Page - 73 - in Entangled Entertainers - Jews and Popular Culture in Fin-de-Siècle Vienna

Jewish Volkssänger and Musical Performers in Vienna around 1900 | 73 Gimpel from Lemberg Is Here! probably on account of the obvious reference to the real-life theater director. For my purposes here, I have placed “from Lemberg” in parentheses. 39. Klaus Hödl, Als Bettler in die Leopoldstadt: Galizische Juden auf dem Weg nach Wien (Vi- enna: Böhlau, 1994), 148–52. 40. IWE 194 (18 July 1901): 15. 41. Georg Wacks, “Der schöne Moritz von der Klabriaspartie,” in Jüdisches Kabarett in Wien 1889–2009, ed. Marie-Th eres Arnbom and Georg Wacks (Vienna: Armin Berg, 2009), 54–55. 42. Das Variété 15 (8 February 1903): n.p. 43. Fritz Lung was born in Vienna as Friedrich Lung and as a child acted at the Josefstadt Th eater. Later, he performed in Berlin, Hamburg, Dresden, and other cities, before he became a Volkssänger. In 1897, he received a license to operate a singspiel hall and was able to start his own business (IWE 78 [18 March 1904]: 7). 44. IWE 28 (28 January 1903): 6. 45. See IWE 175 (27 June 1902): 15; IWE 166 (18 June 1902): 13. Hirsch’s own troupe performed Dada-Dodo in November 1901. See IWE 314 (15 January 1901): 23. On Wiesberg, see Anna Maria Huber, “Wilhelm Wiesberg” (unpublished PhD dissertation, Vienna, 1938). 46. IWE 166 (18 June 1902): 13. On Schmendrik, see Klaus Hödl, “A Space of Cultural Exchange: Refl ections on the Yiddish Th eatre in the Late Nineteenth Century,” Pinkas 3 (2010): 24–41. 47. See IWE 198 (20 July 1902): 23; IWE 235 (26 August 1902): 15; IWE 237 (28 August 1902): 15. 48. For example, see IWE 177 (29 June 1902): 20. 49. IWE 328 (29 November 1901): 14. 50. IWE 356 (28 December 1901): 6. 51. Franz Xaver Kriebaum was born in Vienna and apprenticed to be a saddle maker. During the war against Prussia in 1866, he demonstrated great valor, for which he received the Silver Cross of Merit and later a singspiel license. At fi rst, he tried his hand at performing as a Volkssänger in Pest and then had a breakthrough in Vienna, where he took the stage as part of a duo along with Aton Nowak. After their collaboration ended, he established his own variety show but gained greater fame only after taking over as director of Dan- zer’s Orpheum (Artistentribüne 34 [22 August 1895]: 1–2.) 52. Born in Pest, Josefi ne Schmer began her career in Vienna as a member of the prominent group run by Johann Fürst (1825–82). She often played men and became famous for her so-called trousers roles (H osenrollen). Many of the great stars of the Viennese Volkssänger scene performed in the ensemble that she founded in 1870. 53. IWE 200 (24 July 1901): 3. 54. IWE 212 (5 August 1901): 3. 55. IWE 187 (11 July 1901): 15. 56. Marietta Kriebaum had also once been a singer at the Deutsches Landestheater in Prague, where she met her husband (IWE 187 [11 July 1901]: 15. After marriage, she retreated into the domestic sphere and gained a reputation as a patron. She later received a license to run her own ensemble after the death of her husband. 57. IWE 314 (15 November 1900): 15; IWE 328 (29 November 1900): 8. 58. I borrow the term “space of communication” from the Austrian historian Moritz Csáky, “Hybride Kommunikationsräume und Mehrfachidentitäten. Zentraleuropa und Wien This open access edition has been made available under a CC BY 4.0 license thanks to the support of Knowledge Unlatched.