Word: traviatas
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Lacking a feather-skirted heroine (see above), I'll Take Romance follows a familiar cinema routine, its guiding milestones clearly visible from the outset. All along the dusty way are conveniently spaced settings for the Drinking Song from La Traviata, the duet from Madame Butterfly, the finale to the third act of Martha, the Gavotte from Manon and the Old Red Rooster arietta from She'll Be Comin' 'round the Mountain. The title song is a sweet-and-dreamy for the radio groundlings...
...Deanna Durbin should turn up at a Leverett House cocktail party about six years from now, she will probably get credit for cheering herself hoarse at Soldier's Field, but the real culprits will be the people who made her sing La Traviata way back in 1937 when she was only fourteen. In "100 Men and a Girl," now playing at the University, Deanna turns in a perfectly splendid performance in spite of the supporting cast of Adolphe Menjou, Eugene Pallette and Mischa Auer...
...Girl" is not a great picture but great music is played in a manner that does it justice, nor does the Hungarian Rhapsody (Number 3), a selection from La Traviata, or Mozart's Allelulia in F Major make the picture too highbrow for everyday enjoyment so pleasant is Miss Durbin's portrayal of a musician's daughter...
...opera. Her debut as Manon was a triumph of personality as well as art. The little Brazilian used her little voice so that every phrase told. She tossed her pretty head, fell in and out of love, made Massenet's shallow, adorable wanton come to life. In La Traviata she was a higher-minded harlot, pathetically resigning her love so as not to ruin him. She sang the difficult display-piece Sempre Libera with uncommon charm...
...Belgian head of Vina Bovy, the coloratura soprano who stepped into the part of Gilda in Rigoletto 24 hours before the performance when Stella Andreva caught a cold. Critics had liked her better four days earlier when she made her Metropolitan debut singing Violetta in Verdi's La Traviata. Even then they felt a little uneasy about her pitch. In Rigoletto her colorless, inexact rendition of the great Caro Nome and her literal, lifeless acting convinced few that she was the outraged, unhappy daughter of a court fool. Lawrence Tibbett was more imaginative as her hunchback father, used...