One Night of Love in his usual place in the prompter's box. The complete proscenium and part of the wings and seating plan of the Metropolitan Opera House were duplicated for this production and occupied the whole of Columbia's largest sound stage. Moore's recording and performance of the "Un bel di" aria from "Madame Butterfly" did not go smoothly, as she had trouble hitting the high notes. According to a later biography, she flew into a rage and blamed the orchestra, however, when studio boss Harry Cohn asked Columbia music director, Morris Stoloff, what the problem was, Stoloff replied, "There's nothing wrong with the
Aria di sorbetto known as "sherbet arias" because of what they signified to the audience. The "aria di sorbetto" was usually given to a secondary character, and was inserted into a scene which had little bearing on the plot of the opera, except tangentially. The character would normally be one who had had no other solo opportunities in the piece. Because the aria was so unimportant, its composition would often be handed off to an inferior composer, one who received no credit for his efforts. Today, most performances keep the "aria di sorbetto" intact, rather than cutting it, and audiences are expected to