugness of a rather limited class "art experts" - for example around the time of Offenbach acclaimed operas Christoph Willibald von Gluck, Giacomo Meyerbeer, are mercilessly pierced, unshakable gods and heroes of classical antiquity, in theaters mankind an example should serve a multitude of human weaknesses attributed, princes and their courts caricatural enlarged to pathetic, yet vicious hit-and followers. Offenbach's musical creativity and sharp eye for human action found the operetta-ON-HER BEST-out!

From Jacques Offenbach (pictured with glasses) to Heinz Erhardt seems a bold step. But I dare to make that step and place Erhardt's 'Zehnpfennigoper' from 1948 (in 1978 transformed into 'Neither' ne Oper ) just in the Offenbach tradition. So I ask you to consider 'Neither' n Komponist "and his name is

Heinz Erhardt (1909-1979)

Online there is plenty to read, see and hear about and from Heinz Erhardt. For me no need to go into detail on all his words and deeds. Also fits my modesty. Germans will ring their dear versatile comedian undoubtedly better able to judge its artistic merit than I as a Dutchman. Al surprised I do have a rule in Westermann's 'Kulturtagebuch - 1900 bis heute' (Brunswick 1984-1. Aufl.) "And during the early eighties the wandering eyes of nostalgic glorification even the kidney-shaped table and the egg-headed spell nag those (formerly ) time, Heinz Erhardt, rehabilitated, then sits there might also be behind the desire for a period that more than ours, was successful in forcing out of fear "(Rainer Wagner's essay: Against Rigidity) . It is used in the remainder of this essay clear why Rainer Wagner wants to look ahead, " a nostalgic escape from reality" is not without risks. But it also testifies not 'inflexibility' , if you only look forward and must never be in awe or admiration may look back? Phenomenon as an example to Heinz Erhardt?

Heinz Erhardt was a sheep with five legs: comedian, caberetier / actor, poet / writer, entertainer and musician / composer. He starred in films and was like a mass entertainer / artist lecture / comedian especially in the fifties and sixties very popular (see "YouTube" and watch and listen to such 'Das Gewitter = thunder' from 1959) . His humor relies on wordplay, original ideas, crazy exaggeration, stunning contrasts and formulated striker wisdom and experience.

(Poster due 100th bent

ortedag painted by Julia Denuell)

After a stroke in 1971 Heinz Erhardt can not write and speak, to read and listen.
In 1978/79 he prepares his son with Gero (born 1942) and composer Peter Thomas a (television) operation for the 'Zehnpfennigoper' .
As a director is the experienced Claus Peter Witt ( even born. 1942) attracted.

On February 21, 1979, one day after Erhardt's 70th birthday, shows the ZDF (Zweites Deutsches Fernsehen) opera on television. A few months later dies Heinz Erhardt.

'Neither' ne Oper (lyrics: Heinz Erhardt / music: Heinz Erhardt, Peter T Homas)

in the foreground Left to right:
Schramm, Kusche, Schock
(photo: Bild + Funk 1979)

'Neither' ne Oper is an operatic parody, by Heinz Erhardt "Kabarettoper" called, whose music on the assembly line unabashedly quotes from operas, operettas and folk songs. It is in itself an attraction to try title and composer of the famous melodies, instrumental in the many transitions briefly glow, à la minute home. Wagner's Der fliegende Holländer ' and Verdi's ' Aida ' pass, Beethoven's ' Alle Menschen were Brüder " sounds and then there's Yahoo Schubert, von Weber, Lortzing, Lehár, Johann Strauss Jr.., Mozart and folk tune "Muss i denn" , the musical grab bag filling it up.
The plot recalls the famous musical dramas: Clothilde, wife of knight Kunibert, throws himself on the lines of Tosca of the castle wall and in two bloody battles plus execution at the end, we recognize the cliché of many violent opera finals. The story is simple: Kunibert Geierblick and his fellow robber barons. Clothilde is charmed by Geierblick, and vice versa. The couple loves each other on the sly, which is not hidden and cost four lives. Heinz Erhardt is in his element: his opera is full of comic exaggeration and paradoxical nonsense. Or just have paradoxes make sense? In the epilogue of "operaatje" the listener hears: "You make 'serious matters "not cheer them to be treated seriously. Only 'gay issues' are worth to serious to be treated ". I get the impression that the comedian Heinz Erhardt is grimly cheerful about the humorless, dead serious way, how often in an ivory tower, both can artists and critics such as literature, art and music, spoken and written. Erhardt let in two breaks of his opera theater personality Loriot (photo) opt reason, the 'social critical depth, and the once-historic significance of this Erhardt-art 'explained. Elsewhere in the text he Loriot say "You had Johann Sebastian Bach in Leipzig , Wolfgang Amadeus Mozart in Vienna, Richard Wagner in Bayreuth and have Heinz Erhardt at the ZDF"! is also fun to experience the contrast between classic operatic style and silly pictures and texts: the first company makes Geierblick combative and solemnly made his entrance in a sort of rocking horse. Kunibert host offers him a cup of wine, but Geierblick rehearses endlessly monotonous falsetto and it's too early in the morning can not stand to drink. Clothilde sings the same note repeatedly in her big aria, "which they " took a bath but the water too cold " and a special nod goes out of by the" brilliant "composer" with brilliant ease composed " 'exceeding great love duet' Geierblick-Clothilde in the second act:" Weil du mich liebst , ich bin so glückliche, Weil du mich liebst, ich bin so Froh ": we write 1979 and Rudolf Schock and Margit Schramm present themselves again - ironically - as " Operetta-Dream Couple of sixty years.

