the1920sand30s | The Mills Brothers with Louis Armstrong - The Old Folks At Home (1937) @the1920sand30s | Uploaded August 2022 | Updated October 2024, 5 hours ago.
Performed by: The Mills Brothers with Louis Armstrong
Full Song Title: The Old Folks At Home
Recorded in: New York, June 29, 1937
Flip side of: youtu.be/2kkxeyNbHPc
The Mills Brothers, John Charles (b. Oct. 19, 1910, Piqua, Ohio, U.S.—d. Jan. 24, 1936, Bellefontaine, Ohio), Herbert (b. April 2, 1912, Piqua—d. April 12, 1989, Las Vegas, Nev.), Harry (b. Aug. 19, 1913, Piqua—d. June 28, 1982, Los Angeles, Calif.), and Donald (b. April 29, 1915, Piqua—d. Nov. 13, 1999, Los Angeles), American vocal quartet that was among the most unique and influential in the history of both jazz and mainstream popular music.
The Mills Brothers began as a barbershop quartet—which was perhaps only natural, as their father, John H. Mills (1882–1967), owned a barbershop. They gave their first public performances in variety shows on the radio in Cincinnati, Ohio. In about 1930 they moved to New York City, where they became the first African American singers to have their own national radio show. Billed as “Four Boys and a Guitar” and accompanied only by brother John’s guitar, they could sound like a full jazz band, particularly on such numbers as “Tiger Rag,” “St. Louis Blues,” and “Bugle Call Rag.” Each brother specialized in an “instrument”: they imitated two trumpets, a trombone, and a tuba. They were also a hit on records and in live performances, and they appeared in several films, including The Big Broadcast (1932) and Broadway Gondolier (1935).
John C. Mills’s sudden death in 1936 was a blow to the close-knit siblings, and they almost dissolved the act. Fortunately, their father took over his son’s role, and the group continued without any loss in popularity (although it was necessary to employ an outside guitarist). They continued mostly in the hot-jazz style, with a strong emphasis on scat singing and instrumental imitations, and made records with such artists as Louis Armstrong, Duke Ellington, Ella Fitzgerald, and the Boswell Sisters. The Mills Brothers had their biggest hit in 1943 with “Paper Doll,” which sold more than six million records and was also a best seller as sheet music. In the mid-1940s they dropped the instrumental imitations and became a more-conventional vocal group, backed by a regular rhythm section or an orchestra. Their later hits included “You Always Hurt the One You Love” (1944), “Glow Worm” (1952), and “Opus One” (1952).
John H. Mills retired in 1956, and the brothers continued as a trio, recording and performing regularly into the 1970s. The act came to an end after Harry’s death in 1982, but Donald Mills in his last years performed the group’s hits with his son, John H. Mills II. Their sound became identified with an era, and many of their recordings were later used on the sound tracks of movies, including Raging Bull (1980), Pearl Harbor (2001), and Being Julia (2004).
Louis Daniel Armstrong (born August 4, 1901 — died July 6, 1971) was a masterful trumpet player and beloved entertainer in the 20th century. He rose above the hardship and challenges of poverty from a young age and the racism he was subjected to throughout his life to become one of the most influential musicians of his genre.
He played a key role in the development of one of the early 20th century's most important new styles of music: jazz. Though he mostly kept quiet about racial discrimination, much to the disapproval of fellow Black Americans, Armstrong sparked controversy when he spoke out publicly against segregation in Little Rock, Arkansas, in 1957.
Armstrong's inventiveness and improvisational techniques—along with his energetic, dazzling style—have influenced generations of musicians. One of the first to perform scat-style singing, he is also well-known for his distinctive, gravelly singing voice. Armstrong wrote two autobiographies, becoming the first Black jazz musician to write an autobiography, and appeared in more than 30 films.
I hope you enjoy this as much as I have.
Best wishes,
Stu
______________________
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.
Performed by: The Mills Brothers with Louis Armstrong
Full Song Title: The Old Folks At Home
Recorded in: New York, June 29, 1937
Flip side of: youtu.be/2kkxeyNbHPc
The Mills Brothers, John Charles (b. Oct. 19, 1910, Piqua, Ohio, U.S.—d. Jan. 24, 1936, Bellefontaine, Ohio), Herbert (b. April 2, 1912, Piqua—d. April 12, 1989, Las Vegas, Nev.), Harry (b. Aug. 19, 1913, Piqua—d. June 28, 1982, Los Angeles, Calif.), and Donald (b. April 29, 1915, Piqua—d. Nov. 13, 1999, Los Angeles), American vocal quartet that was among the most unique and influential in the history of both jazz and mainstream popular music.
