name	Richard Conte
birth name	Nicholas Peter Conte
birth date	March 24, 1910
birth place	Jersey City, New Jersey, U.S.
death date	April 15, 1975
death place	Los Angeles, California, U.S.
occupation	Actor
spouse	Ruth Storey (1943-62)Shirlee Garner (1973-75)}}

Richard Conte (March 24, 1910 – April 15, 1975) was an American actor. He appeared in numerous films from the 1940s through 1970s, including ''I'll Cry Tomorrow'' and ''The Godfather''.

Life and career

Richard Conte was born Nicholas Peter Conte on March 24, 1910, in Jersey City, New Jersey, the son of Italian-American Julia (Fina), a seamstress, and Pasquale Conte, a barber.

Conte held a variety of jobs before becoming a professional actor, including truck driver, Wall Street clerk and singing waiter at a Connecticut resort. In 1935, he was discovered by actors Elia Kazan and John Garfield during his job at the Connecticut resort, which led to Conte finding stage work. He eventually earned a scholarship to study at the Neighborhood Playhouse in New York, where he became a standout actor.

He made his Broadway debut late in ''Moon Over Mulberry Street'' in 1939, and went on to be featured in other plays, including ''Night Music'' and ''Walk Into My Parlor''. That led to his first film performance in 1939, ''Heaven with a Barbed Wire Fence'', in which he was billed as ''Nicholas Conte''. His career started to thrive during the Second World War, when many Hollywood actors were away in the military. In 1942 Conte signed a long-term contract with 20th Century Fox. He then changed his name to Richard Conte. His first Fox film was ''Guadalcanal Diary'' (1943). During the World War II years, Conte played mostly soldiers in war dramas, including ''A Walk in the Sun'' (1945).

Conte appeared in many films noir after World War II. Conte appeared in such Fox crime dramas as ''Cry of the City'' and ''Call Northside 777'' (both from 1948), and ''Thieves' Highway''. Conte appeared in Otto Preminger's classic film noir ''Whirlpool'', co-starring Gene Tierney (1949). He also starred with Susan Hayward along with Edward G. Robinson and Luther Adler in ''House of Strangers'' (1949) as Max Monetti, a lawyer who defends his father (Robinson) against government charges of banking irregularities and goes to prison for jury tampering.

In the early-1950s, Conte, now not working for Fox, began appearing in films for various studios. Critics and fans consider his best films from that era include the film noir B-movies ''The Sleeping City'' (1950), ''The Raging Tide'' (1951), ''Highway Dragnet'' (1954), ''The Blue Gardenia'' (1953) and ''The Big Combo'' (1955). He also was featured in a leading role opposite Susan Hayward in the 1955 film production, ''I'll Cry Tomorrow'', a biopic about singer/actress Lillian Roth. In 1959, Conte starred in ''The Twilight Zone'' episode ''Perchance to Dream''.

He appeared as one of ''The Four Just Men'' (1959) in the Sapphire Films TV series for ITV.

Once film noir became less popular in the 1960s Conte’s career was at a standstill. In 1964, he and Anne Francis guest starred in the episode "Hideout" of CBS's short-lived drama ''The Reporter'', starring Harry Guardino in the title role as New York City journalist Danny Taylor, with Gary Merrill as city editor Lou Sheldon. In 1966, Conte landed a supporting role in the short-lived CBS sitcom ''The Jean Arthur Show''.

Conte appeared as Lieutenant Dave Santini in two Frank Sinatra crime films, ''Tony Rome'' (1967) and ''Lady in Cement'' (1968). He had also appeared with Sinatra in the 1960 film ''Oceans Eleven'' and the 1966 movie ''Assault on a Queen''.

Conte eventually moved to Europe and acted in a number of films. Later in life, Conte acted one of his most memorable performances in ''The Godfather'' (1972) as Don Barzini (he was at one time also considered for the title role, a role that Marlon Brando eventually filled.)

He continued to work in European films until his death. His most notable of over sixty films include ''The Godfather'' (1972), ''Oceans Eleven'' (1960), ''The Greatest Story Ever Told'' (1965), and ''Call Northside 777'' (1948).

Family

Conte was married to the actress Ruth Storey, with whom he fathered a son, film editor Mark Conte. He married his second wife, Shirlee Garner, in 1973; they remained married until Conte's death. His grandson is Chicago Bears safety Chris Conte. Chris is the son of Mark Conte

Death

He died of a heart attack on April 15, 1975, aged 65. He is buried in the Westwood Memorial Park in Los Angeles, California.

Awards

! Year	! Group	! Award	! Result	! Film/Show
		Top Action Performance	Nominated	''They Came to Cordura'' (1959)

References

External links

Category:1910 births Category:1975 deaths Category:Actors from New Jersey Category:American film actors Category:American people of Italian descent Category:American stage actors Category:American television actors Category:Deaths from myocardial infarction Category:People from Jersey City, New Jersey

de:Richard Conte fr:Richard Conte (acteur) it:Richard Conte nl:Richard Conte ru:Конте, Ричард sv:Richard Conte

bgcolour	silver
name	Don Stroud
birth name	Donald Lee Stroud
birth date	September 01, 1943
birth place	Honolulu, Hawaii, United States
occupation	Actor and surfer
years active	1967-present
spouse	Teri Sullivan (1994-present)Linda Hayes (1982-?) (divorced)Sally Ann Stroud (1973-?) (divorced) }}

Donald Lee Stroud (born 1 September 1943) is an American actor and surfer who appeared in many films in the 1960s, 1970s and 1980s, and has starred in over 100 films and 175 television shows to date.

Biography

Early life

Stroud was born in Honolulu, Hawaii, where he grew up, the son of comedian and vaudevillien Clarence Stroud (of the Stroud Twins), and singer Ann Livermore (née McCormack), who toured the world with Frank Sinatra. Stroud's mother and stepfather owned and operated the popular "Embers Steak House" and nightclub where Ann performed nightly. Don thrived on the beach in Waikiki under the watchful eyes of such mentors as Blackout, Mud, Buckshot, Rabbit and Steamboat. Stroud learned much from these famous beach boys and in 1960, at the age of 17, he placed fourth in the "Duke Kahanamoku World Surfing Championship" at Makaha, Hawaii.