Performance and Cast
More than one hour long television opera by Erhardt can be - after a few glasses of wine - "scientifically sound manner" along these lines:
1) Preparation of the opera

2) First act of the opera

3) Loriot on critical social positioning of the opera

4) Second Act of the opera

5) Loriot about this opera in historical perspective

6) Gone with the Wind: worldwide reception of the opera

7) Third act of the opera

8) Epilogue: "Only happy things are worthy of severity to be treated "

The plot of 'Neither' ne Oper lasts from 1979 despite the pompous announcement of" three acts "in itself not much longer than her Radio -archetype: the music drama in one act " 'Die Zehnpfennigoper. The title refers playful, but emphatically modest to 'Threepenny Opera' (1928) Kurt Weill / Bertolt Brecht. The double length of the TV production is mainly due to the addition of a number 'making of' scenes in which the staff at the TV film the opportunity to showcase their vanity.

of the old, more than half-hour radio version Berlin Classics brought in a special Heinz Erha rdt-edition CD with a Wagnerbas Gustav Neidlinger as Kunibert and (especially) operetta tenor Rupert Glawitsch as Geierblick.

The television is (still?) Unprofessional released on DVD or CD, but located in the archives of the "Deutsche Kinemathek ' ie the' Museum für Film und Fernsehen " Berlin. To my knowledge, he must be requested and can be viewed.

for the occupation of 'Neither' ne Oper the ZDF in 1978 invited a host of personalities at the time German-speaking world of film, theater, television (radio) and music: Heinz Erhardt , which since 1971 is could not talk, can be seen as "mysterious, silent man in the park'' but occasionally to hear using old radio recordings. Erhardt's former role of narrator has been taken by caricaturist, writer, film director and television writer Vicco von Bülow (Loriot) , between the three companies through - I already mentioned - as a "socially committed musicologist" the "provides expert commentary.

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The exuberant bass-baritone Benno Kusche (1916-2010) sings and swipes a knight effectvol Kunibert (In one of the following articles I'll definitely still Benno Kusche back). Kusche and Schock were versatile singers, which are in opera and operetta, frequently encountered: for example in the EMI studio for Richard Wagner's 'Meistersinger von Nürnberg " (Berlin 1956) and the Eurodisc studio for ' Gypsy Baron " by Johann Strauss Jr.. (Berlin 1964). Operetta diva Margit Schramm (1935-1996) plays and sings a calculating and cool Clothilde, who - apart from its contribution to the "love duet" with Rudolf Schock - totally not her operetta past recalls and Rudolf Schock derives obviously a lot spe elplezier the grotesque depiction of 'knight of the sad fi gure ' Geierblick.

In the "making of" scenes and a flashback (with Heinz Erhardt as man-in-the-park 'and Chris " spiel Reien mit Schallplatten ' Howland as the paper stick-with-wind: Photo Bild + Funk 1979) are - sometimes very short - all the other co-workers to see, including actor Gert ("Goldfinger ') Fröbe from childhood idol to celebrated stage actress grown: Cornelia Froboess (photo), stage actor Harald Juhnke , pianist / bandleader Paul Kuhn (he 'does' in the opera 'conductor'), stage actor and TV presenter Hans-Joachim Kulenkampff , singer Evelyn Künneke (daughter of the composer Eduard Künneke ), stage actresses Inge Meysel and Liselotte Pulver and - from a golf course - film and t oneelgrootheid Heinz Rühmann .

left: Gert Fröbe
right: Heinz Rühmann

In Bottom: Chief Conductor Emmerich Smola (b. 1922) introduced his 'Radio Orchestra of the SWF (Südwestfunk)' by Offenbach's score-follower Heinz Erhardt: on such a serious manner that it can be considered in harmony with the colorful, musical conception of the composer.

Krijn de Blank, 11/16/2010
* Next time: RUDOLF SHOCKING sings Edmund EYSLER . Nach Eysler: RUDOLF SHOCKING * sings LEO FALL

Note: "Rudolf Schock sings Hans Ebert / Hans Bethge ' comes back in mid December 2010!

art market

Now it is finished, after a few weeks stress and sewing on a piece I had on Sunday with a friend a booth at the art market here in our neighborhood. My biggest concern was by then the weather had been, but which proved to be unfounded, it was a beautiful day with bright sunshine and pleasant late summer heat.

And so they looked the AdelesWelt on the market (in the photo is not me ;-)):

I had a lot of cosmetic bags, embroidered bibs, canvas bags with shoulder strap, key rings and Seahorse washcloth. ;-)
My friend sews beautiful baby hats, diaper bags, pillows and stuffed elephant. The booth was very colorful, but also an eye catcher.
being scrutinized actually have many, especially women, "Is this Süüüüüüüüüssss" In short scream broke out. But the local clientele is so pragmatically oriented, the most common phrase was "Oh, beautiful! .... But I need something really not!" * Eye roll *

Especially at the beginning, we were also short of the target group by the public, plus mostly 60th Since we both were bedröppelt something in the afternoon but then came a lot of young families and in the end I can say that I can not be entirely satisfied with the result.
I sold a little of everything, had many friendly contacts, a lot of dear friends and met a nice day with my girlfriend. This is quite a lot. ;-)

And here's a small Parade, which has been finished:

canvas bags with embroidery front:

Bib with embroidery, sometimes even digitized, as you can see I am a friend of Berlin dialect ;-)), who came by the way also the public good, and prompted much Geschmunzel.