Word: martinelly
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...will be given more leading roles than she had last season. Outstanding contraltos are Karin Branzell, Doris Doe, Gladys Swarthout, Cyrena Van Gordon, Rose Bampton, Kathryn Meisle and Marion Telva, who has been badly missed since she left the Metropolitan in 1931. Outstanding tenors: Lauritz Melchior, Paul Althouse, Giovanni Martinelli. Charles Hackett. Nino Martini. The baritones: Lawrence Tibbett, John Charles Thomas, Friedrich Schorr, Richard Bonelli. The bassos: Ezio Pinza, Ludwig Hofmann, Emanuel List, Leon Rothier...
...musical programs, musical talk. Their endurance seemed unlimited. Speeches ranged from the need of a fine arts minister in the President's Cabinet to a discussion of ancient Hebrew music. Singing went on constantly, thanks to amateur choristers. For special treats there were concerts by Tenor Giovanni Martinelli, Baritone Nelson Eddy, Violinist Albert Spalding, the Philadelphia Orchestra conducted by José Iturbi...
...Metropolitan pays its Claque nothing but the singers may buy special service. Caruso rarely sang without a Claque. Gigli had his and Martinelli's top notes still bring cheers from the men at the rail. In the old days singers were known to pay as high as $1,000 for an evening's "success." Now $25 will buy a fairly noisy ovation...
There would also have been a new Cavaradossi, victim of Scarpia's evil plotting, if, as the curtain went up, Tenor Richard Crooks had not been under ether for a serious appendectomy and Oldster Giovanni Martinelli had not rushed on to take his place. A new Tosca at the Metropolitan is bound to be compared with other singers who have made the role seem great. There were people in last week's audience who remembered Milka Ternina, dramatically exciting but plain to look at. Emma Eames had beauty but her emotions were chilled. In pre-War days Olive...
...reporters filmed the action and music on the stage, the swank audience. Others followed Gatti-Casazza backstage, saw what he saw through his private peephole to the stage, heard what he heard in his office as Aida progressed, caught his unposed facial expressions as he listened to Martinelli's high notes, to the thunderous applause. Finally, the camera watched him clap on his hat, shrug into his overcoat, trudge wearily down the corridor, away from the last Met opening he will ever direct...