Word: gatty
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Dates: during 1930-1939
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...scene was atrocious. Mr. Gatti-Casazza personally assured me of his entire disapproval of it, and the whole staff despised it. I was informed that the Metropolitan had pledged itself to an experiment in modernist sets, and that they had regrettably tried it out on my opera, which, as any reader of the libretto could see, required a setting both realistic and decorative...
...week the new American Ballet worked hard, enlivened the operas in which it appeared, won praise partly because it represented such an improvement over the stodgy, lifeless dancing which went on at the Metropolitan under the Gatti-Casazza regime. The new U. S. organization gave its first substantial demonstration after the Hänsel und Gretel performance, presented comely ballerinas, several of them highly talented. Outstanding performances were given by Anatole Vilzak, once of the Russian Imperial Ballet, and young William Dollar, who has the most spectacular technique of any male dancer now appearing in public. Unfortunately the ballet...
When Giulio Gatti-Casazza took his name plate from his office door last spring and for the last time hulked out of the shabby old Metropolitan Opera House, a musical era reached its end in Manhattan. For 27 years Giulio Gatti-Casazza had guided the Metropolitan's affairs shrewdly and cosily. At its best his long regime stood for many a stirring performance, for the presentation of many a top-notch singer, for real opera glamour. The end was different. Though the tired old impresario was granted every honor, his spirit seemed broken when Depression left his Company impoverished...
...square old backstage office which used to be Gatti-Casazza's sat a cheerful youngish-looking man whom opera audiences had known as a romantic Romeo, a wistful Pelleas, a dreamy Peter Ibbetson. Last week Tenor Edward Johnson was dealing with hard realities, amiably settling disputes, busily drawing up schedules for 14 weeks to come. As a singer Tenor Johnson was never a rafter-rending vocalist but as an artist he was possessed of unfailing taste and intelligence, a man on friendly terms with all his colleagues, one who out of working hours could detach himself from opera...
Flagstad was 36 when she ventured beyond the Scandinavian boundaries to Bayreuth, sang small roles the first summer, Sieglinde the next. On the strength of her Bayreuth appearances, Gatti-Casazza and Conductor Artur Bodanzky asked her to come to St. Moritz and sing for them there. The room was small, her voice muffled by heavy hangings. But a new Wagnerian was badly needed and she was given a contract. When Conductor Bodanzky queried her about her acting, she answered modestly: "I don't do very much...