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People everywhere have heard Nellie Melba sing "Home Sweet Home," "Comin' Thro' the Rye," Tosti's "Goodbye." Opera crowds have seen her as Mimi in La Bohème, Violetta in La Traviata, Marguerite in Faust, Gilda in Rigoletto, Lucia, Juliette. The pure and springlike quality of her voice established her as Patti's greatest successor. It lasted her well through middle age because she used it so intelligently, won her triumphs for 40 years. Melba's life was as glamorous as the prima donna of fiction. She made her American debut at the Metropolitan in 1893 five days after famed...

Author: /time Magazine | Title: Music: Friendly Split | 3/2/1931 | See Source »

...draw it. The Author. Peter Arno (real name : Curtis Arnoux Peters) is a strapping big 29-year-old Manhattanite. After a year at Yale college, he went to Yale's School of the Fine Arts for a month, and considers the month wasted. Onetime jazz leader for Gilda Gray, he could play the mandolin, the piano in the band. His wife is Lois Long, reporter ("Lipstick") for the New Yorker. They have one daughter (2 years old) who has been vaccinated on her heel so that no one will ever know. Peter Arno's Hullabaloo is Artist Arno...

Author: /time Magazine | Title: Books: Whoops, Dearie! | 12/15/1930 | See Source »

...have continued to give ex cathedra notice of what the U. S. shall dance, but more and more they follow and do not lead. For the Dancing Masters well know now that it is not their fiat that calls the turn in U. S. dancesteps, but such creations as Gilda Gray's Shimmy, Bill Robinson's tapping, George White's Black Bottom, Schwab & Mandel's Varsity Drag, such agencies as Tin-Pan Alley...

Author: /time Magazine | Title: Miscellany: Dancemasters | 9/8/1930 | See Source »

...Exeter--Gilda Grey in "Piccadilly" and George Lewis in "College Love...

Author: NO WRITER ATTRIBUTED | Title: BOARDS AND BILLBOARDS | 11/14/1929 | See Source »

...chosen for the opening night. The settings were conventional, a trifle simplified; the costumes constrastingly brilliant. But the manner in which the opera was sung and acted make the strongest impression of the evening: from the lighthearted courtly dance as the curtain rose, to the tragic closing duet of Gilda and Rigoletto, Mr. Franchetti conducted a group of singers that understood not only the musical but the dramatic possibilities of the work. Joseph Royer as Rigoletto, after passing easily through the opening scene, played his role with tremendous power. Mr. Onofrel was appealing as the Duke, Tina Paggi lovely...

Author: By R. W. P., | Title: The Crimson Playgoer | 11/13/1929 | See Source »

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