Word: meller
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Sorceress Meller...
When she could make herself heard, Raquel Meller began her U. S. career with a simple Spanish folksong, a song which might be the distant Castilian cousin of "Old Black Joe." It was so simple, so undemonstrative, that the connoisseurs after listening intently were conservative in their applause. The lights went up and they rustled their programs to find the condensed translation of the next song. The lights went down, Meller sang; again the applause was careful, a bit puzzled. From 9:15 to 10.45 it continued?songs of love, toreadors, religion, clothes?with one long intermission in which...
...about 10:30, something happened. For the next-to-last of her baker's dozen of songs, Meller chose "Flor del Mal" (Flower of Sin). It tells, with the utter simplicity of all Meller's repertoire, the hopeless, disdainful story of a street girl. Her clothes were shoddy, ill-fitting; her hair slovenly, black about her forehead. Midway in the singing Meller moved out on a little platform almost over the heads of the first row, and lighted a cigaret. She smoked it singing and walked over to lean, dejected, against the stage wall. The song ended and she disappeared...
...violet bunches to offer musingly, withdraw capriciously, bestow impetuously, the starched and bejeweled Manhattanites arose and cheered. Her acknowledgment was?a quiet curtsy. More cheers. She sang an encore. The final "Brava!" The audience went home to talk it over, a new fad that promises to last weeks after Meller's departure...
...slim figures alternate. The U. S. contributions are as usual and a little better than usual. About the French there is not much to report except that Yvonne George sings her songs. Mlle. George is to many people the greatest European revue and cabaret artist, only excepting Raquel Meller. To miss her is to miss one of the most, if not the most, extraordinary experience to be had at any revue this season...