Career

Stroud was surfing at Waikiki when he was discovered by actor Troy Donahue who was filming ABC's ''Hawaiian Eye'' and needed a stunt double for his surfing scenes. Don, at 18, 6'2" and 175 pounds, stepped up and was hired on the spot. He loved the gig so much, he decided to go to Hollywood to give acting a try. Upon arriving in Los Angeles, he landed a variety of jobs, including parking cars, bouncer and then manager of the world famous "Whiskey A Go-Go" nightclub on the Sunset Strip, where such greats as Janis Joplin, Jimi Hendrix and Jim Morrison of the Doors appeared. It was at the "Whiskey" that actor Sidney Poitier turned Don on to his acting career. Stroud went on to become one of Hollywood's great heavies and character actors.

Stroud co-starred with Clint Eastwood in two films, ''Coogan's Bluff'' in 1968 and ''Joe Kidd'' in 1972. He also appeared in several episodes of CBS's ''Hawaii Five-O'' and in the Barry Sullivan NBC western series ''The Road West''.

Stroud co-starred in Roger Corman’s film ''Von Richthofen and Brown'' (1971). Stroud played Roy Brown opposite John Phillip Law’s Baron von Richthofen. Corman used Lynn Garrison's Irish aviation facility, complete with replica World War One aircraft. Garrison taught Stroud the rudiments of flying so that he could manage to take off and land the aircraft, making some of the footage more realistic. On September 16, 1970, Don Stroud came closer to realism than he expected. During a low-level sequence flying a two seat SV4C Stampe biplane across Lake Weston, a large bird flew through the propeller’s arc, striking Garrison in the face, knocking him unconscious. The aircraft flew into five powerlines, snap rolled and plunged into the lake inverted. Garrison and Stroud were rescued some time later. Don Stroud was wet but undamaged. Garrison required 60 stitches to close a head wound. He was flying the next day.

Don Stroud starred in the horror/thriller ''Death Weekend'' (1976) and had a supporting role in the cult horror film ''The Amityville Horror'' (1979). Stroud co-starred in ''The Buddy Holly Story'' (1978) as the late musician's drummer (in which he actually played the drums), and played a James Bond villain in the film ''Licence to Kill'' (1989). He played Captain Pat Chambers in the television series ''Mickey Spillane's Mike Hammer'', with Stacy Keach, with whom he co-starred in the film ''The Killer Inside Me'' (1975) and starred in four television series, notably ''The New Gidget'' (1986) where he was a natural to play the "Kahuna", ''Nash Bridges'' (1996–2001) , and ''Pensacola: Wings of Gold'' (1996–2000).

In 1973, he was paid $10,000 to appear as a nude centerfold in Playgirl Magazine's November issue.

Don's brother Duke Stroud is also an actor, memorable as the furious air-traffic controller in 1986's ''Top Gun''. Duke also stages plays and teaches acting at Pasadena City College (Nick Nolte's alma mater).

According to the Internet Movie Database, Stroud's most recent work included an associate producer credit on the 2006 TV series ''Good Morning Hawaii'' and a role in the 2009 film ''Sutures''.

External links

To Smile & Play the Villain: An Interview with Don Stroud - January 2001

Category:1943 births Category:Actors from Hawaii Category:American film actors Category:American surfers Category:American television actors Category:Living people Category:People from Honolulu, Hawaii Category:Playgirl Men of the Month

fr:Don Stroud fi:Don Stroud

Name	Brian Donlevy
Birth name	Waldo Brian Donlevy
Birth date	February 09, 1901
Birth place	Armagh, Northern Ireland
Death date
Death place	Woodland Hills, California, U.S.
Yearsactive	1924–1969
Occupation	Actor
Spouse	Yvonne Grey (1928–1936)Marjorie Lane (1936–1947)Lillian Lugosi (1966–1972)}}

Brian Donlevy (February 9, 1901 – April 5, 1972) was an Ulster-born American film actor, noted for playing tough guys from the 1930s to the 1960s. He usually appeared in supporting roles. Among his best known films are ''Beau Geste'' (1939) and ''The Great McGinty'' (1940). For his role as Sergeant Markoff in ''Beau Geste'' he was nominated for the Academy Award for Best Supporting Actor.

His obituary in ''The Times'' newspaper in the United Kingdom stated that ''"any consideration of the American 'film noir' of the 1940s would be incomplete without him"''.

Early life

Donlevy was born Waldo Brian Donlevy in County Armagh, Northern Ireland to a whiskey distiller and his wife in 1901. When he was 10 months old his parents moved to Racine, Wisconsin. When he was 9 years old, his family moved to Cleveland, Ohio. He lied about his age (he was actually 14) in 1916 so he could join the army. When Mexican rebels under Villa's command raided Columbus, NM, and killed 18 American soldiers and civilians, Gen. John J. Pershing sent American troops to invade Mexico in pursuit of Pancho Villa. Donlevy served with that expedition.

Acting career

Donlevy began his career in New York in the early 1920s, appearing in many theater productions and also winning an increasing number of silent film parts. Previously, he had modeled for the illustrator J.C. Leyendecker who produce illustrations for the famous Arrow Collar ads. His Broadway credits included ''Hit the Deck'' and ''Life Begins at 8:40''.

Donlevy's break came in 1935, when he was cast in the Edward G. Robinson film ''Barbary Coast''. A large amount of film work followed, with several important parts. In 1939, he was nominated for an Academy Award for Best Supporting Actor for his role as the ruthless Sergeant Markoff in ''Beau Geste'', although the Oscar went to Thomas Mitchell for ''Stagecoach''.

