Word: baccaloni
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Dates: during 1950-1959
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Judy's papa-in-law (Salvatore Baccaloni) is a staunch Roman Catholic who considers the child she is carrying to be illegitimate because she and Nick were not married in church. "Whatsamatta?" he bellows. "You don' lika da Pope?" Sure enough, after rollicking through the freshest, funniest, most healthily grown-up comedy that Hollywood has produced in years, Judy finds herself entering a maternity ward in her wedding dress...
...faults. It is too long, often disorganized and sentimental. Yet John Fante's script, based on his novel, is full of happy touches, and Richard Quine's direction makes the most of them and of his players' talents as well. In his first Hollywood part, Salvatore Baccaloni, the Met's famed basso buffo, is a macaronical marvel. And Judy Holliday, in her funniest picture, surpasses herself as a comedienne...
Metropolitan Opera (Sat. 2 p.m., ABC). Gianni Schicchi, with Baccaloni, Peters, Madeira; and Salome, with Welitch, Svanholm...
...good voice. All of them acted their parts with lively bumptiousness, which was appropriate enough, since Gianni Schicchi is broad farce set to thin musical fare, and it needs all the guffaws it can get. But most of the time, only the strenuous antipasto English of Basso Salvatore Baccaloni in the title role could be clearly understood. The English-speaking singers mumbled through their mother tongue as if their diction could be taken for granted...
Mozart: Don Giovanni (John Brownlee, baritone; Ina Souez, Audrey Mildmay and Luise Helletsgruber, sopranos; Koloman von Pataky, tenor; Salvatore Baccaloni, bass; the Glyndebourne Festival Orchestra and Chorus, Fritz Busch conducting; 6 sides LP). First released in the U.S. in 1938 in a 78-r.p.m. album, this is still the best performance of the Don on records; no one voice is brilliantly outstanding, but the temper of the ensemble more than makes up for that. The sound, good on shellac, is, if anything, improved...