Word: salmaggi
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Dates: during 1930-1939
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...headquarters of Actors Equity Association. Furious, aware that the skids were already greased for their union, the Grand Opera Artists' high command, led by a Hippodrome baritonfe named Giuseppe Interrante, held a mas|; meeting in Steinway Hall. Star speaker was not a worker but an employer-Al-fredo Salmaggi, explosive, long-haired manager of the Hippodrome troupe, who once weathered a G.O.A.A.A. strike-between the acts of A'ida when the company suspected it was not going to be paid promptly-and has since become one of its firmest supporters. Dramatically, he presented the controversy to the meeting...
...when Manager Salmaggi's Baritone Interrante, as president of G.O.A.A.A., showed up for the hearing last week, he sang a softer tune. Dropping his charges that Associated Actors & Artistes had been '"scheming" with the Guild, Baritone Interrante agreed to a face-saving compromise by which the two unions would be merged under the name of the newer and more successful one. The Guild agreed to lower its dues from $25 a year (for voting members) to a sliding scale of from $12 to $100 a year, depending on income, so that G.O.A.A.A. members could all remain...
Last week Professor Alfredo Salmaggi's popular priced opera returned once more to Manhattan's huge Hippodrome. An enthusiastic cast roared its way through...
...paying opera at the big old New York Hippodrome three blocks from where the proud Metropolitan had been begging for its life. The Hippodrome seats were cheap (99? top). So was the quality of the performances. But listeners for the season topped 1,000,000. The impresario was Alfredo Salmaggi, a longhaired, high-strung Italian who taught the late Queen Margherita to play the mandolin, carries Caruso's silver-headed cane and specializes in Aïida with horses, elephants, camels...
This week Alfredo Salmaggi moved on to Philadelphia, thus ending in Manhattan a three-week war over 99? opera. At the Hippodrome a second season was in full swing, with an average attendance of 4,000 a night (capacity: 5,000). Pasquale Amato, genial oldtime Metropolitan baritone, had supplanted Salmaggi as artistic director. Salmaggi had tried to compete at the Broadway Theatre a few blocks away. Both had the same standard repertory in which Verdi predominated. But last week Amato played the deciding trump when he engaged 40 Metropolitan choristers, 40 Metropolitan orchestramen, made an honest bargain...