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those of us whose position, either geographical or financial, makes it difficult or impossible to hear these great singers in the flesh, the sound film is a splendid substitute. In fact, it is more than a substitute. It has done something that otherwise would probably never have been done at all. It has completely exploded the theory that a great voice can only come from a great body. Gone are the corpulent tenors and outsize sopranos. Sheer physical bulk is no longer the hallmark of the opera singer. I must admit that even after seeing and hearing Grace Moore and Gitta Alpar, however, I was amazed by Lily Pons. To hear that effortless, strong, clear soprano voice issuing from that tiny frame reminded me only of one thing—a wren. No other bird possesses such a volume of sweetness in comparison with its size—and there is certainly no other singer who does so. I watched her, fascinated, while she sang the “ Bell Song” from ” Lakm6 ” in “ I Dream Too Much,” for the eastern costume gives an unrivalled opportunity of keep- ing an eye on her diaphragm, that controller of volume and tone. But while her voice enchanted me I could not refrain from remarking that she is also a comedienne. And that is something Lawrence Tibbett originally intended to be a Shakespearean actor, and first sang in cinema prologues l To-day he is known as one of the finest operatic baritones in the world. Gladys Swarthout also began as a church soloist, and entered the Metro- politan Opera when she was twenty-four, quickly becoming the leading mezzo- soprano. Michael Bartlett is American, born in North Oxford, Massachusetts. He was tenor soloist in a New York church during his university days. Then