The Jewish Singing Cinderella Warbling in the Picture Is Done with Work

Total Page:16

File Type:pdf, Size:1020Kb

The Jewish Singing Cinderella Warbling in the Picture Is Done with Work I Thursday, December 11, 1952 THE JEWISH POST Thursday, December 11, 1952 , Page One Hundred and Ten tn. THE JEWISH- POST At 16, Roberta had offers· from , ; in the Hurok film. What makes her plan of study for her from music a hundred dollars a week between h Page One Hundred and Eleven Broadway shows at $1,000 a week. .. i, first movie role more perfect for the and languages to fencing and balle.t, them, preferred to Roberta sta y tracteard one,On Jand signed her to a con- Munsel's shoes, didn't even hear an It took considerable thought and appointed, 'dosed the papers .. and friends. youthful singer is that 'all her with a private coach for her school with her operatic studies. arranged. f anuary 25 ,,01950 Hur k· orchestra rehearsal,' instead· was meant a great financial sacrifice for only to find Roberta's reVleWS' on The Jewish Singing Cinderella warbling in the picture is done with work. Jan Peerce came up periodic--· Roberta's working ... or l'ather t.Ion WIth. Mor t Roberta's first audi- rus h ed borne to get ready. When Although Roberta's family have the Peters family, but they turned the front pages. Met, was the only singer producer her professional mentor( famed Jan ally to see how the youngster was studying . , , days, were strenuous ager Rud Ife B'ropolitan Opera' Man- h er taxi was stalled by traff,'c on the always been in m:oclerate circum­ By I"EON GUTTERMAN the offers down. Roberta wanted to Flowers, champagne and offers George Jessel considered for the Peerce. getting along, each. time amazed at Her even. ing relaxation was attend: t,'m'e on any0 tamg. It dwas her first way to the Met, she got out and got stances, the girl with the pin-up (Capyright, 1952, JTA, Inc.) sing opera; her parents, who earned from Hollywood poured in. Wben role of the young American cO.ncert Roberta's musical career is with-. her progress. ing opera performances 01' listen,'ng s ge, an turned out to tll face and figure claims she has never to be a lege d k e opera house by' subway. Sol Hurok knew J essel was going singer in 20th Century-Fax's Tech- out· precedent in her family. Born in to recordings. Even offers of sum- . n -rna ing audition. She H had any real struggle except with Roberta Peters, the Jewish sing­ SIgned her tIer ovation was spectacular and to praduce his story" he asked nicolor musical, "Tonight We Sing." New York City on' May' 4, 1930, she mer musical radio proen-ams 'were ac Ua contract with the h th ~er own conscience. Many more­ ing Cinderella who became an .over­ d d c' Met a few months later w en e young singer came off the SINCERE WISHES FOR A JOYOUS CHANUKAH TO ~oberta if she would be interested tunes than she cares to remember night sensation at the Metropolitan The musica'l re.volves around the is the daughter of a Bronx shoe tu"!e own. This continued until Th . stage she Was besieged by reporters m appearing in it, and arranged for she walked around Central Opera, on November 17, 1950, says career of famed Jewis4 impre~sario saleSman Sol Petenn'ao, and a 'hat ALL OUR JEWISH PATRONS AND FRIENDS Roberta was 19. Her teacher dec,'ded most encanfu came ed November d 17, 1950, the a,n d .ph otographers' /I;;"hlights "J'ust Park her to do a screen test in New Y o~k crying before she could calm down J she was ready for a recl'tal for s an exciting day of lik she never dreamed she'd land in the Sol Hurok and the artists he spon- designer, Ruth' Hirsch Petennan. a her ca N e m the movies." Roberta tr,'ed to for 20th. She did the test