Word: jeritza
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Dates: during 1920-1929
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...Jeritza. There have been scores of stories...
...Farrar left the Metropolitan. Greatest publicity has been given to an alleged row with Maria Jeritza, new Austrian import then, because Jeritza was given certain of Farrar's roles. But Farrar and Jeritza never met, the latter admired the U. S. singer tremendously, went often to hear her. The truth was that Farrar, sole relic of the Conried star system, was getting bits of discipline from the management. She herself was tired out, vocally, spiritually. The death of her mother had been difficult for her. There had been the divorce from Cinema-Hero Lou Tellegen* whom she married...
...Novelty came from Vienna, special import for Maria Jeritza. Erich Korngold, so it seemed, wrote it at the precocious age of 16; called it Violanta after his heroine, a lovely enough Venetian lady who hated and lusted and loved and died in such swift turn as to gray the hair of any onlooker. Jeritza played it for all there was there, took every phrase, every mood, tight between her teeth, shook them hard, tried to make them answer back, got small return...
Turandot was the opera. The expensive Maria Jeritza starred as the long-nailed Princess lusting for blood. Beautiful, cold as a northern light, she drew suitors from near & far, asked them her three deadly riddles, smacked her lips when they failed and ordered their execution. Came the Unknown Prince (Tenor Giacomo Lauri-Volpi) who, prompted by love, guessed loudly & right, won her iciest fury in return. The duel went on: Let her discover his identity before daybreak if she would be released from the contract of her own making: Ruthlessly, murderously, she probed her investigation, but midnight and the warm...
...operas: Turandot, to open the season Oct. 31, with Maria Jeritza & Giacomo Lauri-Volpi; Korngold's Violanta, the first novelty, also with Jeritza, Nov. 5; on the same afternoon, Hansel und Gretel; Gioconda, to open the Philadelphia season Nov. 1, with Rosa Ponselle & Beniamino Gigli...