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nz, Berger and Tiana Lemnitz as "Susanna" and the "Countess" respectively. The charming and captivating Angelika Hauff portrayed the physical Susanna most disarmingly, mouthing her singing with complete naturalness. One could understand its many cuts, but the most unkind and unforgiveable were the Countess’ two arias and Figaro’s “Aprite un po'", among others.
No doubt this film will eventually turn up on our television screens.
The American contribution was an experimental musical film featuring several top-flight artists more or less in their natural habitat. Its title was "Of Men and Music", and it brought forth the vocal cutpourings of jan Peerce and Nadine Conner in the first act duet from "Lucia": the violin virtuosity of Jascha Heifetz, and the eccentric yet exciting conducting of Dimitri Mitropoulos. This latter sequence was by far the most fascinating to watch. It showed the Greek conductor rehearsing the orchestra in a reading of Liszt’s "Mephisto Waltz" and then the actual performance. As can be expected from worthwhile artistic accomplishments without benefit of popular "movie" stars and soupy stories, the financial rewards derived from the vroducers were most unrewarding. Recently this film, re-titled "Concerts in Films", played to some 500 persons in Carnegie Hall, New York. Excerpts from it have been shown on television.
Paramount that year released its usual Bing Crosby picture “Mr. Music." The only difference with that was the appearance and not too prolonged at that of Dorothy Kirsten. Needless to say, Miss Kirsten was not given anything of musical note to sing. From R.K.O. came a melodramatic monstrosity entitled "Vendetta", featuring Faith Domerque and the voice on the soundtrack of Richard Tucker singing "E Incevan le Stelle" from Tosca. No doubt Mr. Tucker must have wanted a “vendetta” against the producers once the film was released.
Mario Lanza’s second M-G-M Technicolor musical, "Toast of New Orleans" (again with Kathryn
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