Word: tenore
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Dates: during 1970-1979
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Waits' specialty is the narrative tale. While a tenor sax begins some bluesy background, he lurches toward his microphone and growls his way into the urban back alleys. "Small change got rained on with his own .38/ and his headstone's/ a gumball machine," he sings, recalling a shooting he once witnessed on New York's 23rd Street...
...Lyric and San Francisco operas, displays a unit set of striking originality. The rear wall consists entirely of a huge head of Neptune. On a series of short steps leading down from his face the play unfolds. Occasionally Ponnelle overstyles that drama: Idomeneo (skillfully interpreted by Swiss-born Tenor Eric Tappy) and the court freeze their poses, while Ilia laments the apparent loss of Idamante. But such effects are redeemed by the cast-and by the brilliantly inventive lighting. In Gilbert Hemsley, Ponnelle has the best lighting designer in American opera. Hemsley paints on Ponnelle's single...
...long neglected course. But a closer look at the terse phrases scratched out on the page belies the first impression: the hand of a man in power has penned these notes, judging from their contents. "One in 10 chance perhaps, but save Chile!" reads the first line, setting the tenor for the next eight phrases. The author's adrenalin flowing fast now, the notes cease to even resemble coherent sentences: "not concerned risks involved," "$10,000,000 available, more if necessary," "full-time job--best men we have." And then suddenly, out of the blue, four chilling words shoot...
...voice quivers with emotion on "Born on the Fourth of July," when he recounts the story of a patriotic marine who realizes the evil of Vietnam after he returns from the war paralyzed. Writing with such intensity, Paxton manages to revive a half-forgotten issue. While Paxton's tenor is not overwhelming, he injects enormous feeling in this rendition...
...lonely-and clawed her way to success and greatness with a singlehearted ferocity that awed even her enemies. Conductor Tullio Serafin, her indispensable mentor in the crucial early days, was tossed aside temporarily-for daring to record La Traviata with another soprano. Enraged at the Callas ego, La Scala Tenor Giuseppe di Stefano declared, "I'm never going to sing opera with her again." Later he changed his mind about Callas, but then so did a lot of people...