Word: gluck
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There is a woman. Now obviously one must mention something to back up such a startling statement. There is a woman who dances in the Metropolitan's idea of Keats plus Gluck and a foursome of harps--and she certainly has it--and more than that she can dance which is something as anyone knows. So, is the Metropolitan really worth leaving from the books, from the finals, from the marks what with them are? Well, as General Sherman said...
...Johnson, U. S. tenor, disguised as a Roman soldier in the Metropolitan's revival of La Vestale, a totally unoriginal opera written 100 years ago by Gasparo Spontini. Critics agree that this composer understood one thing- how to write for the voice. For the rest he depended on Gluck and what he could remember of Mozart. Elaborately staged, furbished with the faultless voice of Miss Ponselle, it will, they think, be popular...
...Pretzfeld, Chairman, Miss Katherine Krauss; R. W. Pretzfeld, Miss Edith Gluck; Alexander Kelley, Miss Dorothy Recht; Morris Newburger, Miss Beatrice Exstein; Edwin Steefel, Miss Katherine Hecht; C. A. Jacobson, Miss Claire Schoenberger; M. K. Stern, Miss Frances Thalheimer; J. Morse, Miss P. Florsheim; G. Hirsch, Miss Helen van Dernoot; F. L. Wattendorf, Miss D. B. Stressenger; F. F. Stoner, Miss G. F. Hickie; R. E. Fiske, Miss Alice Whittaker...
...heralded, created a sensation with interpretation of Beethoven's Ninth Symphony. Before the War, he conducted for seven years at the Metropolitan Opera House, Manhattan, directing with equal aplomb Russian, French, German, Italian opera. He produced Dukas' Ariane et Barbe-Bleu, Moussorgsky's Boris Godounov; revived Gluck's Orfeo and Armide, Weber's Euryanthe. His feats of memory have become legend. Never has he been seen to use a score. In his head are over 100 operas, in addition to an enormous concert repertoire. When the jealous ask, "Why does he not use a score...
...following program will be given: Overture to "Iphigenia in Aulis" Gluck Unfinished Symphony in B minor Shubert Recitative and aria, "Eri tu cha macciavi" Werdi Song of the Sandman and Prayer from "Hansel and Gretel" Humperdinck Jaernefelt Berceuse Two Sentimental Tangos (for dancing) Vigil Thompson '22 "I Attempt from Love's Sickness to Fly" Purcell "Wie bist du meine Koenigen" Brahms Cartner "Love is Mine" (C. T. Leonard '23, accompanist.) Prelude to second act of "Louise" Charpantier Overture to "Oberon" Weber Tickets for the concert may be procured at the Cooperative Society, Herrick's, and the Copley Theatre...