The Mills Brothers began as a barbershop quartet—which was perhaps only natural, as their father, John H. Mills (1882–1967), owned a barbershop. They gave their first public performances in variety shows on the radio in Cincinnati, Ohio. In about 1930 they moved to New York City, where they became the first African American singers to have their own national radio show. Billed as “Four Boys and a Guitar” and accompanied only by brother John’s guitar, they could sound like a full jazz band, particularly on such numbers as “Tiger Rag,” “St. Louis Blues,” and “Bugle Call Rag.” Each brother specialized in an “instrument”: they imitated two trumpets, a trombone, and a tuba. They were also a hit on records and in live performances, and they appeared in several films, including The Big Broadcast (1932) and Broadway Gondolier (1935).
John C. Mills’s sudden death in 1936 was a blow to the close-knit siblings, and they almost dissolved the act. Fortunately, their father took over his son’s role, and the group continued without any loss in popularity (although it was necessary to employ an outside guitarist). They continued mostly in the hot-jazz style, with a strong emphasis on scat singing and instrumental imitations, and made records with such artists as Louis Armstrong, Duke Ellington, Ella Fitzgerald, and the Boswell Sisters. The Mills Brothers had their biggest hit in 1943 with “Paper Doll,” which sold more than six million records and was also a best seller as sheet music. In the mid-1940s they dropped the instrumental imitations and became a more-conventional vocal group, backed by a regular rhythm section or an orchestra. Their later hits included “You Always Hurt the One You Love” (1944), “Glow Worm” (1952), and “Opus One” (1952).
John H. Mills retired in 1956, and the brothers continued as a trio, recording and performing regularly into the 1970s. The act came to an end after Harry’s death in 1982, but Donald Mills in his last years performed the group’s hits with his son, John H. Mills II. Their sound became identified with an era, and many of their recordings were later used on the sound tracks of movies, including Raging Bull (1980), Pearl Harbor (2001), and Being Julia (2004).
Louis Daniel Armstrong (born August 4, 1901 — died July 6, 1971) was a masterful trumpet player and beloved entertainer in the 20th century. He rose above the hardship and challenges of poverty from a young age and the racism he was subjected to throughout his life to become one of the most influential musicians of his genre.
He played a key role in the development of one of the early 20th century's most important new styles of music: jazz. Though he mostly kept quiet about racial discrimination, much to the disapproval of fellow Black Americans, Armstrong sparked controversy when he spoke out publicly against segregation in Little Rock, Arkansas, in 1957.
Armstrong's inventiveness and improvisational techniques—along with his energetic, dazzling style—have influenced generations of musicians. One of the first to perform scat-style singing, he is also well-known for his distinctive, gravelly singing voice. Armstrong wrote two autobiographies, becoming the first Black jazz musician to write an autobiography, and appeared in more than 30 films.
I hope you enjoy this as much as I have.
Best wishes,
Stu
______________________
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.
![Emilio De Gogorza - La Golondrina [The Swallow] (1926)](https://i.ytimg.com/vi/ulF_ypRPFlU/hqdefault.jpg "Emilio De Gogorza - La Golondrina [The Swallow] (1926)
Performed by: Emilio De Gogorza
Full Song Title: La Golondrina
Recorded in: 1926
Flip side of: https://youtu.be/wIoV_clHo1M
Emilio Eduardo de Gogorza (born May 29, 1872 – died May 10, 1949) was an American baritone of Spanish parentage.
He was born in Brooklyn, New York, but brought up and trained musically in Spain. He returned to the USA in his early 20s. He sang in many languages, including French, Italian and English, as well as Spanish. Owing to pronounced near-sightedness, he did not appear on the operatic stage but became a renowned concert and recital artist instead.
De Gogorza recorded prodigiously for the Victor Talking Machine Company. His records display the intelligence and sensitivity of his singing, as well as a polished vocal technique. Victor released many recordings not only under his own name but under various aliases such as Carlos Francisco and Herbert Goddard. He used these pseudonyms for records issued on Victors lower priced black label instead of the premium priced Red Seal label for which he usually recorded. In addition to recording, he also served as an early A&R man for Victor. He helped persuade other well-known opera singers to record for the company, including Enrico Caruso who signed with the label in 1904. Curiously, De Gogorza and Caruso made only one published recording together, a Spanish song entitled A la luz de la luna (In the moonlight) in 1918. In 1928, De Gogorza recorded the song again, with tenor Tito Schipa.
