Top with a patty, shredded lettuce, tomato slices and cornichon slices.
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Best eaten with a healthy dollop of whole grain mustard and a garlicky cornichon or pickle.
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I'd serve these with homemade potato chips seasoned with a spicy blackening rub and some little cornichon pickles on the side or skewered on top of the buns.
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I order a "You're Fired"("House-made Bloody Mary Mix, Absolut Vodka, celery") for Martin and "The Billionaire Martini" ("Premium Chopin Vodka, Noilly Prat Dry Vermouth, Castelvetrano olive, pearl onion, cornichon") for myself.
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Protein cornichon homolog is a protein that in humans is encoded by the CNIH gene.
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Protein cornichon homolog 4 is a protein that in humans is encoded by the CNIH4 gene.
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Rainer worked as a cashier at the Zürich hotel Hirschen in 1934, the venue of the Cabaret Cornichon.
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By the later 1940s many of the old political targets of the Cabaret Cornichon were gone. The continent - Switzerland included - was exhausted and appetite for political satire diminished. Those who had invested in the cabaret had moved on, and Lesch was left to shoulder the entire burden of its growing indebtedness. In 1951 the Cabaret Cornichon closed down.
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Walter Lesch (4 March 1898 – 27 May 1958) was a Swiss stage and movie producer-director. He was also a writer and, for nearly twenty years after 1933, artistic director of the anti-Nazi Cabaret Cornichon.
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From autumn 1950 to spring of 1951, Margrit Läubli appeared in the last programs of Cabaret Cornichon. The Cabaret Cornichon was essentially an entertainment cabaret but, inspired by the ideals of what later became known as 'Geistige Landesverteidigung' ('national' spiritual defence), it also opposed fascism and Nazism. The term "Geistige Landesverteidigung" refers to the strong and widespread political will of the Swiss to defend the country’s independence and democratic constitution against the Nazis. The cabaret was established in opposition to the right-wing organization known as the ‘Frontenbewegung’, whose views mirrored those of the National Socialist Party in Germany.
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Carigiet's comical talent was discovered by Walter Lesch, a comedy writer and the artistic director of the satirical "Cabaret Cornichon" ("Gherkin Cabaret"). Carigiet joined the Cornichon 's ensemble in 1934 and remained a steady member until 1951. Carigiet often played the part of a likeable social outcast, such as a former convict on parole in Leopold Lindtberg's cinematic adaptation of Friedrich Glauser's detective story Wachtmeister Studer (Constable Studer, 1939), a poet and psychiatric patient in Matto regiert (Madness Rules, 1947) by the same director and author, or a homeless person in Kurt Früh's Hinter den sieben Gleisen ("Behind the Seven Tracks", 1959) He also performed in blackface: as an "Abyssinian" in a political Cornichon sketch on Ethiopia in 1935, or as "Hassan the Moor" in Lindtberg's film adaptation of Conrad Ferdinand Meyer's Der Schuss von der Kanzel ("The Shot from the Pulpit" 1942). Zarli Carigiet died in Männedorf on 6 May 1981.
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Hans Fischer first attended the Ecole des Beaux-Arts industriels in Geneva, then studied in Zürich. He worked as artist, graphic designer and cartoonist. He also painted sets for the Cabaret Cornichon. In 1945 an exhibition of his work took place at the Berner Kunsthalle.
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Her parents were hoteliers in Lugano. In 1931, she became one of the first Swiss women to hold a private pilot's licence. Her first job was as a secretary to a neurologist. In 1934, she joined the Cabaret Cornichon, known throughout Switzerland for its caustic satire, and she remained an important member of the company until 1942.
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Around 1930 Walter Lesch teamed up with and married the Austrian born actress Mathilde Danegger. A staunch antifascist, after 1933 she was for practical purposes confined, as a German-language stage performer, to Switzerland. She took part in political cabaret, between 1934 and 1938, appearing regularly with the Cornichon. The couple's daughter, the actress Karin Lesch, was born in 1935.
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With the help of art critic Jakob Rudolf Welti, he was commissioned as costume and stage designer for the Stadttheater Zürich performance of La belle Hélène in an adaptation by Max Werner Lenz, and created design work for three other programs at the Stadttheater as well. Carigiet was one of the founding members of the influential Cabaret Cornichon, a satirical cabaret program staged in the restaurant "zum Hirschen" in Zurich which would become one of the most significant political cabarets of German-speaking Switzerland during Germany's Nazi regime. Carigiet designed the Cabaret's logo, a grinning cornichon (gherkin) with a carrot-nose, and from 1935 to 1946 he created often parodistic costume and set designs for ten of the Cornichon’s programs, including a heavily decorated barrel organ used by his brother Zarli who was also a member of the Cabaret's ensemble.Stutzer, pp. 14–15.
