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was quite heavy going considering the lightness of its subject, Its best moments — the re-enactment of the "Barber of Seville” premiere when the curtain fell on a most disastrous perfecrmance; Tancredi Pasero’s "fa Calunnia™; the scene where Rossini visits Beethoven in Vienna during the latter's last days. Rossini was better served by the film-makers later that year when "The Barber of Seville" went into circulation. This well sung, if unimaginatively filmed opera contained the major part of the score, without any embellishments. One was at a loss to understand some of the cuis, notably the rapid section ci Almaviva’s aria "Ecco ridente in cielo”. The four-star cast was headed by a disarmingly charming Figaro in the person of that Singing-actor supreme Tito Goboi, an imposing characterization of Don Basilio by Italo Tajo, a freshvoiced and unstrained Ferruccio Tagliavini and a pert and provocative Nelly Corradi as Rosina. Carlo Badioli as Dr. Bartolo was, however, not in the same league.
Ferruccio Tagliavini was later seen in a number of cheaply produced and uninspiring films made to cash-in on his rapidly rising renown. His best film in this undistinguished group was "I Live as I Please”, Two of its songs, "Voglio Vivere Cosi’", and "Tu non mi lascerai"™ were issued by Cetra. Its operatic highlights included the Cherry Duet from "Amico Fritz" of Mascagni’s and Boito’s "Lontano, Lontano duet from "Mefistofele” with Signor Tagliavini being joined by his wife, Pia Tassinari. Miss Tassinari also lent her voice, together with that of her husband, to the soundtrack of "Torna Caro Ideal" the life story of Paolo Tosti and the "Ideal" applied only to the title.
Beniamino Gigli'’s second appearance on the screen during 1947 occurred in "Laugh Pagliacci”, This was the story showing how Leoncavallo got his idea of writing “Pagliacci”, The well known Austrian actor Paul Hoerbiger played the part of the ex-convict who had murdered his wife and Alida Valli was his daughter. Gigli was seen as the tenor entrusted to create the role of Canio. An interesting if not convincing filn, it still offered the singing voice of Gigli although sparingly used. Signor Gigli’s third release in °47 was "Mama", This sentimentalized and sugary story was
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