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...works Leonardo da Vinci left posterity, only one has been recognized as a self-portrait: a red chalk drawing showing a fierce, lion-headed old patriarch with a furrowed brow and burning eyes. Last week an Italian artist and scholar by the name of Lorenzo Ferri insisted that he had found a second. The face of the Apostle Thaddeus, he said, second from the right in Leonardo's famed Last Supper* is none other than that of the painter himself...
Then, having done his duty, he went back to writing a speech for the 500th birthday of Leonardo da Vinci, on which he had already spent three weeks studying 20 volumes of material. Premier de Gasperi wanted his thoughts on Da Vinci to be expressed just right...
...Caruso), a friend phoned to say, "That was a good record they put on for you last night." Martinelli took pleasure in setting him straight. "I can sing as well as I ever could," he insists-although "I would not say I could get through Otello or Aïda now." Those who heard him sing Ideale were surprised at the ease and quality of the old tenor robusto's voice. The catch, and the reason for his retirement from the Met in 1945: "It is the heart . . . When one is older, the heart cannot bear the strain...
Also notable is Cetra-Soria's Aïda (6 sides LP). An Italian cast, including Tenor Mario Filippeschi, Soprano Caterina Mancini, Mezzo Giulietta Simionato and Baritone Rolando Panerai, gives a fine performance, as does the Orchestra and Chorus of Radio Italiana under Vittorio Gui. The recording is excellent. Less successful: Remington's Rigoletto (6 sides LP), performed by undistinguished soloists and a lackluster orchestra and chorus of Florence's Maggio Musicale. The recording is fair...
...already the wires are chattering out the intrigue of the training camps. Soon the teams will be swinging north, and editors will start burying the war in a box somewhere beneath the exploits of the Toledo Mudhens. The great national hysteria is hard upon us. The annual auto-da-fe is here...