Word: juilliards
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...secure. He had cut down his budget on high-priced singers. He had watched the Met struggle through Depression years by shortening its season, humble itself in a desperate tin-cup campaign. Few weeks before Gatti's resignation, the harassed Opera Board signed over its independence to the Juilliard Musical Foundation for $150,000. In return the Board agreed to raise an additional $100,000, to admit Juilliard bigwigs to their council, to increase regular attendance by 10%, to append to the regular season a "popular-priced" one in which U. S. artists might air their talents and perhaps...
First sign of Juilliard influence was the appointment of Herbert Witherspoon, old-time Metropolitan basso and later a member of the Juilliard teaching staff, as Gatti's successor. General Manager Witherspoon had worn his title for two weeks when he dropped dead of coronary thrombosis. Tenor Edward Johnson, long a popular favorite, stepped immediately into the post. Confronting him were union difficulties, many an important contract, many that had not been signed...
Some of the newcomers were given an opportunity to win their spurs in French and Italian operas, some in the popular-priced auxiliary season demanded by Juilliard. Most smashing popular-priced success was a lively performance of The Bartered Bride in English...
...natural owner of a tremendous baritone, young Mr. Middleton made it terrifying in the loud passages by blaring through his microphone. Dark, good-looking, 28, Mr. Middleton studied music at Juilliard for four years against the wishes of his father, a member of the Chicago, Rock Island & Pacific Railway Co. He took a nonsinging role in Roberta for two years, made his baritone debut last summer singing Gilbert & Sullivan in St. Louis and Central City, Colo. To replace Baritone Julius Huehn, he went to Chicago fortnight ago to sing star parts in Puccini's Gianni Schicchi and Gruenberg...
...popular-priced spring season was one of the stipulations made by the wealthy Juilliard Musical Foundation when it helped to save the Metropolitan last year with its grant of $150,000 (TIME, March 18, 1935 et seq.). Advertised purpose was to provide opportunities for more young U. S. singers, to attract people who want to hear good opera but who have hitherto shied away from the formality and the high prices that prevail throughout the winter season. The first week was pronounced a definite success. Rehearsals were called for more productions: a revival of Gluck's Orpheus aiul Eurydice...