and was SOl'S, and it was Hurok. who,. on tenor Roberta began singing, to amuse few friends. Peerce Was to be out was sureel'. ed adine Connor, who stay up tor see the music critics' reo. enough to go home . because movies. pr~mptly signed for .the role. She she felt that, as hard as she w Jan Peerce's recommendation, 'UU'~I herself, when she was five years of town for a concert engagement ppos to sing uZel'"lina" in· J b , But the petite, beautiful brunette h ' IIDon Giovanni" was 'U Ow ld Vlews • ut fell asleep when she got arnved in HollyWood several months st~dYing, she wasn't living up to thS: coloratura soprano, who found fame Roberta to Metropolitan Opera Man- old, 'but no one suspected the cllild so e came up to hear her sing Roberta be read ." ou home that night Her mother bought ago,. began costume fittjngs and agel' Rudolph B'ing, who signed her had a voice worth developing until privately instead, and was so Im- that night? iuthY tOh smg. the role' the early editions of the morning fruth everyone ~lse had in her voice a'nd fortune and personal happiness mu~uc conferences, then actual re­ for America's top operatic company. she. was ten and a schoolmate asked pressed that he arranged for Roberta . oug she know 22 n and in its future SUccess. But her <;is well on the night she substituted Lawrie Wagon & Carriage Co. t diti f h' operas including uGiovanni" R· 0- ewspapers, t~ed to the music cordings with Ezio Pinza and Jan It was inevitable, therefore, that parents saw to it, no matter what f~r Nadine Connor in the role of if Roberta could accompany her to Limited o au on or 15 own impressado b ta had ,pages saw nothin d 1· . Sol Hurok. ~ , ,e1' never rehearsed the opera' g, an great y dis-:- Peerce, devoting her off-time to the sacrifice, that she had a pleas­ uZerlinan in "Don Giovanni" at the Hurok's latest protege would appear her music lesson. Roberta burst sight-seeing around Hollywood and ant and secure home life, pretty ~................................ .- ..............................-....,.-. ...... '"-'-- .............-. ................ into song' along with her friend, Hurok, who manages the world's ~h:r:s watched others ~ehearse it: .'I . lang-distance 'eails to her family BODY BUILDERS greatest, knew a real artist when he' b rushed for a seSSlon on stag- A JOYOU$ cH.ANUKAIi clothes, and the best teachers. Best Wishes to our Friends and Patrons for a Very Joyous Chanukah and the teacher, Harry Parada, ___ ' .. _",_. 109, orrowed Nadine's dress, Patrice TO ALL MY FRIENDS promptly recognized her gift, asked Distributon for I ._-- AND CUSTOMERS T A STY B REA D CO. permission of her parents to teach LINDSAY ALL STEE~ BODIEB Order our popular Bread, Rolls and Buns the child. Best Wishes for a Very Joyous Chanukah to all The Jewish housekeeper uses them for all occasions LEO KANER Two years after, fascinated with SEE THE NEW Jewish FriendS and Customers our Phone 33304 , I 423 SELIHRK AVENUE PHONE 595 013 her studies, Roberta confided her PAINTER AND ambition to Jan Peerce, a friend PORTAGE AND WALL WINNIPEG --------_.-------------- PECO.RATOR of the family's, who listened to her A Very Happy Chanukah to all our Jewish Friends and Customers sing then sent her to coach William 834 FLORA AVENUE "We Appreciate Your Patronage" Herman, to whom she Gredits her entire training, vocally, artistically Best Wishes for a Bright and Joyous Chanulmh to all WINNIPEG INTERNATIONAL DRUG COMPANY our Patrons and Friends and technically. Herman outlined a MARVEON SIGNS LIMITED 503 SELKIRK AVE. phone 5-1092 WINNIPEG, MAN. 957 Portage Ave.. Phone 72-2409 Best Wishes for a Very Happy WINNIPEG A Very Joyous Chanukah to SASKATOON Chanukah 'to You AU AUTO SEAT COVERS· all our Frlends and Customers Best Wishes for a Bright and Joyous Chanukah L. POLLICK'S CUSTOM MADE - SLIP ONS AUTOMATIC NEON CRAFTSMEN • to you all DRY GOODS WESTERN OF WESTERN CANADA from the Management and Staff of the ,- Men's and Ladies' 1 Day Service The COOPERAGE Furnishings COMPLETE "CUSTOM" JOBS , Cireatest Washer New and Second Hand 801 REDWOOD AVE. ROYAL AUTO UPHOLSTERERS BARRELS OF EVERY and of them all DESCRIPTION . .,... 