The career of Marjorie Lawrence is one of the great might-have-beens of operatic history. The saga of a young Australian woman who, in an astonishingly short period of time, became a leading singer first at the Paris Opéra and then at New York’s Metropolitan and who was poised to become the Met’s prima donna assoluta in the Wagnerian repertory when disaster struck, sounds like a script for th ...
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