"Forget-Me-Not"

Nelson Evening Mail, Volume LXX, 19 December 1936, Page 11

" Forget-Me-No t"

GIGLI'S VOICE OF UNPARALLELED BEAUTY AND POWER

A tenor famous throughout the ’ world, and claimed by many to be he greatest since Caruso, makes his Irst appearance on the screen in ‘Forget Me Not.” He is Beniamino Tigli, the latest of the opera stars to succumb to the talkies. In a stoiy, medible and well-constructed, Gigli reveals himself as a first-class accoL as well as the possessor of a voice of unparalleled beauty and power. Unlike many other singers of the ‘grand” class. Gigli has very wisely forgotten any platform mannerisms lie may possess. The result is a

1 beautiful discovery, plays opposite j Gigli in the most difficult and important role she has so far attempted, j Hugh Wakefield has a typical part as (the well-meaning but assinine manager to the great tenor. An ex- | centionally strong supporting cast in- | eludes Ivan Brandt, Jeanne Stuart j Allan Jenycs, Hay Petrie and Charlie : ! Carson. “Forget Me Not” was directed bj ■ Zoltan Korda, who made the highlj ■ successful “Sanders of the River.” ; Gigli (pronounced Gee-Ice? wa: [ born in 3890 at Racar.ate, Italy. He

i pleasing performance which one can enjoy without being an opera enthusiast. In a story especially written j for him, Gigli has been provided with | a role in which he should feel perfectly at ease—that of an internationally famous singer. The producers have broken away from the “obscur-ity-to-stardom overnight” theme | which has served as a vehicle for many other opera stars. Gigli is i shown in a very human setting as a j doting father and husband whose home is nearly broken-up by a I jealous woman. Joan Gardner, Alexander Korda’s

studied under Professor Enrico Rosati in the Rome Conservatory, and made his debut at Rivigo, near Venice, in 1914. Afterwards toured in all the important Italian cities. An appearance at the Mecca of opera, the Scala in Milan, set a seal upon his career, and he soon became an international celebrity. He has sung in most of the principal opera houses and concert halls in the world. He created the tenor roles in “Rondene,” “Le Roi d VS, and has been heard in “La Tosca, “Romeo and Juliet,” “La Boheme, and “II Traviata.”