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What Do We Know? The ornate Olga Petrova sat down and wrote a play about spiritualism; got up and acted it. There was some perplexity in the audience as to whether she was for or against it. Finally her attitude seemed favorable. By that time it didn't matter much...

Author: /time Magazine | Title: Best Plays in Manhattan: Jan. 2, 1928 | 1/2/1928 | See Source »

...against Shakespeare, Dante, Goethe. But in music the situation is back again on a par with painting. Women have given birth to no great music. There have been no Beethovens among them, no Bachs, no Wagners. There have been no conductors of importance, no Toscaninis, no Stokowskis, no Mucks. Olga Samaroff, Guiomar Noväes, Gitta Gradova, Myra Hess, Yolanda Merp are capable pianists, but then so is Ignace Jan Paderewski. The list might...

Author: /time Magazine | Title: Music: Inferior | 12/26/1927 | See Source »

...assorted chicaneries of minor characters, the widow Nadja struggles bravely to retain possession of her manor house- an edifice which, as depicted, does not justify her heroisms. In the part of this lady a new, highly able and presumably Russian actress is discovered to the U. S. screen, one Olga Tschechowa. Despite effective rascality in the other roles, the picture, because its entangled plot is strained, cold, brittle and exotic, has no bludgeoning effect...

Author: /time Magazine | Title: Cinema: The New Pictures Dec. 19, 1927 | 12/19/1927 | See Source »

...Spotlight. Herein a little U. S. blonde, Lizzie Stokes, is transformed into dark and dangerous Russian actress, Olga Rostova, thus allowing Esther Ralston to prove that she can be quite as intriguing under a black wig as under her own shingled gold. The plot moves quietly along until the moment when Olga Rostova must tell her most devoted admirer in the presence of her producer and severest critic that she is, in reality, no Russian beauty but only poor little Lizzie Stokes. At this crisis, Esther Ralston also proves that she can actually act when circumstances make it imperative...

Author: /time Magazine | Title: Cinema: The New Pictures Dec. 12, 1927 | 12/12/1927 | See Source »

...that the Chicago Civic Opera chose Pagliacci for the debut of Baritone Robert Ringling,** son of the late Circus Proprietor Charles Ringling, nephew of the living John. He made a stout, pleasant "Tonio," not half so loud-mouthed as his size portended. The audience liked him, liked, too, Soprano Olga Kargau, wife of a Chicago merchant, who was a new "Nedda...

Author: /time Magazine | Title: Music: Clown | 11/28/1927 | See Source »

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