Word: priestesses
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Dates: during 1920-1929
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...Unsuccessful "noble experiment" of the early 19th century (1841?47); a communal Utopia at West Roxbury, Mass, sponsored by Nathaniel Hawthorne, Ralph Waldo Emerson, Margaret ("Priestess of Transcendentalism") Fuller and other advanced thinkers...
...flowing white robes of a Druid priestess, Rosa Ponselle, soprano of the Metropolitan Opera, waited in a dressing room of London Covent Garden last week. She tapped her foot, tried her voice, added a touch of carmine to her cheeks, adjusted the green wreath on her flowing black hair. Tomorrow her British debut would be over. Tonight she must face the coldest public in the world, a public which had not heard Norma since the late great Lilli Lehmann sang it in London 30 years before, Lehmann who had said: "I would rather sing all three Brünnhildes than...
They sat through what is certainly one of the most expensive preparations ever put up, a luxurious operetta about Africa. Dawn, high priestess of native religion, loves an heroic Englishman. Unhappily she is in the power of a gigantic local Negro, planning to elope with her. African life seems darkest just before Dawn discovers she is white; may marry as she, and the audience, prefer. Louise Hunter was wheedled away from the Manhattan Opera House to sing this part and sing it she does as parts are seldom sung in operetta. Her assistants are eminently vocal and the surroundings dressed...
...shepherdess had known her Hollywood, she would have recognized as Mary Pickford, America's sweetheart. A city grows up around the shrine of the pool. Hearing of the wealth which grateful recipients of its healing power have laid at the feet of the shepherdess (now the priestess of the shrine), El Gaucho rides toward it through imaginary Andes, as steep and beautiful as the mountains of the moon. On the way he stops to pick up a hoydenish little mountain girl. With her he descends upon the city of the miracle, capturing it, in the Fairbanks manner, unassisted. Treachery...
...wagged the other way after the performance for Rosa Ponselle had wrought the miracle. Not once had she flinched before the laciest coloratura passages, before measures that took her well into contralto regions, out again and up to the peak of the soprano scale. Her acting as the Druid priestess was less impressive; but critics found little fault, gave unqualified praise to her singing, to Conductor Tullio Serafin who found enough light and beauty in Bellini's score to make it well worth the revival...