During this time he also was a professor of voice and music for the Curtis Institute of Music in Philadelphia. Among his students was Wilbur Evans who in December 1927 won the first Atwater Kent National Radio Audition, winning first prize out of 50,000 contestants. Evans would become a well-known baritone on Broadway and radio, as well as co-starring in Londons South Pacific opposite Mary Martin.
De Gogorza also taught in retirement; among his pupils were the American composer Samuel Barber and the noted Philadelphia music critic, Max de Schauensee, who left many affectionate reminiscences of him.
He died in 1949 in New York City, from lung cancer at the age of 74.
I hope you enjoy this as much as I have.
Best wishes,
Stu
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.")
![Aldo Visconti - Tornerai [You will return] (1937)](https://i.ytimg.com/vi/v-TKXcpPS7M/hqdefault.jpg "Aldo Visconti - Tornerai [You will return] (1937)
Performed by: Aldo Visconti con orchestra dir. dal M.o Mariotti
Vocalist: Aldo Visconti
Full Song Title: Tornerai
Recorded in: 1937
B-Side: https://youtu.be/HLePKlUmZVw
Emilio Renzi, also known by the stage names Aldo Visconti and Marcello Ferrero (born Faenza, November 2, 1908 - died Turin, October 3, 1990), was a popular Italian tenor of the 1930s.
A light lyric tenor with a small but well-projected voice and remarkable musicality, he studied singing and score reading with tenor Andrea Toscani and maestro Emilio Piccoli.
He made his debut on December 28, 1932, at the Teatro Martinetti in Garlasco, where he played the leading role in Gounods Faust under the direction of maestro Ghiglia. In 1937, at the Teatro Carignano in Turin, he performed as the Contino del Fiore in Crispino e la comare with Afro Poli, followed by the Duke of Mantua in Rigoletto with Mercedes Capsir and Carlo Galeffi, Zorzeto in Il campiello with Magda Olivero and Poli, and Ramiro in La Cenerentola with Capsir, Ernesto Badini, and Italo Tajo.
He sang multiple times at the Teatro alla Scala in Milan and in the main Italian theaters, receiving acclaim from the audience. Thanks to his particularly phonogenic voice, he performed in various opera and operetta productions at EIAR (now Rai), the Italian radio broadcasting company.
In the 1930s and 1940s, Renzi gained great popularity, known not only to opera enthusiasts (he took part in the recording of the first complete opera on 78 rpm records for Cetra, Norma, conducted by Gino Marinuzzi) but also in the field of popular music. Under the pseudonym Aldo Visconti, he became famous for recording hundreds of songs, including a rich series of so-called regime songs.
In 1939, he married the young soprano Marcella Ferrero.
At the conclusion of World War II, the tenor from Faenza encountered closed doors in Italian theaters as a result of his sympathies towards the fascist regime. It wasnt until the early 1950s that he made a comeback to singing, securing a chorus role at Rai in Turin, where he remained for sixteen years. Despite being able to continue performing in concerts even at the age of seventy, he was never able to recapture the same level of success he had once attained.
He died in Turin late at night on October 3, 1990, from a heart attack.
Mario Mariotti, (born 1899 in Paris, France - died 1975 Milan, Lombardy, Italy) was a multi-talented artist. In addition to being a composer, he excelled as a conductor and a songwriter.
In 1931, he married Meme Bianchi, an exceptional soprano renowned for her vocal abilities (1907-2000), and they were blessed with a daughter named Marcella Mariotti, who later pursued a career as an actress.
One of Marios notable roles was as the director of the Odeon record label, where his wife Meme recorded her songs. While he had an accomplished career, Mariottis involvement in scoring Euro-westerns was limited to just one film from the 1950s, The Little Sheriff, which he co-scored alongside Federico Bergamini.
Sadly, Mario Mariotti passed away in Milan, Italy, in 1975.
I hope you enjoy this as much as I have.
Best wishes,
Stu
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.")
