Word: scotty
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Dates: during 1920-1929
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Tosca will open the Metropolitan's season in Philadelphia Nov. 2, with Maria Jeritza, a blonde, exuberant Tosca, to race the gauntlet of operatic emotions. Jealous first, then playful, loving completely Mario Cavaradossi, she brings him thus unwillingly into a political trap laid by Chief of Police Antonio Scotti, sleekest of nil Searpias, who wants the lady for himself. The second act will come with his melodramatic crescendoes. Tosca will surrender and Scarpia will supposedly draw up his pardon while Tosca's hand, fumbling, despairing, will find the carving knife on a supper table. She will stab him, steal away...
...special trains for Atlanta* for the annual week of opera. Southerners socially and musically inclined were ready for them, flocked from all over the countryside to hear Aida, with Rosa Ponselle and Giovanni Martinelli; Don Quichotte, with Feodor Chaliapin; La Bohême, with Lucrezia Bori, Beniamino Gigli, Antonio Scotti; Pagliacci, with Mary Lewis, Armand Tokatyan, Lawrence Tibbett; Jewels of the Madonna, with Florence Easton and Martinelli; Lucia, with Marion Talley; Tannhauser, with Rudolf Laubenthal; II Trovatore...
...then the opera itself: L'Irlandesa Rosa dell' Abie with "Gigli as Abie," ''Jeritza as Rose," "Chaliapin as the Jewish Father," "Scotti as the Irish Father," "Galli-Curci as Mrs. Cohen." The words to nearly every high note...
Jeritza was delighted with her "triumph". In that first London audience were Nellie Melba, Florence Easton, and the veteran Jeritza had sung with so often, Antonio Scotti. Without a doubt, they knew a triumph when they heard one. Without a doubt they stopped backstage before going home. And the conductor, there was another thing: Conductor Sergio Failonig, prize pupil of Toscanini, who attempts to emulate his master by doing without the scores. He got the sack for appearing "not to have gained the confidence of the artists." They sent for Conductor Leopold Mugnone, the Neapolitan, a great favorite in London...
Inside, in the great warm hall, a shivering conductor shuffled his feet, besought silence; the lights of the entr'acte dimmed; still the great sound continued. In his dressing-room, a 28-ysar old U.S. baritone powdered his nose. Cast with the revered Scotti in the season's revival of Verdi's Falstaff, he had just ended the second act with the aria E sogno, in which he sets forth his suspicions that his spouse, Mistress Ford, is plotting infidelity with "that reverend vice, that grey iniquity, that father ruffian, that vanity in years," Falstaff (Scotti...