Word: patty
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Dates: during 1930-1939
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...musical life of London in 1888 had more Maggie Moores, Mile. Colombatis and Mme Belle Coles, forgotten today, than Pattis, Nordicas, Richters. Corno di Bassetto, busy with political agitating, missed a new Dvorak symphony and a concert by Harold Bauer (who played the violin for the first ten years of his career before becoming a pianist). Shaw on Patti: There has not yet been witnessed a dramatic situation so tragic that Madame Patti would not get up in the middle of it to bow and smile if somebody accidentally sprung his opera hat. She is simply a marvelous Christy Minstrel...
Henderson and Aldrich were the last survivors of a critical age rich and already remote. They moved freely and importantly in the world of Henry Edward Krehbiel. Philip Hale, James Gibbons Huneker, Henry Theophilus Finck. Patti was more than a name to them, and Sembrich a vivid, unforgettable presence. Each had worked tirelessly to establish Brahms in the U. S. Each had seen Debussy's worth when inferiors were yelping about his "decadence" and "lack of form." The great fight over Wagner was no legend to them: they had helped...
...their neighbors in Philadelphia it seemed as if the Gianninis made music all the time. The father, Ferruccio, was an oldtime opera singer who could boast that he had once sung with Patti. The mother, Antoinetta, played the violin. Daughters Euphemia and Dusolina sang. Son Francis had a cello when he was big enough to wield one. Son Vittorio practiced endlessly on the piano...
...years ago there was a small, shabby theatre where neighbors dropped in to see a bit of drama, a bit of clowning and got for good measure a dash of grand opera. The impresario was Ferruccio Giannini, a tenor who could boast that he had once sung with Patti. At home the Gianninis made music all the time. The mother Antoinetta played the violin. Daughters Euphemia and Dusolina sang. Vittorio played the piano. Son Francis had a cello when he was big enough to wield one. Dusolina Giannini was 9 when she made her debut at her father...
...fairness to Miss Ponselle, disgruntled critics would have done well to point to the fact that there have been few successful Carmens. The redoubtable Lilli Lehmann sang the role like a Brünnhilde. Adelina Patti was completely unsuited to it. Most effective impersonation was by fiery Emma Calvé, though purists fussed at her because she took liberties with the music. Farrar's popular Carmen lacked the finesse of many of her other roles. Mary Garden was not at her best in the part. Maria Jeritza failed to stand the test. Those who disliked Ponselle's performance...