Word: chaliapin
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...managers is a thickset, moon-faced Russian who travels every year to Europe, observes more new talent, signs more big new conracts than any one man in his risky profession. Solomon ("Sol") Hurok has always had a weakness for Russian perormers. He has managed Efrem Zimbalst, Mischa Elman, Feodor Chaliapin, Anna Pavlova. He spent $75,000 to import the Monte Carlo Ballet Russe (TIME, Jan. 1, 1934 et seq.). Last week in Manhattan Manager Hurok introduced still more Russians: 19 choristers from Paris who call themselves the Moscow Cathedral Choir...
...lies Salzburg, rimmed on three sides by operatic-looking mountains. There Wolfgang Amadeus Mozart was born and there on a lake outside the town Max Reinhardt owns a baroque castle, where he long ago began giving sumptuous parties for his troupe and for such visitors as Arturo Toscanini, Feodor Chaliapin, Paul Drennan Cravath, Greta Garbo, Edward of Wales...
...annual Pension Fund Concert of the Boston Symphony Orchestra is to be presented on Sunday afternoon, March 17, at Symphony Hall. The program contains familiar Wagnerian excerpts including the overture to the opera "Tannhauser." In addition, Feodor Chaliapin, noted Russian basso, is to be heard with the orchestra in selections from Moussorgsky's "Boris Godounov" and from the opera "Prince Igor...
...well, too, for the true Don Quixote actually lives in the tall, spare-frame of Feodor Chaliapin. Singing little, but acting much, he has recreated the lovable old idiot. Nothing could be more purposefully ridiculous than the skeleton-like Chaliapin, with his wild hair and corkscrew beard, crawling out of an attic window buttocks up to find himself facing his pursuers--in his nightshirt. Nor could anything be more pathetically humorous than the armor-clad knight as he revolves in a large circle slowly about the windmill, stuck fast in one of the sails. And so scene after vivid scene...
...Chaliapin plays a lone hand for his support is woefully weak; but this only serves to further emphasize the haunting beauty of his performance. Particularly are the other players impeded by their accents, which immediately put them out of character. Sancho Panza, in the person of George Robey, talks Cockney. And Carrasco with his Oxford lisp seems more the bespectacled grind than the heroic flance. These too noticeable incongruities make it difficult to imagine oneself in the Spain of the seventeenth century...