Rose Gold - Revision history

Djando: /* Image Gallery */

2025-05-26T18:17:36Z

‎Image Gallery

Djando at 19:12, 14 March 2025

2025-03-14T19:12:34Z

Djando at 19:11, 14 March 2025

2025-03-14T19:11:18Z

Djando: /* Aerialist */

2025-03-14T19:10:34Z

‎Aerialist

Djando: /* Aerialist */

2025-03-13T22:12:27Z

‎Aerialist

Djando: /* Aerialist */

2025-03-13T22:10:43Z

‎Aerialist

Djando: /* Epilogue */

2025-03-13T22:10:22Z

‎Epilogue

Djando: /* Aerialist */

2025-03-13T22:09:03Z

‎Aerialist

Djando: /* Enter Rose Gold */

2025-03-13T21:53:29Z

‎Enter Rose Gold

Djando: /* Enter Rose Gold */

2025-03-13T21:51:40Z

‎Enter Rose Gold

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 File:Rose_Gold_Trio_at_Ringling_Bros.jpg|The Rose Gold Trio at Ringling Bros. and Barnum & Bailey (1947)
 File:Rose_Gold_Trio_Portrait.jpg|The Rose Gold Trio at Ringling Bros. and Barnum & Bailey (1947)
-File:Rose_Gold_Camel_Ad_(1947).jpeg|Rose Gold's Camel Ad (1947)
+File:Rose_Gold_Camel_Ad.png|Rose Gold's Camel Ad (1947)
 File:Rose_Gold_-_Medrano.jpg|The Rose Gold Trio at Cirque Medrano (1951)
 File:Rose_Gold_Promo.jpg|Rose Gold & Partners (c.1952)

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 Circus folks are generally not much concerned by nationalities and international feuds&mdash;especially in Europe. André and Rose-Marie (the French version of her name) created an aerial cradle act together and debuted in 1943 at [[Cirkusbygningen (Copenhagen)|Cirkus Schumann]] in Copenhagen. Then Rose-Marie gave birth to her and André’s son, André, Jr. (of whom nothing much is known), and a little later, the couple resumed work, appearing in Germany, Poland, and Czechoslovakia.
-The war over, Germany laid in ruins and Eastern Europe was falling into the hands of Communist governments: Penniless, André and Rose-Marie managed to flee to Paris, where they established residence. They finally got married and began to work on a new act with an original concept: A mixture of aerial cradle and swinging trapeze&mdash;with her two partners holding her trapeze. They found Bernard Zenner, who had worked with a well-known aerial act, [[The Norbertys]], and the trio went to train at the fabled "Gymnase" of the ''Cité du Midi''&mdash;a training space in a small cul-de-sac opening on the Boulevard de Clichy where, in that pre-circus-school era, many circus artists trained and created new acts.
+The war over, Germany laid in ruins and Eastern Europe was falling into the hands of Communist governments: Penniless, André and Rose-Marie managed to flee to Paris, where they established residence. They finally got married and began to work on a new act with an original concept: A mixture of aerial cradle and swinging trapeze&mdash;with her two partners holding her trapeze. They found Bernard Zenner, who had worked with a well-known aerial act, [[The Norbertys]], and the trio went to train at the fabled ''Gymnase'' of the "Cité du Midi"&mdash;a training space in a small cul-de-sac opening on the Boulevard de Clichy where, in that pre-circus-school era, many circus artists trained and created new acts.
 ===Enter Rose Gold===

@@ Line 12: / Line 12: @@
 Circus folks are generally not much concerned by nationalities and international feuds&mdash;especially in Europe. André and Rose-Marie (the French version of her name) created an aerial cradle act together and debuted in 1943 at [[Cirkusbygningen (Copenhagen)|Cirkus Schumann]] in Copenhagen. Then Rose-Marie gave birth to her and André’s son, André, Jr. (of whom nothing much is known), and a little later, the couple resumed work, appearing in Germany, Poland, and Czechoslovakia.
-The war over, Germany laid in ruins and Eastern Europe was falling into the hands of Communist governments: Penniless, André and Rose-Marie managed to flee to Paris, where they established residence. They finally got married and began to work on a new act with an original concept: A mixture of aerial cradle and swinging trapeze&mdash;with her two partners holding her trapeze. They found Bernard Zenner, who had worked with a well-known aerial act, [[The Norbertys]], and the trio went to train at the fabled "Gymnase" de la ''Cité du Midi''&mdash;a training space in a small cul-de-sac opening on the Boulevard de Clichy where, in that pre-circus-school era, many circus artists trained and created new acts.
+The war over, Germany laid in ruins and Eastern Europe was falling into the hands of Communist governments: Penniless, André and Rose-Marie managed to flee to Paris, where they established residence. They finally got married and began to work on a new act with an original concept: A mixture of aerial cradle and swinging trapeze&mdash;with her two partners holding her trapeze. They found Bernard Zenner, who had worked with a well-known aerial act, [[The Norbertys]], and the trio went to train at the fabled "Gymnase" of the ''Cité du Midi''&mdash;a training space in a small cul-de-sac opening on the Boulevard de Clichy where, in that pre-circus-school era, many circus artists trained and created new acts.
 ===Enter Rose Gold===