567% SELKIRK AVE. Everything in Auto Upholstery 305 DUFFERIN AVENUE E. HELPER. Manager Save All Wringing .J!iHeH- .Euppt'f Manitoba A Complete Rental Service Winnipeg PHONE 525 585 Save Ri1!-s.ing and Bluing Phone 52-4492 1240 MAIN ST. Save Bolling and Bleaching SERVING ALL PROFESSIONS AND INDUSTRY Save Ha:ads in Water ............. A Very Joyous Chanukah to all our Jewish Friends and Customers Save Emptying, Carrying ................. Save All Muss on Floor Best Wishes to the Jewish Phone 74-2442 WINNIPEG Sincere Chanukah Greetings HOME & WELLINGTON Save Steam in Room Community for a Very lAo to our Friends and Customers HOME Save Your Health, Your Happy Chanukah -e- .. , Good Looks and Good IN TION Nature Joyous Chanukah Greetings to all our Jewish Patrons and Friends FREE SAVE WASHDAY ENTIRELY Brown's CRAVATS ESTIMATES The Ideal Sheet Metal & Roofing Co. TAILORS See Your Beatty Dealer H, PIGGOTT Radio Z. YAKYMYSHYN ROOFING VENTILATION FURNACES and B~own Rock Wool FAST SERVICE ON FANS and BLOWERS AUTOMATIC STOKERS S. SEMUS CLEAN - FIRE PROOF CAR RADIOS WHILE U WAlT Sheet Metal Work of Every Description V.RMIN PROOF 1010 MAIN ST. - C;YPROC WOOL - Prompt, City-Wide Service on Warm Air Conditioning and Heating For Comfort'. Sake Insulat. - Terms Conveniently Auanr.d. Home Calls Winnipeg Manitoba Phone 52-7097 Res. 52-7097 204 Princess St.
Recommended publications
  • Gyorgy Sandor Henryk Szeryng Pianist Violinist
    THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Gyorgy Sandor Henryk Szeryng Pianist Violinist WEDNESDAY EVENING, JULY 26, 1978, AT 8:30 RACKHAM AUDITORIUM, . ANN ARBOR, MICHIGAN PROGRAM Sonata No.4 in A minor, Op. 23 ' BEETHOVEN Presto Andante scherzoso; piu allegretto Allegro mol to Sonata No. 10 in G major, Op. 96 BEETHOVEN Allegro moderato Adagio espressivo Scherzo: allegro Poco all egretto INTERMISSION Sonata No. 5 in F major, Op. 24 (,(Spring") BEETHOVEN Allegro Adagio molto espressivo Scherzo: allegro molto ~ondo: allegro rna non troppo This is the second of three programs in which these artists are performing the ten Beethoven sonatas. In conjunction with the recitals are twice-daily master classes · at the School of Music taught by Mr. Sandor (July 17- 21) and Mr. Szeryng (July 25-August 1). Mr. Sandor,' Vox and Columbia Reco rds. Mr. Szeryng,' Philips, Deu.tsche Gram1llophon, RCA, and Columbia Records. Centennial Season- Fourth Concert Beethoven Sonata Pair Series About the Artists Gyorgy Sandor's close personal relationships with his Hungarian countrymen, Bartok and Kodaly, are legendary by now. In 1937, two years before Sandor's American debut, he received the following tribute from Bela Bartok: "Gyorgy Sandor is one of the best pianists of our younger generation. He possesses plasticity, clarity, energy and emotion without sentimentality in his interpretations. He has a remarkably varied repertoire, and besides the classic and romantic literature he does not neglect conteinporary works either. Therefore he can be regarded as a very able interpreter of modern piano music." Indeed, it was Sandor who performed the world premiere of Bartok's monumental Third Piano Concerto in New York's Carnegie Hall, shortly following the composer's death in 1945.