The following year, he played the role for which he is perhaps best remembered, that of McGinty in ''The Great McGinty'', a role he reprised four years later in ''The Miracle of Morgan's Creek''. In 1942, Donlevy starred in ''Wake Island'' and ''The Glass Key''. In 1955, he played the lead in the British science-fiction horror film ''The Quatermass Xperiment'' (called ''The Creeping Unknown'' in the US) for the Hammer Films company, playing the lead role of Professor Bernard Quatermass. The film was based on a 1953 BBC Television serial of the same name. The character had been British, but Hammer cast Donlevy, who was born in County Armagh, Ireland, and raised in the United States, in an attempt to help sell the film to North American audiences. Quatermass creator Nigel Kneale disliked Donlevy's portrayal, referring to Donlevy as ''"a former Hollywood heavy gone to seed"''. Nonetheless, the film version was a success and Donlevy returned for the sequel, ''Quatermass 2'' (''Enemy From Space'' in the US), in 1957, also based on a BBC television serial. This made Donlevy the only man ever to play the famous scientist on screen twice, although later Scottish actor Andrew Keir would play him two times, once on film and later on the radio.

Throughout his film career, Donlevy also did several radio shows, including a reprise of ''The Great McGinty''. He played the lead character in ''Dangerous Assignment'' between 1949 and 1954, taking the series to TV in 1952. He featured in a number of films over the following years until his death. He also appeared in a variety of television series from the late 1940s until the mid-1960s, guest-starring on such popular programs as ''Crossroads'', ''Perry Mason'', ''Wagon Train'' and ''Rawhide,''. In 1957, he appeared in a CBS production of the A. J. Cronin's ''Beyond This Place''. In 1960, he appeared as John Ridges in the episode "Escape" of CBS's anthology series ''The DuPont Show with June Allyson'', with Sylvia Sidney portraying his wife. His last film role was in ''The Winner'', released in 1969.

Personal life

Donlevy was married three times: first to Yvonne Grey from 1928–36, then to actress Marjorie Lane from 1936–1947, and finally to Lillian Arch Lugosi (the ex-wife of Bela Lugosi, famous for playing Dracula) from 1966 until his death in 1972.

Donlevy died from throat cancer on April 5, 1972 at the Motion Picture Country Hospital in Woodland Hills, California. He was survived by his wife and a daughter, Judy Donlevy, by his second wife. His ashes were scattered over Santa Monica Bay.

Partial filmography

''Barbary Coast'' (1935)

''Mary Burns, Fugitive'' (1935)

''In Old Chicago'' (1937)

''This Is My Affair'' (1937)

''Jesse James'' (1939)

''Union Pacific'' (1939)

''Beau Geste'' (1939)

''Allegheny Uprising'' (1939)

''Destry Rides Again'' (1939)

''The Great McGinty'' (1940)

''Brigham Young'' (1940)

''When the Daltons Rode'' (1940)

''Billy the Kid'' (1941)

''(The Birth of the Blues) '' (1941)

''Wake Island'' (1942)

''The Great Man's Lady'' (1942)

''The Glass Key'' (1942)

''Stand by for Action'' (1942)

''Hangmen Also Die!'' (1943)

''The Miracle of Morgan's Creek'' (1944)

''Two Years Before the Mast'' (1946)

''The Virginian'' (1946)

''Canyon Passage'' (1946)

''The Beginning or the End'' (1947)

''Kiss of Death'' (1947)

''Heaven Only Knows'' (1947)

''Song of Scheherazade'' (1947)

''Command Decision'' (1948)

''Impact'' (1949)

''Kansas Raiders'' (1950)

''The Big Combo'' (1955)

''The Quatermass Xperiment'' (1955) - USA title ''The Creeping Unknown'' ''Quatermass 2'' (1957) - originally titled ''Quatermass II, Enemy from Space''; known in USA as ''The Enemy from Space''

''Cowboy'' (1958)

''Never So Few'' (1959)

''The Errand Boy'' (1961)

''Curse of the Fly'' (1965)

''How to Stuff a Wild Bikini'' (1965)

''Waco'' (1966)

''Gamera'' (1965)

''The Fat Spy'' (1966)

''Five Golden Dragons'' (1967)

References

The Birth of the Blues (1941)

External links

Retrieved on 2009-02-19

Category:1901 births Category:1972 deaths Category:Actors from Ohio Category:American aviators Category:American film actors Category:American television actors Category:American military personnel of World War I Category:American people of Irish descent Category:People from Cleveland, Ohio Category:Quatermass Category:Deaths from esophageal cancer Category:Western (genre) film actors Category:Cancer deaths in California Category:People from Beaver Dam, Wisconsin

de:Brian Donlevy es:Brian Donlevy fr:Brian Donlevy it:Brian Donlevy pl:Brian Donlevy

Richard Georg Strauss (11 June 1864 – 8 September 1949) was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include ''Der Rosenkavalier'' and ''Salome''; his ''Lieder'', especially his ''Four Last Songs''; and his tone poems and orchestral works, such as ''Death and Transfiguration'', ''Till Eulenspiegel's Merry Pranks'', ''Also sprach Zarathustra'', ''An Alpine Symphony'', and ''Metamorphosen''. Strauss was also a prominent conductor throughout Germany and Austria.

Strauss, along with Gustav Mahler, represents the late flowering of German Romanticism after Richard Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style.

Life and works

Early life and family

Strauss was born on 11 June 1864, in Munich, the son of Franz Strauss, who was the principal horn player at the Court Opera in Munich. In his youth, he received a thorough musical education from his father. He wrote his first music at the age of six, and continued to write music almost until his death.

During his boyhood Strauss attended orchestra rehearsals of the Munich Court Orchestra, and he also received private instruction in music theory and orchestration from an assistant conductor there. In 1874 Strauss heard his first Wagner operas, ''Lohengrin'' and ''Tannhäuser''. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of ''Tristan und Isolde''. In later life, Richard Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. Nevertheless, Strauss's father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn.

In 1882 he entered Munich University, where he studied Philosophy and Art History, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post as assistant conductor to Hans von Bülow, who had been enormously impressed by the young composer's ''Serenade'' for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bülow in rehearsal. Bülow was very fond of the young man and decided that Strauss should be his successor as conductor of the Meiningen orchestra when Bülow resigned in 1885. Strauss's compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His remarkably mature Horn Concerto No. 1, Op. 11, is representative of this period and is a staple of modern horn repertoire.

Richard Strauss married soprano Pauline de Ahna on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but the marriage, to all appearances, was essentially happy and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final ''Four Last Songs'' of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles.

The Strausses had one son, Franz, in 1897. Franz married Alice von Grab, a Jewish woman, in a Catholic ceremony in 1924. Franz and Alice had two sons, Richard and Christian.