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The Cabaret Cornichon (Gherkin cabaret) was a Swiss cabaret company. It existed from 1934 to 1951 and was founded by Otto Weissert, Walter Lesch, Emil Hegetschweiler and Alois Carigiet. They were later joined by, among others, Max Werner Lenz, Elsie Attenhofer, Voli Geiler, Margrit Rainer, Ruedi Walter, Heinrich Gretler, Zarli Carigiet, Karl Meier and Alfred Rasser. The musical director was the pianist, Nico Kaufmann.
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After first appearances at the Schweizerisches Volkstheater in 1938, Rainer debuted as chinesische Mutter ("Chinese mother") at the Cabaret Cornichon. Engagements at the Corso Theater Zürich and on occasion of the Swiss National Exhibition Landi'39 at Zürichhorn as Mäiti in the Swiss-German play "Steibruch", brought her artistic breakthrough. In the meanwhile, she also staged on the cabarets Resslirytti in Basel and Nebelhorn in Zürich, but from 1938 to 1950 she was a member of the Cornichon ensemble in Zürich where she met Ruedi Walter. She also played in various radio plays, among others in Regenpfeifer by Jürg Amstein and Artur Beul in 1948. After participation in the musical "Eusi chliini Stadt" at the opening of the Theater am Hechtplatz in Zürich in 1959, Rainer staged there in the 1960s on a regular basis, so in several musicals such as "Bibi Balù" and "Golden Girl".
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Zarli Carigiet (5 August 1907 - 6 May 1981) was a Swiss actor and comedian. He was a member of the satirical Cabaret Cornichon and starred in movies by directors such as Leopold Lindtberg, Franz Schnyder, and Kurt Früh. He was the younger brother of the artist and illustrator Alois Carigiet. Balthasar Anton Carigiet was one of eleven children born to Alois Carigiet and Barbara Antonia Carigiet, née Lombriser.
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The tours Paradis At the end of August, the queen's imposing court arrived at the castle gates. The bells of the castle's chapel to the Trinity rang to welcome her and she descended from her white-framed travelling-litter. Escorted by several gentlemen, surrounded by ladies in waiting, and followed by valets and piqueurs, she crossed the drawbridge of the first ditch surrounding the ravelin. This triangular work commanding the main gate was at this era known as a moineau or cornichon.
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Born in Basel, Switzerland, Roth lived in the municipality of Zürich. Her first stage experiences date back to her childhood as she had a small role at the Stadttheater Basel in 1939. She attended the Konservatorium under Ernst Ginsberg in Basel, followed by performances beginning in 1947 with the cabaret-doodle-doo, KiKeriKi with César Keiser and Cabaret Cornichon respectively Cabaret Fédéral. Later she starred in comedies and musicals, and Trudi Roth acted for the radio in radio plays and for the Swiss television.
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With the German change in government at the start of 1933, Mathilde, a staunch antifascist, fled to Switzerland where she worked at the National Theatre in Zürich with Wolfgang Langhoff, like her a political exile from Nazi Germany. She took part in political cabaret, between 1934-38 appearing in the "Cornichon" cabaret established by her husband. In 1939, she met with Herbert Crüger, who subsequently became her third husband. She was a co-founder in Switzerland of the National Committee for a Free Germany.
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The play's opening night in April 1947, caused fights and protests in the audience. Between 1948 and 1949, Dürrenmatt wrote several segments and sketches for the anti-Nazi Cabaret Cornichon in Zürich; among these, the single-act grotesque short play Der Gerettete (The Rescued).RSI Il Salvato, di Friederich Dürrenmatt, for Rete Due, Colpo di scena, December 2010 His first major success was the play Romulus the Great. Set in the year A.D. 476, the play explores the last days of the Roman Empire, presided over, and brought about by its last emperor, Romulus.
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Born and raised in Zürich, Canton of Zürich in Switzerland to Margit née Schuhmacher and Friedrich, Margrit Läubli became a member of the ballet ensemble at the Stadttheater Zürich and received an urban scholarship for ballet training. At the same time she attended acting classes with Ellen Widmann, Josy Holsten and Gustav Knuth. From Autumn of 1950 to spring of 1951, she appeared in the last programs of Cabaret Cornichon. From 1951 to 1957 Läubli was a member of the Cabaret Federal, where she met César Keiser, her future husband and dance partner.
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However, it was considered too controversial by the Schauspielhaus Zürich, a view shared soon afterwards by the Basler Stadttheater. It was not until October 1944, with Hitler’s downfall looming, that the play was first performed (to rave reviews) by an ad hoc company at a private theatre in Basel. With the war over, she immediately went to Germany, where she met the master of political innuendo, Werner Finck. He engaged her to appear at his theatre, ‘Die Mausefalle’, (The Mousetrap) in Stuttgart, but – ever the individualist – Attenhofer did not want to lose her independence. Instead she wrote her ‘One-Woman-Show’, a compilation of the best of the Cornichon sketches.
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The Bock After the successful siege by Louis XIV in 1683-1684, French troops regained the fortress under the renowned commander and military engineer Sébastien Le Prestre de Vauban. From 1684 to 1688, Vauban immediately started a massive re-building and expansion project for the fortifications, using more than 3,000 men. Advance fortifications were placed on the heights around the city: the crownwork on Niedergrünewald, the hornwork on Obergrünewald, the "Cornichon de Verlorenkost", the Fort Bourbon and several redoubts. He greatly expanded the military's hold over the urban space by integrating Pfaffenthal into the defences, and large barracks were built on the Rham and Saint-Esprit plateaux.
