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...Jeritza...

Author: /time Magazine | Title: Music: Honored | 3/8/1926 | See Source »

...Worcester, Mass., last week, Maria Jeritza gave a concert. It was a success. The audience liked her. She liked the audience. Vigorous, exuberant, she hurried off the stage, prepared to catch a train. Exuberantly she bounced up, exuberantly she bounced down, turned her ankle, sprained it badly...

Author: /time Magazine | Title: Music: Honored | 3/8/1926 | See Source »

...whole he acquitted himself admirably, went in one afternoon to the head of the Metropolitan's class of availables for German tenor roles. An audience whose faith in German tenors has been badly shaken, took new hope, applauded him gratefully; saved its noisiest, most unrestrained approval for Maria Jeritza making as Elisabeth her last operatic appearance of the season...

Author: /time Magazine | Title: Music: New Operas | 3/1/1926 | See Source »

Bori sang in Pelleas and Melisande, which is perhaps the most artistically perfect presentation in the Metropolitan's repertoire; again Jeritza, in Fedora; then the "novelty" of the opening week, a double bill consisting of Cornelius' Der Barbier von Bagdad and Ravel's L'Heure Espagnole, this latter with Lucrezia Bori; last of all Ponselle. amid that gorgeous exoticism L' Africaine...

Author: /time Magazine | Title: Music: Openings | 11/16/1925 | See Source »

...Fedora, Maria Jeritza was about to drain a glass of poison in the presence of the tenor hero (Giovanni Martinelli). She climbed upon a table, swayed there in tragic, shimmering loveliness. The table toppled, collapsed, spilled her into Martinelli...

Author: /time Magazine | Title: Music: Openings | 11/16/1925 | See Source »

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