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Werner Klemperer war ein deutsch-amerikanischer Schauspieler und Musiker. Werner Klemperer (* März in Köln; † 6. Dezember in New York) war ein deutsch-amerikanischer Schauspieler und Musiker. HEROES. Bob Crane as Col. Robert E. Hogan, left, Werner Klemperer as Col. Wilhelm Klink in the show s pilot, January 8, Ihre Suche nach "werner klemperer" ergab 82 Treffer. Sortieren nach: Bitte auswählen, Interpret A-Z, Interpret Z-A, Titel A-Z, Titel Z-A, Preis aufsteigend, Preis. Entdecke alle Serien und Filme von Werner Klemperer. Von den Anfängen seiner 38 Karriere-Jahre bis zu geplanten Projekten. Werner Klemperer ist ein amerikanischer Schauspieler. Entdecke seine Biographie, Details seiner 38 Karriere-Jahre und alle News. Finden Sie perfekte Stock-Fotos zum Thema Werner Klemperer sowie redaktionelle Newsbilder von Getty Images. Wählen Sie aus erstklassigen Inhalten.
Werner Klemperer - Darsteller
Kann das gut gehen, gemeinsam Lotto zu spielen? Werner Klemm. Um die Figur authentischer darstellen zu können, eignete er sich wieder einen deutschen Akzent an. Victor Klemperer.
Aufgrund seiner eigenen Biografie hatte Klemperer die Rolle nur unter der Toni Erdmann Stream Deutsch angenommen, dass er als deutscher Kommandant niemals über seinen Gegenspieler triumphieren würde. Von bis diente er als Soldat in der US-Armee. Werner Klemperer starb am 6. Es ist Winter. Artikel am Lager. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Beachgirls Rodrian. Günter Mohr. Filme. von Klaus Jepsen (als Genosse Klaus) in The Wicked Dreams of Paula Schultz () [Synchro ()]; von Reinhard Glemnitz (als Lt. Huebner) in Das. Klicken Sie hier, um alle Episoden von Ein Kaefig voller Helden zu sehen. Click here to watch all Episodes of Hogan's Heroes in English. Bob Cranes Sohn. Wilhelm Klink played by Werner Klemperer (Known for: Judgment at Nuremberg) also the son of conductor Otto Klemperer. I have a few of Otto Klemperer's. Werner Klemperer Menu de navigation Video
One Step Beyond THE HAUNTED U BOAT S1E17 Klemperer died of cancer according to John A. The Alaskans. The Court of Last Resort. Facebook Comments. Finally, nowhere in his film does Bregstein himself offer critical or explanatory comments on the historical events he portrays, thus allowing us viewers to form our own opinion and draw our own conclusions. His natural, authentic interpretations The Art Of More seal his reputation as Themroc ideal representative of the new era after the First World War. Once on American soil, he even imparted composition lessons to Otto Klemperer. Views Read Edit View history. Worth Game Of Thrones Staffel 1 Movie4k and powerful. Harold Baxter segment "Love and the Unbearable Fiance". Fredric Cregar.
Jahrhunderts, also…. Hauptseite Themenportale Zufälliger Artikel. Werner Klemperer starb am 6. Victor Klemperer. Allein Gelassen Klemp. Slowly, she becomes M.Ladys.De. Ein Käfig voller Helden Season 3. Louise Troy — Kim Hamilton — The New York Times. Orlando Sentinel. Retrieved May 22, The New York Review of Books.
Retrieved October 3, Hogan's Heroes Fan Club. Archived from the original on June 7, TV Guide Retrieved August 4, Archived from the original on October 12, Retrieved June 26, Klink in Hogan's Heroes ".
Los Angeles Times. January 8, Retrieved March 12, Joseph News-Press. Associated Press. May 29, Retrieved January 14, — via Google News.
April 13, Rode — Pt 1 and Pt 2". Film Noir Foundation. Retrieved October 13, Reading Eagle. December 8, Biography portal.
Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file.
Download as PDF Printable version. Wikimedia Commons. Klemperer in on the set of ABC's Password. Death of a Scoundrel. Kiss Them for Me. Operation Eichmann.
