Word: juilliard
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Dates: during 1930-1939
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...secure. He had cut down his budget on high-priced singers. He had watched the Met struggle through Depression years by shortening its season, humble itself in a desperate tin-cup campaign. Few weeks before Gatti's resignation, the harassed Opera Board signed over its independence to the Juilliard Musical Foundation for $150,000. In return the Board agreed to raise an additional $100,000, to admit Juilliard bigwigs to their council, to increase regular attendance by 10%, to append to the regular season a "popular-priced" one in which U. S. artists might air their talents and perhaps...
...natural owner of a tremendous baritone, young Mr. Middleton made it terrifying in the loud passages by blaring through his microphone. Dark, good-looking, 28, Mr. Middleton studied music at Juilliard for four years against the wishes of his father, a member of the Chicago, Rock Island & Pacific Railway Co. He took a nonsinging role in Roberta for two years, made his baritone debut last summer singing Gilbert & Sullivan in St. Louis and Central City, Colo. To replace Baritone Julius Huehn, he went to Chicago fortnight ago to sing star parts in Puccini's Gianni Schicchi and Gruenberg...
...ludicrous circus manager in The Bartered Bride. In Rigoletto the swashbuckling assassin was Baritone John Gurney of Jamestown, N. Y., who took up music after Harvard Business School. Marie's mother in the Smetana opera was Lucelle Browning from Durham, N. C., a product of the Juilliard School of Music...
...popular-priced spring season was one of the stipulations made by the wealthy Juilliard Musical Foundation when it helped to save the Metropolitan last year with its grant of $150,000 (TIME, March 18, 1935 et seq.). Advertised purpose was to provide opportunities for more young U. S. singers, to attract people who want to hear good opera but who have hitherto shied away from the formality and the high prices that prevail throughout the winter season. The first week was pronounced a definite success. Rehearsals were called for more productions: a revival of Gluck's Orpheus aiul Eurydice...
...prodigy. Practicing irked her. But she was so naturally musical, showed such talent for the piano that when time came for her to go off to school she was sent to the Cincinnati Conservatory of Music. There she discovered the voice that won her successive scholarships from the Juilliard Musical Foundation, months of sound study in Germany, engagements at the Berlin Staatsoper and at the Paris Opéra-Comique. New Yorkers saw her last week as a slender, graceful young woman of 32 who had so thoroughly absorbed the role that there was scarcely a detail left unfinished...