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 She was still a teenager when The Barlays, a German aerial act in search of a female partner, spotted her. Thus she started her circus career as one third of The 3 Barlays. And she was barely twenty when she met and fell in love with André Pahin, a French trapeze artist who worked with the famous bar-to-bar flying act of [[The Zemgannos]]. WWII had already started when they met. Rosemarie was Austrian, and André was a French citizen: His country was part of the German occupied territories, and therefore he could work in the Axis countries should he choose to do so.
-Circus folks are generally not much concerned by nationalities and international feuds&mdash;especially in Europe. André and Rosemarie created an aerial cradle act together and debuted in 1943 at [[Cirkusbygningen (Copenhagen)|Cirkus Schumann]] in Copenhagen. Then Rosemarie gave birth to her and André’s son, André, Jr. (of whom nothing much is known), and a little later, the couple resumed work, appearing in Germany, Poland, and Czechoslovakia.
+Circus folks are generally not much concerned by nationalities and international feuds&mdash;especially in Europe. André and Rose-Marie (the French version of her name) created an aerial cradle act together and debuted in 1943 at [[Cirkusbygningen (Copenhagen)|Cirkus Schumann]] in Copenhagen. Then Rose-Marie gave birth to her and André’s son, André, Jr. (of whom nothing much is known), and a little later, the couple resumed work, appearing in Germany, Poland, and Czechoslovakia.
-The war over, Germany laid in ruins and Eastern Europe was falling into the hands of Communist governments: Penniless, André and Rosemarie managed to flee to Paris, where they established residence. They finally got married and began to work on a new act with an original concept: A mixture of aerial cradle and swinging trapeze&mdash;with her two partners holding her trapeze. They found Bernard Zenner, who had worked with a well-known aerial act, [[The Norbertys]], and the trio went to train at the fabled ''Gymnase de la Cité du Midi''&mdash;a training space in a small cul-de-sac opening on the Boulevard de Clichy where, in that pre-circus-school era, many circus artists trained and created new acts.
+The war over, Germany laid in ruins and Eastern Europe was falling into the hands of Communist governments: Penniless, André and Rose-Marie managed to flee to Paris, where they established residence. They finally got married and began to work on a new act with an original concept: A mixture of aerial cradle and swinging trapeze&mdash;with her two partners holding her trapeze. They found Bernard Zenner, who had worked with a well-known aerial act, [[The Norbertys]], and the trio went to train at the fabled "Gymnase" de la ''Cité du Midi''&mdash;a training space in a small cul-de-sac opening on the Boulevard de Clichy where, in that pre-circus-school era, many circus artists trained and created new acts.
 ===Enter Rose Gold===