Judgment at Nuremberg. Escape from East Berlin. Youngblood Hawke. The Wicked Dreams of Paula Schultz. Goodyear Television Playhouse. The Secret Files of Captain Video.
Alfred Hitchcock Presents. General Electric Theater. Perry Mason. Studio One. The Thin Man. The Court of Last Resort.
The Silent Service. Behind Closed Doors. The Third Man. Have Gun — Will Travel. More complete information about commentators and interviewees, as well as the musical works and the various orchestras Klemperer conducts, can be found later in this book.
What I have not touched is my original editing concept. I felt I might run the risk of destroying a work of art.
My friend Agosti did such an outstanding job when he edited the version that I never thought of even wanting to retouch that.
Hans Curjel — German conductor and dramatist; studied violin and conducting at the Karlsruhe Conservatory; conductor at the Dusseldorf Theatre, deputy director of the Baden Kunsthalle Karlsruhe.
Emigrated to Switzerland in His monumental Experiment Kroll Oper — appeared posthumously in , edited by Eigel Kruttge.
Herbert Downes — Principal violist of the Philharmonia from till ; also prolific chamber music player. Forbach thereafter enjoyed a long and successful career as a stage and film actress.
George Harewood — A music enthusiast, Lord Harewood devoted most of his career to opera and held various posts at the Royal Opera House, Covent Garden — , where he invited Klemperer to conduct and direct Fidelio and , Zauberflöte , and Lohengrin Peter Heyworth — American-born British music critic and journalist, author of the authoritative 2-volume biography Otto Klemperer.
His Life and Times and editor of Conversations with Klemperer. After the death of Hans Curjel, prepared his monumental Experiment Krolloper for publication in Kuphal, Jr.
The footage he shot in the s with an 8-mm camera from his desk in the orchestra of Klemperer conducting the orchestra he allowed us to use for free in the film.
In Morris played a crucial role in helping establish the New Philharmonia Orchestra and was its chairman until Klemperer kept up a regular correspondence with her and at the time of his Berlin Philharmonic concerts in May visited her in East-Berlin.
Karl Ulrich Schnabel — Son of Artur Schnabel, was a concert pianist in his own right and an internationally celebrated piano teacher. Wrote critical biographies of, i.
Heinz Tietjen — German opera conductor and producer, since director of the German Opera Berlin, of the Staatsoper Unter den Linden and the Kroll Opera — , between and general director of all Prussian state theatres; — conductor and producer at the Bayreuth Festival, in close relation with Winifred Wagner.
Peter Weiser — From till , worked with Ingeborg Bachmann for the American Occupation radio station in Vienna, as of chief dramatist with Austrian Radio; between and general secretary of the Vienna Konzerthaus Society.
Fritz Zweig — Studied with Arnold Schoenberg; from chorus master and conductor at various German opera houses, until when Klemperer engaged him at the Kroll Opera; fled to France in , from there to the USA in , enjoying a successful conducting career there.
In so far the use of archive material in this film requires the explicit approval of rightholders of that material we have — in our best efforts and as far as we were able to verify — contacted all rightholders and acquired necessary permission for the use of.
However, if we have failed to locate a rightholder, we kindly invite him or her to contact Interakt via interakt interakt.
Philo Bregstein has re-edited his movie Otto Klemperer in rehearsal and concert in and additionally supplemented and enriched it with new recordings, including interviews with people who collaborated with this world-famous conductor.
The result is the movie Klemperer The Last Concert. As a classical music lover and amateur pianist, I had always been rather critical of the usual music films one sees on television.
For me this applied also to the filming of musical performances. When filming a harpsichord recital by Gustav Leonhardt, in the role of J. Bach, they kept the camera static, as if giving it its own seat in the hall like an individual concertgoer.
As is so often the case, while filming we had to overcome a number of unexpected setbacks. Amazingly enough, this rather primitive way of working perfectly suited my vision of filming concerts as if from the static position of one individual listener.
Taken together, these were conditions most professional cameramen would have refused to work under. Fortunately, as it turned out we could use most of the material we had filmed this way.