![Eric Helgar - In die unbekannte Ferne [Into the unknown distance] (1937)](https://i.ytimg.com/vi/vDniAT-ovRo/hqdefault.jpg "Eric Helgar - In die unbekannte Ferne [Into the unknown distance] (1937)
Performed by: Teddy Stauffer mit seinen Original-Teddies
Vocalist: Eric Helgar
Full Song Title: In die unbekannte Ferne
Recorded in: 1937
Flip side of: https://youtu.be/vGpa-o8h6sQ
Ernst Heinrich Teddy Stauffer (born 2 May 1909 – died 27 August 1991) was a Swiss bandleader, musician, actor, nightclub owner, and restaurateur. He was dubbed Germanys swing-king of the 1930s. He formed the band known as the Teddies (also known as the Original Teddies or the International Teddies), which continued after he left in 1941.
Annual trips to St. Moritz and Arosa, and also a guest appearance in London, were responsible for the international fame of the Teddies band. Until 1939, he appeared with his Original Teddies-Band especially in Berlin and Hamburg. With his jazzy swing music, however, Stauffer increasingly got in trouble with the Reichsmusikkammer.
Teddy Stauffer passed away in 1991 in Acapulco. Following his death, his ashes were scattered in the Pacific Ocean, as per his last wish.
Eric Helgar (born February 8, 1910, in Regensburg – died June 14, 1992, in Munich) was a popular German singer, stage, film actor & composer of the 20th century.
Born during his fathers tour, Swiss opera singer Gustl Helgar, Eric Helgar came into the world in Regensburg in 1910. He grew up in Zurich. At the age of 17, he moved to Berlin to live with his grandmother. There, he met Herbert Grenzebach, a friend of his father & the artistic director of the Ultraphon record company. Optimistically, Grenzebach said to Eric Helgar, [...] if your father has such a magnificent voice, you should be able to sing as well!, & invited him for a trial recording. Grenzebachs assumption was correct, Helgar secured his first record contract.
Eric Helgar owed his film career primarily to his popularity as a young record & radio tenor. His initial recordings were made for the Ultraphon label in December 1930 in Berlin, & thereafter, from 1932 onwards, almost exclusively for the newly established record label of Telefunken. However, during the early years, until about 1935, Helgar also worked, sometimes anonymously, for numerous other Berlin record companies. Helgars interesting, diverse, & versatile repertoire was carried by a pleasant, clear, expressive, & easily recognizable voice. It ranged from simple hits to tangos & sophisticated operetta melodies - such as those by Ralph Benatzky (e.g., Telefunken A 1702, 1934); & included equally demanding chansons & cabaret recordings to big-band swing from the late 1930s to the early 1940s. He made his film debut in 1933 with Was Frauen träumen & a year later, he played the lead role in Der Springer von Pontresina The song Wir wollen Freunde sein fürs ganze Leben from this film became a popular hit. From the mid-1930s, Eric Helgar became one of the main vocal interpreters of Adalbert Lutters popular dance orchestra for Telefunken, including at least one propaganda piece for the National Socialists (e.g., 70 Millionen - ein Schlag 1937).
Helgar is occasionally credited as the composer of his own songs, such as the summer tango Wo Meereswogen rauschen (TO Lutter, Telefunken A 2513, 1938, see the list below). He continued to appear in films until the end of World War II, including Gauner im Frack (1937), Friedemann Bach (1941), & Romanze in Moll (1943). In addition, he lent his voice to less musically talented actors like Karl Schönböck in the film Der Blaufuchs (1938). In 1944, Helgar was listed in the Gottbegnadeten-Liste (God-gifted List) of the Reich Ministry of Public Enlightenment & Propaganda.
Eric Helgar recorded well over 1000 records with many leading German dance orchestras, making him one of the most significant German-language vocal interpreters of the shellac record era.
I hope you enjoy this as much as I have.
Best wishes,
Stu
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.")
![Eric Helgar - Dreaming Of The South Seas [Träumen von der Südsee] (1937)](https://i.ytimg.com/vi/vGpa-o8h6sQ/hqdefault.jpg "Eric Helgar - Dreaming Of The South Seas [Träumen von der Südsee] (1937)
Performed by: Teddy Stauffer mit seinen Original-Teddies
Vocalist: Eric Helgar
Full Song Title: Träumen von der Südsee
Recorded in: 1937
Ernst Heinrich Teddy Stauffer (born 2 May 1909 – died 27 August 1991) was a Swiss bandleader, musician, actor, nightclub owner, and restaurateur. He was dubbed Germanys swing-king of the 1930s. He formed the band known as the Teddies (also known as the Original Teddies or the International Teddies), which continued after he left in 1941.