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 [[File:Rose_Gold_(1947).jpg|thumb|left|300px|Rose Gold (1947)]]Rose Gold (1917-1993) was, in the 1940s and 1950s, a genuine circus star and one of the greatest aerialists of her time, with an act that stood alone in its concept and originality, not to mention its daring. Although she was not very photogenic (her photographs often belie her actual beauty), she had in the ring a magnetic presence and a charm that stirred unbridled enthusiasm among circus aficionados and journalists alike.
-She was born Rose Maria Goldnagl on July 4, 1917 in Vienna, Austria. She didn’t belong to a circus family but she was a very physical and active child, and her parents (Carl and Pauline, née Gregory) made her study ballet and train in gymnastics. When Walt Disney released his animated movie, ''Snow White and The Seven Dwarfs'' in 1937, her father nicknamed Rosemarie, ''Snow White'': Her opulent jay-black mane, which would become her most recognizable feature, made her look like the Disney character.
+She was born Rosa Maria Goldnagl on July 4, 1917 in Vienna, Austria. She didn’t belong to a circus family but she was a very physical and active child, and her parents (Carl and Pauline, née Gregory) made her study ballet and train in gymnastics. When Walt Disney released his animated movie, ''Snow White and The Seven Dwarfs'' in 1937, her father nicknamed Rosemarie, ''Snow White'': Her opulent jay-black mane, which would become her most recognizable feature, made her look like the Disney character.
 She was still a teenager when The Barlays, a German aerial act in search of a female partner, spotted her. Thus she started her circus career as one third of The 3 Barlays. And she was barely twenty when she met and fell in love with André Pahin, a French trapeze artist who worked with the famous bar-to-bar flying act of [[The Zemgannos]]. WWII had already started when they met. Rosemarie was Austrian, and André was a French citizen: His country was part of the German occupied territories, and therefore he could work in the Axis countries should he choose to do so.
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 ===Enter Rose Gold===
-A number of circus performers who trained at the Cité du Midi lived in the neighborhood, which was at the foot of Montmartre and also encompassed the legendary [[Cirque Medrano (Paris)|Cirque Medrano]]&mdash;where they used to hang around to meet old friends contracted there for the month. The latter, in turn, visited them at the Cité du Midi, where Rosemarie’s exceptional skills and artistry, her daredevilry and her good looks had indeed been noticed. She and André needed money: The grapevine landed Rosemarie a one-month contract with a solo trapeze act (her new act was not ready yet) at the Cirque Medrano, for the opening show of the 1945-46 season in September.
+A number of circus performers who trained at the Cité du Midi lived in the neighborhood, which was at the foot of Montmartre and also encompassed the legendary [[Cirque Medrano (Paris)|Cirque Medrano]]&mdash;where they used to hang around to meet old friends contracted there for the month. The latter, in turn, visited them at the Cité du Midi, where Rosemarie’s exceptional skills and artistry, her daredevilry and her good looks had indeed been noticed. She and André needed money: The grapevine landed Rosa Maria a one-month contract with a solo trapeze act (her new act was not ready yet) at the Cirque Medrano, for the opening show of the 1945-46 season in September.
-[[File:Rose_Gold_-_Medrano.jpg|thumb|right|400px|The Rose Gold Trio (1951)]]She was billed as ''Rose Gold''. It had a good feel to it, was certainly catchier than Rosemarie Pahin&mdash;and Goldnagel would have indeed sounded a little too Teutonic to the recently liberated Parisians! Rose Gold was an instant sensation: her act was performed very high under the cupola, and included spectacular heel and toe hangs, which the gorgeous and graceful aerialist executed with a radiant smile and without any safety&mdash;her long, black hair waving with each of her moves. The audience fell in love, and so did the very savvy Parisian critics who unanimously announced the birth of a new star.
+[[File:Rose_Gold_-_Medrano.jpg|thumb|right|400px|The Rose Gold Trio (1951)]]She was billed as ''Rose Gold''. It had a good feel to it, was certainly catchier than Rosa Maria Pahin&mdash;and Goldnagl would have indeed sounded a little too Teutonic to the recently liberated Parisians! Rose Gold was an instant sensation: her act was performed very high under the cupola, and included spectacular heel and toe hangs, which the gorgeous and graceful aerialist executed with a radiant smile and without any safety&mdash;her long, black hair waving with each of her moves. The audience fell in love, and so did the very savvy Parisian critics who unanimously announced the birth of a new star.
 The following month, Rose Gold was featured at the Théâtre de l’Étoile (one of Paris’s lost music-halls, which disappeared in 1964) in a show that starred the singer (and later, actor) Yves Montand; to some reviewers, Rose was at par with the star of the show, and they treated her as such. [[Jérôme Medrano]] knew star potential when he saw it: No later than late November 1945, ''Rose Gold and Co.'', as they were billed, were the headliners of the latest Medrano offering, in which they debuted their brand new act. (At the time, Medrano, the [[Cirque d’Hiver]] and Paris’s music-halls and cabarets, renewed their shows every three or four weeks!)

← Older revision		Revision as of 22:10, 13 March 2025
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−	[[File:Rose_Gold_(1947).jpg\|thumb\|left\|300px\|Rose Gold (1947)]]Rose Gold (1917-~~1998?~~) was, in the 1940s and 1950s, a genuine circus star and one of the greatest aerialists of her time, with an act that stood alone in its concept and originality, not to mention its daring. Although she was not very photogenic (her photographs often belie her actual beauty), she had in the ring a magnetic presence and a charm that stirred unbridled enthusiasm among circus aficionados and journalists alike.	+	[[File:Rose_Gold_(1947).jpg\|thumb\|left\|300px\|Rose Gold (1947)]]Rose Gold (1917-1993) was, in the 1940s and 1950s, a genuine circus star and one of the greatest aerialists of her time, with an act that stood alone in its concept and originality, not to mention its daring. Although she was not very photogenic (her photographs often belie her actual beauty), she had in the ring a magnetic presence and a charm that stirred unbridled enthusiasm among circus aficionados and journalists alike.