    [Show full text]
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • The Other Tchaikowsky
    The Other Tchaikowsky A biographical sketch of André Tchaikowsky David A. Ferré Cover painting: André Tchaikowsky courtesy of Milein Cosman (Photograph by Ken Grundy) About the cover The portrait of André Tchaikowsky at the keyboard was painted by Milein Cosman (Mrs. Hans Keller) in 1975. André had come to her home for a visit for the first time after growing a beard. She immediately suggested a portrait be made. It was completed in two hours, in a single sitting. When viewing the finished picture, André said "I'd love to look like that, but can it possibly be me?" Contents Preface Chapter 1 - The Legacy (1935-1982) Chapter 2 - The Beginning (1935-1939) Chapter 3 - Survival (1939-1945 Chapter 4 - Years of 'Training (1945-1957) Chapter 5 - A Career of Sorts (1957-1960) Chapter 6 - Homeless in London (1960-1966) Chapter 7 - The Hampstead Years (1966-1976) Chapter 8 - The Cumnor Years (1976-1982) Chapter 9 - Quodlibet Acknowledgments List of Compositions List of Recordings i Copyright 1991 and 2008 by David A. Ferré David A. Ferré 2238 Cozy Nook Road Chewelah, WA 99109 USA [email protected] http://AndreTchaikowsky.com Preface As I maneuvered my automobile through the dense Chelsea traffic, I noticed that my passenger had become strangely silent. When I sneaked a glance I saw that his eyes had narrowed and he held his mouth slightly open, as if ready to speak but unable to bring out the words. Finally, he managed a weak, "Would you say that again?" It was April 1985, and I had just arrived in London to enjoy six months of vacation and to fulfill an overdue promise to myself.
    [Show full text]
  • The Other Tchaikowsky 44 Andrzej Czajkowski
    The Other Tchaikowsky Courtesy of Piotr Paszkowski Andrzej Czajkowski (c. 1947) In this 1947 passport photo, Andrzej is age 12. During the Second World War, many Polish citizens changed their names and used false papers. Most retained their new identities after the war and this was true for Andrzej Czajkowski and Celina Czajkowska. 44 Chapter 4 - Years of Training (1945-1957) Robert Andrzej Czajkowski was nine years old when Germany capitulated on May 9th, 1945. The loss of over six million Polish citizens from a total population in 1939 of thirty-five million represented a casualty rate of 18 per cent. In proportion to its size, Poland incurred far more damage and casualties in the war than any other country. Although his grandmother's adroit maneuvering had kept Andrzej out of the death camps, he did not escape the psychological effect of this nightmare period in which life had descended to the level of barbarism, as it had in much of eastern Europe, and especially for Jews. His mother, sent to the Treblinka death camp, became one of the unnamed millions who in some particular but unwritten scene of inhumanity added her count of one to the estimated six million Jews whose final disposition had been effected by the Nazis. Perhaps even worse for Andrzej, she had rejected him, and seemed to have chosen this fate in preference to trying to stay with him and struggle for their mutual survival. Perhaps his confusion and survivor's guilt, if treated with immediate understanding and consolation, might have been ameliorated to some extent, but such treatment was not possible in the grim struggle to survive in the aftermath of the Polish catastrophe.
    [Show full text]
  • ARSC Journal
    TOSCANINI LIVE BEETHOVEN: Missa Solemnis in D, Op. 123. Zinka Milanov, soprano; Bruna Castagna, mezzo-soprano; Jussi Bjoerling, tenor; Alexander Kipnis, bass; Westminster Choir; VERDI: Missa da Requiem. Zinka Milanov, soprano; Bruna Castagna, mezzo-soprano; Jussi Bjoerling, tenor; Nicola Moscona, bass; Westminster Choir, NBC Symphony Orchestra, Arturo Toscanini, cond. Melodram MEL 006 (3). (Three Discs). (Mono). BEETHOVEN: Symphony No. 9 in D Minor, Op. 125. Vina Bovy, soprano; Kerstin Thorborg, contralto; Jan Peerce, tenor; Ezio Pinza, bass; Schola Cantorum; Arturo Toscanini Recordings Association ATRA 3007. (Mono). (Distributed by Discocorp). BRAHMS: Symphonies: No. 1 in C Minor, Op. 68; No. 2 in D, Op. 73; No. 3 in F, Op. 90; No. 4 in E Minor, Op. 98; Tragic Overture, Op. 81; Variations on a Theme by Haydn, Op. 56A. Philharmonia Orchestra. Cetra Documents. Documents DOC 52. (Four Discs). (Mono). BRAHMS: Symphony No. 1 in C Minor, Op. 68; Concerto for Piano and Orchestra, No. 2 in B Flat, Op. 83. Serenade No. 1 in D, Op. 11: First movement only; Vladimir Horowitz, piano (in the Concerto); Melodram MEL 229 (Two Discs). BRAHMS: Symphony No. 1 in C Minor, Op. 68. MOZART: Symphony No. 40 in G Minor, K. 550. TCHAIKOVSKY: Romeo and Juliet (Overture-Fantasy). WAGNER: Lohengrin Prelude to Act I. WEBER: Euryanthe Overture. Giuseppe Di Stefano Presenta GDS 5001 (Two Discs). (Mono). MOZART: Symphony No. 35 in D, K. 385 ("Haffner") Rehearsal. Relief 831 (Mono). TOSCANINI IN CONCERT: Dell 'Arte DA 9016 (Mono). Bizet: Carmen Suite. Catalani: La Wally: Prelude; Lorelei: Dance of the Water ~· H~rold: Zampa Overture.