After a lapse of forty years, I renewed contact with Otto Freudenthal, who in the meantime had built up a reputation for himself as a composer and could look back on an international career as concert pianist.
During the editing process, together with Freudenthal, I incorporated these passages into the picture to coincide with the relevant rehearsal sections so as, again, to illuminate the way Klemperer worked.
He also had to collect these parts again at the end of the concert and deliver them back to Klemperer at his Hyde Park hotel suite.
I understand that many famous conductors, from Gustav Mahler to Lorin Maazel, followed the same practice. Again, this shows — what concert audiences are seldom aware of — that successful concerts depend for a good deal on meticulous preparation.
For Klemperer The Last Concert I could thus eloquently clarify the distance and difference between then and now by simply juxtaposing the original material with the series of new digitally filmed interviews I had done in London in the summer of Vladimir Ashkenazy, conductor laureate of the Philharmonia, looks back at the year when, as a young pianist, he played the Second Piano Concerto by Brahms under the then already elderly Klemperer in the Royal Festival Hall.
Regretfully, Otto Freudenthal, whose intense collaboration proved so essential for both the old and the new version, died unexpectedly in November With hindsight, one could perhaps say there were signs that all was not well.
At this moment we have four different and new pairs of glasses. Soon after he announced he would no longer conduct in public.
It was to create one of the richest episodes in British, if not European musical life. So, when before the concert I was summoned to his room, I was full of nervous fear that I had not pleased him.
Goodbye, we shall meet at the concert. But of course: so sure of the music! The hip fracture in and the insertion of a permanent metal pin meant that he would now conduct mainly sitting down.
When, in September , he suffered 2nd- and 3rd-degree burns over 15 per cent of his body, disabling him from conducting for a whole year, it put a further strain on his physical abilities.
I could play every note. We used to come in together even in the most tricky spots. He had a little downward, swallow. Even without much apparent direction, however, there was an immense feeling of inevitability about any of his tempi; yet, somehow there was always time to turn corners.
It might get worse. Relf, you will help me mark the parts for the next concert? Klemperer; when would you like? Relf — you do not like Saturday afternoon?
Klemperer, I usually go to a football match on Saturday afternoon. However, Friday came and as Clem was leaving the Hall Dr. Relf, you need not come tomorrow afternoon; I have marked the parts myself.
The orchestra is… all my joy! His music reflected his bipolar personality: in Budapest he forced an impossibly fast tempo on his Don Giovanni for his champagne aria, in Sydney he conducted the fastest, in London the slowest Mahler Second Symphony of all time.
Then, in his later recordings, starting around , everything becomes quieter. Might one talk here of the wisdom of old age?
This new element is especially traceable in live recordings. Everything flows, but never loses purpose. On the contrary: the musical structure reveals itself with ever greater clarity.
When heard in this way, the sometimes extremely slow tempi are found to generate a particularly powerful tension. Of course, in live recordings not everything always comes out perfect.
Least of all with Klemperer. In the present recording of his final concert we encounter similar critical moments, in particular at the beginning of the King Stephen Overture and the Brahms symphony.
As I say, he was working as a kind of vessel, an intermediary between whatever it is that makes this music what it is, putting his actual willpower in some kind of invisible energy.
Neither should one refer to his late studio recordings, which tend to lack the vibrancy that marks the live concert recordings, something one cannot help noticing with especially the slow tempi, which the studio seemed to rob of momentum.
As both the Long Journey and the Last Concert films illustrate, Klemperer clearly felt unhappy in the recording studio and seems to almost resent it when producers interrupt him.
Similarly unfavourable were the conditions for the audio recording he made during the concert. Fortunately, he kept his tape recorder running from beginning till end!
Apparently, there was no up-to-date tape deck on hand — the recording was done in mono. It has been impossible to locate the master tape, which Bregstein transferred at the time to the Klemperer Archive in the Library of Congress.
In so far the use of archive material in this film requires the explicit approval of rightholders of that material, we have — in our best efforts and as far as we were able to verify — contacted all rightholders and acquired necessary permission for the use of archive materials.