	She was born Rose Maria Goldnagl on July 4, 1917 in Vienna, Austria. She didn’t belong to a circus family but she was a very physical and active child, and her parents (Carl and Pauline, née Gregory) made her study ballet and train in gymnastics. When Walt Disney released his animated movie, ''Snow White and The Seven Dwarfs'' in 1937, her father nicknamed Rosemarie, ''Snow White'': Her opulent jay-black mane, which would become her most recognizable feature, made her look like the Disney character.		She was born Rose Maria Goldnagl on July 4, 1917 in Vienna, Austria. She didn’t belong to a circus family but she was a very physical and active child, and her parents (Carl and Pauline, née Gregory) made her study ballet and train in gymnastics. When Walt Disney released his animated movie, ''Snow White and The Seven Dwarfs'' in 1937, her father nicknamed Rosemarie, ''Snow White'': Her opulent jay-black mane, which would become her most recognizable feature, made her look like the Disney character.

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 The great French circus historian and chronicler Tristan Rémy, who was the circus critic for the French daily, ''L’Humanité'', said Rose Gold was "poetry itself… her swing suspended by her heels to a minuscule trapeze bar animated by her partners has a tragic grandeur." Another French critic, André Tabet, said: "Her forward falls caught by her feet leave us breathless, and her legs’ flutter in the air gives us a similar heart flutter…” In September 1945, in ''Minerve'', Yanette Delétang-Tardif had commented thus Rose’s debut with her solo trapeze act at Cirque Medrano: “What is so moving about the debut of this trapezist is that, right away, she has reached perfection.”
-Rose Gold was indeed an exceptional artist, one of the greatest aerialists in circus history, and she had an exceptional and stellar career. She passed away in Vienna, without notice, at the end of the 1990s. André Pahin survived his wife for another decade and died in 2008, also in Vienna.
+Rose Gold was indeed an exceptional artist, one of the greatest aerialists in circus history, and she had an exceptional and stellar career. She passed away in Vienna, without notice, in May 1993. André Pahin survived his wife for another decade and died in 2008, also in Vienna.
 ==Suggested Reading==

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-[[File:Rose_Gold_(1947).jpg|thumb|left|300px|Rose Gold (1947)]]Rose Gold (1922-1998?) was, in the 1940s and 1950s, a genuine circus star and one of the greatest aerialists of her time, with an act that stood alone in its concept and originality, not to mention its daring. Although she was not very photogenic (her photographs often belie her actual beauty), she had in the ring a magnetic presence and a charm that stirred unbridled enthusiasm among circus aficionados and journalists alike.
+[[File:Rose_Gold_(1947).jpg|thumb|left|300px|Rose Gold (1947)]]Rose Gold (1917-1998?) was, in the 1940s and 1950s, a genuine circus star and one of the greatest aerialists of her time, with an act that stood alone in its concept and originality, not to mention its daring. Although she was not very photogenic (her photographs often belie her actual beauty), she had in the ring a magnetic presence and a charm that stirred unbridled enthusiasm among circus aficionados and journalists alike.
-She was born Rosemarie Goldnagel in 1922 in Vienna, Austria. She didn’t belong to a circus family but she was a very physical and active child, and her parents made her study ballet and train in gymnastics. When Walt Disney released his animated movie, ''Snow White and The Seven Dwarfs'' in 1937, her father nicknamed Rosemarie, ''Snow White'': Her opulent jay-black mane, which would become her most recognizable feature, made her look like the Disney character.
+She was born Rose Maria Goldnagl on July 4, 1917 in Vienna, Austria. She didn’t belong to a circus family but she was a very physical and active child, and her parents (Carl and Pauline, née Gregory) made her study ballet and train in gymnastics. When Walt Disney released his animated movie, ''Snow White and The Seven Dwarfs'' in 1937, her father nicknamed Rosemarie, ''Snow White'': Her opulent jay-black mane, which would become her most recognizable feature, made her look like the Disney character.
 She was still a teenager when The Barlays, a German aerial act in search of a female partner, spotted her. Thus she started her circus career as one third of The 3 Barlays. And she was barely twenty when she met and fell in love with André Pahin, a French trapeze artist who worked with the famous bar-to-bar flying act of [[The Zemgannos]]. WWII had already started when they met. Rosemarie was Austrian, and André was a French citizen: His country was part of the German occupied territories, and therefore he could work in the Axis countries should he choose to do so.
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 Rose Gold returned to the ring on March 20, 1957, in Flint, Michigan, to great press fanfare. As a measure of precaution, a net was installed for the first few days, but it was soon removed. However, André insisted that two spotters stand on the ground under them, and the use of flash photographs was strictly prohibited during their act. The trio remained in North America until the end of 1959, working with Polack Bros., and also in Mexico with [[Circo Atayde]], where Rose Gold obtained an enormous success.
-Back in Europe, she went on tour in 1960 with [[Cirque Pinder]], France’s premier and largest traveling circus at the time, where she was duly advertised as the star of the show. In 1961, she was with [[The Schumann Dynasty|Circus Schumann]] in Sweden and Denmark (Antonio Morales had by then replaced Francesco Rinetti); she was filmed at Cirkus Schumann in Copenhagen by NBC Television for its show, ''International Showtime'', presented by Don Ameche. Then she went for a few dates with [[The Rancy Dynasty|Cirque Napoléon Rancy]] in France: This was to be her farewell engagement. Rose was 39, still at the top of her game, and she and André thought it was time for them to retire from the ring before it was too late.
+Back in Europe, she went on tour in 1960 with [[Cirque Pinder]], France’s premier and largest traveling circus at the time, where she was duly advertised as the star of the show. In 1961, she was with [[The Schumann Dynasty|Circus Schumann]] in Sweden and Denmark (Antonio Morales had by then replaced Francesco Rinetti); she was filmed at Cirkus Schumann in Copenhagen by NBC Television for its show, ''International Showtime'', presented by Don Ameche. Then she went for a few dates with [[The Rancy Dynasty|Cirque Napoléon Rancy]] in France: This was to be her farewell engagement. Rose was forty-four, still at the top of her game, and she and André thought it was time for them to retire from the ring before it was too late.
 ===Epilogue===

