Word: premi
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Dates: during 1930-1939
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...treatments for his "glass arm" had not kept Conductor Toscanini so long in Italy (TIME, March 14 et ante), the world première of his friend Ottorino Respighi's Maria Egiziaca might have caused more stir last week. Toscanini planned to direct the production. But instead Composer Respighi came. He relegated Philharmonic Symphony players to a dark corner of the Carnegie Hall stage. In their usual place a great gilt-framed triptych stood, spattered with stars and angels. Angels opened the triptych, disclosed three panels rudely painted to suggest a ship docked in the harbor of Alexandria...
...poem in the cycle) 45 performances. Royalties in such cases mount up. Respighi, Stravinsky and the later works of Richard Strauss are expensive to perform. The Philharmonic has to pay $40 each time it plays any one of the Roman poems. (For the privilege of Maria Egiziaca's première, the Philharmonic paid $500.) If the performance is broadcast, Columbia Broadcasting has to pay nearly as much again...
...acting with his eyebrows. His ocular agitation reaches its peak when the young man falls in love with an amiable blonde (Marian Marsh). He persuades the girl to go away with a Count, the young man to return to his ballet. Finally, on the night of a grand première, Barrymore is murdered, with an ax, by his musical director. His body rolls down into the middle of the ballet, confusing the audience and causing the young lovers to be reunited. Typical shot: Barrymore eyeing Marian Marsh into going off with the Count...
...Wozzeck will be given by the Philadelphians in Manhattan Nov. 24. At its U. S. première in Philadelphia last year many a critic pronounced it the most important opera since Pélleas et Mélisande. It tells a sordid tale of murder done a woman who preferred a swaggering drum-major to a downtrodden, pasty-faced soldier. Composer Berg's score is as powerful as it is radical...
Since the end of May, Cleveland had been canvassed for a native chorus and ballet. Rita De Leporte, the Metropolitan's première danseuse, whipped together an able troupe of 100. Giacomo Spadoni, assistant conductor and choral master of the Chicago Civic and Ravinia opera companies, selected 300 voices. For Aïda was provided a special Negro chorus led by a colored preacher. For Smetana's The Bartered Bride-"Czech national opera"-was provided the Cleveland United Czech Singing Society. A group of Welshmen were to sing specially in Die Meistersinger...