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...Texas dust that he could not sing. Silver, who was already selected for the show, devised a ruse: he put Lanza's name on a label and pasted it on a homemade recording (taken from a radio broadcast) of the Met's Tenor Frederick Jagel singing a Tosca aria. Impressed, Hayes took Mario on. Later, when Lanza could sing the aria himself, Hayes marveled: "You're even better than you were on the record!" Ever since, not content with this version of the story, Lanza has insisted that the record was really a Caruso...

Author: /time Magazine | Title: Cinema: Million-Dollar Voice | 8/6/1951 | See Source »

...most famous: Tosca, Salome, Octavian in Dcr Rosenkavalier, and the title role of Turandot, which Puccini worked on at Jeritza's house in Vienna...

Author: /time Magazine | Title: Music: Million Volts at the Met | 3/5/1951 | See Source »

Operatic Home. Manhattan Banker (and Met Angel) Otto Kahn discovered her in 1929. After hearing her sing Tosca in Oslo, he told Met Manager Giulio Gatti-Casazza that she was a singer to watch. Before Gatti got around to taking this advice, Flagstad accepted a bid from Bayreuth. It was the first time she had sung outside of Scandinavia. Says she: "I was quite happy where I was. I was never ambitious. Always I wanted to be a private person...

Author: /time Magazine | Title: Music: Isolde's Return | 1/29/1951 | See Source »

Playing with dogged intensity in a variety of foreign accents, the actors seem at times about to burst into arias, an impression the score compounds with passages from Tosca and Bohème. The accent of heavily costumed Actress Domergue wavers between Corsica and California; yet, possibly because the setting is suitable, her overwrought style seems more fitting than it did in Where Danger Lives (TIME...

Author: /time Magazine | Title: Cinema: The New Pictures, Jan. 22, 1951 | 1/22/1951 | See Source »

...Director Laszlo Halasz was feeling pretty pleased with the repertory of his crack little company. Mozart was well taken care of, with bright, fast-paced productions of The Marriage of Figaro and Don Giovanni. So were the French, with Carmen and Faust, and the Italians, with Aida, La Boheme, Tosca, La Traviata. There was only one cloud in an otherwise sunny sky, but that one was a thunderhead: Wagner. Last week, with the help of an old Wagnerian, Halasz dissipated...

Author: /time Magazine | Title: Music: Master Meisfersinger | 10/23/1950 | See Source »

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