Works

Solo and chamber works

Some of Strauss's first compositions were solo and chamber works. These pieces include: early compositions for piano solo in a conservative harmonic style, many of which are lost; a string quartet (opus 2); a cello sonata; a piano quartet; Violin Sonata in E flat (1888); as well as a handful of late pieces.

After 1890 Strauss composed very infrequently for chamber groups, his energies being almost completely absorbed with large-scale orchestral works and operas. Four of his chamber pieces are actually arrangements of portions of his operas, including the ''Daphne-Etude'' for solo violin, and the string ''Sextet'' which is the overture to his final opera ''Capriccio''. His last independent chamber work, an Allegretto in E for violin and piano, dates from 1940.

Tone poems and other orchestral works

Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth, and begin writing tone poems. He also introduced Strauss to the essays of Richard Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem ''Death and Transfiguration''.

The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem ''Don Juan'' (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: ''Death and Transfiguration'' (''Tod und Verklärung'', 1889), ''Till Eulenspiegel's Merry Pranks'' (''Till Eulenspiegels lustige Streiche'', 1895), ''Thus Spoke Zarathustra'' (''Also sprach Zarathustra'', 1896), ''Don Quixote'' (1897), ''Ein Heldenleben'' (''A Hero's Life'', 1898), ''Sinfonia Domestica'' (''Domestic Symphony'', 1903) and ''An Alpine Symphony'' (''Eine Alpensinfonie'', 1911–1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra."

Solo instrument with orchestra

Strauss's output of works for solo instrument or instruments with orchestra was fairly extensive. The most famous include two concertos for horn, which are still part of the standard repertoire of most horn soloists; a Violin Concerto in D minor; the ''Burleske'' for piano and orchestra; the tone poem ''Don Quixote'' for cello, viola and orchestra; the well-known late Oboe Concerto in D major; and the Duet-Concertino for bassoon, clarinet and orchestra, which was one of his last works (1947).

Opera

Around the end of the 19th century, Strauss turned his attention to opera. His first two attempts in the genre, ''Guntram'' (1894) and ''Feuersnot'' (1901), were controversial works: ''Guntram'' was the first significant critical failure of Strauss's career, and ''Feuersnot'' was considered obscene by some critics.

In 1905, Strauss produced ''Salome'', based on the play by Oscar Wilde, which produced a passionate reaction from audiences. The premiere was a major success, with the artists taking more than 38 curtain calls. Many later performances of the opera were also successful, not only with the general public but also with Strauss's peers: Maurice Ravel said that ''Salome'' was "stupendous", and Mahler described it as "a live volcano, a subterranean fire". Strauss reputedly financed his house in Garmisch-Partenkirchen completely from the revenues generated by the opera.

Strauss's next opera was ''Elektra'' (1909), which took his use of dissonance even further, in particular with the Elektra chord. ''Elektra'' was also the first opera in which Strauss collaborated with the poet Hugo von Hofmannsthal. The two subsequently worked together on numerous occasions. For his later works with Hofmannsthal, Strauss moderated his harmonic language somewhat, which resulted in operas such as ''Der Rosenkavalier'' (1911) having great public success. Strauss continued to produce operas at regular intervals until 1942. With Hofmannsthal he created ''Ariadne auf Naxos'' (1912), ''Die Frau ohne Schatten'' (1918), ''Die ägyptische Helena'' (1927), and ''Arabella'' (1932). For ''Intermezzo'' (1923) Strauss provided his own libretto. ''Die schweigsame Frau'' (1934), was composed with Stefan Zweig as librettist; ''Friedenstag'' (1935–6) and ''Daphne'' (1937) both had a libretto by Joseph Gregor and Stefan Zweig; and ''Die Liebe der Danae'' (1940) was with Joseph Gregor. Strauss's final opera, ''Capriccio'' (1942), had a libretto by Clemens Krauss, although the genesis for it came from Stefan Zweig and Joseph Gregor.

Lieder

All his life Strauss produced ''Lieder''. The ''Four Last Songs'' are among his best known, along with ''"Zueignung"'', ''"Cäcilie"'', ''"Morgen!"'', ''"Allerseelen"'', and others. In 1948, Strauss wrote his last work, the masterful and haunting ''Four Last Songs'' for soprano and orchestra. He reportedly composed them with Kirsten Flagstad in mind, and she gave the first performance, which was recorded. Strauss's songs have always been popular with audiences and performers, and are generally considered – along with many of his other compositions – to be masterpieces of the first rank.

Strauss in Nazi Germany

The Nazi Reich forms the ''Reichsmusikkammer''

In March 1933, when Richard Strauss was 68, Hitler and the Nazi Party rose to power. Strauss never joined the Nazi party, and studiously avoided Nazi forms of greeting. For reasons of expediency, however, he was initially drawn into cooperating with the early Nazi regime in the hope that Hitler – an ardent Wagnerian and music lover who had admired Strauss's work since viewing ''Salome'' in 1907 – would promote German art and culture. Strauss's need to protect his Jewish daughter-in-law and Jewish grandchildren also motivated his behavior, in addition to his determination to preserve and conduct the music of banned composers such as Mahler and Debussy.

In 1933, Strauss wrote in his private notebook:

I consider the Streicher-Goebbels Jew-baiting as a disgrace to German honour, as evidence of incompetence – the basest weapon of untalented, lazy mediocrity against a higher intelligence and greater talent.

Meanwhile, far from being an admirer of Strauss's work, Joseph Goebbels maintained expedient cordiality with Strauss only for a period. Goebbels wrote in his diary:

Unfortunately we still need him, but one day we shall have our own music and then we shall have no further need of this decadent neurotic.

Nevertheless, because of Strauss's international eminence, in November 1933 he was appointed to the post of president of the ''Reichsmusikkammer'', the State Music Bureau. Strauss, who had lived through numerous political regimes and had no interest in politics, decided to accept the position but to remain apolitical, a decision which would eventually become untenable. He wrote to his family, "I made music under the Kaiser, and under Ebert. I'll survive under this one as well." In 1935 he wrote in his journal:

In November of 1933, the minister Goebbels nominated me president of the ''Reichsmusikkammer'' without obtaining my prior agreement. I was not consulted. I accepted this honorary office because I hoped that I would be able to do some good and prevent worse misfortunes, if from now onwards German musical life were going to be, as it was said, "reorganized" by amateurs and ignorant place-seekers.

