Word: romeos
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Dates: during 1920-1929
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Among the most important and valuable of the Quartos from the White collection are editions of "Love's Labor Lost", London, 1598; "Romeo and Juliet", 1599; "The Sonnets", 1609; "The Merchant of Venice", 1600; and "The Merry Devil of Edmonton", one of the attributed plays, published in London...
...done. We tried it with Hamlet for four nights when we played in Cleveland, but we found that nothing was gained and much lost. In every work, Shake speare has created a background and an environment which, if taken away, destroys the greatness of the play. For instance. 'Romeo and Juliet' requires the romance-breathing Italian atmosphere, while the more blatant, boisterous plays would not be out of place in any country but England. This we found to be the case with 'Hamlet'. Ophelia would lose her charm in modern dress. And then, a change of costume is not needed...
...Handel interfered, with three pieces brought by Sir Thomas to the U. S. for the first time, edited by him, played by him surely and subtly, with immaculate rhythms. Then came the compatriot Delius with The Walk to the Paradise Garden from A Village Romeo and Juliet?and the maneuvers on the stage were forgotten for the results they attained. Sir Thomas the showman had become Sir Thomas the poet. True, he lapsed a little in the Tschaikowsky B Flat Minor Concerto, but then the Concerto with all its noisy trappings was for Pianist Vladimir Horowitz*, and served him accordingly...
...list of titles, dates, and speakers is as follows: January 20, "Louise", "The Jewels of the Madonna", and "La Gioconda", R. Y. Robison; January 23, "Alda", "A Witch of Salem", and "Romeo and Juliet", Professor Spalding; January 26, "Tannhauser", "Sappho", and Samson et Dalila", W. S. Smith; January 30, "Carmen", "Lohengrin", and "Tosca", Stuart Mason; February 2, "Martha", "Rigoletto", and "La Traviata", R. C. Robinson...
Live Geese. In 1906 Farrar began her engagement with the Metropolitan Opera Company, where she stayed until the spring of 1922. During that time she made countless thrilling moments: in Butterfly and Bohéme, in which she has never been matched; in Romeo et Juliette, when she sang the chamber scene in bed, on her back; in Tosca, after she had lighted the candle coming from back stage, a burning white line from the tip of the flame to her beaded train; in Carmen and Zaza, less artistic, perhaps, just as exciting; in Die Königskinder, a radiant creature...