Word: singeing
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Dates: during 1930-1939
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...line-up of singers is, on the whole, proud. Among the sopranos there are such experienced performers as Elisabeth Rethberg, Gertrude Kappel, Florence Easton, Lily Pons, Queena Mario, Edith Mason, Editha Fleischer, Rosa Ponselle, who will sing her first Carmen, and Lotte Lehmann who was to open the Philadelphia season in Tosca...
...Sieglinde in Die Walküre, Flagstad exhibited a voice so clear and powerful, so even throughout its range, so flawless in its phrasing that most critics went ecstatic. Four days later came Tristan und Isolde and all hats were in the air. Flagstad could sing. Though she indulged in no pyrotechnics, she was quietly effective as she raised the cup, offered the love potion to Tristan. Again at the end she reached rare heights when, with her voice still fresh and sure, she kneeled beside Tristan's body and sang the demanding Liebestod...
Flagstad was 36 when she ventured beyond the Scandinavian boundaries to Bayreuth, sang small roles the first summer, Sieglinde the next. On the strength of her Bayreuth appearances, Gatti-Casazza and Conductor Artur Bodanzky asked her to come to St. Moritz and sing for them there. The room was small, her voice muffled by heavy hangings. But a new Wagnerian was badly needed and she was given a contract. When Conductor Bodanzky queried her about her acting, she answered modestly: "I don't do very much...
...Clifford Odets; Group Theatre, producer) is Opus No. 4 in the collected works of a young man who is currently the U. S. Drama's white-haired boy. With two one-acters (Waiting for Lefty, Till the Day I Die) and one full-length play (Awake and Sing!) behind him within a twelvemonth, with his ears ringing with more critical praise than many an older playwright has achieved in a full career, 29-year-old Clifford Odets undertook to explain to metropolitan critics just what his latest play was about. On the eve of Paradise Last's premiere...
...wrong. The sweetest human impulses are frustrated. No one leads a normal life here, and every decent tendency finds its complement in sterility and futility. Our confused middle-class today, which dares little, is dangerously similar to Chekhov's people. Which is why the people in Awake and Sing! and Paradise Lost (particularly the latter) have what is called a 'Chekhovian quality.' Which is why it is so sinful to violate their lives and aspirations with plot lines. Plots are primer stuff, easily learned...