Strauss privately scorned Goebbels and called him "a pipsqueak." In order to gain Goebbels' cooperation, however, in extending the German music copyright laws from 30 years to 50 years, in 1933 Strauss dedicated an orchestral song, ''Das Bächlein'' ("The Little Brook") to him.

Strauss attempted to ignore Nazi bans on performances of works by Debussy, Mahler, and Mendelssohn. He also continued to work on a comic opera, ''Die schweigsame Frau'', with his Jewish friend and librettist Stefan Zweig. When the opera was premiered in Dresden in 1935, Strauss insisted that Zweig's name appear on the theatrical billing, much to the ire of the Nazi regime. Hitler and Goebbels avoided attending the opera, and it was halted after three performances and subsequently banned by the Third Reich.

On 17 June 1935, Strauss wrote a letter to Stefan Zweig, in which he stated:

Do you believe I am ever, in any of my actions, guided by the thought that I am 'German'? Do you suppose Mozart was consciously 'Aryan' when he composed? I recognise only two types of people: those who have talent and those who have none.

This letter to Zweig was intercepted by the Gestapo and sent to Hitler. Strauss was subsequently dismissed from his post as ''Reichsmusikkammer'' president in 1935. The 1936 Berlin Summer Olympics nevertheless used Strauss's ''Olympische Hymne'', which he had composed in 1934. Strauss's seeming relationship with the Nazis in the 1930s attracted criticism from some noted musicians, including Arturo Toscanini, who in 1933 had said, "To Strauss the composer I take off my hat; to Strauss the man I put it back on again," when Strauss had accepted the presidency of the ''Reichsmusikkammer''. Much of Strauss's motivation in his conduct during the Third Reich was, however, to protect his Jewish daughter-in-law Alice and his Jewish grandchildren from persecution. Both of his grandsons were bullied at school, but Strauss used his considerable influence to prevent the boys or their mother from being sent to concentration camps.

''Friedenstag''

In 1938, when the entire nation was preparing for war, Strauss created ''Friedenstag'' (''Peace Day''), a one-act opera set in a besieged fortress during the Thirty Years' War. The work is essentially a hymn to peace and a thinly veiled criticism of the Third Reich. With its contrasts between freedom and enslavement, war and peace, light and dark, this work has a close affinity with Beethoven's ''Fidelio''. Productions of the opera ceased shortly after the outbreak of war in 1939.

When his Jewish daughter-in-law Alice was placed under house arrest in Garmisch-Partenkirchen in 1938, Strauss used his connections in Berlin, including the Berlin intendant Heinz Tietjen, to secure her safety. He drove to the Theresienstadt concentration camp in order to argue, albeit unsuccessfully, for the release of his son Franz's Jewish mother-in-law, Marie von Grab. Strauss also wrote several letters to the SS pleading for the release of her children who were also held in camps; his letters were ignored.

In 1942, Strauss moved with his family back to Vienna, where Alice and her children could be protected by Baldur von Schirach, the Gauleiter of Vienna. Strauss was unable, however, to protect his Jewish relatives completely; in early 1944, while Strauss was away, Alice and his son Franz were abducted by the Gestapo and imprisoned for two nights. Only Strauss's personal intervention at this point was able to save them, and he was able to take the two of them back to Garmisch, where they remained under house arrest until the end of the war.

''Metamorphosen''

Strauss completed the composition of ''Metamorphosen'', a work for 23 solo strings, in 1945. The title and inspiration for the work comes from a profoundly self-examining poem by Goethe, which Strauss had considered setting as a choral work. Generally regarded as one of the masterpieces of the string repertoire, ''Metamorphosen'' contains Strauss's most sustained outpouring of tragic emotion. Conceived and written during the blackest days of World War II, the piece expresses in music Strauss's mourning of, among other things, the destruction of German culture – including the bombing of every great opera house in the nation. At the end of the war, Strauss wrote in his private diary:

The most terrible period of human history is at an end, the twelve year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany's 2000 years of cultural evolution met its doom.

In April 1945, Strauss was apprehended by American soldiers at his Garmisch estate. As he descended the staircase he announced to Lieutenant Milton Weiss of the U.S. Army, "I am Richard Strauss, the composer of ''Rosenkavalier'' and ''Salome''." Lt. Weiss, who, as it happened, was also a musician, nodded in recognition. An 'Off Limits' sign was subsequently placed on the lawn to protect Strauss. The American oboist John de Lancie, who knew Strauss's orchestral writing for oboe thoroughly, was in the army unit, and asked Strauss to compose an oboe concerto. Initially dismissive of the idea, Strauss completed this late masterpiece, his Oboe Concerto, before the end of the year.

Final upsurge of genius

The metaphor "Indian Summer" is often used by journalists, biographers, and music critics to describe Strauss's late upsurge of genius from 1942 through the end of his life. The horrifying events of World War II seemed to bring the composer – who had grown old, tired, and a little jaded – into focus. The major works of the last years of Strauss's life, written in his late 70s and 80s, have a luminosity which matches anything he had composed earlier in his life, and they surpass most of them in emotional depth. These pieces include, among others, his Horn Concerto No. 2, ''Metamorphosen'', his Oboe Concerto, and his masterful and haunting ''Four Last Songs''.

The ''Four Last Songs'', composed shortly before Strauss's death, deal poetically with the subject of dying. The last, "At Sunset" (''Im Abendrot''), ends with the line "Is this perhaps death?" The question is not answered in words, but instead Strauss quotes the "transfiguration theme" from his earlier tone poem, ''Death and Transfiguration'' – symbolizing the transfiguration and fulfillment of the soul after death.

Death and legacy

Richard Strauss died at the age of 85 on 8 September 1949, in Garmisch-Partenkirchen, Germany. Georg Solti, who had arranged Strauss's 85th birthday celebration, also directed an orchestra during Strauss's burial. During the singing of the famous trio from ''Rosenkavalier'', Solti described how "each singer broke down in tears and dropped out of the ensemble, but they recovered themselves and we all ended together." Strauss's wife, Paulina, died eight months later, on 13 May 1950, at the age of 88.

