Word: schumann
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Dates: during 1930-1939
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Lieder-singing takes a lot more doing than run-of-the-opera-house singing, and great Lieder singers are rare. Even world-famous opera stars come a cropper when they attempt Lieder; only a handful of them (Marcella Sembrich, Ernestine Schumann-Heink, Lotte Lehmann) have ever satisfied the connoisseurs. Most great Lieder singers are specialists. Greatest of them in recent years have been: i) Dr. Ludwig Wüllner, who started life as a professor of philology in Münster, toured the U. S. in 1908-10; 2) Julia Gulp, a Dutch contralto (originally a violinist as well...
...Presented by Sol Hurok, sometime entrepreneur of Monte Carlo Ballet Russe, Shan-Kar, Schumann-Heink, Chaliapin, Pavlova, Isadora Duncan...
...operatic orchestrations. Their frenzied, hagridden Elektra, daughter of the slain Agamemnon and instigator of the ghastly revenge that overtakes his killers, demanded a singer of enormous endurance. Mariette Mazarin, who introduced the part to the U. S. in 1910, fainted while taking her final curtain calls. The late Ernestine Schumann-Heink, powerful Katrinka of opera singers, left the original cast at Dresden because she considered the part of nightmare-haunted Klytemnestra too strenuous...
George W. Stinson, 35. weighing 200 handsome pounds, was brought up in a St. Louis orphanage, became a San Francisco motorcycle policeman in 1926. In 1930 Mine Ernestine Schumann-Heink admired his tenor voice. Four years later San Francisco Opera Director Gaetano Merola took Officer Stinson under his wing, called him a potential Caruso. Sympathetic professionals, including Singers Giovanni Martinelli, Gina Cigna, Kirsten Flagstad, pitched in to send Officer Stinson abroad to study. This week Officer George Stinson, on leave of absence from the California Highway Patrol, sails, with his wife and 16-year-old stepson, for Italy. Said...
...premiere last week the much-discussed concerto's orchestral score was outlined by a piano accompaniment. Judging by the rather sketchy results, critics were inclined to support Joachim's deprecation of the work. Typical of Schumann were its lyric melody, its cyclical form and the elusive rhythm of its slow movement. Also typical was its occasional awkwardness for the violin (Schumann was a pianist). Very obvious, despite Menuhin's contentions, was the need of editing. Most of the important violin concertos by great masters have either been edited by, or written in collaboration with, some eminent violinist...