Word: gatti-casazza
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...milestone of U. S. musical history was the opening night of Impresario Giulio Gatti-Casazza's last season at Manhattan's Metropolitan Opera House (TIME, Dec. 31). Into the Metropolitan that night went The March of Time's photoreporters (in top hats & tails) with the first sound-camera equipment ever permitted inside the old opera house during a performance. From a grandtier box wired for sound two of the reporters filmed the action and music on the stage, the swank audience. Others followed Gatti-Casazza backstage, saw what he saw through his private peephole to the stage...
Enrico Caruso was the tenor, Arturo Toscanini the conductor on that November night in 1908 when Giulio Gatti-Casazza mounted his first performance as manager of Manhattan's Metropolitan Opera Company. The opera was A'ida, chosen by Gatti out of reverence for his friend and hero, Composer Giuseppe Verdi. Lately Gatti has been accused of being old-fashioned and reactionary. But last week as he began his farewell season at the Metropolitan, the sphinxy Gatti behaved as if he had never heard the carping. Again for the opening night he chose...
...performances are bound to eat up the small guarantee fund raised last spring. The long-discussed merger with the Philharmonic-Symphony has been definitely dropped (TIME, Dec. 24). Board Chairman Paul Drennan Cravath and his associates will soon have to meet and decide upon a successor for Manager Giulio Gatti-Casazza...
...produce the coming season. The picture in his dark, musty office has always been the same: Gatti settling his great bulk in a swivel chair, fumbling for the ribbon which holds his pince-nez, reading his announcement aloud in slow, painstaking English. When questions were asked, he would stroke his beard, answer warily or not at all. A grave "good afternoon" regularly closed each such session with the Press. Last week musical reporters were still awaiting their annual summons when Giulio Gatti-Casazza suddenly announced that this season would be his last as impresario of the Metropolitan Opera Company...
...goosegirl in Die Konigskinder she drove the property man to distraction by her successful insistence upon having live geese on the stage. She was the only Metropolitan prima donna ever to have her own permanent dressing room. Two older singers had been bickering for one for weeks but Manager Gatti-Casazza was obdurate. Miss Farrar went to his office casually one day, asked if any one would mind if she took that dirty airless room by the stairs. With Gatti's permission, she fixed the cubbyhole up, lined it with brocade and put a gold plate on the door labeled...