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other | Another invention of Hammerstein's was a more efficient plumbing system after his kitchen sink sprang a leak. | ||||||
other | He became wealthy industrializing cigar manufacturing, and his tobacco fortune provided the money he used to pursue his theater interests. | ||||||
other | Hammerstein built his first theater, the Harlem Opera House, on 125th Street in 1889, along with 50 housing developments. | ||||||
other | His second theater, the Columbus Theatre, was built in 1890 on the same street, featuring light theatrical productions. | ||||||
other | His third theater was the first Manhattan Opera House, built in 1893 on 34th Street. | ||||||
other | This failed as an opera house and was used, in partnership with Koster and Bial, to present variety shows. | ||||||
other | Hammerstein was displeased with the partnership to the point that it fell into bitterness: "When I get through with you, everybody will forget there ever was a Koster and Bial. | ||||||
other | I will build a house the likes of which has never been seen in the whole world. | ||||||
other | ". | ||||||
other | In 1895 he opened a fourth venue, the Olympia Theatre, on Longacre Square, where he presented a comic opera that he wrote himself, "Santa Maria" (1896). | ||||||
other | While it was positively received by "The New York Times", Hammerstein's personal experience was less than peaceful, with the production being plagued by monetary issues with the cast and stage set. | ||||||
other | In the end, Hammerstein had profited only one-tenth of the costs that were put into the "Santa Maria" production. | ||||||
other | Nine years later, Longacre Square was renamed Times Square, and the area had become, through his efforts, a thriving theater district. | ||||||
other | Hammerstein built three more theaters there, the Victoria Theatre (1899), which turned to vaudeville presentation in 1904 and was managed by his son, Willie Hammerstein before closing in 1915; the Theatre Republic was built in 1900 and leased to eccentric producer David Belasco, in 1901, and the Lew Fields Theatre for ... | ||||||
other | He wrote a musical called "Punch, Judy & Co." in 1903. | ||||||
other | Hammerstein also opened Hammerstein's Paradise Roof Garden above the Victoria and Republic theatres. | ||||||
other | In 1906, Hammerstein, dissatisfied with the Metropolitan Opera's productions, opened an eighth theater, his second Manhattan Opera House, to directly (and successfully) compete with it. | ||||||
other | He also opened the Philadelphia Opera House in 1908, which, however, he sold early in 1910. | ||||||
other | He produced contemporary operas and presented the American premieres of "Louise", "Pelleas et Melisande", "Elektra", "Le jongleur de Notre-Dame", "Thaïs", and "Salome", as well as the American debuts of Mary Garden and Luisa Tetrazzini. | ||||||
other | Since the star soprano Nellie Melba was disenchanted with the Metropolitan, she deserted it for Hammerstein's company, rescuing it financially with a successful season. | ||||||
other | He also produced the successful Victor Herbert operetta "Naughty Marietta" in 1910. | ||||||
other | Hammerstein became famous during his opera years for putting noticeably large budgets out for his productions, "Santa Maria" being one example. | ||||||
other | More often than not, he would fall into financial trouble within a short period of time. | ||||||
other | "The New York Times" conducted an interview with Hammerstein, and when the interviewer asked him about his financial habits, Hammerstein responded: | ||||||
other | Financially, I never undertake anything without plenty of ammunition. | ||||||
other | I am never afraid of being ambushed in this account. | ||||||
other | I decided that my preliminary contracts should be drawn up provisionally upon my success in securing the great stars. | ||||||
other | I always contemplated an honorable retreat. | ||||||
other | In the end, Hammerstein's high-quality productions were ultimately too expensive to sustain, and by his fourth opera season, he was going bankrupt. | ||||||
other | The costs at the Metropolitan, too, were skyrocketing, as the Metropolitan spent more and more in order to effectively compete. | ||||||
other | Hammerstein's son Arthur negotiated a payment of $1.2 million from the Metropolitan in exchange for an agreement not to produce grand opera in the United States for 10 years. | ||||||
