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Word: tenore (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

...soaking up vast quantities of experience together," said one of the male leads, tenor John Stewart, who also qualifies as a professional. John was graduated in 1962 from Yale, where they never attempted grand opera, and is now a graduate student at the Conservatory and a teaching assistant at Brown. Although he praised the production, he expressed some major reservations...

Author: By Nancy Moran, | Title: Mozart and Chow Mein: A Day at the Opera | 12/2/1964 | See Source »

...iron beds, ride motor scooters, lose their pants, leap off bridges, throw knives. But the procession of sight gags only emphasizes the drift of the dialogue, supporting and not replacing the language of the playwright. As he approaches character from several directions, Nichols apparently feels particularly comfortable in a tenor of intelligent slapstick...

Author: /time Magazine | Title: Broadway: The Nichols Touch | 11/27/1964 | See Source »

...material in this album of pop and corn is scarcely worth the Duke's attention. Fortunately, his style shines through almost every bar of such half-roasted chestnuts as Never on Sunday and I Left My Heart in San Francisco. Oldtime Ellington Saxpots Jimmy Hamilton (tenor), Johnny Hodges (alto) and Harry Carney (baritone) add to the luster. Standouts are Russell Procope's low-register clarinet solo in More and Cootie Williams' soaring trumpet work on Fly Me to the Moon. And binding it all together is the deft piano scrimshaw of Ellington himself...

Author: /time Magazine | Title: Television: Oct. 23, 1964 | 10/23/1964 | See Source »

...concert length and worth. Bassist-Pianist Mingus' debt to Ellington is most apparent in Invisible Lady where both mood and the stylish trombone solo of Jimmie Knepper are evocative of the Duke at his best. Peggy's Blue Skylight features Mingus on piano and a haunting tenor sax solo by Booker Ervin...

Author: /time Magazine | Title: Television: Oct. 23, 1964 | 10/23/1964 | See Source »

Commuters at Rush Hour. With strong backing from Baritone Robert Merrill, beginning his 20th season with the Met in fine vocal fettle, and Tenor Sandor Konya, the flame-haired coloratura's performance was a masterpiece of bel canto. In the climactic Mad Scene, in which she sings a duologue with a fluttering solo flute, her glittering coloratura runs, leaps and trills won a standing ovation and 14 curtain calls...

Author: /time Magazine | Title: Opera: Behind the Nervous Curtain | 10/23/1964 | See Source »

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