Annual trips to St. Moritz and Arosa, and also a guest appearance in London, were responsible for the international fame of the Teddies band. Until 1939, he appeared with his Original Teddies-Band especially in Berlin and Hamburg. With his jazzy swing music, however, Stauffer increasingly got in trouble with the Reichsmusikkammer.
Teddy Stauffer passed away in 1991 in Acapulco. Following his death, his ashes were scattered in the Pacific Ocean, as per his last wish.
Eric Helgar (born February 8, 1910, in Regensburg – died June 14, 1992, in Munich) was a popular German singer, stage, film actor & composer of the 20th century.
Born during his fathers tour, Swiss opera singer Gustl Helgar, Eric Helgar came into the world in Regensburg in 1910. He grew up in Zurich. At the age of 17, he moved to Berlin to live with his grandmother. There, he met Herbert Grenzebach, a friend of his father & the artistic director of the Ultraphon record company. Optimistically, Grenzebach said to Eric Helgar, [...] if your father has such a magnificent voice, you should be able to sing as well!, & invited him for a trial recording. Grenzebachs assumption was correct, Helgar secured his first record contract.
Eric Helgar owed his film career primarily to his popularity as a young record & radio tenor. His initial recordings were made for the Ultraphon label in December 1930 in Berlin, & thereafter, from 1932 onwards, almost exclusively for the newly established record label of Telefunken. However, during the early years, until about 1935, Helgar also worked, sometimes anonymously, for numerous other Berlin record companies. Helgars interesting, diverse, & versatile repertoire was carried by a pleasant, clear, expressive, & easily recognizable voice. It ranged from simple hits to tangos & sophisticated operetta melodies - such as those by Ralph Benatzky (e.g., Telefunken A 1702, 1934); & included equally demanding chansons & cabaret recordings to big-band swing from the late 1930s to the early 1940s. He made his film debut in 1933 with Was Frauen träumen & a year later, he played the lead role in Der Springer von Pontresina The song Wir wollen Freunde sein fürs ganze Leben from this film became a popular hit. From the mid-1930s, Eric Helgar became one of the main vocal interpreters of Adalbert Lutters popular dance orchestra for Telefunken, including at least one propaganda piece for the National Socialists (e.g., 70 Millionen - ein Schlag 1937).
Helgar is occasionally credited as the composer of his own songs, such as the summer tango Wo Meereswogen rauschen (TO Lutter, Telefunken A 2513, 1938, see the list below). He continued to appear in films until the end of World War II, including Gauner im Frack (1937), Friedemann Bach (1941), & Romanze in Moll (1943). In addition, he lent his voice to less musically talented actors like Karl Schönböck in the film Der Blaufuchs (1938). In 1944, Helgar was listed in the Gottbegnadeten-Liste (God-gifted List) of the Reich Ministry of Public Enlightenment & Propaganda.
Eric Helgar recorded well over 1000 records with many leading German dance orchestras, making him one of the most significant German-language vocal interpreters of the shellac record era.
I hope you enjoy this as much as I have.
Best wishes,
Stu
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.")
![Emilio De Gogorza - La Paloma [The Dove] (1926)](https://i.ytimg.com/vi/wIoV_clHo1M/hqdefault.jpg "Emilio De Gogorza - La Paloma [The Dove] (1926)
Performed by: Emilio De Gogorza
Full Song Title: La Paloma
Recorded in: 1926
Pilar Guerra is a 1926 Spanish film directed and written by José Buchs and based on the novel by Guillermo Díaz Caneja that bears the same title. The story revolves around a village teacher and the conflictual love affair she has with the mayors son. The film stars María Antonieta Monterreal and Juan de Orduña.
Emilio Eduardo de Gogorza (born May 29, 1872 – died May 10, 1949) was an American baritone of Spanish parentage.
He was born in Brooklyn, New York, but brought up and trained musically in Spain. He returned to the USA in his early 20s. He sang in many languages, including French, Italian and English, as well as Spanish. Owing to pronounced near-sightedness, he did not appear on the operatic stage but became a renowned concert and recital artist instead.
