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(Continued from page 6) 27 surrounded herself with an able cast, including Georges Thill and Andre Pernet. Most of the footage, however, was taken up by Miss Moore. The vocal highpoint of the film was her rendition of ™Depuis le Jour in which the camera remained practically stationary on a close-up of Miss Moore throughout the eutire aria?
Another French-produced film that year was "Kiss of Fire’ it starred Tino Rossi.
From Italy came the most important operatic film "The Life of Giuseppe Verdi", The name~-part was taken by Fosco Giachetti and his singing voice was duibed by Tito Gobbi. One of its cherished moments came when Verdi demonstrates to Victor Hugo, the author of "Le Roi s*’amuse", the Vengeance aria as sung by Rigoictto, Other highlights featured Gigii’s "La Donna e Mobile”, the flowing and melting "0 Terra Addio* from "Aida" with Gigli and Maria Cebotari, ensembles from "I Lombardi" with Granforte, and an exultant "WEsultate" from "Otello" sung by Gigli as the climax to the picture. Too bad Victor or its Furopean affiliation dia not have the foresight to issue the sound—track album?
The popular team of Eddy and MacDon2ld were again seen in two operetta; in 1940 Romberg ’s "New Moon" and Noel Coward‘s "Bitter Sweet", The former was a pale imitation of the Grace Moore -Lawrence Tibbett version of ten years previous; the second. another Technicolored sugared musical romance which suited the personalities of its two stars. As such, it was an improvement on an English version made in 1933 which starred Anna Neagle and Fernand Gravet.
During 1940 Holiywood used Allan Jones wisely in “Boys from Syracuse" and not too well in "One Night in the Tropics" with Abbot and Costello.
From Argentina came still ancther *Carmen* with Imperio Argentina! Since Senorita Argentina is not an operatic singer we mist presume that this was the story based on the opera, rather than the opera based on the story.
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