During his lifetime Strauss was considered the greatest composer of the first half of the 20th century, and his music had a profound influence on the development of 20th-century music. There were few 20th-century composers who compared with Strauss in terms of orchestral imagination, and no composer since Wagner made a more significant contribution to the history of opera. And Strauss's late works, modelled on "the divine Mozart at the end of a life full of thankfulness," are perhaps the most remarkable works by any octogenarian composer.

Strauss himself declared in 1947 with characteristic self-deprecation, "I may not be a first-rate composer, but I am a first-class second-rate composer." The Canadian pianist Glenn Gould described Strauss in 1962 as "the greatest musical figure who has lived in this century."

Strauss as a conductor

Strauss, as conductor, made a large number of recordings, both of his own music as well as music by German and Austrian composers.

His 1929 performances of ''Till Eulenspiegel'' and ''Don Juan'' with the Berlin State Opera Orchestra have long been considered the best of his early electrical recordings; even the original 78 rpm discs had superior sound for their time, and the performances were top-notch and quite exciting at times, despite a noticeable mistake by the Horn soloist in the famous opening passage of ''Till Eulenspiegel''.

One of the more interesting of Strauss's recordings is perhaps the first complete performance of his ''An Alpine Symphony'', made in 1941 and later released by EMI, because Strauss used the full complement of percussion instruments required in this spectacular symphony. The intensity of the performance rivaled that of the digital recording Herbert von Karajan made many years later with the Berlin Philharmonic.

Music critic Harold C. Schonberg in ''The Great Conductors'' (1967), says that while Strauss was a very fine conductor, he often put scant effort into his recordings. Schonberg focused primarily on Strauss's recordings of Mozart's Symphony No. 40 in G minor and Beethoven's Symphony No. 7, as well as noting that Strauss played a breakneck version of Beethoven's 9th Symphony in about 45 minutes. Concerning the Beethoven 7th symphony, Schonberg wrote, "There is almost never a ''ritard'' or a change in expression or nuance. The slow movement is almost as fast as the following ''vivace''; and the last movement, with a big cut in it, is finished in 4 minutes, 25 seconds. (It should run between 7 and 8 minutes.)" Schonberg also complained that the Mozart symphony had "no force, no charm, no inflection, with a metronomic rigidity."

Peter Gutmann's 1994 review for ''ClassicalNotes.com'' says the performances of the Beethoven 5th and 7th symphonies, as well as Mozart's last three symphonies, are actually quite good, even if they are sometimes unconventional. Gutman wrote:

The Koch CDs represent all of Strauss's recordings of works by other composers. The best of his readings of his own famous tone poems and other music are collected on DGG 429 925-2, 3 CDs. It is true, as the critics suggest, that the readings forego overt emotion, but what emerges instead is a solid sense of structure, letting the music speak convincingly for itself. It is also true that Strauss's tempos are generally swift, but this, too, contributes to the structural cohesion and in any event is fully in keeping with our modern outlook in which speed is a virtue and attention spans are defined more by MTV clips and news sound bites than by evenings at the opera and thousand page novels.

Koch Legacy has also released Strauss's recordings of overtures by Gluck, Carl Maria von Weber, Peter Cornelius, and Wagner. The preference for German and Austrian composers in Germany in the 1920s through the 1940s was typical of the German nationalism that existed after World War I. Strauss clearly capitalized on national pride for the great German-speaking composers.

There were many other recordings, including some taken from radio broadcasts and concerts, during the 1930s and early 1940s. The sheer volume of recorded performances would undoubtedly yield some definitive performances from a very capable and rather forward-looking conductor.

In 1944, Strauss celebrated his 80th birthday and conducted the Vienna Philharmonic in recordings of his own major orchestral works, as well as his seldom-heard ''Schlagobers'' ("Whipped Cream") ballet music. Some find more feeling in these performances than in Strauss's earlier recordings, which were recorded on the Magnetophon tape recording equipment. Vanguard Records later issued the recordings on LPs. Some of these recordings have been reissued on CD by Preiser and are of remarkable fidelity.

Strauss also made live-recording player piano music rolls for the Hupfeld system, all of which survive today.

Richard Strauss was the composer of the music on the first CD to be commercially released: Deutsche Grammophon's 1983 release of their 1980 recording of Herbert von Karajan conducting the ''Alpine Symphony''.

Works

Selected major works

Operas

:''See List of operas by Richard Strauss''

Ballet music

''Josephslegende'' (The Legend of Joseph), Op. 63 (1914)

''Schlagobers'' (Whipped Cream), Op. 70 (1921/2)

Tone poems

''Aus Italien'' (''From Italy''), Op. 16 (1886)

''Don Juan'', Op. 20 (1889)

''Macbeth'', Op. 23 (1888/90)

''Tod und Verklärung'' (''Death and Transfiguration''), Op. 24 (1888–89)

''Till Eulenspiegels lustige Streiche'' (''Till Eulenspiegel's Merry Pranks''), Op. 28 (1895)

''Also sprach Zarathustra'' (''Thus Spake Zarathustra''), Op. 30 (1896)

''Don Quixote'', Op. 35 (1898)

''Ein Heldenleben'' (''A Hero's Life''), Op. 40 (1899)

''Symphonia Domestica'' (''Domestic Symphony''), Op. 53 (1904)

''Eine Alpensinfonie'' (''An Alpine Symphony''), Op. 64 (1915)

Other orchestral works

Symphony in D minor (1880)

Symphony No. 2 in F minor, Op. 12 (1883)

''Festive Prelude'' for orchestra with organ (1913)

''Le Bourgeois gentilhomme'', suite for orchestra Op. 60 (1917)

Film music for ''Der Rosenkavalier'' (1925)

''Japanese Festival Music'' (1940)

''Metamorphosen'', for 23 solo strings (1945)

Keyboard

Funf Klavierstucke, Op. 3 (1880–81)

Sonata for piano in B minor, Op. 5 (1880–81)

Concertante

Romance for Clarinet and Orchestra (1879)

