Word: debutant
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Dates: during 1920-1929
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...Druid priestess, Rosa Ponselle, soprano of the Metropolitan Opera, waited in a dressing room of London Covent Garden last week. She tapped her foot, tried her voice, added a touch of carmine to her cheeks, adjusted the green wreath on her flowing black hair. Tomorrow her British debut would be over. Tonight she must face the coldest public in the world, a public which had not heard Norma since the late great Lilli Lehmann sang it in London 30 years before, Lehmann who had said: "I would rather sing all three Brünnhildes than Norma...
Coach Mitchell sent W. K. Page '31 to the mound and the port-sided hurler performed creditably in his intercollegiate baseball debut. He allowed but six scattered hits, forcing the Hilltoppers to bingle harmlessly to the infield for easy outs...
Kansas City's music boom has burst. The chubby little girl with .the high, bright voice whose sensational opera debut three years ago made the country Kansas City-conscious, decided last week to go back to the farm, to sing no more. Encouraged by the mother who had chaperoned .her career, the sister Florence who had taught her to sing, the telegraph-operating father who had flashed the first news of daughter's triumph from the wings, Marion Talley announced that she was through with being a prima donna. Her statement was as simple and matter of fact...
...been known ever since as the $100,000 debut, that evening of Feb. 17, 1926, at Manhattan's Metropolitan Opera House. Ten thousand persons battled for admission. Standing room soared to $25. Mounted police handled the crowds outside. Within the old red and gold auditorium, humped in an inconspicuous seat, waited General Manager Gatti-Casazza. sphinxlike, beard sunk deep on his chest, pondering the ways of music in the U. S. Up in his box, sleek, important, pleased, sat the Chairman of the Board of Directors, Otto H. Kahn. And in that over-stuffed audience were heard the boastings...
Patrons of the University Theatre will welcome the auspicious debut of the "talkie" in Harvard Square, especially if succeeding talking pictures are up to the standard of "Weary River", the current photoplay. Richard Barthelmess's pleasing singing voice is not marred in its new medium: Betty Compson's femininity is enhanced by the liquid notes falling from her sultry lips. The orchestral accompaniment adds to the realism of this juxtaposition of hard-boiled night life on Broadway and the reformatory influences of Sing Sing prison...