Word: toti
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Dates: during 1920-1929
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...subscription series Monday, Tuesday. Wednesday, Thursday evenings and Saturday matinees, a new series of twelve Sunday matinees and six or seven Friday night performances. No new operas have been announced, but there will be several revivals: La Navarraise (Rosa Raisa), Monna Vanna and Sapho (Mary Garden), Linda di Chamounix (Toti Dal Monte and Tito Schipa), Loreley (Claudia Muzio). New singers are Eleanor Elderkin, Olga Kargau, Leone Kruse, Lucille Meusel, Delia Samoiloff, sopranos; Elinor Mario, contralto; John Sample, tenor; Eugenic Sandrini, Heinrich Schlusnus, Robert Ringling (son of the late circus proprietor Charles Ringling), baritones; Chase Baromeo, bass. Maria Yurieva and Vechslav...
...Toti Dal Monte, "world's smallest prima donna," Feoder Chaliapin, Mme. Johanna Gadski, arrived in Manhattan on the Berengaria...
...shall define a triumph? The first night of Italian opera in London, Mme. Toti dal Monte swelled her ample bosom to emit the titular notes of Lucia di Lammermoor. Diffident boxes whacked their hands red. "A triumph," said the press next morning, meaning that Toti dal Monte had covered the work with her usual capability...
...wealthy U. S. Semites and Gentiles, a new opera company has been incorporated to give a five-week season in Paris, starting May 18. This company, dubbed the American-Italian-French Grand Opera Company, has secured the services of Mary Garden and Rosa Raisa, also of Elvira de Hidalgo, Toti dal Monte, Queena Mario, Lucille Chalfont, Grace Moore, Yvette Ruzel, Vanda Nomicos, Eva Clark, Mary Lawrence, Giacomo Lauri-Volpi, Giacomo Rimini, Giuseppe de Luca, Adamo Didur, Georges Baklanov...
Last week, at the Metropolitan Opera House, Manhattan, Mme. Toti dal Monte, Venetian soprano, made her debut. Because of the liberal praise accorded her when, with the Chicago Opera Company, she made her first U. S. appearance a month ago, critics regarded her interestedly. As Lucia di Lammermoor, ever-distressed lady who goes mad in her attempt to sound like a flute, Mme. Dal Monte cadenzaed, bravuraed, languished, trilled, palpitated. Her hands were expressive, her figure squat, her voice limpid. Loud, long was the applause. "Cordial," the critics termed it, reserving their other adjective, "unprecedented," for dead debuts, for debuts...