Word: casazza
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...have gathered in the wings as a reminder that the Metropolitan owed them its world-wide prestige. In the corridors it was easy to imagine the small erect figure of Otto Hermann Kahn, carnation in buttonhole, a quick shrewd word for everyone. No ghost was big Giulio Gatti-Casazza, for 27 years the Metropolitan's general manager. But Gatti's regime ends next month. Last week his successor was named and a momentous bargain sealed. In a desperate attempt to save its life, the Metropolitan sold its independence. Price: $150,000. The buyer was the Juilliard Musical Foundation...
...milestone of U. S. musical history was the opening night of Impresario Giulio Gatti-Casazza's last season at Manhattan's Metropolitan Opera House (TIME, Dec. 31). Into the Metropolitan that night went The March of Time's photoreporters (in top hats & tails) with the first sound-camera equipment ever permitted inside the old opera house during a performance. From a grandtier box wired for sound two of the reporters filmed the action and music on the stage, the swank audience. Others followed Gatti-Casazza backstage, saw what he saw through his private peephole to the stage...
Enrico Caruso was the tenor, Arturo Toscanini the conductor on that November night in 1908 when Giulio Gatti-Casazza mounted his first performance as manager of Manhattan's Metropolitan Opera Company. The opera was A'ida, chosen by Gatti out of reverence for his friend and hero, Composer Giuseppe Verdi. Lately Gatti has been accused of being old-fashioned and reactionary. But last week as he began his farewell season at the Metropolitan, the sphinxy Gatti behaved as if he had never heard the carping. Again for the opening night he chose...
...bound to eat up the small guarantee fund raised last spring. The long-discussed merger with the Philharmonic-Symphony has been definitely dropped (TIME, Dec. 24). Board Chairman Paul Drennan Cravath and his associates will soon have to meet and decide upon a successor for Manager Giulio Gatti-Casazza...
When Giulio Gatti-Casazza returns to Manhattan from his summers in Italy, the long-established routine has been for him to summon musical reporters and inform them of the singers he has engaged, the operas he intends to produce the coming season. The picture in his dark, musty office has always been the same: Gatti settling his great bulk in a swivel chair, fumbling for the ribbon which holds his pince-nez, reading his announcement aloud in slow, painstaking English. When questions were asked, he would stroke his beard, answer warily or not at all. A grave "good afternoon" regularly...