Word: wagnerians
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Dates: during 1940-1949
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...only really likable characters in Wagnerian opera are old men. While the youthful Siegfrieds, Tristans and Tannhausers are all muscle-on the stage, mostly stomach-and ego, their elders (Wotan, Hans Sachs, Kurwenal, et al.) are mostly kindhearted, responsible, possessed of human failings and a regard for social obligations. For 20 years at Manhattan's Metropolitan Opera these benign Wagnerian oldsters have been impersonated by the outstanding Wagnerian baritone of his generation, stocky, bald-headed Friedrich Schorr. Last week, before a packed house that rose to its feet and cheered, Friedrich Schorr sang Wotan for the last time...
...live on his sailboat, went to work for the United Seamen's Service as director of entertainment for all the merchant mariners' clubs and rest homes. Her office hours in Manhattan: 9 to 5 every day. Hayden is now master of a schooner carrying war cargoes. Ace Wagnerian Soprano Helen Traubel, St. Louis baseball fan, was ordered by her operatic coach to stay away from all the World Series games to keep her from ruining her voice by cheering. For the first time in a blue moon Blues Moaner Libby Holman is slated to sing in a Manhattan...
...year ago last spring, Soprano Lawrence was riding the crest. She had given U.S. operagoers six lessons of sturdy, full-throated Wagnerian song. At a time when the mighty Kirsten Flagstad dominated the Metropolitan, Marjorie Lawrence's star was bright enough not to be eclipsed. Off stage, the Australian soprano doted on swimming, tennis, horseback riding; on stage, she seemed equally brimful of health. As Brünnhilde, she surprised and delighted operaphiles by leaping astride her horse and galloping off in an almost unheard-of concurrence with Wagner's stage directions. Less in character, though a triumph...
...arising not from spontaneous public opinion but from the pressure of civic and church groups in addition to a large part of the country's press. Such pressure is being exerted on Boston theatres at present. This sort of hysterical condemnation is like refusing to teach German, or boycotting Wagnerian operas. But to attack his right to obey his own conscience is worse than absurd; it is dangerous. It is attacking a right which is regarded as fundamental, so fundamental that we exercise it even in wartime, although it may interfere ever so slightly with our efficiency in waging...
...Wagnerian music was ruled out of the Metropolitan Opera, and there are some who would like to see the same thing happen...