Word: metropolitan
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Dates: during 1950-1959
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Rudolf Bing, general manager of New York's Metropolitan Opera Company, is not given to discussing his dreams, but it has been whispered that he is haunted by a recurring nightmare. In the dream he is Prince Paris, lost atop a papier-mâché Mount Ida on the Met's stage. He is surrounded by three goddesses who insist that he choose the fairest of them by handing her an apple (Golden Delicious, supplied by Sherry's Restaurant). The goddesses, of course, are the three reigning sopranos who, season after season, vie for favor...
...acclaim the like of which the country has not seen in 30 years, since the heyday of Claudia Muzio. Since she made her U.S. debut (in San Francisco) eight years ago, every house she has sung to has been sold out, and her Bohème at the Metropolitan two seasons ago drew surging, partisan crowds that choked traffic around the house until 2 a.m. Some 30 cities in this country are bidding for her services at a top price of $5,000 per recital. Her American recording royalties alone from the 23 titles released by London yield...
...give the Met its glamour, but its roster of first-class male singers provides the backbone. As box-office attractions, none of them can compare with a Callas or Tebaldi, and certainly not one of them commands the fanatical personal devotion Caruso once enjoyed. But their presence at the Metropolitan means the difference between a minor and a major opera house. Among the Met's best...
Leonard Warren, 47, baritone. Bronx-born Singer Warren was a runner in the garment district, studied advertising at Columbia, sang in the Radio City Music Hall chorus, won the Metropolitan Auditions of the Air in 1938. A burly man (6 ft., 218 Ibs.), he restricts himself largely to Verdian roles. His big, mahogany-hued voice is unmatched by any other baritone in the world. He virtually owns the role of Rigoletto, both vocally and dramatically...
...champ double faults, and it is only reasonable to expect on occasion a painter will turn out a turkey, even as great a painter as Rembrandt. But with all due allowances for human frailty, Rembrandt's early St. Bartholomew has long made Rembrandt scholars uneasy. Manhattan's Metropolitan Museum labeled the painting "attributed to Rembrandt" when it was received as a bequest, later returned it to the donor's estate. This week the Worcester (Mass.) Art Museum unveiled a new acquisition that unmasks the mystery: a new version of St. Bartholomew, which is clearly the original, demoting...