Word: tenore
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Dates: during 1960-1969
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After two lightweight choruses by Carlos Chavez, the program concluded with Irving Fine's Design for October. The music was decadent but rather sweet, and Philip Frohnmayer's mellow tenor voice was perfect for the solo part. All in all, an excellent half-concert...
...opening chorus, the slow pulse became divided, and the long tense lines tended to degenerate into series of disconnected fragments. The other choruses were more effective. Francis Hester's bass solo was a model of disciplined power, including some uncannily accurate duets with the oboe. Karl Sorensen's tenor solo, if a little monotonous, was consistently liquid and articulate...
...choral trills. Although they demonstrated the chorus's virtuosity, the emphasis placed upon them distorted rather than heightened the expression of Bach's musical ideas. In the remainder of the cantata, Jane Struss' alto aria was lucid and delicate, if not overpowering, and Sorensen gracefully navigated the difficult tenor aria...
Clever Chatter. With Collier cast as the mother, Composer Levy had to alter the role from mezzo to soprano; he also changed the role of her son from tenor to baritone. That was regrettable. Though John Reardon as the son and Sherill Milnes as the lover both performed superbly, the pairing of two baritones and two sopranos robbed the vocal writing of contrast. More damaging was the fact that Levy's mildly modern score, conducted by Zubin Mehta, did not meet the challenge of the theme, too often resorted to clever percussive chattering that seemed to say "crisis coming...
...during opera's golden age, who won her early triumphs in Europe before going home in 1906 to debut at the Met, where she reigned for 16 years of tumultuous adulation through 493 performances in 30 roles, blending her vibrant voice with Caruso's celebrated tenor, before suddenly retiring in 1922 at the peak of her career; of a heart attack; in Ridgefield, Conn...