Word: luisa
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Dates: during 1940-1949
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...Dona Luisa Maria Narvaez y Macias, Perez de Guzman el Bueno y Ramirez de Arellano, Marquesa de Cartago, Condesa de Canada Alta, Vizcondesa Aliatar and Duquesa de Valencia, had just spent nine months in the clink. Last week she sat, lithe and beautiful, in the prisoner's dock, her astrakhan coat open wide to reveal the soft drape of a smart beige gown and a length of shapely leg. From time to time as the prosecutor read the indictment, her long, blood-red fingernails fondled a corsage of tea roses at her shoulder as she cast a slow smile...
...Blue Suit Again. By midweek, the city fathers called in strikebreakers. They, too, encountered trouble. Idling strikers pointed scornfully at the newcomers' clumsy technique. Pretty, smartly dressed Communist Deputy Maria Luisa Cinciari-Rodano led 15 strikers' wives into battle against a detachment of volunteer garbage collectors. With resounding cries of "traitors!" and "robbers of bread!", Signora Rodano charged the unhappy scavengers...
...called "Golden Age" at $3.50 a disc (with gold labels). Pressed from musty masters are Soprano Frances Alda's gracefully sung Willow Song and Ave Maria from Otello (recorded in 1910) and Baritone Mario Ancona's Eri tu from The Masked Ball (1907). Even scratchier is Luisa Tetrazzini's carelessly sung Voi che sapete from The Marriage of Figaro (1908). Enrico Caruso's faltering Rachel, quand du seigneur, from La Juive, was recorded in 1920 when the great tenor's voice was running down.* Victor has far better Tetrazzini and Caruso records in its files...
...Inquisition's hirelings, Diego de Silva, "a large black bat transformed into a man," wanted the de Vargas acres. He was also Pedro's rival for the hand of lovely, aristocratic Luisa de Carvajal ("the perfume of her clothes set Pedro's pulses throbbing"). Pedro was accused of trying to bribe the Inquisition. Outfighting his pursuers, Pedro fled to Mexico and the service of Cortes...
...generation. The nearest thing to such a voice that this generation of U.S. operagoers is familiar with is the neat, flutelike warbling of Lily Pons. She is the capable but hardly startling descendant of a great line beginning with Jenny Lind and including Adelina Patti, Nellie Melba, Luisa Tetrazzini, Amelita Galli-Curci. Measuring Korjus against the yardstick of their memories, old-timers placed her somewhere near the Pons mark, admired the warmth, vibrancy and agility of her voice, which reminded them slightly of Melba...