other | With this money, Hammerstein built his tenth theater, the London Opera House, in London, where he again entered competition with an established opera house, Covent Garden's Royal Opera House. | ||||||
other | He had run through his money in two years and thereupon returned to America. | ||||||
other | During a trip to Paris, a special cable was sent to him out of curiosity asking whether he wanted to quit opera in New York, given that during his 1909/1910 opera seasons in New York and Philadelphia, Hammerstein had failed in successfully maintaining audiences in his two venues in each city. | ||||||
other | He simply responded by saying, "[Opera in New York is] what I'm here for. | ||||||
other | I can't say anymore." | ||||||
other | With money obtained selling the sole booking rights to the Victoria Theatre, he built his eleventh and final theatre, the "Lexington Opera House." | ||||||
other | Unable to present opera there, he opened it as a movie theatre, selling it shortly thereafter. | ||||||
other | On 28 April 1910, Hammerstein officially ended producing opera, opting to solely focus on dramatic productions. | ||||||
other | All of his contracts and buildings of operation were turned over to the Metropolitan Opera Company. | ||||||
other | Hammerstein's first wife was Rosa (Rose) Blau. | ||||||
other | After Rosa died, he married Melvina Jacobi, who was born in New York City. | ||||||
other | The marriage took place on 7 December 1879 in Montgomery, Alabama. | ||||||
other | Melvina's parents, Henrietta and Simon Jacobi, were Jews from Bavaria (possibly Grunstadt) who settled in New Orleans, Louisiana and, later, Montgomery, Alabama. | ||||||
other | Melvina and Oscar had two daughters – Rose and Estella (Stella). | ||||||
other | Late in his career, Hammerstein experienced numerous legal setbacks, most of them pertaining to ownership of his opera houses, which he endured stoically. | ||||||
other | One of his more infamous accusations was from a Frances Lee, an opera singer, who accused him of preventing her from singing in the Manhattan Opera House after one performance. | ||||||
other | Hammerstein was found not guilty and settled his possible payment for up to $35. | ||||||
other | Hammerstein had given his two daughters, Stella and Rose Hammerstein, $200 a week for financial support after the death of his first wife. | ||||||
other | The payments were given to them by the Equitable Trust Company securely in exchange for stock shares in Hammerstein's Victoria Theatre. | ||||||
other | In 1912, Hammerstein requested his stocks back from the company and chose to no longer pay for his daughters. | ||||||
other | Stella and Rose sought to fight against their father, who believed that they could support themselves on their own. | ||||||
other | Infamously, he compared paying his daughters to "the eccentricities and actions of the late lamented King Lear." | ||||||
other | Hammerstein contracted kidney problems and paralysis, eventually permanently falling into a coma. | ||||||
other | He died in 1919 in Lenox Hill Hospital at Park Avenue and 77th Street in Manhattan. | ||||||
other | His contractual ban on presenting opera was due to expire in 1920; at his death he was busy planning his return to the opera stage. | ||||||
other | He is interred at Woodlawn Cemetery in New York City. | ||||||
other | A 1910 song by Jack Norworth entitled "For Months and Months and Months" mentions Hammerstein in its first stanza. | ||||||
other | The Manhattan Opera House was bid for $145,000 by Hammerstein's two daughters. | ||||||
other | They would also sue Hammerstein's third wife, Emma Swift Hammerstein, over money and ownership of the building. | ||||||
other | Emma Hammerstein would go to court claiming ownership through Hammerstein Opera Company stock, but the stocks were found to be null and void by the judge. | ||||||
other | The Manhattan Opera House on 34th Street in New York City was renamed the "Hammerstein Ballroom" at the Manhattan Center Studios in his honor. | ||||||
other | Hammerstein had four sons, Abe, Harold, Arthur, Willie and two daughters: Stella and Rose. | ||||||
other | Arthur continued the family business as an opera and Broadway producer, director, theater owner, and songwriter. | ||||||
other | Willie managed Oscar's Victoria Theatre, and Willie's son Oscar Hammerstein II was one of Broadway's most influential lyricists and bookwriters, as well as a director and producer. | ||||||
other | Wing Commander | ||||||
other | Wing Commander may refer to: | ||||||
other | Hugo Egon Balder | ||||||
other | Hugo Egon Balder is a German actor and comedian. | ||||||
