Word: gallie
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Dates: during 1950-1959
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...first let her voice get hard and edgy in the climaxes. Even so, her phrasing was such a delicate tracery of lovely lights and shades that the other singers sounded colorless by comparison. In the last act, she finally showed why she is compared with such legendary sopranos as Galli-Curci and Claudia Muzio: she sang parts of Willow, Willow, the Ave Maria, and particularly her dying phrases, with ravishing warmth and richness...
...world's great sopranos, La Scala's U.S.-born Maria Meneghini Callas, made her U.S. debut in Chicago last week. It was a rouser. recalling Chicago's greatest operatic days with Mary Garden and Galli-Curci...
...make up his mind to become a singer until he was 24. He took to music as soon as he was big enough to crank up his mother's phonograph in Celeste, Texas. But he liked the violin music on those old records better than the vocals of Galli-Curci and Caruso. When he was twelve, he coaxed his mother into giving him a year's worth of violin lessons. Twelve penny-pinching years later, he concluded that his fingers were too stubby. Then a Philadelphia singing teacher told him he had a voice...
...Vienna, she had heard that the Metropolitan was a harsh house, so big that a singer could not move around onstage without sacrificing her voice. The hallowed ghosts of the Met were all around her. How would she measure up to the great Gildas of the past-Sembrich, Melba, Galli-Curci...
...soprano with ambitions as a detective-story writer tries to speed her literary success by drugging such established literary rivals as Erie Stanley Gardner, John Dickson Carr, Agatha Christie and Raymond Chandler: she lures them into accepting dope-soaked birdseed held out to them by her trained canary, Galli-Curci. The soprano gets in trouble when one of her less celebrated victims unexpectedly dies. Despite its over-cute plot and slapdash style, the tale could count on plenty of readers, since its author was a Met soprano herself, strapping Wagnerian Star Helen Traubel...