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...bigger, more enthusiastic. Financially the Company had done better than it had in four years. What deficit there was the directors kept to themselves. Manager Johnson announced in advance that he felt it necessary to play safe at first, depend on a proven repertory in which Wagner, Verdi and Puccini would predominate (TIME, Dec. 23). He proved as good as his word. Rarely has there been such a conventional season so far as the operas were concerned...

Author: /time Magazine | Title: Music: Metropolitan Milestone | 4/6/1936 | See Source »

There have been experienced sure-voiced sopranos who have shown real feeling for Puccini's curving melodies. But as figures on the stage they have created little or no illusion. Last week Susanne Fisher of Sutton, W. Va., made her formal U. S. opera debut. Though hers was not an amazing voice, she did manage to be the most appealing, lifelike Madame Butterfly that the Metropolitan has presented in 14 years...

Author: /time Magazine | Title: Music: West Virginia's Butterfly | 1/6/1936 | See Source »

...Johnson's prospectus included no new U. S. opera. But the memory of Merry Mount and In the Pasha's Garden was still too painful to breed many regrets. In no instance did the list of 36 operas extend beyond the conventional repertoire, with Verdi, Wagner and Puccini predominating changes have been in the personnel. The orchestra has been reorganized, with the result that many of the less competent players are absent. In the chorus there are new youthful faces. The stodgy old ballet has been replaced by the new U. S. organization founded two years...

Author: /time Magazine | Title: Music: New Era | 12/23/1935 | See Source »

...Louis, 6,000 people pushed their way into the huge new Convention Hall to hear Maria Jeritza in Puccini's Turandot...

Author: /time Magazine | Title: Music: Curtains Up! | 11/11/1935 | See Source »

...operas all came from a long-established repertoire dominated by Verdi, Puccini, Wagner. The staging was trite. The singing was sure but rarely exciting. Yet, for all that, the customers got more than their money's worth. Seats for San Carlo opera sell at $1.50 top. The people who patronize it are neither snobs nor sophisticates. In Manhattan and in Chicago the big opera companies have had to beg for their lives. The San Carlo Company, supported only by its box-office takings, toured 20,000 miles last season, made money...

Author: /time Magazine | Title: Music: Tourists | 10/7/1935 | See Source »

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