Word: carmens
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Dates: during 1920-1929
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...Faust" on Monday evening; "Madame Butterfly" will be given Tuesday evening; "Martha" on Wednesday afternoon; Mozart's "Marriage of Figaro" Wednesday evening; "Pagliacci" on Thursday evening and in addition an original program by Michio Ito, Japanese, dancer; Mozart's "Abduction from the Seraglio" Friday evening; "Faust' Saturday afternoon; "Carmen" Saturday evening. The second week will open with "Martha" on Monday evening; "Pagliacci" Tuesday evening with another Ito dance program; "Faust" Wednesday afternoon;. "The Marriage of Figaro" Wednesday evening; "The Abduction from the Seraglio" Thursday evening: "Faust" Friday evening, which has been designated as Harvard Night; "Carmen" Saturday afternoon; "Madame Butterfly...
...Canadian living in New York I got a big kick out of your timely appreciation of Conductor Wilfred Pelletier's success with Soprano Jeritza in "Carmen" in Philadelphia. As a TIMEkeeper, I am loyal enough to be puffed up that TIME is the first newspaper to give Canadian Pelletier the praise he has long deserved. . . . He began his musical career by playing in a small movie house in Montreal...
There had been countless conjectures. She was not the type, everyone agreed, but she had the magnetism. Her Carmen might be contrary to every tradition, but it would be effective...
Singers able to breathe life into the role have been few and far between. First there was Minnie Hawk, a very ladylike Carmen compared to her successors. Then came Calvé, whose realistic interpretation won her the name of being the first singing actress. Farrar made her Carmen a hoyden as incalculable as the wind, kept it popular in Manhattan to the end of her regime. Mary Garden has done similar service in Chicago. Last week for the first time, the Metropolitan presented the Carmen of Maria Jeritza...
Jeritza whose turbulent, golden, hot-blooded loveliness has always been a notable attraction for the truly discerning connoisseur of grand opera, perhaps failed to personify the sudden, mercurial, fate-defeated Carmen. Critics could not forget that she was more Czech than Spanish, that her French was bad, that she was unfaithful to detail, that the "Habanera" should never have been sung from a wheelbarrow nor the "Sequidilla" from the garrison table. They postponed their verdict. But the mass of the audience perceiving these aesthetic errors, clapped and cheered after every act. After the last, they tossed their roses...