Seite - 75 - in Entangled Entertainers - Jews and Popular Culture in Fin-de-Siècle Vienna

Jewish Volkssänger and Musical Performers in Vienna around 1900 | 75 85. Wacks, Budapester Orpheumgesellschaft, 6. 86. Josef Modl was born in Vienna and was hired by Drexler’s Singspielhalle in 1884. He spent much of his professional life in Budapest. In Vienna, he performed mostly with the Budapest Orpheum Society and the Ronacher. See Koller, Volkssängertum, 166–67. 87. Simon Usaty, “O Tempora O Zores: Der österreichische Kabarettist Armin Berg” (PhD diss., Vienna, 2008), 5. 88. Dietmar Krug, “Was die Österreicher und die Deutschen trennt,” Die Presse, 17 No- vember 2012, http://diepresse.com/home/meinung/diesedeutschen/1313957/Was-die- Osterreicher-und-die-Deutschen-trennt (accessed 12 January 2019). 89. Gluck, Jewish Budapest, 168–70. 90. Wacks, Budapester Orpheumgesellschaft, 56–57. 91. Gluck, Jewish Budapest, 170. 92. IWE 145 (2 June 1903): 8. 93. Usaty, “Tempora.” 94. For example, see IWE 92 (4 April 1900): 7. 95. IWE 278 (10 October 1901): 18. 96. IWE 1 (1 January 1902): 8. 97. IWE 123 (3 May 1904): 16. 98. IWE 272 (1 October 1904): 10. 99. IWE 283 (12 October 1904): 15; 342 (13 December 1903): 43. 100. Das Variété 2 (15 October 1902): n.p. 101. IWE 283 (12 October 1904): 15. 102. Das Variété 5 (16 November 1902): n.p. 103. In this context, it is useful refer to a companion volume that accompanied an exhibit at the Jewish Museum Vienna that took place in 2016, titled “Wege ins Vergnügen: Unter- haltung zwischen Prater und Stadt” (“Paths to pleasure: Entertainment between Prater and the city”). Th e topic of the exhibit was “Jewish” entertainment establishments and artists in the late nineteenth and early twentieth centuries. For example, the companion volume mentions that the Budapest Orpheum Society was “a group of Jewish actors” (Brigitte Dalinger, “Jüdisches und Jiddisches,” in Wege ins Vergnügen: Unterhaltung zwi- schen Prater und Stadt, ed. Brigitte Dalinger, Werner Hanak-Lettner, and Lisa Noggler [Vienna: Metropolverlag, 2016], 29.) Although this characterization might be appropri- ate for a publication dedicated to Jewish life, it is nonetheless incorrect. Admittedly, the majority of the members of the Budapest Orpheum Society was Jewish, but the group also had non-Jewish performers. And, I might add, not every single satirical song that the group sang and not every farce that they performed had a Jewish theme, even if this was often the case. 104. Other sources indicate that this birthplace was “somewhere in Galicia or in the Buko- vina.” See Rudolf Oesterreicher, “Ein großer Mann und seine kleinen Schwächen,” in Festschrift der Apollo Kino- und Th eater-Ges. M. B. H. (Vienna, 1954), 18. 105. Österreichisches Biographisches Lexikon 1815–1850, vol. 14 (Vienna: Verlag der Österrei- chischen Akademie der Wissenschaften, 2014), 338–39. 106. Sabine Claudia Tanner, Vom Varieté zum Kino: Die Baugeschichte des Wiener ‘Apollo’- Varietés von 1903–1929 (Saarbrücken: Dr. Müller, 2009), 24–25. 107. Tanner, Varieté, 26. 108. Birgit Peter, “Schaulust und Vergnügen: Zirkus, Varieté und Revue im Wien der Ersten Republik” (PhD diss., Vienna, 2001), 100. This open access edition has been made available under a CC BY 4.0 license thanks to the support of Knowledge Unlatched.