Word: gallie
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Many big musical names have deteriorated in value in the past two years. John McCormack and Amelita Galli-Curci, though still big drawing cards, have lost considerable ground. Basso Feodor Chaliapin no longer "sells." His last minimum fee of $3,500 was too high to permit managers making money. Other names which count for less in dollars and cents are the Singers Frieda Hempel, Anna Case, Sophie Braslau, Louise Homer, Dusolina Giannini, Mabel Garrison, Reinald Werrenrath, Louis Graveure, Pianist Josef Lhevinne, Violinist Mischa Elman. Violinist Jascha Heifetz had also started to slip. The public found him cold, expressionless. But since...
When famed singers like Feodor Chaliapin, Amelita Galli-Curci or Beniamino Giglo give concerts in Vienna they are usually paid $2,000 or $3,000 per appearance. When Al Jolson, mammy song singer, now vacationing in Europe, was asked last week by a Viennese manager to sing there, he replied that he would-for $5,000. Vienna refused the bargain...
...successfully have the carollings of Amelita Galli-Curci established her as a concert singer that the majority of her public is inclined to forget that it was in opera she began her career (Italy, 1910), in opera that she made her U. S. début (Chicago, 1916), to opera that she has returned each winter for a limited number of performances. As an operatic actress Galli-Curci has only mediocre talent, too mechanical a voice for playacting. Her financial compensation, compared with that for concert-singing, is small. Doubtless influenced by both facts, Galli-Curci announced last week that...
...pompous and slow" is Amelita Galli-Curci's scornful dictum regarding grand opera. The soprano gives vent to this Parthian shot as she strides out for the last time before New York's "Golden Horseshoe". Coming from a singer who is herself neither pompous nor, one likes to think, slow, the criticism strikes the operatic world peculiarly abeam...
...valedictory statement, La Galli-Curci favors the individual concert over the opera presentation as being more in tune with a mechanical age. By this, she seems to suggest that the radio and the "talkie" have been the factors in upsetting bel canto. Opera, she asserts, is too heavy-footed in comparison with them. The world has lost interest...