Word: janssen
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Dates: during 1940-1949
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...Galli-Curci, the record companies built their fortunes on single operatic records. Last week, after a long absence, they went back into this once profitable field. Victor released 16 familiar arias and duets from the Metropolitan Opera Company's repertory. Columbia, a bit behind, had Baritone Herbert Janssen on two Tannhauser arias...
...celebrating the first North American visit of South America's best-known composer: plump, talkative, 57-year-old Heitor Villa-Lobos. It is also the bouncy Brazilian's second week of Manhattan performances and the halfway point in his U.S. schedule of guest-conducting (Los Angeles' Janssen Symphony, Manhattan's Philharmonic, Stokowski's New York City Symphony, the Boston Symphony...
Credit for the suave showmanship went to Conductor Karl Kreuger, 50, U.S.-born, Vienna-trained, one of the four top native-born maestros in the U.S. (the others: Leonard Bernstein, Werner Janssen, Alfred Wallenstein). Maestro Kreuger had snatched up Detroit's baton late in 1943, whipped his 110 players into shape in record time. Carnegie Hall rewarded his energy with a favorable verdict: Detroit's music is as lush, efficient, unsubtle and breath-taking as Detroit's glamor-drawings of the postwar family sedan...
...installment was broadcast last Sunday on the regular Toscanini-conducted NBC Symphony program, with a second installment to follow this week. For his Fidelia the maestro drew heavily on the Metropolitan's roster, allotted principal roles to Sopranos Rose Bampton and Eleanor Steber, Tenor Jan Peerce, Baritone Herbert Janssen, Bass Nicola Moscona. At the end of the broadcast, a distinguished audience-including half of Manhattan's top-rank musical celebrities, who had frantically begged their invitations-caught its breath, hoped fervently that the maestro might somehow make a more lasting peace with opera in the U.S. The Toscanini...
...rehearsed the Janssen Symphony within an inch of its life. ("The orchestra is magnifique," he apologized, ''the best with which I have played my music. But for myself who am not a conductor, I need more time.") He held three extra percussion rehearsals with eight drummers, ordered a special Portuguese rattle constructed (at Universal studios) at a cost of $100. When the orchestra finally swung into the sultry rhythms of his Sinfonia No. 2, Rudepóema and Chóros No. 6, Los Angeles decided that it was worth all the trouble...