Word: martinelli
(lookup in dictionary)
(lookup stats)
Dates: during 1930-1939
Sort By: most recent first
(reverse)
...many years stocky, shock-headed Metropolitan Tenor Giovanni Martinelli nursed a secret ambition to sing Tristan, most glamorous, most gut-busting of German opera roles. But in the days when Martinelli's voice was at its sweetest, Metropolitan directors always chose a throatier Teuton for the job. Last week at the Chicago Opera, 54-year-old Veteran Martinelli finally got his chance. Playing opposite buxom Kirsten Flagstad's bosom, his white hair covered with a blond wig, Tenor Martinelli sang his part without a misplaced guttural. But between towering Soprano Flagstad and the booming orchestra led by Flagstad...
Fleeing from war-gripped Europe to the U. S., canceling tours in war sectors was many a famed musician: Violinists Yehudi Menuhin, Fritz Kreisler, Nathan Milstein, Cellist Gregor Piatigorsky, Conductor Arturo Toscanini, Singers Alexander Kipnis, Kirsten Flagstad, Giovanni Martinelli, Lauritz Melchior...
...little worn at the edges," eh? It may interest TIME to know that in spite of supercilious critics there are thousands of music lovers and many big-league critics who rate Martinelli as the greatest of all tenors [TIME, July 3]. Caruso was never the "undisputed" supreme among the "chandelier-jigglers" either. Caruso's voice, though thrilling, certainly, was something like a trip hammer, and eventually busted his neck...
...will continue to enjoy Martinelli's golden flow of voice, whether...
Like sopranos, unlike basses and baritones, tenor voices go to seed early. When golden-voiced Enrico Caruso died at 48, he had passed his prime. Jean de Reszke and gut-busting Francesco Tamagno retired at 51. But not yet retired is Giovanni Martinelli, 53, robust, white-mopped tenor who made his debut at Manhattan's Metropolitan Opera the year before the War. Never the undisputed best of the Metropolitan's chandelier-jigglers, Martinelli has been a dependable artist in an enormous repertory (57 roles). In two operas, Verdi's Otello and Halevy's La Juive, critics...