Violin Concerto in D minor, Op. 8 (1882)

Horn Concerto No. 1 in E flat major, Op. 11 (1882/83)

Romance for Cello and Orchestra (1883)

''Burleske'' for piano and orchestra (1886–1890)

''Parergon zur Symphonia Domestica'', for piano (left hand) and orchestra, Op. 73 (1925; ded. Paul Wittgenstein)

''Panathenäenzug'', for piano (left hand) and orchestra, Op. 74 (1926–1927; ded. Wittgenstein)

Horn Concerto No. 2 in E flat major (1942)

Oboe Concerto in D major (1945)

Duett-Concertino, for clarinet and bassoon with string orchestra (1947)

Vocal/Choral

''Acht Lieder aus Letzte Blätter'', Op. 10 (1885)

''Ruhe, meine Seele!'' ("Rest, My Soul!") Op. 27 No. 1

''Cäcilie'', Op. 27 No. 2

''Heimliche Aufforderung'' ("Secret Invitation"), Op. 27 No. 3

''Morgen!'' ("Tomorrow!"), Op. 27 No. 4

''Zwei Gesänge'', Op. 34 (1896/97) – 1. Der Abend 2. Hymne

''Wiegenlied'' ("Lullaby"), Op. 41 No. 1

''Deutsche Motette'', Op. 62 (1913)

''Olympische Hymne'', for chorus and orchestra (1934)

''Die Göttin im Putzzimmer'' (1935)

''Männerchöre'' (1935)

''An den Baum Daphne'' (1943)

''Vier letzte Lieder'' (Four Last Songs) (1948)

Chamber

Sonata for Cello and Piano in F, Op. 6 (1883)

Violin Sonata in E-flat, Op. 18 (1888)

Notes

Sources

Kennedy, Michael (1999). ''Richard Strauss: Man, Musician, Enigma.'' Cambridge: Cambridge University Press. ISBN 0-521-58173-7.

Kennedy, Michael. "Richard Strauss", in ''The New Grove Dictionary of Music and Musicians'', ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1-56159-174-2

Kennedy, Michael (2006). ''The Oxford Dictionary of Music'', 985 pages, ISBN 0-19-861459-4

Gilliam, Bryan. "Richard Strauss", in ''Grove Music Online'', ed. L. Macy (accessed 19 August 2005), (subscription access) (This article is very different from the one in the 1980 Grove; in particular, the analysis of Strauss's behavior during the Nazi period is more detailed.)

Dubal, David. ''The Essential Canon of Classical Music'', North Point Press, 2003. ISBN 0-86547-664-0

Selective bibliography

Kennedy, Michael (1999). ''Richard Strauss: Man, Musician, Enigma.'' Cambridge: Cambridge University Press. ISBN 0-521-58173-7.

Del Mar, Norman (1962). ''Richard Strauss.'' London: Barrie & Jenkins. ISBN 0-214-15735-0.

Tuchman, Barbara W. (1966, reprinted 1980). ''The Proud Tower'' chapter 6. Macmillan, London. ISBN 0-333-30645-7.

Gilliam, Bryan (1999). ''The Life of Richard Strauss.'' Cambridge: Cambridge University Press. ISBN 0-521-57895-7.

Osborne, Charles (1991). ''The Complete Operas of Richard Strauss.'' New York City: Da Capo Press. ISBN 0-306-80459-X.

Wilhelm, Kurt (1989). ''Richard Strauss: An Intimate Portrait.'' London: Thames & Hudson. ISBN 0-500-01459-0.

Youmans, Charles (2005). ''Richard Strauss's Orchestral Music and the German Intellectual Tradition: the Philosophical Roots of Musical Modernism.'' Bloomington: Indiana University Press. ISBN 0-253-34573-1.

Karpath, Ludwig and Strauss, Richard (1905–1936). The handwritten correspondence between Richard Strauss and Ludwig Karpath, covering 31 years was acquired by the National Library of Austria in 1962 from the daughters of Dr. Alfred Marill who was Mr. Karpath's attorney. It consists of approximately 150 items covering Strauss relationships with the Vienna State Opera and other musical events of the period. It stops at the death of Ludwig Karpath in 1936. Dr. Alfred Marill was Mr. Karpath's executor. The terms of Karpath's will stipulated that the correspondence between Karpath and Strauss not be published until after Richard Strauss's death. In keeping with these terms Dr. Marill transported it to the United States when he emigrated in 1940. After Dr. Marill's death his daughters provided the letters to the library so that Mr. Karpath's wishes could be carried out. There is no evidence that these letters have been published.

External links

Richard Strauss online

Richard Strauss Institute, in English

''In America with Richard Strauss'': Elisabeth Schumann's 1921 diary

Category:1864 births Category:1949 deaths Category:20th-century classical composers Category:German conductors (music) Category:Opera composers Category:Opera managers Category:People from Munich Category:People from the Kingdom of Bavaria Category:Royal Philharmonic Society Gold Medallists Category:Recipients of the Pour le Mérite (civil class) Category:Romantic composers Category:Ballet composers Category:German composers Category:Honorary Members of the Royal Philharmonic Society Category:General Directors of the Vienna State Opera Category:Music directors of the Berlin State Opera Category:Members of the Bavarian Maximilian Order for Science and Art Category:German atheists

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name	Cornel Wilde
alt	Frame of a film. A man wearing a suit and tie is smiling towards the camera. The words "CORNEL WILDE" are superposed on the image across the bottom of the frame.
birth name	Kornél Lajos Weisz (Americanized to Cornelius Louis Wilde)
birth date	October 13, 1912
birth place	Prievidza, Hungary (now Slovakia)
death date	October 16, 1989
death place	Los Angeles, California, U.S.
other names	Clark Wales
spouse	(divorced) 1 child (divorced) 1 child
years active	1936–87
occupation	Actor, director }}

Cornel Wilde (October 13, 1912 – October 16, 1989) was an American actor and film director.

