Word: carusos
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Dates: during 1950-1959
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...Treasury of Immortal Performances (Victor; 6 vols. 45 r.p.m.). To match Caruso, Paderewski and Kreisler in its classical Treasury series, Victor has combed its old jazz and pop files, reissued such collector's items as Fats Waller's Honeysuckle Rose, Bunny Berigan's In a Mist, Benny Goodman's Goodbye...
...Except for Them . . ." Among the chief assets inherited by Rudolf Bing is the glamorous tradition. Still lurking in the shadows of the old gilt and plush house are the ghosts of the Met's hallowed past, when Sembrich, Lilli Lehmann, the De Reszkes, Melba, Caruso, Farrar and Chaliapin graced the stage, and Gustav Mahler and Arturo Toscanini ruled...
...manager has the finest roster of singers in the world. If they are not the finest in history, that is less the fault of the Met than of history. Says 70-year-old Mrs. August Belmont, pillar of the Met's board: "Caruso and Chaliapin were the kind of singers who appear only once in a hundred years. Except for them, we have just as good singers today...
...alltime favorites." Victor's selections, announced last week, seemed to put the U.S.'s musical brow somewhere between chin and navel. The first eight: Strauss's The Blue Danube (conducted by Leopold Stokowski); La Donna è Mobile, from Verdi's Rigoletto (sung by Caruso); Carry Me Back to Old Virginny (sung by Marian Anderson); Franz Liszt's Liebestraum (performed by the First Piano Quartet); Victor Herbert's Italian Street Song (sung by Jeanette MacDonald); Bluebird of Happiness (sung by Jan Peerce); Jalousie (performed by the Boston Pops Orchestra); Make Believe, from Show Boat (sung...
There are few names that oldtime opera lovers care to mention in the same breath with Caruso and Scotti, but Claudia Muzio (1892-1936) is one of them. The daughter of an Italian operatic stage manager, she grew up backstage in London's Covent Garden, Manhattan's Metropolitan. Caruso, with whom she made a stunning U.S. debut as Tosca in 1916, once said that Claudia "knew all of our stage tricks before she wore long skirts." She had a voice to match her acting: she could, and did, sing coloratura, lyric and dramatic soprano parts with equal ease...