Word: pattie
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...have heard Nellie Melba sing "Home Sweet Home," "Comin' Thro' the Rye," Tosti's "Goodbye." Opera crowds have seen her as Mimi in La Bohème, Violetta in La Traviata, Marguerite in Faust, Gilda in Rigoletto, Lucia, Juliette. The pure and springlike quality of her voice established her as Patti's greatest successor. It lasted her well through middle age because she used it so intelligently, won her triumphs for 40 years. Melba's life was as glamorous as the prima donna of fiction. She made her American debut at the Metropolitan in 1893 five days after famed Emma Calve...
...holy matter. It is also a hard-headed economic system and the communicants are bustling, practical, prosperous. Always have non-Mormons been welcomed to services and organ recitals in the great domed Tabernacle (seating capacity 10,000) just behind the Temple. This auditorium, where the late great Soprano Adelina Patti remarked: "My voice is twice as large here," had undergone last week a vast refurbishing for a public pageant calculated to impress its audiences with the fact that Mormonism is a successful religion if ever there was one. Accompanying the pageant would be music from one of Mormondom...
...Chicago, President Samuel Insull let nothing interfere. In consequence when the Chicago opera ended its home season last week, it ended also its residence in the Auditorium which 40 years ago was dedicated by President Benjamin Harrison and Vice President Levi P. Morton, with incidental music by Adelina Patti. Romeo et Juliet had been the first opera, with Patti as Juliet, and Romeo was the valedictory last week, with Edith Mason for heroine. Next season will open a proud 42-story building on Wacker Drive...
...everything in her favor that a fairy could possibly bestow on an operatic artist: a beautiful and amazingly expressive face; a voluptuous figure, with a rare grace of movement; a voice which, at its best-and it usually was at its best-was as lovely, sensuously, as Patti's and infinitely more soulful; a skill for acting realistically which amounted to genius, often making one forget the superlative beauty of her voice; and the supreme gift of magnetism." Henry Edward Krehbiel, his rival on the Tribune, accorded her "the most sensational triumph ever achieved by any opera or singer...
Mere mention that a song called "Cinderella" occurs in the first act, will explain the plot sufficiently. "Wear Your Sunday Smile" and the title song "Judy", pleasant and innocuous, are the songs sold at the door. As for the cast, Patti Harrold, dainty and unstudied, makes a charming heroine; Robert Armstrong, obviously out of place in musical comedy, a not-so-good hero. George Meeker, Edward Allen, and Frank Beaston, as Tom, Dick, and Harry, furnish the bulk of the humor, which depends more on their own antics than the rather weak book. Mr. Beaston especially stands...