Early life

Kornél Lajos Weisz was born in 1912 in Prievidza, Hungary (now Slovakia), although his year and place of birth are usually and inaccurately given as 1915 in New York City. His Hungarian Jewish parents were Vojtech Weisz (Americanized to Louis Bela Wilde) and Renée Mary Vid. He was named for his paternal grandfather, and upon arrival in the U.S. at age 7 in 1920, his name was Americanized to Cornelius Louis Wilde. A talented linguist and an astute mimic, he had an ear for languages which became apparent later in his acting career. Wilde attended the City College of New York as a pre-med student, completing the four-year course in three years and winning a scholarship to the Physicians and Surgeons College at Columbia University. He qualified for the United States fencing team prior to the 1936 Summer Olympic Games, but quit the team just prior to the games in order to take a role in the theater. In preparation for an acting career, he and his new wife Marjory Heinzen (later to be known as Patricia Knight) shaved years off their ages, three for him and five for her. As a result, most publicity records and subsequent sources wrongly indicate a 1915 birth for Wilde.

Career

After study at Theodora Irvine's Studio of the Theatre, Wilde began appearing in plays in stock and in New York. He made his Broadway debut in 1935 in ''Moon Over Mulberry Street''. He wrote a fencing play, ''Touché'', under the pseudonym Clark Wales in 1937. Wilde was hired as a fencing teacher by Laurence Olivier for his 1940 Broadway production of ''Romeo and Juliet'' and was given the role of Tybalt in the production. His performance in this role netted him a Hollywood film contract.

He had several small film roles until he played the role of Frédéric Chopin in 1945's ''A Song to Remember'', for which he was nominated for an Academy Award as Best Actor. In 1945 he also starred in ''A Thousand and One Nights'' with Evelyn Keyes. He spent the rest of the decade appearing in romantic and swashbuckling films, but he also appeared in some significant films noir, opposite Gene Tierney in ''Leave Her to Heaven'' (1945), ''Road House'' (1948) and ''Shockproof'' (1949), the latter film also starring his then wife Patricia Knight.

In the 1950s, Wilde created his own film production company and produced the film noir ''The Big Combo'' (1955). Wilde played the male lead alongside his second wife Jean Wallace. That same year, he appeared in an episode of ''I Love Lucy'' as himself. In 1957, he played the role of the 13th century Persian poet Omar Khayyam in the film ''Omar Khayyam''.

He produced, directed, and starred in ''The Naked Prey'' (1966), in which he played a naked man being tracked by hunters from an African tribe affronted by the behavior of members of a safari party. The original script for ''The Naked Prey'' was largely based on a true historical incident about a trapper named John Colter being pursued by Blackfeet Indians in Wyoming. Lower shooting costs, tax breaks, and material and logistical assistance offered by Rhodesia convinced Wilde and the other producers to shoot the film there.

Wilde's other notable directing efforts include ''Beach Red'' (1967) and ''No Blade of Grass'' (1970).

During the early 1970s, Wilde took a break from motion pictures and theater to turn toward television. He appeared as an unethical surgeon in the 1971 ''Night Gallery'' episode "Deliveries in the Rear" and portrayed an anthropologist in the 1972 TV movie ''Gargoyles''. He returned to film shortly thereafter and wrote, directed, and starred in the exploitation film ''Sharks' Treasure'', a 1975 film intended to capitalize on the "Shark Fever" popular in the mid-1970s in the wake of the success of Peter Benchley's ''Jaws''.

Personal life

He married the actress Patricia Knight in 1937. She appeared with him in ''Shockproof'' (1949). They had a daughter, Wendy (born February 22, 1943), and divorced in 1951.

He married the actress Jean Wallace in 1951. Wallace, formerly married to actor Franchot Tone, co-starred with Wilde in several films including ''The Big Combo'' (1955), ''Lancelot and Guinevere'', aka ''Sword of Lancelot'' (1963), and ''Beach Red'' (1967). Her two children from her marriage to Franchot Tone became Wilde's stepsons. They also had a son together, Cornel Wallace Wilde Jr. (born December 19, 1967). They divorced in 1981.

Death

Wilde died of leukemia three days after his 77th birthday. He was survived by a daughter and a son (one from each marriage); two stepsons, Pascal Franchot Tone and Thomas Jefferson Tone; and three grandchildren. Wilde is interred in the Westwood Village Memorial Park Cemetery in Westwood, California.

For his contribution to the motion picture industry, Cornel Wilde has a star on the Hollywood Walk of Fame at 1635 Vine Street.

Selected filmography

As director

''General Electric Theater'' (1955) (episode "The Blond Dog")

''Storm Fear'' (1955)

''The Devil's Hairpin'' (1957)

''Maracaibo'' (1958)

''Constantine and the Cross'' (1962)

''Lancelot and Guinevere'' (1963)

''The Naked Prey'' (1966)

''Beach Red'' (1967)

''No Blade of Grass'' (1970)

''Sharks' Treasure'' (1975)

As actor

''High Sierra'' (1941)

''Life Begins at Eight-Thirty (1942)

''Leave Her to Heaven'' (1945)

''A Song to Remember'' (1945)

''A Thousand and One Nights'' (1945)

''Centennial Summer'' (1946)

''Forever Amber'' (1947)

''It Had to Be You'' (1947)

''Road House'' (1948)

''Shockproof'' (1949)

''Two Flags West'' (1950)

''The Greatest Show on Earth'' (1952)

''At Sword's Point'' (1952)

''Treasure of the Golden Condor'' (1953)

''Star of India'' (1954)

''Woman's World'' (1954)

''The Big Combo'' (1955)

''The Scarlet Coat'' (1955)

''Hot Blood'' (1956)

''Omar Khayyam'' (1957)

''Lancelot and Guinevere'' (1963)

''The Naked Prey'' (1966)

''Beach Red'' (1967)

''The Comic'' (1969)

''Sharks' Treasure'' (1975)

''The Fifth Musketeer'' (1979)

References

External links

Category:1989 deaths Category:American film actors Category:Deaths from leukemia Category:American Jews Category:Jewish actors Category:Columbia University alumni Category:Cancer deaths in California Category:American people of Hungarian descent Category:1912 births

an:Cornel Wilde de:Cornel Wilde es:Cornel Wilde fr:Cornel Wilde it:Cornel Wilde nl:Cornel Wilde ja:コーネル・ワイルド no:Cornel Wilde pl:Cornel Wilde pt:Cornel Wilde