Word: canio
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Inevitably, the acted scenes contain some purple-prose trills. The crusty voice of Judith Anderson as Carmen gasps: "I cannot live a lie . . . Free I was born and free I want to die." Joseph Gotten as Canio in Pagliacci moans: "To have to act, act, when my brain whirls in an agony of madness! . . . Change into grins your sobs and suffering, change into a leer your sighs and your tears." Dennis King as Rigoletto shouts: "Unarmed though I be, I'll kill you, I warn you!" But the familiar music (in familiar performances by Rise Stevens, Jussi Bjoerling, Leonard...
Television Opera (Tues. 11 p.m., NBC) brings back NBC's talented Peter Herman Adler & staff for eight once-a-month productions of opera in English. The opener: Leoncavallo's Pagliaci. In spite of the singing of Soprano Elaine Malbin (Nedda) and the acting of Tenor Joseph Mordino (Canio), Pagliaci nearly fell flat for want of action and poor lighting. Even so, Director Adler proved his point that television deserves opera. Next in the series: Tchaikovsky's Pique Dame; GianCarlo Menotti's untitled opera, specially commissioned...
...Salmaggi began in the U.S. as a singing teacher with the claim of having taught Italy's Queen Margherita how to play the mandolin. In 1915 he took his first plunge: a production of Pagliacci at the Brooklyn Academy of Music in which he sang the part of Canio himself. As a tenor, he was a spectacular bust. But he took in $7,000 at the box office...
...years ago this kind of story was handled in pictures with a mawkish solemnity that made it unbearable. It is built around a laugh-clown-laugh sequence in which a young Spanish singer, his heart broken when his sweetheart is taken away from him, outdoes himself as Canio in Pagliacci. Yet so skillful are detail, dialog, direction that the spectator is never concerned with the values of the plot as realism. Modern sound technique has transformed the old romantic design into a highly successful and credible operetta. Novarro sings Spanish folk songs, English foxtrots, Italian opera...
Giovanni Martinelli, famed tenor, last week returned to the Metropolitan Opera House, Manhattan, after having been absent, ill with typhoid, for almost three months. When he, as Canio in Pagliacci, drove on the stage in the prescribed donkey-cart, standees, gallery-devils, box-holders interrupted the orchestra to applaud; in a convenient pause, the musicians themselves laid down their flutes, their fiddles, applauded with the audience; when he finished singing the famed aria Vesti la giubba the ovation was taken up again, lasted for five minutes. Martinelli, bowing and bowing, shed tears of gratitude...