as using themes by Chopin Amour et Gloire. He also composed an original theme, Lullaby of the Bells, which was heard in the film as the Phantom's piano concerto. The movie begins with a fragment from "Martha, oder Der Markt zu Richmond (Martha, or The Market at Richmond)" written by composer Friedrich von Flotow. Soundtrack Credits LULLABY OF THE BELLS (uncredited) Written by Edward Ward Lyrics George Waggner Sung by Susanna Foster and Nelson Eddy MARTHA (Act III, opera excerpt) (uncredited) Written by Friedrich von Flotow Lyrics translated by William von Wymetal Sung by Nelson Eddy, Jane Farrar (dubbed by Sally Sweetland), Susanna Foster & company AMOUR ET GLOIRE (uncredited) (French Opera sequence) Adapted by Edward Ward from themes by Frédéric Chopin Lyrics by George Waggner, translated by William von Wymetal Sung by Nelson Eddy, Jane Farrar (dubbed by Sally Sweetland), Susanna Foster & company LE PRINCE MASQUE DU CAUCASUS (uncredited) (Russian Opera sequence) Adapted by Edward Ward (from Pyotr Ilyich Tchaikovsky's "4th Symphony") Lyrics by George Waggner, translated by William von Wymetal Sung by Nelson Eddy, Nicki Andre & company Reception Contemporary reviews were mixed. Bosley Crowther of The New York Times panned the film for being "watered down" from the original, calling the opening sequence "the only one in the film in which the potential excitement of the story is realized", while otherwise the "richness of décor and music is precisely what gets in the way of the tale". Variety called it "a vivid, elaborate, and, within its original story limitations, an effective production geared for substantial grosses". Harrison's Reports called it "a good entertainment, the sort that will direct an appeal to all types of audiences". David Lardner's review in The New Yorker dismissed the film, calling it "by no means a sample of the march of progress in the film world. The old version had Lon Chaney, who scared you plenty, and the new one has Claude Rains, who somehow doesn't". A review in the Monthly Film Bulletin stated that "rarely has a story so novelettish had such conscientious technical excellence lavished upon it" specifically noting that "it ranks among the screen's highest achievements in sound". The review continued that "the same careful effort-if not the same dazzling success-is apparent in casting, camera work, costuming and the numerous sets". In modern times, the film has received more positive reviews. Rotten Tomatoes gave this version of Phantom