Word: wagnerians
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Dates: during 1930-1939
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...Gatti's party there were people whose memories went back further than his. Marcella Sembrich, who sang at the Metropolitan 50 years ago, made a quavering little speech. Walter Damrosch, who conducted there 48 years ago, helped master ceremonies. Out of her seclusion came Olive Fremstad whose Wagnerian interpretations have not been approached until this winter when Frida Leider and Maria Olszewska joined the Metropolitan.† Together the oldtimers sat at a table in a night-club scene, watched Lucrezia Bori and Rosa Ponselle do lively impersonations of cigaret girls, after which tiny Lily Pons did an Apache dance...
...sung as regards its principal roles since that unforgettable March afternoon at the end of a century when Jean De Reszke's dying Siegfried turned our hearts to water . . . and the Olympian Lilli [the late great Lilli Lehmann] caused us to remember always one of the things that Wagnerian sublimity can mean...
Somewhat more slowly than sauerkraut and Wagnerian music, the dachshund has come back into favor. From last year's high of 453, the American Kennel Club's dachshund registration has now leaped to some 2,200. The dog's droll appearance and manners, its intelligence, loyalty and hardiness have won it friends. Some famed dachs-owners: Alfred Lunt & Lynn Fontanne, Otto Kahn, Rosamond Pinchot Gaston, Katharine Cornell, Marlene Dietrich, Richard Tauber, Dorothy Parker...
...Hollis, one may discover, is not L'Opera, "Patience" is not Wagnerian, it is not the height of the season even in Boston; it is to display a most quibbling quiddity to remark that the twenty love-sick maidens of the Civic Light Opera Company are but sixteen, or that the choruses might conceivably be better. There are excellences which triumphantly conquer all cavil. Lingering uppermost in memory is ever Mr. Moulan, who is as sprightly an aesthetic sham as ever trod worn boards. Miss Hart, as Patience, she is blithe, and she is gay, and she is sufficient...
...spear-carriers. The small, patient, well-scrubbed elephant of Aïda was present once more, figured also in Tom-Tom. In Die Walkure there were not the usual nine but 17 Valkyries galloping over the mountain. Brünnehilde's eight new sisters were given made-up. Wagnerian-sounding names like "Ritthelle." "Kampfsiege," "Trautschilde." There were real gas flames, 10 to 40 ft. high, for the Magic Fire scene. In Die Walküre sang Soprano Elsa Alsen, Basso Fred Patton. Tenor Georg Fassnacht Jr. from the Freiburg Passion Play. In Aïda were Tenor Paul Althouse...