Word: korngold
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Dates: during 1920-1929
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...When Soprano Maria Jeritza made her Metropolitan Opera debut in Erich Wolfgang Korngold's Tote Stadt, Manhattan was scoured for a "property" lute called for in the book. No lute could be found; a guitar was used instead...
...opera was Korngold's Tote Stadt, the first given in German after the War. The curtain was five minutes late and the Metropolitan curtain is never late. Patrons wondered. None knew the fault was the new soprano's, so frightened backstage that no sound would come from her throat. She ate some pineapple. She crossed herself once, ten times. Manager Gatti whispered encouragement. The curtain went up and Jeritza made her debut. With her singing and her acting she was a sensation...
...follows: I. Serenade No. 3 in D Major Mozart Allegro assai, Andante, Minuet, and Trio II. Overture "Fingal's Cave" Mendelssohn III. Rosita Ecalona, Soloist First Movement from the Piano Schumann Concerto in A minor Intermission I. Caresses Pantcho Wladigeroff II. Moods Joseph Akhron III. Serenade and Intermezzo Erick Korngold IV. Humoresque Max Reger V. On Youth Gustav Mahler
...borrowed from the Philadelphia Orchestra. But it has Alexander Smallens for conductor, W. Attmore Robinson for artistic director, men who have refused to be bound by a Verdi-Puccini repertoire. Last year they gave the U. S. premieres of De Falla's El Amor Brujo, of Erich Korngold's Der Ring des Polykrates and critics all over the country pricked up their ears...
...Novelty came from Vienna, special import for Maria Jeritza. Erich Korngold, so it seemed, wrote it at the precocious age of 16; called it Violanta after his heroine, a lovely enough Venetian lady who hated and lusted and loved and died in such swift turn as to gray the hair of any onlooker. Jeritza played it for all there was there, took every phrase, every mood, tight between her teeth, shook them hard, tried to make them answer back, got small return...