Word: wagnerians
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Dates: during 1930-1939
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...Berry is as vast and impressive as a Wagnerian tenor, especially when, of a winter day, he puts on his dirty-whitish, reputedly polar-bear coat. Floppy, capacious tweed knickerbockers are his usual gear and sometimes (in his official capacity at a track meet) he achieves a novel effect by adding to the ensemble a tailcoat & white tie, twirling in his hand a big gold-knobbed baton. Appearances of this sort, however (say Cornellians) reveal only one-third of his personality. In his office he is irascible, sometimes making helpless undergraduates wonder why they have put up with...
Some phonograph records are musical events. Each month TIME notes the noteworthy * Opera: Siegfried, by the London Symphony under Albert Coates and Robert Heger, the Berlin Staatsoper Orchestra under Leo Blech, the Vienna Staatsoper Orchestra under Karl Alwin and famed Wagnerian Singers (Victor, $15)-Tenor Lauritz Melchior, who looks like any fat boy when he sings Siegfried at Bayreuth and Manhattan's Metropolitan, proves an excellent phonograph artist. Contralto Maria Olszewska and Soprano Frida Leider, expert members of the Chicago Civic Opera, sing Erda and Briinnhilde. Die Meistersinger, the aria Wahn! Wahn! (Victor, $2)- As Cobbler Hans Sachs, Baritone...
...from his sunny Milan through the bleak Cosimaridden atmosphere of the Sacred Hill. His name and fame hung out the "Ausverkauft" (sold-out) sign in the Festspielhaus long before the first performance. His brilliant Tannhäusers and sublime Tristans outshone even the Parsifals of so great an oldtime Wagnerian as Karl Muck whose conducting has been one of the few bright spots of recent festivals. The German orchestra with which Toscanini worked, whose language he did not know, grumbled at first over the almost superhuman demands he made upon them. Later they cheered him. Conductor Muck was mentioned...
...prints seemed doubtful, unconvincingly called it "music on the grand scale" or echoed Critic Herbert Hughes's (London Daily Telegraph) florid romantics, printed in the program. Reflective listeners decided Launcelot might be more effective if halved, with fewer thematic repetitions, or conversely, expanded into a full-length, Neo-Wagnerian opera as Coates first intended to do. Bold or brave was he to introduce his work on the same night with such magna opera as Respighi's orchestration of Bach's Passacaglia and Fugue, Strauss's ghastly, gay, Till Eulenspiegels...
...police station have been erected to the left of the Festspielhaus, whose lawns, traditionally unkempt, have been carefully trimmed. Geometric flower beds sharpen the contrast to the former natural wilderness of the scene. Across the road the iron sword of Siegfried. Nothung, no longer flaunts its misinterpretation of a Wagnerian passage, placed there in Wartime. Sword and inscription have been removed. At the Villa Wahnfried, the end of the reign of the inexorable Cosima is signalized by flowers on the window ledge, the removal of iron bars from the windows. A brood of ducks quacks unmusically...