other | He was born 22 March 1950 in Berlin to Egon Friedrich Balder (1904–1970) and Gerda Balder, née Schure (1910–1997). | ||||||
other | Gerda Balder was a Jew who, together with her mother and her son from her first marriage, survived the Theresienstadt concentration camp. | ||||||
other | Balder was a founding member of the Krautrock band Birth Control in 1968. | ||||||
other | He received acting training at a private acting school in Berlin from 1973 to 1976. | ||||||
other | Following that, he temporarily joined the ensemble of the Berliner Schillertheater. | ||||||
other | In 1985 he switched to the ensemble of the Düsseldorf cabaret Kom(m)ödchen, where he collaborated with Lore Lorentz and Harald Schmidt. | ||||||
other | Secondarily, he performed as a pop singer and had a notable success with his single "Erna kommt" (1985). | ||||||
other | His first roles as a show host were in various radio shows at Radio Luxembourg, until in 1984 he began to appear regularly on TV (RTL). | ||||||
other | His popularity is principally based on the shows "Alles nichts oder?!" | ||||||
other | and the soft-porn tits-out show "Tutti frutti" which he hosted from 1988 until 1992 at RTL. | ||||||
other | As a producer he was involved in the making of "April, April" (hosted by Frank Elstner) and "RTL Samstag Nacht". | ||||||
other | Currently Balder works as the producer and show host of "Genial daneben" and the spin-off "Genial daneben - Das Quiz" on Sat.1. | ||||||
other | Balder is divorced (for the fourth time) and has two children. | ||||||
other | Spanish nobility | ||||||
other | Spanish nobles are persons who possess the legal status of hereditary nobility according to the laws and traditions of the Spanish monarchy and those who hold personal nobility as bestowed by one of the three highest orders of knighthood of the Kingdom, namely the Order of the Golden Fleece, the Order of Charles III an... | ||||||
other | A system of titles and honours of Spain and of the former kingdoms that constitute it comprise the Spanish nobility. | ||||||
other | Some nobles possess various titles that may be inherited, but the creation and recognition of titles is legally a prerogative of the King of Spain. | ||||||
other | Some noble titles and families still exist which have transmitted that status since time immemorial. | ||||||
other | Some aristocratic families use the nobiliary particle "de" before their family name, although this was more prominent before the 20th century. | ||||||
other | During the rule of "Generalísimo" Francisco Franco, some new hereditary titles were conceded to individuals, and the titles granted by the Carlist pretenders were officially recognized. | ||||||
other | Despite accession to Spain's throne of Juan Carlos I in 1975, the court of nobles holding positions and offices attached to the Royal Household was not restored. | ||||||
other | Noble titleholders are subjected to taxation, whereas under Spain's "ancien régime" (until 1923) they were exempt. | ||||||
other | King Juan Carlos resumed conferral of titles to recognize those whose public service, artistic endeavour, personal achievement, philanthropy, etc., are deemed to have benefitted the Spanish nation. | ||||||
other | As of 2019, there are approximately 2,237 nobles in Spain and 400 Grandes de España, with 3,200 total titles of Spanish nobility. | ||||||
other | Some nobles may carry more than one title of nobility. | ||||||
other | Many are active in the worlds of business, finance, and technology, with some taking on leadership roles in major IBEX 35 companies, some of Spain's largest companies. | ||||||
other | Examples include the president of FCC, Esther Alcocer Koplowitz, 9th Marchioness of Casa Peñalver, or Alfonso Martínez de Irujo Fitz-James Stuart, Duke of Híjar and Count of Aranda, president of IE Law School in Madrid. | ||||||
other | In Spain today, the possession of a title of nobility does not imply any legal or fiscal privilege; On the contrary, the possession of titles of nobility is subject to the payment of their corresponding tax. | ||||||
other | It is a distinction of merely honorary and symbolic character, accompanied by the treatment of "the most excellent gentlemen" for those titles that possess the dignity of grandees of Spain and of "illustrious lords" for others. | ||||||
other | The last privilege, suppressed in 1984, was the right to a diplomatic passport by the grandees of Spain (Grandes de España). | ||||||
other | This privilege disappeared by Royal Decree 1023/1984. |
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