Word: mimi
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Dates: during 1920-1929
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...Manhattan, thence to Europe. At a party in Paris Hallie Stiles had what she calls her "great luck." The director of the Opera Comique was present and she was asked to sing for him. So impressed was he that he engaged her for the following season to sing Mimi in La Boheme. When that time came she had used all her money; her cook had been buying the food out of her own savings. Even the day after her great success, Singer Stiles had to ask the cook for an additional two francs to buy her morning coffee...
...diction throughout is based on the questionable philosophy that France is full of Frenchmen. Little Arlette, the dyer-kiss do-de-o-do (but I loof heem, ah mon Dieu how I loof heem). Jacques the melancholy boulevardier (you ave hask me eef I spik ze English?), and Mimi the cockeyed marmoset, are really but two-dimensional characters. They never really exist. With that amen of thankfulness, let us ask ourselves how, even in the greatness of the economic waste in the book industry, this mosaie of maudlin superfluity was ever published...
...foil Max, though miscast, lives down by capable work one of these curtain speeches about "illness. . .kind consented. . .learned the part overnight" that are such a ball-and-chain on amateurism, and which were burlesqued out of sight by Beatrice Herford in "Cock Robin". Minder Sewall as Mimi, Allegra Mackay as Bianca, and Louise Piper as Hilda lift the play, but nothing like the way Ruth Bond Hill does, as Lona who spends the night before Anatol's nuptials to another chez Anatol...
...done it." To the musically intelligent, it mattered little that 22 years ago Grace Moore was just a little thing in a muslin dress, lisping "Rock of Ages" in a Tennessee Mountain Church. They confined their attentions to the voice which Grace Moore, 27, used to sing Mimi in the special performance of La Boheme which served for her debut. They stamped it as fresh, smooth and appealing, but small, often insecure, often unfaithful to pitch. Her acting, utterly uninspired, was satisfactory by reason of its simplicity...
Said Critic Richard L. Stokes of the New York Evening World: "Her very comprehensible alarm had not been conquered when the moment befell for her first aria, 'Mi chiamano Mimi,' which contained so many errors of note and time particularly in the tricky opening phrase, that Mr. Bellezza in the orchestra pit must have suffered not a few palpitations of angina pectoris. Like many another tone in this act, the final high C was gratingly off pitch...