If, however, we have failed to locate a rights holder, we kindly invite him or her to contact Interakt via interakt interakt.
Nothing from this film may be copied or used. Excerpts from rehearsals for the concert on 26 September First rehearsal Royal Festival Hall, 24 September Ludwig van Beethoven: Symphonien Nr.
With a beautiful page book, you can buy it here. Klemperer was approaching the age of 70 when the British company EMI signed him up as a recording artist in , and over a period of almost 20 years he went on to make numerous recordings with the label.
Matthew Passion was considered a highly modern interpretation of Bach during the Weimar Republic, it sounds somewhat dated nowadays.
Putting aside the later St. Matthew Passion, Klemperer is still considered a pioneer of historical performance practice. Klemperer reduced the size of the orchestra to chamber music proportions, thus revealing the polyphonic interplay between the individual voices.
But, it was not only the music of Bach that Klemperer performed with unpretentious clarity; he also applied this approach to works of the classical and romantic genres.
His natural, authentic interpretations helped seal his reputation as an ideal representative of the new era after the First World War.
This also applied to his use of tempi at the time, which were described by critics as taut, diabolical and brisk.
Instead we get clear lines and lucid precision. However, such a characterization was not entirely accurate: Klemperer would not have ascended to such heights as an internationally renowned conductor, had his sole achievement been his streamlined approach to musical interpretation.
It was not his declared goal to avoid pathos in his interpretations, it was rather a consequence of his musical ethos. This approach can be summed up as follows: Make music with inner sentiment, not with external sentimentality.
Klemperer did not aim for mere effect in his interpretations, but rather formed the music from its very substance, or to put it more precisely, allowed it to unfold — remaining faithful to the intent and notation of the score.
Still, due to the direct, natural authenticity of his approach to making music, there was always a risk that his performances — especially during his phases of depression — could seem listless, uninspired, ponderous, perhaps even boring.
However, over the years the focus of his interpretations shifted to the inner structure of the composition itself. This enabled him, while maintaining a very direct, clear and unadulterated sound, to make audible the interconnections between the leading and secondary voices, as well as the contrapuntal fabric of the middle voices.
In this piece he managed to not only create a catchy theme, but to also provide this theme with a distinct counterpart, forming an inseparable unity.
Philippe Olivier-Achard. A great many music lovers worldwide, born since the s, feel passionate about the art of Otto Klemperer.
He is the inspiration for the two documentaries from the current Philo Bregstein collection. These music lovers born during the closing decades of the 20th century belong to the age of cultural globalisation.
They cherish the seventy. We also know that, during the years when a fallen democratic Europe was occupied by Nazi Germany, there were standard-bearers for Germanic art other than Wilhelm Furtwängler or Hans Knappertsbusch, who came to conduct for the pleasure of Joseph Goebbels during his visits to subjugated countries.
Once on American soil, he even imparted composition lessons to Otto Klemperer. In , Gabin joined the troops who would go on to liberate his homeland from Fascist cruelty.
Otto Klemperer knew, both as a Jew and a believer in democracy, what he owed to the true France and to its intellectual universalism.
Like their fellow Germans, they saw themselves both as Israelites and as citizens of the countries into which they were born. He also venerated them as a composer.
This was also the case when he conducted Symphonie fantastique by Hector Berlioz, the spiritual successor of the French Revolution and disciple of a then ground-breaking language whose visionary merit was studied by Pierre Boulez.
From that point onward, France became a source of bitterness for Klemperer. Almost a century-and-a-half later, two French nationals would also give Klemperer, the emeritus interpreter of Gustav Mahler, the honour he is due.
Though the venerable maestro has since reached the end of his life, the Mahlerian passing-of-the-torch seems to have been ensured. His legacy rests in the hands of a cosmopolitan, irony-laden Frenchman who was as reviled among hostile avant-garde circles as Klemperer had once been.
As we shall soon see, the two men shared common characteristics. They saw music as a world of structures whose nature and synthesis are foreign to facile conventions.
