Word: tullio
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Miss Moore's talents are given more than adequate support by the suave charm of Tullio Carminati, the explosive humour of Louis Alberni, and the truly excellent technical and musical work which have been expended on this picture. Despite these other virtues, however, the film is all Miss Moore's. The plot is simple and straightforward and has the great advantage of providing Miss Moore with the maximum opportunity for using her voice. She sings all sorts of music ranging from the modern "One Night of Love" to the difficult last act aria of Madame Butterfly all with finished technique...
...NIGHT OF LOVE--This one misses A rating simply because of a silly title. Probably the first motion picture to bring opera to the screen without losing its effectiveness and still retain the average movie-goer's interest. Grace Moore in splendid voice. (Tullio Carminati Lyle Talbot...
...next season, probably his last, Manager Gatti has engaged a new conductor, Ettore Panizza, to replace Tullio Serafin. There will be six new singers: Tenor Dino Borgioli, German Soprano Anny Konetzni, U. S. Contraltos Kathryn Meisle and Myrtle Leonard, U. S. Sopranos Helen Jepson and Mary Elisabeth Moore. All but pretty little Mary Moore have had operatic experience. With a record of only one public performance (Baltimore. April 1933), she was engaged for five leading coloratura roles at the Metropolitan...
...contestants and the impressions they made on 20 artist-judges gave the occasion its importance. In the judges' chairs sat such worthies as Composer Arnold Schönberg, Conductor Tullio Serafin, Tenors Paul Althouse and Giovanni Martinelli, Sopranos Gertrude Kappel, Greta Stückgold, Frida Leider. Of the 225 contestants eight had been chosen for the finals. There were Harold Haugh, earnest, 28-year-old theological student from Cleveland; William Roveen, 25, who for four years has earned his music lessons by waiting on table in a summer camp; Paul Ward, whose last job was a clerkship...
...superimposing two of the dustiest of formulas. Constance Bennett, as a singer who gets a chance to star, surprises one & all by being good. Likewise she completely deceives everyone by assuming the flimsiest sort of disguise. She wishes to impress her songwriting husband (Franchot Tone) and a producer (Tullio Carminati) but does not succeed until she changes places with a Parisian music-hall star who used to be her partner in a sister-act. Changing the color of her hair and assuming a French accent, Constance Bennett nearly seduces her husband away from herself. Good shot: Franchot Tone promising Tullio...