Word: contralto
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...Garbo returns after an interlude with a clergyman. For some reason the script makes her an Italian soprano. This detail, superficial, but salient in the plot, is the only thing in the picture that is silly. The simple expedient of altering the tag of the opera-singer to "Swedish Contralto" would have removed the skepticism which must afflict audiences through their realization that the bell-like head-tones heard issuing from a ballroom could not possibly be produced by Garbo's deep voice. It is a voice fascinating for its monotony which, though natural to Garbo, seems deliberately assumed...
Looking to the coming season which opens Oct. 27, the report continued cheerily: Thirty-three singers have signed contracts. Mary McCormic, brought to stardom under Chicago's "Our Mary" Garden, will return. New artists will be Sopranos Lotte Lehmann, Maria Rajdl, Contralto Sonia Sharnova, Tenor Oscar Colcaire, Baritones Rudolph Bockelman, Eduard Habich, John Charles Thomas...
...Myrna Sharlow of Jamestown, N. Dak. and St. Louis, onetime member of the Chicago Opera Company; Polish Soprano Olga Didur, daughter of Basso Adamo Didur, also a Metropolitan singer; French Coloratura Lily Pons; French Tenor Georges Thill to replace Tenor Antonin Trantoul whose début last winter was undistinguished; Contralto Faina Petrova of the Moscow Grand Opera; Baritone Claudio Frigerio of Paterson, N. J., who has sung in Italian opera houses; Norwegian Basso Ivar Frithjof Andresen, famed throughout Europe for his Wagner...
...still great "Danny Boy," Arditi's "Bolero" and Brahms' "Cradle Song." The old lady was 69 and a great-grandmother but she repeated her vaudeville turn four times a day on seven successive days with an added appearance on Saturday and Sunday. She was, of course, Contralto Ernestine Schumann-Heink who for four years past has been saying farewell to her public. Her vaudeville debut last week accompanied the showing of Mamba, scenario of which was written by her son Ferdinand. Her recipe for endurance : "I know how to sing now. I don't shout...
Despite the excellence of the opening Samson et Dalila last week all was not well with Cincinnati's Zoo Opera. Contralto Marta Wittkowska expertly bewitched her Samson who was Tenor John Sample. He in turn tore down the pillars of the temple with all the fine frenzy of an injured beast. But uppermost in many a listener's mind stayed the thought that Cincinnati might not long have its summer Zoo performances. Manager Charles G. Miller sounded the warning before the season began. The Zoo is a private venture for which the late Mrs. Mary Emery...