Indianapolis Times, Indianapolis, Marion County, 12 July 1940 — Page 8

FRIDAY, JULY 12, 1940 HE PLANS FILMS

Leo Carrillo plans to form his own

PAGE 8 THE INDIANAPOLIS TIMES GOING HOME A Fi | ial Smack fo r Mamma Marth | door song in| production company this year, to

Plav Planned pen COING HOME RECORDINGS Fecal this” Summer bab TIER : oY BR _ i ii ; film stories of early C alifornia days. In 100 Cities [IEEERSCLP pr he 3

Gilbert and Sullivan Series, | oy VERS/IDE

Verdi Opera New Offerings! eral pera ow erings GLUE AIA gS RELAX AND i FOR FUN"

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Home The

Act American Way'

Talent to Af he ;

Gilbert and Sullivan, "Trial by Jury”; soloists and chorus of the National Light Opera Company, directed by Harold Sanford (Royale), | Verdi, “"Ernani”; Lyda Betti, soprano; Mario Berini,

unaer come ame to presJerome H. Cargill the play's| to recruit in the communt Cham Legiol | expected ances Americal

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according to wcement. Daye are the nearest which are present

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Mickey Rooney gave Fav cinema family on the set of °* dav. Left to right,

MUSICIAN KILLED IN RID JANE IRO nl : sky 30,

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" SUES 'MR. SMITH’ FOR $1,000,000

YWOOD, July 12 by “Mr. Smith Went to W der me other writer's Norman Houston, Hollywood author charged today in a suit demanding £1.000,000 damages of Columbia Pictres, Inc Mr. Houston asked for an acmting of the profits of Columbia's Smith Goes to Washington,” he originated the plot of

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the non-Kissers—as if vou didn't know—are (Marfan), Lewis Stone (Judge Hardy) and Sara Haden (Aunt Millie),

Jimmy Says ‘Goodbye’

*

Holden a filial smack as the Hardys celebrated their third anniversary as a ‘Andy Hardy Meets Debutante,” which started its second week at Loew's toe Rutherford

Ann

ANE

name, |

le of!

Hirschfeld, baritone:

It may be that there is no valid | musical bedfellows under one

waivers on logie this once In the first place, both these

their composers’ great popularity [Within their own lifetimes, and thus | paced the way for posthumous ace | claim, “Ernani,” being a “grand” (and in a foreign language, might] | seem the logical candidate for en« | during fame, while “Trial by Jury,’ [ with its current and topical English [satire aimed at a public of 65 years| ago, should merit the tag of "mus« seum piece” The opposite, hows ever, is true, The Verdi opera antedates the | | composer's last and great opera, “Falstaff,” by nearly 50 vears. And it might be remarked parenthetically that “Trial by Jury” sounds more like the Verdi of “Ernani” fthan do Verdi's last two masters pieces

There are

opera |

4

(Polly), Cecilia Parker moments of dramatic | power in “Ernani,” to be sure, and [stretehes of ravishing melody, Cer | tainly we are fortunate in finding lin these records only the opera's highlights But even though we | are spared many dull stretches, we | do not escape much that is obvious | and immature, As for "Trial by Jury,” it is easier to give oneself up to complete en- [ joyment of the delightful music (| than to explain it afterward, We | may need a concordance to preciate all of Gilbert's satire the moment. But the most of | like all good satire, is founded humanity's broader aspects [hence is impervious to time,

of it, on and

Gordon Gifford, ducted by Raoul Querze (Royale),

heading [enough similarities and contrasts, on second thought,

“syntheses” company’s most ambitious releases to date

ap- |

| | tenor; William G.|

bass; chamber orchestra con-|

reason for considering these strange But there would seem to be | to permit asking

