The Brooklyn Daily Eagle from Brooklyn, New York • Page 28

28 BROOKLYN EAGLE, SUNDAY, FEBRUARY 13, 1944 CANDID CLOSE-UPS Ruth Matteson Sings But She's Still Taking Out Front, Lessons By ROBERT FRANCIS Evenings, between 8:40 and 11. she is a glamorous, turn-of-the-century Parisian on the stage of the Majestic, Monsieur Popffa flirtatious spouse "The Merry Widow." Later, over a hamburger aatODI and milk on the side in Louis', she's plain American but stiil as easy to look at and with a swell sense of humor. This corner has vague recollections of Ruth Matteson In support- roles for Katharine Cornell and Ina Claire in "Wingless Victory" Barchester Towers." But first became really Matteson-con- when she was ironing out Henry Aldrich's growing pains as the high school secretary in "What a Life." Her husband, Arthur Pierson, ed opposite to her in that, and the family combination was a uid-out. Later she turned up. much to everyone's surprise, chanting a naughty song in "One for the Money." and thereafter went back to the drama to play Elliott Nugent's wife in "The Male Animal." For the last two years she has been busy out West with leads at the EOtch Gardens and a California "Male Animal" tour, and now is back in another fling with a Broadway musical.

"This is really my first musical," she laughs, "because I only talked that song in One for the This time I have to I'm taking a voice lesson every day from Lea Penman and a dancing-lesson, too. from Polly Korchein. I'm so busy with vocal chords and footwork I don't get a chance to see anybody. "Do I like musical shows best? Well. I shouldn't say It, but I like this a lot better than being a female M.

C. in the 'Male That show was written strictly around the gentlemen. My part was Just to bow them on and off. But believe it or not, some day I want to play 'Portia'." Although she got her start in Summer stock out in Southampton, Ruth has only played once in Brooklyn, That was when "What a came over for a week to the New Brighton. "It's funny," she laughs, "Arthur would never take me to Coney Island.

It took Jules Leventhal's Subway Circuit to get me there. Then it rained all wek and I didn't get to see anything." GREER GARSON, in the role of Marie, brilliant young Polish student of physics, captivates Robert Walker, playing Dr. Pierre Curie's assistant, even before she wins the love of Curie himself, in "Mme. Curie," now in its second week at Loew's Metropolitan Theater. JOSEF HAFMANN, in recital next Tuesday evening at the Academy of Music.

His program is the eighth in the Major Concert Series sponsored by the Institute of Arts and Sciences. The other half of the MatK the Pox lot in Hollywood. He'wa, ber for the opening of "What's Lerner. Ruth hopes to go out "Merry Widow" slow, down. She I OVERTONES that look slim at present.

Also, the "Widow" is not Ruth's only current chore. She has busy Saturdays of arising- at 7:30 a.m. to make 9 o'clock rehearsals tor "Lighted Windows," a glorified soap opera over NBC. Aside from that she Is the head of the company's Fourth War Loan drtoe (the "Widow" troup has bought $3,000 worth so far), and is planning solo appearances at nearby camps and hospitals for Sunday nights. "So you won't be mad if I run," she smiles, finishing her milk.

"I've an audition tomorrow for a new radio singing program. I've got to make those lessons payoff. Wish me luck." This corner does. But it also thinks that the way Ruth Is going Arthur will have to come East before she'll have a chance to head toward Hollywood. Josef Hofmann Walter Is Guest Returns to Give Of Philadelphians Rodzinski Settles Down for a Time; Milstein to Play Artur Rodzinski, musical director of the Philharmonic-Symphony, conducts the programs of the week and all concerts to com through March 6 when Bruno Walter returns again for a fortnight.

