Shomer had her taken to
Rovno. She was with him for a short time and returned to
Fishzon's troupe, and as such Braginska had at that time
lost her voice, and she became a prima donna].
Being several seasons with
Shomer, she had returned again to Fishzon in his troupe
in Berdichev, as she was introduced to a rich merchant
Max Zeygermakher, who had returned from America and
married him, and in order that she could remain with the
theatre, he became a cashier with Fishzon, but she alone
went over from one troupe to another: Fishzon, Shomer,
Naftali Goldfaden, Lazar Bernstein, Kompaneyets, Krause,
Zandberg et al.
Mark Leyptsiker writes:
"Thanks to her wanderings
across the cities and towns of the whole of Russia, she
became very popular and famous for her beauty and as a
singer. She was accustomed to having great success and
had acquired a name. Being that thanks to her one could
do good business, Fishzon had invited her to the theatre
as a partner. Thanks to her energy, she often used to
receive permission to act in theatre in such places
across Russia, where there stood a strong union of
Yiddish theatre. In time A. became a partner with
Kompaneyets in a theatre, acted in Warsaw, in the
She also traveled across the
crown of Poland, Lithuania, Ukraine, Siberia, Courland
According to Chiene
Braginska, A.'s husband, the merchant Max Zeygermakher,
had her try to get her get her away from the theatre,
she had been given in marriage to him... had with the
Yiddish theatre director Lazer Bernstein, had in the
meantime directed with a Russian chorus in Shantan(en),
and then returned as a prima donna with Fishzon in a
In 1910 A. acted as a prima
donna on the Ukrainian stage in the troupe of Kopilov in
Mikhalenko, and directed with "a Vienna orchestra"
(Balaleykes), sang Russian novels in concerts. When the
First World War broke out, A. acted in the troupe of
GuzikYiddish plays in Russian, after the February
Revolution, she had in the same troupe acted in Yiddish.
After the October Revolution, he settled in Kiev, where
she participated in the Yiddish troupes which performed
there, then in episodic roles in Kiev's "Kunst vinkl
(Artist corner)". From 1929, she went onto a pension
from the state, and at the same time often participated
in "Afkina" films. A. also had in Warsaw and in Vilna
sang on a gramophone.
Further information about
her fate is unknown.
Sh. E. from
Mark Leyptsiker and M. E. from Chiene Braginska.