Word: gatti
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...fellows may have been apprehensive because they were excited. Each of them had found on his desk that morning a slim slip: "Mr. Giulio Gatti-Casazzaf Manager of the Metropolitan Opera, Company, will see the musical reporters on Monday afternoon at four o'clock in his office...
Once a year, just before the season begins, Manager Gatti issues his summons so that he can answer at a single sitting the plaguing interrogations of the press. New operas are to be given, new singers heard; Manager Gatti-Casazza had promised to give details. Yet the reporters, when they had got inside, found that there was nothing for them to do but stand fidgeting on a green carpet; Mr. Gatti-Casazza was busy. When at length an interpreter (for Mr. Gatti-Casazza understands English but slowly and speaks it more slowly still) led them down a corridor...
...reporter bit his fingernails. He was wondering whether he would best serve his paper by following the others into Manager Gatti's office or by pursuing the little man in the automobile?a little man who, chief stockholder, President, guarantor and presiding intelligence, knows perhaps more than anyone else about the Metropolitan Opera Company and its new season...
...occupies him now? a business that involves 80 principal artists, a chorus of nearly 300, an orchestra of 120, 12 assistant conductors, a ballet of 80 and 700 miscellaneous stagehands, ticket takers, officeworkers, wire-pullers. Each season 4 millions is taken in by the box office. Each season Manager Gatti-Casazza goes to probe in Europe for new operas, new singers. It was about some of these that he read so sonorously to the pressmen while kindly Mr. William Guard, interpreter, translated his words, sentence by sentence...
...Giulio Gatti-Casazza, Manager of the Metropolitan Opera Company, Manhattan, returned from Europe last week, announced that, among other novelties, he will put on four operas never before heard in the U. S.: Manuel de Falla's La Vida Breve, Spontini's Vestale (a work much admired by Wagner, which established Spontini's reputation in France in the early 19th century), Gioudano's La Cena delle Beffe, adapted from the play The Jest, and Stravinsky's Le Rossignol. He raised the price of seats: ground floor, $8.25 from $7.70, "dress" circle $4.95 from...