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Washington State is also home to plantings of some lesser known Vitis vinifera varieties that are used in wine production for some experimental wines and blending. These include Abouriou, Alicante Bouschet, Aligoté, Auxerrois, Black Cornichon, Black Monukka, Black Muscat, Black Prince, Blauer Portugieser, Calzin, Carignane, Chasselas, Chauche gris, Clevner Mariafeld, Colombard, Csaba, Ehrenfelser, Feher Szagos, Gamay, Green Hungarian, Lemberger, Madeleine Angevine, Madeleine Sylvaner, Melon de Bourgogne, Mission, Morio Muscat, Müller-Thurgau, Muscat of Alexandria, Muscat Canelli, Muscat Ottonel, Palomino, Petit Verdot, Pinot blanc, Pinot Meunier, Pirovano, Rkatsiteli, Rose of Peru, Salvador, Sauvignon vert, Scheurebe, Siegerrebe, Sylvaner, Trollinger, and Trousseau. Some notable French hybrid grapes used in wine production include Aurore and Baco noir.
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But above all, Rasser was a popular cabaret artist and comedian: In 1935 he joined the newly founded Cabaret Resslirytti Basel, for the first program of his later most popular role of Theophil Läppli. From 1935 to 1941 Rasser belonged with a short interruption to the ensemble of the Cabaret Cornichon in Zürich, where he stood out in particular through its parodies of Basel arrogance and independent line. In 1943 Rasser founded in Basel the satirical political Kabaret Kactus which became very successful. On 31 December 1945, written and produced by Rasser HD-Soldat Läppli premiered, a mixture of cabaret and folk theater, which was so successful that the production had to move into the larger Küchlin Theater.
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Trained by Eva Bernoulli and Margit von Tolnai and at the Basel conservatory, from 1941 Ruedi Walter and his sister Gertrud Heffler, worked as side jobs in small roles at Stadttheater Basel. From 1943 to 1946 Walter played in Alfred Rasser's Cabaret Cactus in Basel, among others in Rasser's productions "HD soldier Läppli" and "Democrat Läppli". In 1944 he joined the Swiss soldiers stage Bäretatze, and from 1948 to 1950 he was a member of the Cabaret Cornichon ensemble in Zürich. There he met Margrit Rainer, with whom he first appeared as cabaret duo in 1951, then as a "Ehepaar Ehrsam" in the popular satirical radio program "Spalebärg 77a" (1955–1965, filmed in 1957, in 1962 as a musical) and in numerous popular dialect plays and farces.
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It was reported by the gourmands of the time, however, that the dressing on the stolichny salad was of a lower quality than Olivier's, meaning that it was "missing something." Later, Ivanov sold the recipe for the salad to various publishing houses, which further contributed to its popularization. Due to the closure of the Hermitage restaurant in 1905, and the Olivier family's subsequent departure from Russia, the salad could now be referred to as "Olivier." One of the first printed recipes for Olivier salad, by Aleksandrova, appearing in 1894, called for half a hazel grouse, two potatoes, one small cucumber (or a large cornichon), 3–4 lettuce leaves, 3 large crayfish tails, 1/4 cup cubed aspic, 1 teaspoon of capers, 3–5 olives, and 1 tablespoon Provençal dressing (mayonnaise).
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Using his Czechoslovak identity, he now embarked on the study of Art History and Archeology in Zürich where he was permitted to attend lectures as a "guest student" ("Gasthörer"). Both his chosen subjects were, he believed, consistent with at least one version of Josef Novák's stated occupation as a "painter", and both were safely non-political. Zürich had become home to many German political exiles, especially from the worlds of arts and entertainment, and his exile there enabled Crüger to re-establish several former friendships and to cultivate some new ones. In March 1939 he moved out of the little guest house where he had been staying and teamed up with the actress Mathilde Danegger whom he had seen on stage when she was appearing with the Cabaret Cornichon.
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A Käsekrainer Sausage with a Kaiser roll and mustard For food consumed in between meals there are many types of open sandwiches called "belegte Brote", or different kinds of sausage with mustard, ketchup and bread, as well as sliced sausage, Leberkäse rolls or Schnitzelsemmeln (rolls filled with schnitzel). Open sandwiches in Vienna, with a Pfiff-size beer Traditionally you can get a Wurstsemmel (a roll filled, usually, with Extrawurst, a special kind of thinly sliced sausage, often with a slice of cheese and a pickle or cornichon) at a butcher or at the delicatessen counter in a supermarket. There are also other common yet informal delicacies that are typical of Austrian food. For example, the Bosna or Bosner (a spiced bratwurst in a hot dog roll), which is an integral part of the menu at Austria's typical fast-food joint, the sausage stand (Würstelstand).
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