Word: marias
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Dates: during 1920-1929
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...been supposed that the Metropolitan would choose for its opening Fedora, Maria Jeritza's latest triumphant impersonation. But Signer Gatti-Casazza, shrewd impressario, had planned otherwise. Verdi, well-tried veteran, was called into service and Aida was the safe and sane choice, with a familiar safe and sane cast. There was no Caruso, no Farrar, no Jeritza. There was instead a new conductor, one Tullio Serafin, carefully discriminating and strangely energetic after the somnolent Mr. Moranzoni...
...opening of the second week at the Metropolitan was no less a triumph for Maria Jeritza, Lohenarin her medium. Other features of the second lap of the season in that temple of patrician appreciation were Andrea Chenier and The Tales of Hoffmann (revival)-well-tried pieces both...
...another woman, and that Pedro had grown up in extreme poverty. The latent good in Pedro's character, especially during his formative years, was crushed by the revengeful temper of his mother, and the mean circumstances in which he was placed. The drama shows the great influence of Maria de Pedillia over Pedro, and his reaction...
...declarations of a Boston paper that the torchlight procession of University students next Thursday night would be accompanied by any form of rioting. The paper in question had vividly described the police as polishing up rusty riot guns, releading and cleaning their night sticks and greasing the "Black Maria" in anticipation of a rushing business on Thursday night...
...Carillo impersonated "The Saint" with stretches of good acting and lapses that were not so good. The best performance was contributed by the old woman who trained pigeons-Maria Ouspenskaya, late of the Moscow Art group...