This afternoon the bass clarinet player of the orchestra, Vincent J. Aba to, repeats the Paul Creston Saxophone Concerto which he introduced on Jan. 27 and 28. The program also Includes the "Bartered Bride" Overture and The Tchaikovsky "Pathetique" Symphony. Thursday night, Friday afternoon and next Sunday Nathan Milstein is soloist in the Tchaikovsky Violin Concerto.

The Thursday-Friday program opens with the first performances of 'William Billings" Overture of the American composer William Schuman, followed by the Mendelssohn Scherzo in minor, from the Octet for Strings, and the Sibelius Symphony No. 5 in flat major. The concerto is played during the second half of the program. Rodzinski has planned a program of special interest for the second and last concert this season for members of the Philharmonic-Symphony League in the Grand Ballroom of the Hotel Plaza tomorrow night. Twelve first desk men of the orchestra will be featured as soloists: Con-certmaster, John Corigliano; assistant solo 'cellist, Leonard Rose; first viola.

William Lincer; head of the second violin section. Imre Pogany; solo double-bass, An-selme Fortier; solo flute, John Wummer; alternating solo horn, Weldon Wilber; first clarinet, Simeon Bellison; first bassoon, William Polisi; first oboe, Harold Gomberg; tuba player, William Bell, and tympanist, Saul Goodman. Since many of the Philharmonic Symphony concerts, particularly the Sunday performances, have been selling out this season, the Society announces some of the highlights of the March and April calendar so that those interested in these specific concerts can buy tickets well In advance at the Carnegie Hall box-office. March 2, 3 and 5: Soloist, Josef Hofmann, In Rubinstein Piano Concerto No. 3 In major.

March 8, 10 and 12: Soloist, Rudolf Serkin, in Brahms Piano Concerto No. 2 In flat major. March 16, 17 and 19: Celebration of the 50th anniversary of Bruno Walter's debut as conductor with performances of Beethoven's Ninth Symphony and Bruckner Te Deum. Soloists: Eleanor Steber, Enid Szantho, Charles Kullman, and Nicola Moscona. Westminster Choir.

AprU 6. 7 and 9: Uncut performances of Bach St. Matthew Passion under Bruno Walter. Soloists: Nadine Conner, Jean Watson, William Haln, Herbert Janssen, Lorenzo Alvary. Westminister Choir.

April 13, 14 and 16: Last con- Rodzinski. Michele Flunks Temperament Test Michele Morgan looks like a blue-eyed, blond Oriental because her slant eyes. She has a gorgeous complexion and an impish look when her face isn't in repose. When it is, she looks sad. But that look is deceptive.

She's happy because she is the wife of Pvt. William Marshall of the Once a screen career meant a great deal to her, she says. Now, it doesn't mean so much, though in France, at anv rate, It gave her everything a career could give: Money, fame, stardom. While she likes screen work, If it interfered with her marriage, she says, she'd give it up. She does hope to achieve more success in HolljTvood films, however, and it Interested her to play her first comedy role In RKO Radio's "Higher and Higher," current attraction at the Palace Theater.

Michele, whose real maiden name was Simone Roussel. Is superstitious, believes in fortune tellers. She knows how to prepare some of those wonderful French soups and salads, but doesn't like to make them, or do my cooking at all. She unwittingly offends people through her absent-mindedness, by failing to greet them when she sees them, etc. When the error Is called to her attention she's desolate, for Michele's outstanding trait Is klndheartedness.

She has tried to be temperamental, she says, but couldn't make it. Nobody was even aware that sle was trying to be difficult, so she gave It up. Michele admires American slang, hamburgers, hot dogs, chewing gum, drive-ins. Against the advice of many, she has succeeded in wiping out every trace of her French accent. Because she speaks English at all times, she has almost forgotten how to speak French.

