Word: traviatas
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...saddle for Carmen, Le Coq d'Or and Bach's Phoebus and Pan. The Met had planned to shake up its two Italian veterans, Gennaro Papi and Ettore Panizza, giving to each some operas that the other had been leading. But just before last week's Traviata, Signor Papi dropped dead of heart disease. Panizza took his place...
...bidding of Count Ciano). New tenors were Kurt Baum, a personable Czech (onetime heavyweight boxing champion of Prague) who showed good form in a bit in Der Rosenkavalier, and Jan Peerce, a veteran of Radio City Music Hall, who showed even more in his debut as the hero of Traviata...
...Chicago, he labored over his puppets, in 1938 gave a public show which was a critical success but a financial flop. In 1939 he was signed up by Gas Exhibits, Inc. at the New York World's Fair, performed his repertory-Carmen, Faust, Rigoletto, Pagliacci, Aïda, Traviata, Cavalleria Rusticana-to audiences which were 85% grownup. Since the autumn of 1939 the troupe has toured 100,000 miles...
...together, added a dash of technicolor, and even put his name in the title; and out of it all emerged "The Goldwyn Follies." Wandering in and out of Hollywood sets and hamburg stands, leaping from the insane antics of the Ritz brothers to the majestic beauty of "La Traviata," and combining jazz and the ballet in preposterous fashion, it dwarfs everything previously produced in lavish magnificence and collossal stupidity. Including almost everything except a ballet dance by Charlie McCarthy, its biggest virtue is the absence of endless rows of chorus girls; and only the quiet charm of the leading lady...
...after she had agreed to learn three Italian roles and reduce 25 Ib. in three months, made her U. S. debut in II Trovatore (Leonore). Nicola Moscona, Greek basso, attracted the whole Greek colony to his Ramfis (Aïda). Sturdy American Baritone John Charles Thomas (Germont) saved a Traviata (with Vina Bovy and Nino Martini) from absolute mediocrity; dependable molasses-voiced Contralto Bruna Castagna (always affectionately regarded by Manhattan operagoers who knew her when she sang at the lowly Hippodrome) saved at least three operas (Samson et Dalila, II Trovatore, Norma) from a similar fate...