In view of his premature move to Germany in , Boulez became the target of anti-German attacks originating from France.
By that time, the Second World War had been over for a dozen years. Some notable Parisians, all born roughly between and , lashed out at Boulez, just as they had lashed out at Hermann Scherchen because he took too great an interest — in their own opinion — in where the musical past met with the musical present.
Anti-Semitic undertones were added to the slander against Boulez, even though he was not Jewish. His critics saw values — values that he shared with Klemperer — which they constantly rallied against.
Klemperer would return the favour. He greatly enjoyed Sonatine for Flute and Piano written by Boulez in Klemperer felt that the Frenchman — four decades his junior — embodied the future of musical creation.
Both of them had been composers, conductors, thinkers and directors of public institutions. At that time, as Stefan Zweig would say, Otto Klemperer was the main surviving giant of the world of yesterday, even though Wilhelm Furtwängler and Bruno Walter were still active.
But Klemperer distinguished himself from them. He sought — like Boulez — to exhibit sonic constructs. To his great astonishment, Klemperer phoned him to ask if he could take part in rehearsals.
Werner Klemperer Inhaltsverzeichnis Video
Robert Clary: Hollywood’s Last SurvivorsAs in all of my films, I set out by first making strict formal choices. That also explains why, when no recording by Klemperer exists of the composition mentioned, you may hear an excerpt from another work by the same composer from a Klemperer performance that is available.
In these cases, the music often serves as a bridge to, and fuses with the images or footage of the continuing narrative. Information about the orchestras Klemperer conducts is given only in the credits.
More complete information about commentators and interviewees, as well as the musical works and the various orchestras Klemperer conducts, can be found later in this book.
What I have not touched is my original editing concept. I felt I might run the risk of destroying a work of art.
My friend Agosti did such an outstanding job when he edited the version that I never thought of even wanting to retouch that.
Hans Curjel — German conductor and dramatist; studied violin and conducting at the Karlsruhe Conservatory; conductor at the Dusseldorf Theatre, deputy director of the Baden Kunsthalle Karlsruhe.
Emigrated to Switzerland in His monumental Experiment Kroll Oper — appeared posthumously in , edited by Eigel Kruttge. Herbert Downes — Principal violist of the Philharmonia from till ; also prolific chamber music player.
Forbach thereafter enjoyed a long and successful career as a stage and film actress. George Harewood — A music enthusiast, Lord Harewood devoted most of his career to opera and held various posts at the Royal Opera House, Covent Garden — , where he invited Klemperer to conduct and direct Fidelio and , Zauberflöte , and Lohengrin Peter Heyworth — American-born British music critic and journalist, author of the authoritative 2-volume biography Otto Klemperer.
His Life and Times and editor of Conversations with Klemperer. After the death of Hans Curjel, prepared his monumental Experiment Krolloper for publication in Kuphal, Jr.
The footage he shot in the s with an 8-mm camera from his desk in the orchestra of Klemperer conducting the orchestra he allowed us to use for free in the film.
In Morris played a crucial role in helping establish the New Philharmonia Orchestra and was its chairman until Klemperer kept up a regular correspondence with her and at the time of his Berlin Philharmonic concerts in May visited her in East-Berlin.
Karl Ulrich Schnabel — Son of Artur Schnabel, was a concert pianist in his own right and an internationally celebrated piano teacher. Wrote critical biographies of, i.
Heinz Tietjen — German opera conductor and producer, since director of the German Opera Berlin, of the Staatsoper Unter den Linden and the Kroll Opera — , between and general director of all Prussian state theatres; — conductor and producer at the Bayreuth Festival, in close relation with Winifred Wagner.
Peter Weiser — From till , worked with Ingeborg Bachmann for the American Occupation radio station in Vienna, as of chief dramatist with Austrian Radio; between and general secretary of the Vienna Konzerthaus Society.
Fritz Zweig — Studied with Arnold Schoenberg; from chorus master and conductor at various German opera houses, until when Klemperer engaged him at the Kroll Opera; fled to France in , from there to the USA in , enjoying a successful conducting career there.
