Word: jeritza
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Dates: during 1920-1929
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...Metropolitan curtain is never late. Patrons wondered. None knew the fault was the new soprano's, so frightened backstage that no sound would come from her throat. She ate some pineapple. She crossed herself once, ten times. Manager Gatti whispered encouragement. The curtain went up and Jeritza made her debut. With her singing and her acting she was a sensation...
...tenderness of her Elsa; the white compassion of her Elizabeth. Critics carp at vocal imperfections, occasional explosive performances, but in the final reckoning they pale like small talk before the fact that operatic puppets are given life, that people who had hitherto small patience with "grand" opera go to Jeritza, pay top prices, listen and watch intently and go again...
...When Jeritza first came to the U. S. it was the fashion for newsmen to ask all Europeans what they thought of prohibition. One approached Jeritza. She smiled a radiant smile, but did not understand the English...
Simplicity and a superb vitality have made Jeritza. She wanted to be a prima donna. She is a prima donna and nothing interferes. She sings twice a week at the Metropolitan, their highest salaried singer. She rehearses. She sleeps. Other singers may ail. Jeritza has never missed a performance. Her public (she used to call it pooblic) must not be disappointed, and to bear out the principle she sang a concert once in Brooklyn on one foot, the other so badly sprained she had to be carried on the stage and propped against the piano. Yet trembling with fatigue when...
...ordered them run off together. On such a farcical notion did Moliere make his Bourgeois Gentilhomme. Hugo von Hofmannsthal used it for Ariadne auf Naxos for which Richard Strauss wrote the music. Last week the Strauss-von-Hofmannsthal opus, given first in Stuttgart in 1912 with Maria Jeritza, had its U. S. première-with the enterprising Philadelphia Civic Opera Company...