Word: tenore
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Dates: during 1940-1949
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Wagner: Die Walküre, Duet from Act I, Scene 3; Act III complete (Helen Traubel, soprano; Herbert Janssen, baritone; Emery Darcy, tenor; vocal ensemble of the Metropolitan Opera; the New York Philharmonic-Symphony, Artur Rodzinski conducting; Columbia, 4 sides, LP). Great music sung by great singers. Conductor Rodzinski gives it the pace and force to make it an exciting performance. Recording: excellent...
Wagner: Siegfried, Act III, Scene 3 (Eileen Farrell, soprano, Set Svanholm, tenor; Rochester Philharmonic Orchestra, Erich Leinsdorf conducting; Victor, 10 sides, 45 r.p.m.). The great music again, with not quite so fine a cast, conductor and orchestra to go with it. Recording: good...
Buenos Aires matrons sighed with nostalgic rapture. Not in eight years had their radios brought them the rich, persuasive tenor of José Mojica, onetime idol of Latin women up & down the hemisphere. But last week he was back once again, on a program sponsored by a B.A. department store. José's programs were no longer filled with rollicking Mexican airs and passionate love songs. Handsome José, now a greying 54, had long since given up the luxury and adulation of a movie star's life and become a Franciscan monk...
...flock" and "He was despised," Miss Talbot established a contrast which should be drawn more clearly tonight. At first she was properly rejoicing, and later, intensely sorrowful. Neither her joy nor her grief were so effectively portrayed by her colleagues. Robert Gartside has sacrificed the excitement in his tenor voice for some fine control and smoothness. The former commodity is indispensable, however, in "Every valley shall be exalted," a pretty momentous prediction, after all. Few people expect to be disappointed in Paul Tibbetts; too many had reason to regret his lack of warmth last night. Katherine Griffith, the soprano...
...Warehouse. Two nights later, Met-goers saw the first performance in 19 years of Puccini's Manon Lescaut. In front of new sets that were hardly more imaginative than any of the Met's old ones, great Lyric Tenor Jussi Bjoerling and Soprano Dorothy Kirsten sang like opera stars, but acted in the old arm-flailing tradition that has long been the curse of the opera stage. The first matinee was a revival, after nine years in the warehouse, of Saint-Saëns' Samson and Delilah. As a vehicle for Dramatic Tenor Ramon Vinay, the strong...