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Word: rigoletto (lookup in dictionary) (lookup stats)
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...tape. Paris had forgotten to order the Hendaye station master to let the train through, and he liked to have his orders. Sixty of the passengers, members of Milan's La Scala Opera, volubly wondered if they would get to Lisbon in time for their performance of Rigoletto. Paris finally sent "a thousand regrets," and the express rolled...

Author: /time Magazine | Title: COMMUNICATIONS: No Don Quixote Again | 2/23/1948 | See Source »

...more. Season-ticket holders buy out 85% of the house in advance, and take potluck. More than half of them have held seats for ten years; 10% of them for 40 years. Says Johnson: "Why should we force a new venture when we can sell out the house with Rigoletto?" And, unlike Broadway theaters which can play a hit nightly until it pays off, the Met plays each opera only four or five times a season. Even if Peter Grimes is a hit (as none of the ten most recent new operas has been at the Met), it would need...

Author: /time Magazine | Title: Music: Opera's New Face | 2/16/1948 | See Source »

Metropolitan Opera (Sat. 2-5 p.m., ABC). Verdi's Rigoletto, with Swedish Soprano Hjoerdis Schymberg, Baritone Leonard Warren, Tenor Jan Peerce...

Author: /time Magazine | Title: Radio: Program Preview, Feb. 24, 1947 | 2/24/1947 | See Source »

Arie di Arie di Opere (Ferruccio Tagliavini with the Sinfonica dell' E.I.A.R., Ugo Tansini conducting; Cetra, 6 sides). The new hero of the Met's Italian fans (TIME, Jan. 20) sings arias from six operas (Mignon, Tosca, Rigoletto, The Barber of Seville, Manon, Elisir d'Amore). The Italian tempi are perhaps a little languid for U.S. tastes, but Tagliavini's contralto-like pianissimi are wondrously lyrical. The imported Italian discs (which cost a whopping $3.25 each) are technically as good as most U.S. recordings. Performance: excellent...

Author: /time Magazine | Title: Music: New Records, Feb. 10, 1947 | 2/10/1947 | See Source »

Struggling against odds to reseue the production from Mr. Gerhardi were the two leads, Mendy Weisgal and Marie Heath. Weisgal raged eleverly on as Hector Rigoletto, male witch extraordinaire, Abelard, and Aristotle; but the real orchids must be saved for Mrs. Heath, who gave a delightfully British performance as Emma Seruple-Madison and brought the show to its humorous climax with a skillfully executed drunken laugh, spin, and fall...

Author: NO WRITER ATTRIBUTED | Title: The Playgoer | 12/5/1946 | See Source »

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