Word: gilda
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...Master of ceremonies was grey-haired Carlyle Blackwell, who was a notable glamor boy during the Wilson Administration. The lush Nita Naldi, whose heroic scale bust was a feature of Rudolph Valentino's Blood and Sand, gave a smoldering recital of Kipling's The Vampire. Shimmy-shaking Gilda Gray didn't attempt the racking vibrations of her youth, but heaved and rolled through a less exacting danse du ventre...
Second newcomer was Italian-born Soprano Hilde Reggiani, hit of last year's Chicago opera season. Small, plump, 25, she cooed a coy Gilda to Lawrence Tibbett's towering Rigoletto, hit super-high Ds and Es with expert marksmanship, held onto them with the tenacity of garlic. When husky Baritone Tibbett vowed to avenge her worse-than-fatal fate, and threw her, pleading, to the ground, well-rounded Soprano Reggiani rolled like a well-aimed bowling ball, ended on her back, half way across the Metropolitan stage...
Mariana Michalska (Gilda Gray), oldtime U. S. shimmy shaker, who fortnight ago divorced her third husband, told Manhattan reporters she would soon join an expedition to study tribal dances in Asia, Africa, Iran and India
...sculptured next to the Steel Pier for 17 years. Self-taught, he pioneered floodlighting, cement statues, the personal sketch. Ten years ago, against his better artistic judgment, he installed easel and paper sketching pads to meet modern competition. He has sand-modeled such celebrities as Paderewski, Caruso, Valentino, Gilda Gray, Portraitist William Chase (who told him to "keep it up"). He specializes in monumental masterpieces like "The Empty Chair," "Lion of Lucerne," "Old Skipper's Tale." A special Spagnola attraction is a pair of big sand & cement dragons with light-bulb eyes, open mouths to receive coins which tinkle...
Much of the complaint fell upon the pretty Belgian head of Vina Bovy, the coloratura soprano who stepped into the part of Gilda in Rigoletto 24 hours before the performance when Stella Andreva caught a cold. Critics had liked her better four days earlier when she made her Metropolitan debut singing Violetta in Verdi's La Traviata. Even then they felt a little uneasy about her pitch. In Rigoletto her colorless, inexact rendition of the great Caro Nome and her literal, lifeless acting convinced few that she was the outraged, unhappy daughter of a court fool. Lawrence Tibbett...