In so far the use of archive material in this film requires the explicit approval of rightholders of that material we have — in our best efforts and as far as we were able to verify — contacted all rightholders and acquired necessary permission for the use of.
However, if we have failed to locate a rightholder, we kindly invite him or her to contact Interakt via interakt interakt.
Philo Bregstein has re-edited his movie Otto Klemperer in rehearsal and concert in and additionally supplemented and enriched it with new recordings, including interviews with people who collaborated with this world-famous conductor.
The result is the movie Klemperer The Last Concert. As a classical music lover and amateur pianist, I had always been rather critical of the usual music films one sees on television.
For me this applied also to the filming of musical performances. When filming a harpsichord recital by Gustav Leonhardt, in the role of J.
Bach, they kept the camera static, as if giving it its own seat in the hall like an individual concertgoer.
As is so often the case, while filming we had to overcome a number of unexpected setbacks. Amazingly enough, this rather primitive way of working perfectly suited my vision of filming concerts as if from the static position of one individual listener.
Taken together, these were conditions most professional cameramen would have refused to work under. Fortunately, as it turned out we could use most of the material we had filmed this way.
After a lapse of forty years, I renewed contact with Otto Freudenthal, who in the meantime had built up a reputation for himself as a composer and could look back on an international career as concert pianist.
During the editing process, together with Freudenthal, I incorporated these passages into the picture to coincide with the relevant rehearsal sections so as, again, to illuminate the way Klemperer worked.
He also had to collect these parts again at the end of the concert and deliver them back to Klemperer at his Hyde Park hotel suite.
I understand that many famous conductors, from Gustav Mahler to Lorin Maazel, followed the same practice. Again, this shows — what concert audiences are seldom aware of — that successful concerts depend for a good deal on meticulous preparation.
For Klemperer The Last Concert I could thus eloquently clarify the distance and difference between then and now by simply juxtaposing the original material with the series of new digitally filmed interviews I had done in London in the summer of Vladimir Ashkenazy, conductor laureate of the Philharmonia, looks back at the year when, as a young pianist, he played the Second Piano Concerto by Brahms under the then already elderly Klemperer in the Royal Festival Hall.
Regretfully, Otto Freudenthal, whose intense collaboration proved so essential for both the old and the new version, died unexpectedly in November With hindsight, one could perhaps say there were signs that all was not well.
At this moment we have four different and new pairs of glasses. Soon after he announced he would no longer conduct in public.
It was to create one of the richest episodes in British, if not European musical life. So, when before the concert I was summoned to his room, I was full of nervous fear that I had not pleased him.
Goodbye, we shall meet at the concert. But of course: so sure of the music! The hip fracture in and the insertion of a permanent metal pin meant that he would now conduct mainly sitting down.
When, in September , he suffered 2nd- and 3rd-degree burns over 15 per cent of his body, disabling him from conducting for a whole year, it put a further strain on his physical abilities.
I could play every note. We used to come in together even in the most tricky spots. He had a little downward, swallow.
Even without much apparent direction, however, there was an immense feeling of inevitability about any of his tempi; yet, somehow there was always time to turn corners.
It might get worse. Relf, you will help me mark the parts for the next concert? Klemperer; when would you like? Relf — you do not like Saturday afternoon?
Klemperer, I usually go to a football match on Saturday afternoon. However, Friday came and as Clem was leaving the Hall Dr.
Relf, you need not come tomorrow afternoon; I have marked the parts myself. The orchestra is… all my joy! His music reflected his bipolar personality: in Budapest he forced an impossibly fast tempo on his Don Giovanni for his champagne aria, in Sydney he conducted the fastest, in London the slowest Mahler Second Symphony of all time.
Then, in his later recordings, starting around , everything becomes quieter. Might one talk here of the wisdom of old age?
This new element is especially traceable in live recordings. Everything flows, but never loses purpose.
On the contrary: the musical structure reveals itself with ever greater clarity. When heard in this way, the sometimes extremely slow tempi are found to generate a particularly powerful tension.
