Word: tenors
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Dates: during 1930-1939
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...perhaps, can one blame the old lady, for the complicated framework of "Wien, du Stadt der Lieder" is such that she could hardly be expected to follow the intricate love problems of Steffi, a Viennese shopgirl, who is almost cast into the willing arms of the almost rich tenor butcher only to be rescued for her unemployed musician by the discovery that there was a mistake in the numbers of the lottery tickets, which makes the course of true love lead to a proper ending on rails of gold...
...ballet shaped itself into a giant birthday cake, held up 25 candles. From his grandtier box Mr. Gatti gravely gave the Italian salute but no amount of persuasion would bring him to the stage from which he took his last bow in 1908, standing between Conductor Arturo Toscanini and Tenor Enrico Caruso...
Inconspicuous was the part played by the newest member of the Metropolitan family. Tenor Alexander Richard Crooks had had his share of recognition the afternoon before, when he made his Metropolitan début as the Chevalier des Grieux in Massenet's Manon. He had stopped the performance when he first came on stage, a tall, broad-shouldered, unaffected person unlike the run of chunky, strutting tenors. He had stopped it again with his quiet, tender singing of the second-act drama. He had taken more than 35 curtain calls, clinging tight to the hand of Soprano Lucrezia Bori...
Unlike most young U. S. singers engaged lately by the Metropolitan, Tenor Crooks had made his name beforehand. At 11 he was a wonder boy soprano, commuting from his home in Trenton to sing at All Angels' Episcopal Church in Manhattan. At 12 he sang with Ernestine Schumann-Heink in a huge Ocean Grove (N. J.) festival, maintained perfect poise until the motherly contralto brought him back for a bow, gave him a resounding kiss. The War turned Richard Crooks's mind from singing. He overstated his age to join the 626th Aero Squadron, learned flying from...
...absorbing the language as it is spoken, naturally and colloquially, not dismembered into the artificial jargon of class-room instruction. That there is a very real interest in such pictures is satisfyingly shown by the collegiate attendance at the Fine Arts Theatre, where "Der Kongress Tanzt," "Der Grosse Tenor," "Kameradschaft," and "Der Hauptmann vonKoepnick," have played. If these or like films are shown at the Germanic Museum with admission free, a good response may certainly be expected. At the German movies, as at the French, there will be large, enthusiastic, and variegated audiences; the necessary offstage color will be provided...