Fricka, wife of the King of the Gods, in the earthly simulacrum of a Polish soprano named Olzewska, stood in the Vienna Staatsoper, lifting a curve of song that flashed over the dark orchestration like a silver simitar. Another voice was also audible. Through the cadences of Wagner's music, the brandished curve of Olzewska's voice, it issued from the wings, rising and falling in charming periods, punctuated with little ripples of laughter, like :he voice of a woman telling a funny story.
The character of Fricka seemed to become momently less goddesslike. Strutting in a manner little indicated by her role, she...
To continue reading:
or
Log-In