are the youthful Rovale And both wor Ks established

{and 10 to the Verdi excerpts. And the recording is splendid throughout,

Brahms, Concerto No. 1, in D Minor; | Artur Schnabel, pianist, and the London Philharmonic Orchestra, conducted by Georg Szell, (Vie tor). | Having given us, Mr. Schnabel's playing | Brahms Second Concerto, Victor [now has made available the same {artist's interpretation of the lengthy (and monumental Concerto No. 1 | Mr. Schnabel is undoubtedly the man for the job. It need scarcely be said that this work of symphonic cdneception and proportions goes far beyond pomposity in its dark and majestic sweep. It requires of hoth soloist and conductor a depth of { perception and seriousness of approach, an acute sense of structural balance and technical poise which can erect the magnificent tonal edifice which the composer planned, On occasion the lack of sensuous charm in Mr. Schnabel’'s playing must be counted as a disadvantage. This concerto, fortunately, is not the oceasion, The fretful, stormy ate mosphere of the first movement is there, although carefully controlled. And the lyricism of the Adagio has a manly reserve about it, There may be moments when technical polish is not burnished to the highest de-

some time ago, of the

by and both the

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play under the 30 He said film- |

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Sullivan's music is of a more subtle and equally enduring sort | The preponderance of Verdian style | was surely willed by a sly, eclectic, (tongue-in<cheek composer, And (the pompous counterpoint of the music is, in a less not so inferior to similar deflating purpose "Die Meistersinger.” the singers in the Jury” records are better ‘Ernani” cast, Such Savoyards as Edward Wol- [ ter, Fred Hufsmith, Walter Pres | ton, Margaret Daum and Colin | O'More can be trusted in vocal and | stylistic matters, especially under | Mr, Sanford’'s experienced baton. Honors in the “Ernani” excerpts { should go to Messrs. Hirschfeld and Gifford Dennis Moree an Wishes He | It may be unfair to complain qa | about the accompaniment in both | these items, since the verv reasonable price of the records doubtless ou | ale roug m precluded the hiring of full-sized or« chestras. Yet in the case of Trial My by Jury,” Sullivan's orchestration is Wak S0 astute and integral a part of with the performance that it is less than That satisfactory to have the score inab trusted to a pipe organ. On the mediate other hand, Verdi's “Ernani” orWhich benched him about siX|chestra is so bare and unresourceful months and then gave him the at pest that when the score is only supreme payoff of permitting him | plaved by some half-dozen strings, to “dub” for another singer. fas here, the weaknesses are more It was then that Warner Bros. | glaringly apparent Bo him over ahd began PULtINg | There are eight sides devoted to NO oep re oun not as a the Gilbert and Sullivan highlights, Mr, Morgan first started acting and singing while a student at University of Wisconsin and Car-

DINE & DANCE roll College. After graduation, his

first break came when he walked y phir li

into a Milwaukee radio station and songs and was hired. | ¢

asked for an audition. He sang a P Then followed a series of tours (and Goes Aid

few “The evel with stock companies and they were climaxed by his engagement

has | 10 sing in “Carmen.” p It's Cooler FILM REUNION In the

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judge-and- jury X . | pretentious way, ' 3] J | Wagner's | Bias \§ : Eh On the whole, | { |

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Jimmy Dunn decides it's time to say goodbye in this pleasant scene from the Alamo’s current “Son of the Navy.” His companion is young Martin Spellman.

for the screen Mary Garden, | in “Carmen.” him an ime with a studio]

Morgan's test arranged by whom he sang te brought contract

HOLLYWOOD, July 12 (U. P) Dennis Morgan, wistfully, wishes dio moguls who decide hi (cinematic chores would let him { burst into song, “just once.” Not that Mr. Morgan loose with a few notes, isn't what he wants he would like appear | fledged singing picture {| Clad the scarlet tunic of | North West Mounted policema {for his role in “Rivers’ End { Warner Bros, Mr. Morgan pointed out he would sing a bit in this film, 100 You know,

the sti st never lot: for but that He means to in a full in {0

nt

the way alwavs do A note here, a note there: but nothing really substantial.” Mr, Morgan's hopes, however, buoyed by the promise studio that it will star him in Desert Song,” when and if it makes that operetta to which owns the film No date been set for the filming musical and Mr. Morgan to wait as patiently as he ea The actor savs he is

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