Word: sing
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Dates: during 1920-1929
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There lies deep in Mme. Walska McCormick's soul an impassioned desire to sing successfully in opera. To achieve this desire she has waged a prodigious battle. She has had failure after failure on the operatic stage; yet she has persisted, and has set an unusually strong and tenacious will to gain her ambition, until the question has been raised on all sides: Has Ganna Walska a voice? The critics have replied again and again: Mme. Walska has no voice. She has some pretty but very small tones in her lower voice, good enough for small parlor singing...
...performance encountered a queer series of mishaps. Joseph Schwarts, formerly of the Chicago Opera House, who was to have sung the important baritone rôle of Rigoletto, could not be found on the day of the opera. Another baritone, named to sing in his place, was taken ill shortly before the curtain rose. A third baritone finally went on stage in Rigoletto's cap and bells...
...conclusion is inevitable: Ganna Walska is beautiful; she exerts a powerful fascination; she has wealth. What more can she want? She wants, with all the passion of a strong, ambitious nature, to sing in opera. And she has no voice...
...give vent to as leonine roars of approbation as possible. Here Bryan, Bryan, Bryan, Bryan, ("The Campaign of Eighteen Ninety-Six as Viewed at the Time by a Sixteen Year Old") with the most magnificent compliment ever paid to a Presidential candidate, " The one American poet who could sing outdoors." Here is The Chinese Nightingale (Mr. Lindsay's own favorite among his longer poems), and The Litany of the Heroes which he describes as a " rhymed Outline of History, still in process of development," and John L. Sullivan, the Strong Boy of Boston, with its gorgeous analysis of "simple sheltered...
...friends. There was but one noticeable mistake to mar Class Day. That was the program of songs which the Glee Club offered in its concert on the steps of Widener. There are few who do not know by experience or by report the ability of the club. But to sing old or new classics before an audience particularly in the mood for a program of old and new Harvard songs was to court criticism; and to sing them out-of-doors where they were often inaudible and the pianissimo effects completely lost, was an offense against artistry which contrasts strangely...