Of course, in live recordings not everything always comes out perfect. Least of all with Klemperer. In the present recording of his final concert we encounter similar critical moments, in particular at the beginning of the King Stephen Overture and the Brahms symphony.
As I say, he was working as a kind of vessel, an intermediary between whatever it is that makes this music what it is, putting his actual willpower in some kind of invisible energy.
Neither should one refer to his late studio recordings, which tend to lack the vibrancy that marks the live concert recordings, something one cannot help noticing with especially the slow tempi, which the studio seemed to rob of momentum.
As both the Long Journey and the Last Concert films illustrate, Klemperer clearly felt unhappy in the recording studio and seems to almost resent it when producers interrupt him.
Similarly unfavourable were the conditions for the audio recording he made during the concert. Fortunately, he kept his tape recorder running from beginning till end!
Apparently, there was no up-to-date tape deck on hand — the recording was done in mono. It has been impossible to locate the master tape, which Bregstein transferred at the time to the Klemperer Archive in the Library of Congress.
In so far the use of archive material in this film requires the explicit approval of rightholders of that material, we have — in our best efforts and as far as we were able to verify — contacted all rightholders and acquired necessary permission for the use of archive materials.
If, however, we have failed to locate a rights holder, we kindly invite him or her to contact Interakt via interakt interakt. Nothing from this film may be copied or used.
Excerpts from rehearsals for the concert on 26 September First rehearsal Royal Festival Hall, 24 September Ludwig van Beethoven: Symphonien Nr.
Los Angeles Times. Brooklyn Daily Eagle. Retrieved September 11, — via Newspapers. Note his photo at the bottom left of the article.
February 5, Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version.
Wikimedia Commons. Christine [1]. Once Upon a Honeymoon. Seven Miles from Alcatraz. The Fighting Guerrillas. The Moon Is Down. Tonight We Raid Calais.
They Came to Blow Up America. This Land Is Mine. The Beginning or the End. King Solomon's Mines. Go for Broke! The Rains of Ranchipur.
Never Say Goodbye. The Power and the Prize. The Young Lions. The Blue Angel. The Wonderful Country. Operation Eichmann.
The Counterfeit Traitor. Bedtime Story. Kisses for My President. The Wicked Dreams of Paula Schultz. Star Spangled Salesman.
The Lone Ranger. Cavalcade of America. The Public Defender. Rocky Jones, Space Ranger. My Hogan's Heroes Movie Dreamcast.
Celebrities I've Met in Person. Screen Actors Guild Awards Memoriam Do you have a demo reel? Add it to your IMDbPage. How Much Have You Seen?
How much of Werner Klemperer's work have you seen? Won 2 Primetime Emmys. Another 3 nominations. Known For. Hogan's Heroes Col. Wilhelm Klink. Judgment at Nuremberg Emil Hahn.
The Man from U. Laslo Kurasov. Homer's Guardian Angel as Colonel Klink voice. William Unger. Prince Maximilian of Bavaria voice. Haman voice. Felix Randolph.
Siegfried Klaus. Henry Hastings. Franz Altmuller. Ernest Bleeker - All Bets Off Van Doren. Ernest Bleeker. Harold Baxter segment "Love and the Unbearable Fiance".
Jacques Moreau. Ludwig Asper segment "The Funeral". Wilhelm Klink - Rockets or Romance Show all episodes. Guest Performer uncredited.
Colonel Klink uncredited. Colonel Wertha.
Kann das gut gehen, gemeinsam Lotto zu spielen? Artikel merken In den Warenkorb Artikel ist im Warenkorb. Lacher frei! Uwe will Phoenixsee Wdr auf Vox Ab Ins Beet Eisscholle davontreibenden Hund Bootsmann mit einem Kahn retten. Namensräume Artikel Diskussion. Aufgrund seiner eigenen Biografie hatte Klemperer die Rolle nur unter der Bedingung angenommen, dass er als deutscher Kommandant niemals über seinen Gegenspieler triumphieren würde. Klaus Klemp. Ab trat er in zahlreichen US- Fernsehserien auf. Jahrhunderts, also….
2 Kommentare
Ganris · 14.05.2020 um 19:04
Eben was?