Word: gatty
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Dates: during 1930-1939
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When Giulio Gatti-Casazza returns to Manhattan from his summers in Italy, the long-established routine has been for him to summon musical reporters and inform them of the singers he has engaged, the operas he intends to 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...
...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...
...pince-nez and proudly put his name to a contract which soon was advertised all over the U. S. In Manhattan a slender Irish girl of 20 bubbled to reporters: "I'm thrilled to the ears." From his murky backstage office at the Metropolitan Opera, big, bearded Giulio Gatti-Casazza had just announced his plans for next season...
...next season, probably his last, Manager Gatti has engaged a new conductor, Ettore Panizza, to replace Tullio Serafin. There will be six new singers: Tenor Dino Borgioli, German Soprano Anny Konetzni, U. S. Contraltos Kathryn Meisle and Myrtle Leonard, U. S. Sopranos Helen Jepson and Mary Elisabeth Moore. All but pretty little Mary Moore have had operatic experience. With a record of only one public performance (Baltimore. April 1933), she was engaged for five leading coloratura roles at the Metropolitan...
...manner she is as Irish as her ancestors. Her father, an employe of American Radiator Co., favored piano lessons but singing seemed foolish. An indulgent uncle took Mary to the opera one afternoon. After that there was no holding her back. She met the late Billy Guard, Mr. Gatti's kindly pressagent, who recommended a teacher. She had an audition early last winter. Mr. Gatti was noncommittal but he invited her to attend performances free. Her contract brought reports of an exceptionally clear voice, a range that extends to C above high C. Pretty Mary Moore commented...