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 The following month, Rose Gold was featured at the Théâtre de l’Étoile (one of Paris’s lost music-halls, which disappeared in 1964) in a show that starred the singer (and later, actor) Yves Montand; to some reviewers, Rose was at par with the star of the show, and they treated her as such. [[Jérôme Medrano]] knew star potential when he saw it: No later than late November 1945, ''Rose Gold and Co.'', as they were billed, were the headliners of the latest Medrano offering, in which they debuted their brand new act. (At the time, Medrano, the [[Cirque d’Hiver]] and Paris’s music-halls and cabarets, renewed their shows every three or four weeks!)
-Performed to Franz Lehár’s ''Gold und Silber'' ("Gold and Silver") waltz, their act began with a series of classic aerial cradle tricks with hands-to-feet catches and other similar moves, as well as some intricate, more static hanging combinations, then switched to the swinging trapeze part, in which Rose worked on a trapeze hanging from the hands of her two partners placed side by side on an extended cradle. This part of the act was by far the most spectacular: It began with Rose Hanging from the cradle, then releasing herself to catch the trapeze bar below, hand-held by her partners; then they released the trapeze’s ropes to their full length and started swinging it. The swinging part included Rose’s back balancing, various hand and ankle catches, and ended in full swing with a spectacular heel hang, barefooted. As a finale, Rose jumped head first from the cradle, her ankles attached to two braided ropes that suddenly unfolded, and she ended swinging a few feet from the ground; the audience was left breathless!
+Performed to Franz Lehár’s ''Gold und Silber'' ("Gold and Silver") waltz, their act began with a series of classic aerial cradle tricks with hands-to-feet catches and other similar moves, as well as some intricate, more static hanging combinations. Then it switched to the swinging trapeze part, in which Rose worked on a trapeze hanging from the hands of her two partners placed side by side on an extended cradle. This part of the act was by far the most spectacular: It began with Rose Hanging from the cradle, then releasing herself to catch the trapeze bar below, hand-held by her partners; then they released the trapeze’s ropes to their full length and started swinging it. The swinging part included Rose’s back balancing, various hand and ankle catches, and ended in full swing with a spectacular heel hang, barefooted. As a finale, Rose jumped head first from the cradle, her ankles attached to two braided ropes that suddenly unfolded, and she ended swinging a few feet from the ground; the audience was left breathless!
 The Rose Gold Trio’s performance was an unmitigated triumph. Once again the Parisian critics waxed lyrical; in ''Le Pays'', [[Serge (Maurice Féaudierre)|Serge]], the most popular of them, released all the flourishes of which his ornate prose was capable.  He ended thus his review: "This petite brunette, without showing the least flinch of anxiety, always exhibiting this famous acrobatic smile that blossoms only in the flies, performs a series of very improbable exercises that are certain to gratify vertigo lovers everywhere.  This act, with that of [[Les Clérans]], is perhaps the most sensational we have seen in the Circus in the past five years…"