    [Show full text]
  • Toscanini SSB Sib6
    STAR SPANGLED MUSIC EDITIONS The Star-Spangled Banner for Orchestra (1943, revised 1951) Original Tune By JOHN STAFFORD SMITH Arranged and Orchestrated By ARTURO TOSCANINI Full Score Star Spangled Music Foundation www.starspangledmusic.org STAR SPANGLED MUSIC EDITIONS The Star-Spangled Banner for Orchestra (1943, revised 1951) Original Tune By JOHN STAFFORD SMITH Arranged and Orchestrated By ARTURO TOSCANINI 06/14/2014 Imprint Star Spangled Music Foundation www.starspangledmusic.org Star Spangled Music Editions Mark Clague, editor Performance materials available from the Star Spangled Music Foundation: www.starspangledmusic.org Published by the Star Spangled Music Foundation Musical arrangement © 1951 Estate of Arturo Toscanini, used by permission This edition © 2014 by the Star Spangled Music Foundation Ann Arbor, MI Printed in the U.S.A. Music Engraving: Michael-Thomas Foumai & Daniel Reed Editorial Assistance: Barbara Haws, Laura Jackson, Jacob Kimerer, and Gabe Smith COPYRIGHT NOTICE Toscanini’s arrangement of “The Star-Spangled Banner” is made in cooperation with the conductor’s heirs and the music remains copyrighted by the Estate of Arturo Toscanini ©1951. Prefatory texts and this edition are made available by the Star Spangled Music Foundation ©2014. SUPPORT STAR SPANGLED MUSIC EDITIONS This edition is offered free of charge for non-profit educational use and performance. Other permissions can be arranged through the Estate of Arturo Toscanini. We appreciate notice of your performances as it helps document our mission. Please consider making a tax-deductible donation to the Star Spangled Music Foundation to support this effort. The Star Spangled Music Foundation is a 501(c)(3) non-profit organization.
    [Show full text]
  • Degaetano CONCERTO NO. 1 CHOPIN
    RobertDeGAETANO CONCERTO DeGaetano NO. 1 CHOPIN CONCERTO NO. 1 Because of my lack of experience as a composer I didn’t realize The Saga of Piano Concerto No. 1 how much was involved in such an undertaking or what the costs would be. BY ROBERT DeGAETANO I quickly started writing away. The music came very quickly. My first piano concerto began many years ago. I heard a theme I felt like I was a conduit and it poured right through me. that I knew was mine. At the time I had just begun composing seriously and I was instantly aware that this theme was for a A performance date and rehearsal was arranged with Stephen major work, either a concerto or symphony. It was grand in Osmond, conductor of the Jackson Symphony and we were off design and had a monumental quality. This was not a melody and running. I mean literally running! I believe I had less than three to be used in a shorter work. I remember jotting it down and months from the date of the commission to the actual premier. storing it with my manuscript paper. Fortunately I had a little cabin in the northern Catskills of NY where I was able to concentrate freely. In 1986 I gave a concert in “ The music came New York and premiered After completing the piano part and a general sketch of the my first piano Sonata very quickly. I felt orchestration, I set forth on the orchestration. I also had to deal dedicated to my maternal with getting the work copied legibly from the original score.
