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Every singing film must have its ballet these days, so the Albertina Rasch girls, above, do their bit in "The Rogue's
Song."
Enter An Opera Star
Lawrence Tibbett, of the Metropolitan, comes to the screen as the singing star and brings with him not only a magnificent voice, but the fascinating story
world-wide fame.
B^ElzaSchallert
THE first singingtalking picture introducing a luminary from grand opera has been made.
Lawrence Tibbett, an American baritone of the Metropolitan Opera Company, is the star, and the name of the picture is "The Rogue's Song," produced by Metro-Goldwyn.
Tibhett was the sensation of the operatic world six years ago in that austere organization known as the Metropolitan, when he brought new vitality to the minor and somewhat static role of Ford, in Verdi's "Falstaff." He was given ten curtain calls after his big aria, and the event made musical history right then and there — for American singers.
Unless I miss my guess considerably, his voice will be one of the sensations of the 1930 talking-picture season. I would be willing to say the sensation of the season, only I am reminded that John McCormack, that colossal idol of
of "The Rogue's Song" of a poor boy's rise to
the concert stage, is engaged on a picture which doubtless will prove epochal.
However, Tibbett's voice is going to shake the rafters of the theaters wherever heard, and the sweep and tremendous vigor of his personality cannot possibly escape unchallenged.
His voice is the direct antidote for the millions of soft-throated tenors and baritones, who have so long crooned the popular "Mammy" and "I Want You Alone" songs over the radio, and recently have made themselves so obnoxious over the microphones at the studios. His voice and virility restore one's faith in male singers, and make one hopeful that his screen debut will effect in the musical and theatrical worlds a renaissance of masculine tone.
Lawrence Tibbett, as Yegor, left, a bandit, scorns the pearls forced upon him by Judith Voselli, as the v a m p i s h countess.