Word: sopranoes
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Dates: during 1920-1929
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Born. To Giorgio Polacco, 50, musical director and chief conductor of the Chicago Civic Opera Company, and Mrs. Polacco (Edith Mason), 32, famed soprano, a daughter; in Milan, Italy...
...their seats-the highest price ever asked for an operatic performance in Paris. ¶The Paris Grand Opera Company, it is rumored, will give for the first time in more than 30 years Rossini's Barber of Seville for the debut of Mme. Luella Melius, U. S. coloratura soprano. Many times has M. Rouche, Director of the Opera, attempted to revive this work; on each occasion, one of the principals has fallen ill. Savoyards have murmured: "The Barber is a jinx." So formidable is this superstition that, if the Barber is revived, M. Rotiche will insure Mme. Melius against...
Fricka, wife of the King of the Gods, in the earthly simulacrum of a Polish soprano named Olzewska, stood in the Vienna Staatsoper, lifting a curve of song that flashed over the dark orchestration like a silver simitar. Another voice was also audible. Through the cadences of Wagner's music, the brandished curve of Olzewska's voice, it issued from the wings, rising and falling in charming periods, punctuated with little ripples of laughter, like :he voice of a woman telling a funny story...
...Passion According to St. John. The chorals were excellently sung in a score which has never been popular in the U. S. On the third day, Frederick Stock, conductor of the Chicago Symphony, conducted his own Symphonic Variations-a sound, scholarly piece of uninspired craftsmanship. Florence Austral, Australian soprano who has sung Wagnerian rôles in London, resoundingly delivered Brahms' Requiem. On the fourth day, Pierné's St. Francis of Assis furnished Tenor Edward Johnson an opportunity to demonstrate that an intelligent singer can make even inherently poor music impressive. The school children sang their difficult...
When, in 1898, the waters of Havana Harbor were settling uncertainly over what was left of the battleship Maine and thousands of young bankers, brokers, litterateurs and demagogs abandoned their occupations to become chambermaids to mules, Mme. Ernestine Schumann-Heink, soprano, made her debut with the Metropolitan Opera Company, Manhattan. Her bosom did not tremble nor her knees quiver as she thrilled the assemblage with the resonance, flexibility and persuasion of her voice, for she was, even then, no neophyte. She had done her Azucena in Trovatore 20 years earlier in Dresden, her Erda in London, Bayreuth and Berlin. Manhattan...