MOVIE TIME SCHEDULE INGRID BERGMAN, Gary Cooper and Mikhail Rasumny, as they appear in the Technicolor "For Whom the Bell Tolls," which is in its fourth hot week at the Strand. Opera Audiences Demand of the Singers That They Act to Put Over the Show By MILES KASTENDIECK Just the other night a young lady, In her early twenties, went to the Metropolitan Opera House for the first time in her life. She was entranced because the music and the singing and the atmosphere of tradition exerted a powerful impression. She said: "It was wonderful," a wholly unoriginal, perfectly natural and altogether meaningful comment. Most of us would have given a great deal to have relived her experience, for there is nothing like the first trip to the opera or to the theater or to the concert hall.

But this young lady-was not bowled over by all these things. She kept her feet solidly on the ground, for her next comment was: "But why can't they act?" Now It might be that she was the exception to the rule, but we know she wasn't. Far too many of us are conscious of the glaring shortcomings to be found in the acting of opera singers. The Important thing to remember is that a quarter of a century ago such a comment had very little weight; in fact, It might be termed heresy. The argument ran that opera was primarily song and that the singers and their voices were sufficient.

But times have changed. Even if the singers and their voices were as fine as those of the "Golden the young lady's remark would still be made and be acknowledged as completely justified. For a long time opera was created to show off the voice: the aria was the thing and the brilliance with which it was performed the pinnacle of fame. But opera progressed; it became music drama. -The orchestra grew more important, staging grew more important.

Opera matured; It became the synthesis of all the arts. That is its position today, historically, even If the ultimate goal Is not yet in sight. One of the reasons why a great many people are deriving much more pleasure from operatic performances this season than they have experienced for many seasons is that the performances of the Metropolitan have achieved a new kind of balance. The singing does not compare to that of those "golden days" which the oldest opera-goers cherish so fondly. The orchestral performance, however, has changed immeasureably in status, even to the point where we call these the days of "conductor -opera." While the staging has still a long way to go, it, too, has made strides in the right direction.

So it is that opera It's about time. JW else would it meet the obvious disappointment registered by this young lady who felt something serious was missing and put her finger on it at once? The new opera audience comes to see as well as to hear; in fact, not having lived in the days of great singers, it is almost content to accept things as they are. In doing so, however, it demands that the singers be actors and actresses. There will be some who will say quite sincerely that to have opera "a good show" is all very well, but if the singing isn't first class the opera just Isn't good. Perhaps that's true.

But I wonder if that isn't limiting the scope of opera, checking its natural expansion and stunting its future. Certainly Wagner's conception of opera is something to be sung in a theater with all the demands of a theatrical performance included in the presentation. Is that not what we expect of opera today? Brooklyn Concert Josef Hofmann will appear in recital this Tuesday evening, Feb. 15, at 8:30 in the Academy of Music. His performance is the eighth in the Major Concert series held under the auspices of the Brooklyn Institute of Arts and Sciences.

Mr. Hofmann 's program Will feature Beethoven's Sonata In flat, Opus 31, No. 3, and a gr nip of four major works by Chopin. The complete program is as fol- Dorothy Holcomb to Conduct New York Little Symphony With the first female guest conductor in its history', the New York Little Symphony Orchestra, of which Joseph B.iror.e is founder-director, will give Its third concert of the current season in the Carnecie Chamber Music Hall on Friday evening. Feb.

25, at 8:30. The organization will introduce at this time the first New York performance of an "Elegy" by the voung 'American composer, Anthony Donato. and will also present in their New York the soprai the podium to lead the orchest composed of 30 members of New York Philharmor.ic-Svr. phony for the second half of tl program. CONCERTS Thirteenth Week Finds Met.

Billing Series of Repeats Second performances of Gounod's "Faust" and Debussy's "Pelleas et Melisande," fourth performances of "Rigoletto," "Der Rosenkavaller" and "Carmen," and the presentation of the second part of "Der Ring des Nibe-lungen" comprise the repertoire for the 13th week of the Diamond Jubilee season at the Metropolitan Opera House. Ezio Plnza will Impersonate Mephlstopheles, for the first time this season, in "Faust," the opening bill of the week. Raoul Jobin will sing the title role, Licia Albanese will be Marguerite and Martial Singher, Valentin. Wilfred Pelletier will conduct. "Die Walkuere," the second performance in "Der Ring Des Nlbelungen," will be heard in Its unabridged form on Tuesday evening at 7:30 as part of the Metropolitan Opera Wagner cycle.