De Gogorza recorded prodigiously for the Victor Talking Machine Company. His records display the intelligence and sensitivity of his singing, as well as a polished vocal technique. Victor released many recordings not only under his own name but under various aliases such as Carlos Francisco and Herbert Goddard. He used these pseudonyms for records issued on Victors lower priced black label instead of the premium priced Red Seal label for which he usually recorded. In addition to recording, he also served as an early A&R man for Victor. He helped persuade other well-known opera singers to record for the company, including Enrico Caruso who signed with the label in 1904. Curiously, De Gogorza and Caruso made only one published recording together, a Spanish song entitled A la luz de la luna (In the moonlight) in 1918. In 1928, De Gogorza recorded the song again, with tenor Tito Schipa.
During this time he also was a professor of voice and music for the Curtis Institute of Music in Philadelphia. Among his students was Wilbur Evans who in December 1927 won the first Atwater Kent National Radio Audition, winning first prize out of 50,000 contestants. Evans would become a well-known baritone on Broadway and radio, as well as co-starring in Londons South Pacific opposite Mary Martin.
De Gogorza also taught in retirement; among his pupils were the American composer Samuel Barber and the noted Philadelphia music critic, Max de Schauensee, who left many affectionate reminiscences of him.
He died in 1949 in New York City, from lung cancer at the age of 74.
I hope you enjoy this as much as I have.
Best wishes,
Stu
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.")
![Max Hansen - Vier Worte Möcht Ich Dir Jetzt Sagen [Four words I would like to tell you now] (1928)](https://i.ytimg.com/vi/w_m1uTZJqOk/hqdefault.jpg "Max Hansen - Vier Worte Möcht Ich Dir Jetzt Sagen [Four words I would like to tell you now] (1928)
Performed by: Max Hansen
Full Song Title: Vier Worte möcht ich dir jetzt sagen
Recorded in: Berlin, Germany, 1928
Flip side of: https://youtu.be/Ky9RKyiXyYs
Max Hansen (born 22 December 1897 – died 12 November 1961), also known as The Little Caruso, was a popular Danish/Swedish/German singer, cabaret artist, actor, and comedian of the 1920s and mid 30s.
Hansen was born Max Josef Haller in Mannheim, Imperial Germany as an illegitimate child to the Danish actress Eva Haller and a Jewish father, by other sources a Swedish Officer Schürer von Waldheim. He grew up with foster-parents at Munich, where he first appeared at the Cabaret Simplizissimus at the age of 17. In 1914 he moved to Vienna and appeared in several smaller theaters as a singer and comedian.
In 1924, Hansen created the tenor role of Baron Kolomán Zsupán in Gräfin Mariza at Hubert Marischkas Theater an der Wien in Vienna. This production moved to the Metropoltheater in Berlin after 900 performances. In Berlin he founded the Kabarett der Komiker with Paul Morgan and Kurt Robitschek. Hansen was engaged by Max Reinhardt for his revival of Offenbachs La belle Hélène and by Erik Charell for his production of Lehars The Merry Widow. Hansens greatest stage success was in creating the role of Leopold the waiter in Ralph Benatzkys operetta-musical The White Horse Inn, a part he also undertook in Richard Oswalds 1926 silent movie.
In 1928, Hansen satirized Adolf Hitler as a homosexual with his song Warn Sie schon mal in mich verliebt? (Have you ever been in love with me?), which caused the bitter hate of the Nazis, which subsequently led to his prosecution shortly after Hitler came to power. In contrast, he also parodied the opera and operetta soprano Gitta Alpár (in drag) in a film recording dating from the same year. He returned to Vienna in 1933 and worked again at the Theater an der Wien. In 1936 he met Zarah Leander on a Scandinavian tour and engaged her as his stage partner at Vienna. After Austria was invaded by Germany in 1938, Hansen emigrated to Denmark, where he founded his own theater at Copenhagen. Richard Tauber had written an operetta Franz im Glück for him, which was due to be performed at the Theater an der Wien in the 1938/39 season; but the annexation of Austria into Nazi Germany in March 1938 put an end to that.
In 1951 he returned to Germany and was successful once again singing the role of Leopold the waiter (The White Horse Inn) in Hamburg and at Berlins Theater am Nollendorfplatz. In 1953 Hansen moved back to Copenhagen, where he died in 1961.
Hansen was married to Austrian actress Lizzi Waldmüller and after 1939 to Britta Hansen. He had four children. His daughter Ann-Mari Max Hansen, born in 1949, and his son Max Hansen Jr., born in 1954, are both actors.
In 2004 the German director Douglas Wolfsperger portrayed Hansen in his documentary Warn Sie schon mal in mich verliebt?
I hope you enjoy this as much as I have.
Best wishes,
Stu
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.")
