Word: fremstad
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...bound to be compared with other singers who have made the role seem great. There were people in last week's audience who remembered Milka Ternina, dramatically exciting but plain to look at. Emma Eames had beauty but her emotions were chilled. In pre-War days Olive Fremstad and Geraldine Farrar were rivals for the role. Fremstad, at heart a Wagnerian, played it like a lioness. Farrar's conception was small, a little petulant. After Maria Jeritza's first breath- taking performance in 1921 the part was hers for the ten years she was at the Metropolitan...
...nnhildes who followed Lehmann Milka Ternina, a Croat, was easily next best. Lilian Nordica from Farmington, Me. sang better than she acted. Olive Fremstad's impersonation was abundant with feeling but often uncontrolled. Johanna Gadski sang so long past her prime that her first excellent performances grew dim in memory. The current outstanding Brünnhildes are Frida Leider and Gertrude Kappel. Both give the rôle its true heroic proportions but their voices are no longer young...
...singing there remains mountainous Luisa Tetrazzini who in Italy squabbles publicly over money with her 34-year-old husband. In France there is old Emma Calvé, proud with the assurance that her Carmen has never been surpassed. In a walk-up studio in Bronxville (N. Y.), great Olive Fremstad lives grimly surrounded by her operatic trophies. The still lovely Emma Eames divides her time between Paris and Manhattan, occasionally revisits her old home in Bath, Me. Alma Gluck stopped opera-singing in 1912. Concerts and phonograph record royalties made her rich. And she is content...
...York City looked over their congregations to find many of their most prominent parishioners absent. That same morning there was a dress rehearsal of Richard Strauss's Salome at the Metropolitan Opera House. To it had gone many a rich and respectable churchgoer to see how Olive Fremstad would exhibit her fanatical lust for the body of St. John the Baptist. The churchgoers were offended enough by the screaming dissonances and the way Fremstad brought the horrid head up to the footlights, caressed the matted black hair, kissed the cold lips. But no one was so outraged...
...view at Gatti's party there were people whose memories went back further than his. Marcella Sembrich, who sang at the Metropolitan 50 years ago, made a quavering little speech. Walter Damrosch, who conducted there 48 years ago, helped master ceremonies. Out of her seclusion came Olive Fremstad whose Wagnerian interpretations have not been approached until this winter when Frida Leider and Maria Olszewska joined the Metropolitan.† Together the oldtimers sat at a table in a night-club scene, watched Lucrezia Bori and Rosa Ponselle do lively impersonations of cigaret girls, after which tiny Lily Pons...