    [Show full text]
  • Cultural Diplomacy and Conflict Resolution
    Cultural Diplomacy and Conflict Resolution Introduction In his poem, The Second Coming (1919), William Butler Yeats captured the moment we are now experiencing: Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity. As we see the deterioration of the institutions created and fostered after the Second World War to create a climate in which peace and prosperity could flourish in Europe and beyond, it is important to understand the role played by diplomacy in securing the stability and strengthening the shared values of freedom and democracy that have marked this era for the nations of the world. It is most instructive to read the Inaugural Address of President John F. Kennedy, in which he encouraged Americans not only to do good things for their own country, but to do good things in the world. The creation of the Peace Corps is an example of the kind of spirit that put young American volunteers into some of the poorest nations in an effort to improve the standard of living for people around the globe. We knew we were leaders; we knew that we had many political and economic and social advantages. There was an impetus to share this wealth. Generosity, not greed, was the motivation of that generation. Of course, this did not begin with Kennedy. It was preceded by the Marshall Plan, one of the only times in history that the conqueror decided to rebuild the country of the vanquished foe.
    [Show full text]
  • Commartslectures00connrich.Pdf
    of University California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California University History Series Betty Connors THE COMMITTEE FOR ARTS AND LECTURES, 1945-1980: THE CONNORS YEARS With an Introduction by Ruth Felt Interviews Conducted by Marilynn Rowland in 1998 Copyright 2000 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of northern California, the West, and the nation. Oral history is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well- informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Betty Connors dated January 28, 2001. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley.
    [Show full text]
  • Verdi's Rigoletto
    Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
    [Show full text]
  • Copyrighted Material
    335 Index a “After You Get What You Want, You “Aba Daba Honeymoon” 151 Don’t Want It” 167 ABBA 313 Against All Odds (1984) 300 Abbott and Costello Meet Frankenstein “Age of Not Believing, The” 257 (1948) 155 Aguilera, Christina 323, 326 Abbott, Bud 98–101, 105, 109, 115 “Ah Still Suits Me” 87 ABC 229–230 “Ah, Sweet Mystery of Life” 78 Abdul, Paula 291 AIDS 317–318 About Face (1953) 151 “Ain’t There Anyone Here for “Abraham” 110–111 Love?” 170 Absolute Beginners (1986) 299 Aladdin (1958) 181 Academy Awards 46, 59, 73–74, 78, 82, Aladdin (1992) 309–310, 312, 318, 330 89, 101, 103, 107, 126, 128, 136, 140, Aladdin II, The Return of Jafar 142, 148–149, 151, 159, 166, 170, 189, (1994) 309 194, 200, 230, 232–233, 238, 242, 263, Alamo, The (1960) 187 267, 271, 282, 284, 286, 299, 308–309, Alexander’s Ragtime Band (1938) 83, 319, 320–321 85–88 Ackroyd, Dan 289 Alice in Wonderland (1951) 148 Adler, Richard 148 Alice in Wonderland: An X‐Rated Admiral Broadway Revue (1949) 180 Musical Fantasy (1976) 269 Adorable (1933) 69 All‐Colored Vaudeville Show, An Adventures of Priscilla, Queen of the (1935) 88 Desert, The (1994) 319 “All God’s Chillun Got Rhythm” 88–89 African AmericansCOPYRIGHTED 13–17, 21, 24, 28, 40, All New MATERIAL Mickey Mouse Club, The 43, 54–55, 78, 87–89, 109–111, 132, (1989–94) 326 163–164, 193–194, 202–203, 205–209, “All Out for Freedom” 102 213–216, 219, 226, 229, 235, 237, All‐Star Revue (1951–53) 179 242–243, 258, 261, 284, 286–287, 289, All That Jazz (1979) 271–272, 292, 309, 293–295, 314–315, 317–319 320, 322 “After the Ball” 22 “All You Need Is Love” 244 Free and Easy? A Defining History of the American Film Musical Genre, First Edition.
    [Show full text]
  • George P. Johnson Negro Film Collection LSC.1042
    http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections.
    [Show full text]