Word: lyric
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Dates: during 1930-1939
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...exclusive contract, to make a batch of records. One number, which she had been singing at a new downtown hotspot called Café Society, she particularly wanted on wax. Called Strange Fruit, it had been written by a libertarian New York public school teacher named Lewis Allan and its lyric was a poetic description of a lynching's terrible finale. Billie liked its dirgelike blues melody, was not so much interested in the song's social content. But Vocalion was. The record was never made...
...these two years," she said, "we have been somewhat frightened by the silence of our countrymen created by the lack of community or mass singing. . . ." To break the silence, President Ober had arranged for a "national chorus" of 950 voices. When this great choir trooped into Baltimore's Lyric Theatre to perform such easily negotiable gems as Ah, Love but a Day by Mrs. H. H. A. Beach, it had to be placed in the orchestra seats while the audience sat on the stage. When part of the national chorus, transported to the World's Fair, reached...
...Manhattan last week the American Lyric Theatre entered the second week of its debutante season. First week, it had launched the folksy opera, The Devil and Daniel Webster, by Douglas Moore and Stephen Vincent Benet. This it followed with an operetta based upon Stephen Foster tunes, Susanna Don't You Cry, which, for all its musical charm and its flashy mounting by Robert Edmond Jones, had a plot which died of Southern molassitude. The Lyric Theatre next put on an evening of dancing by Lincoln Kirstein's Ballet Caravan-an uninspired Air and Variations to music by Bach...
Susanna made the Lyric Theatre's repertory because a Fosterphile, Josiah Kirby Lilly of the Indianapolis druggist Lillys, had backed it to the tune of $50,000. Last week, just about the time the mutual backscratching was over, the Lyric Theatre noticed it had three flops on its hands. It closed its season after a dozen performances, announced it would send The Devil on the road in the autumn, open a second season with some new tries...
...culture was not much enriched by the Lyric Theatre last week, the reputation of Composer Copland was. His music for the "character-ballet" Billy the Kid, much of it based on cowboy songs, was close-knit, percussive, incisive, wasting not a grace note in its evocation of the dapper, New York-born killer who flourished in the Southwest in the '703 and '80s. The choreography of Eugene Loring and the dancing of the Ballet Caravan were no less exciting...