George Szell will conduct. Astrid Varnay as Sieglinde, Kerstin Thorborg as Fricka, Christine Johnson as Grimgerde. Helen Olheim as Siegrune and Alexander Kipnis as Hunding are all appearing in their respective roles for the first time this season. Helen Traubel will again be heard as Brunnehilde and Lauritz Melchior and Herbert Janssen as Siegmund and Wotan, Patrice Mi role of Gilda at the MetropoUtjan when "Rigoletto" is presented on Wednesday evening. Lawrence Tibbett will smg the title role and Jan Peerce will appear as the Duke.

First lierformances include, in addition to Miss Munsel's Gilda, Bruna rastJina as Maodalena, Helen Olhe i Giova The will i first perform ance Bidu Sayao, Martial Singher, Lawrence Tibbett and Alexander Kipnis in the leading roles with the exception of Louis D'Angelo, who will appear as the Physician. Emil Cooper will con- "Der Rosenkavalier" will be fchs Saturday matinee performance on Feb. 19, and Irene Jessner. Jarmila Novotna, Nadine Conner and Emanuel List will appear in the leading roles. George Szell will conduct.

That evening the season's fourth "Carmen" will be presented at popular prices, with Lily Djanel sineing the title role. Annamary Dickev will be heard for the first time this season as PraKiulta. Francesco Valentino and Lansing Hatfield will sing Escamillo and Zuniga, respectively, for the first time this season at the Metropolitan. Sir Thomas Beecham will conduct. Another Condon Jazz Concert at Town Hall Another recital of the Eddie Condon Jazz Concert series will be held at Town Hall Saturday.

Feb. 19, at 5:30. Mr. Condon will a2ain conduct the leading jazz musicians in an unrehearsed and completely spontaneous program. Prominent musicians to be heard at this concert, the third of this season's series, include James P.

Johnson and Gene s-hroeder. pianists: Mitf Mole. Wilbur De Paris and Benny Morton, trombonists: PeeWee Russell, Edmund Hall and Joe Marsala, lartnetLsts; Sterling Bose and Hot Lips Pace, trumpeters; bassist Boy Casey and drummers Sidney Catlett of the cafe society Condon will Wilbur De Paris fame: Joe Mar-eago School and i -Pierson combination Is now on ast for a week or two last Novem-which he co-authored with Alan i June, provided the admits, howeve Making his first New York appearance as guest conductor of the Philadelphia Orchestra Bruno Walter will occupy the podium for the Philadelphians' seventh Carnegie Hall concert of the season. The program will open with the Mozart Symphony No. 40 in minor one of the Mozart interpretations with which Walter won international fame in the great pre-anschluss days of the Salzburg Festival.

Also featured will be the Richard Strauss Tone-Poem "Death and Transfigura tion' and the Brahms Second Symphony. Program of Forgotten Works Of Masters to Be Given A program of "Forgotten terworks by Great Masters" will be presented next Sundav afternoon. Feb. 20. at 3 o'clock in the Brooklyn Academy of Music.

It Will open with a brief lecture by Dr. Felix Guenther. editor of the standard editions department of the Edward B. Marks Music Corporation. Dr.

Guenther is also a lecturer on music at New York University and Connecticut State Teachers College. A concert will follow consisting of works by-Mozart, Haydn, Beethoven and The participating artists will be Angela Weschler and Dr. Guenther. pianist; Carl H. Tollefsen, violinist; William Du-rieffx cellist, and Alfredo Bal-riassarri, viollst.

