Aumangenem aiz was the
'doctor' ...who sang and recited anshtat to reydn as a
human being (mentsh). Hot aiz afilu a khsrun, vos merkt
zikh also with several other actors from the troupe and
se vaundert us, which Mrs. Finkel gufa kon zkh derfun
And in the same newspaper of
12 July, it is written about the production of "Pericola":
""The woman Finkel as
Pericola was the success of the evening. Especially
good also was Kessler in the role of the old arestant."
In "Galati" of 9 July 1885
it was said:
"In the large theatre, due
to oysfeln of a Romanian troupe-- sits for series of
productions the union of Israeli artists under the
management of the h"h Mogulesco and Finkel. This
production tsien for that evening was not only
Israelites, but also many Romanians, who were retired
from pleasant and original music ... Mrs. Finkel, with
an appealing soprano voice, as well as Mrs. Edelstein,
were the first who received applause."
Nakhn matern zikh
economic several years in Romania, F. came at the end of
July 1886 with an entire troupe, among them also her
husband, to New York.
David Kessler recalls that
when Goldfaden in 1887 came to America and wanted to
take over the directorship of the theatre, the actors
refused thereof, and declared a strike. However, the two
women of the troupe, Aneta Finkel and Rosa Karp, were
In 1888 F. found me to play
in Boston with her husband. In the presence of the
guest, Avraham Goldfaden, she performed as "Karolina" in
"The [Two] Kuni Lemels," but as Bessie Thomashefsky, who
had seen them as a huge competitor, according to her
"God helped on a beautiful
day, with a rehearsal, the director showed up with the
prima donna, Aneta Finkel, and she says that she is not
playing, although the entire production was called back.
They talked, they argued, but it didn't help. She
refused and said to him, not to play even though you may
need to return the money from all the sold-out tickets.
She is the 'starikhe,' and she must oysfirn, she
says. After a long struggle that began with the director
and not a shpey oys on the prima donna, with the
'Kuni lemels,' with all of Boston. It didn't help at all
betn and not to cry. Thomashefsky went away and
we all stayed inside. ... The prima donna, Aneta Finkel,
was the 'stariche' with a diploma, outside of New York,'
and she said she was given to understand what this
means. The beautiful wardrobe, which I had held in the
same 'Boston Music Hall,' at first for several weeks ago
when I performed as 'Shulamis'-- this lovely dresser
Ruth [wardrobe room] Aneta Finkel had taken for herself,
we did she named himself putting the clothes on in the
toilet [?] In the toilet (closet), for as soon as I
would dress in the same dressing room with her, so from
whence they will know that she is the 'star'? Looking at
it--she laughed--a 'star' in short clothes? Haven't
there already been many who have suffered for the
Yiddish stage? How many friends have you already hired
F. then played in other
troupes and for a certain time took a prominent place on
the American Yiddish stage as a prima donna. Later she
subsequently gegt with Morris Finkel, with whom
she had a daughter Liza (pianist in the Bucharest Opera
House, who was murdered in Bucharest by the Nazi
authorities), and a son Irvin, who after his father's
death officially changed his name to Irvin H. Fenn, and
was the head of the mathematics department of the
Polytechnium of Brooklyn, N.Y.
F. later married the
musician and composer Finkelstein from Philadelphia, and
with him went away to Europe, where he died, and after
his death in 1907, she returned to America, where in
1926 she passed away in Philadelphia.
Her son Irvin, who was the
husband of the Yiddish actress Berta Gerstin, passed
away on 29 February 1960 in New York.
M. E. from
Itzhak Libresko and Isaac Aberman.
B. Gorin-- "History
of Yiddish Theatre," Volume 2, p. 35.
"Mayn lebens geshikhte," New York, 1916, pp. 70-74.
Sh's Roman-- Di
ershte retsenzie vegn yidishn teater in rumenye,,
[in "Hundert yor goldfadn], New York, pp. 53-54.