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Auditorium "noble" and the hearers were inclined to agree with him. He opened with Dvorak's New World Symphony: His soloist was the young and popular Mr. Lawrence Tibbett, famed Ford of Falstaff, whose star seems still in the ascendant...

Author: /time Magazine | Title: Music: Mecca | 11/9/1925 | See Source »

This year was the first time that La Colon had been operated as a municipal opera. Opening with Falstaff the present repertoire included Manon, La Boheme, Romeo and Juliet, Parsifal,-excuses for every summersault possible to Argentine emotions. Said Senor Al-vear, Argentine President, present on the opening night: "I am glad that Falstaff is back...

Author: /time Magazine | Title: In St. Louis | 9/7/1925 | See Source »

...went on to quote Victor Maurel, famed French baritone, who said that Verdi's Falstaff "screams for English"; Tito Ricordi, Milanese music publisher, who said that English, next to Italian, was the most "singable" of all tongues; Richard Wagner, who said that he wished his works to be given in English in all English-speaking countries...

Author: /time Magazine | Title: Meltzer's Plea | 3/16/1925 | See Source »

...shivering conductor shuffled his feet, besought silence; the lights of the entr'acte dimmed; still the great sound continued. In his dressing-room, a 28-ysar old U.S. baritone powdered his nose. Cast with the revered Scotti in the season's revival of Verdi's Falstaff, he had just ended the second act with the aria E sogno, in which he sets forth his suspicions that his spouse, Mistress Ford, is plotting infidelity with "that reverend vice, that grey iniquity, that father ruffian, that vanity in years," Falstaff (Scotti). The heat of his singing had melted...

Author: /time Magazine | Title: Music: Tibbett! Tibbett! | 1/12/1925 | See Source »

...years since Falstaff was played at the Metropolitan. Verdi wrote it when he was 80 and full of frolic. He had composed so much that writing music was no longer an effort, and frequently as he wrote, he said, he was convulsed with laughter. The score is easy, melodious, lighthearted, reminiscent of Wagner iu mannerism rather than in poetry. Miss Bori was Mistress Ford; Tenor Gigli, Master Fenton; Mme. Alda, Nannette. All did well, But the critics, as they hailed their frost-bitten taxi-men and drove home, were replacing their familiar bromides with other phrases: "A scene quite without...

Author: /time Magazine | Title: Music: Tibbett! Tibbett! | 1/12/1925 | See Source »

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