The program is sponsored by the Brooklyn Music Teachers Guild in co-operation with the Brooklyn Institute of Arts and Sciences. BROOKLYN OPERA MANHATTAN METROPOLITAN OPERA CONCERTS MANHATTAN MORSZTYN ROBERT GROSS tall JOHN GARFIELD is amazing Peter Whitney with story as they scoot underseas by sub to Japan, in "Destination Tokyo," which is currently in its third week at the Fox. "The Girl From Monterrey" is added. Training Orchestra Recognizes Americans HOFMANN BROOKLYN ACADEMY OF MUSIC Don Cossack Chorus With Sperry Symphony Sponsored Jointly by the Sperry Gyroscope Company and Local 450 of the United Electrical, Radio and Machine Workers, C. the Sperry Symphony Orchestra will give the seoond of its season's concerts at the Academy of Music on Friday, Feb.

18. An ail-Russian program will feature the Symphony No. 1 of Kalinikov and the original Don Cossack Chorus under Serge Jamolf. The orchestra is composed entirely of workers in the Sperry Company and includes machinists, draftsmen, clerks, engineers and executives, Many are ex-professional musicians, now devoting their time to war work. This Joint sponsorship of management and labor is an innovation which is expected to make this orchestra, which is the only industrial symphony group in the East, known to workers throughout the metropolitan dis- Creatore Opera Company The Creatore Opera Company-will present "Traviata" as the second opera in their 1944 opera season at the Windsor Theater ning, Feb.

17. The east, will include Elvira Hnlal. popular young singer, as Violetta: Ralph Sas- father, Frank Rirhards. The th: performance win be given Thursday evening, Feb. 24, "Ca va llerla-Rusticana" a The fourth Monday evening concert of the National Orchestral Association will be given at Carnegie Hall tomorrow.

The program Is planned on the subject, "Recognition of American Artists and Composers," one of the highlights In the history of the association. The program, while not strictly patterned along the lines of the Winners Series concerts, has In It many of the features of those programs. The concert will be open with the Canon and Fugue by Wallinglord Riegger, a winner of the Paderewski award and the Coolidge prize. Second on the program is the Griffes "Poeme for Flute and Orchestra, played by Frederick Wilklns, U. S.

N. R. Mr. Wilkins began his musical education with Meredith Wilson and later was awarded a Juilllard Graduate School Fellowship. The orchestra will then play the first performance of Norman Dello Joio's "Magnificat, for Chamber Or- him the 1943 Town Hall CompO- Following the Intermission, tl Louts Kaufman, will play li Robert Russell Bennett Comer for Violin in A major.

Mr. Kau bUM award in 1928, This is 1 BETTY HUTTON and Eddie Bracken are going through a belated wedding ceremony in this scene from "The Miracle of Morgan's Creek," which is now in its second week at the Paramount. "Hand's Across the Border" is added, CONCERTS MANHATT IN I ARTUR RODZINSKI INCfcMT BA TO, i.t FRANCESCO ROSENBERG nAm 1 n'" FEB. 16 WZ at 8: 30 CASADESUS XMIMFF Mwwnr n'Aiv(tnturfln Manhattan." METROPOLITAN Mnd.rn. Curlf," capitoi- the hardy seamen aboard convoy protectors.

Five round trjps aboard a Canadian corvette were niada across the North Atlantic by tirm director and cameramen. Five times Director Rosson witnessed and filmed massed attacks by U-boats and squadrons of Nazi "Corvelte K-225" stars Randolph Scott and features a larga supporting cast of well-known 'Corvette K-225' Now At Flotbush Astor One of the season's most dramatic films of action on the high seas, "Corvette K-225," is the current attraction at Brooklyn's Astor Theater in Flatbush. Filmed with the co-operation of the Royal Canadian Navy, produced by Howard Hawks, the plc- sct.ua battles with U-boats and Nazi planes and the heroism oi Since, 1:50, 4.34, 7.