Word: tenore
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Dates: during 1970-1979
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...singing narration stating that we are about to glimpse Johann Sr., "founder of the house of Strauss." Lyricists Robert Craig Wright and George Forrest make great capital of this rhyme, employing it later when Johann Jr. is toiling over his operetta and the narrator boasts in his brazen tenor: "In 43 days/ Inside this house/ Johann Strauss/ Composed Die Fledermaus...
Bing responded to singers in emotional and hard-to-predict ways. In 5,000 Nights, he forgives Tenor Franco Corelli his rages and frequent last-minute cancellations because he is "the incarnation of opera." But the late Jussi Bjoerling, who sang with a lyric grace beyond Corelli's comprehension but who annoyed Bing by his grudging attitude toward rehearsals, is not forgiven his sins-"a very irresponsible artist...
...rights Offenbach's opera Tales of Hoffmann should belong to the tenor in the title role. It is he, after all, who goes awooing, however unsuccessfully, after Stella the actress, Olympia the windup doll, Giulietta the courtesan and Antonia the consumptive soprano. If he is not careful, though, the tenor can be easily upstaged by the soprano who normally portrays all four heroines. Her music is uniformly exquisite, and on top of that she gets to show her legs in the gondola scene...
...shimmering new Hoffmann that Director Tito Capobianco has conceived and staged for the New York City Opera, it is neither the tenor nor the soprano who steals the show. Instead it is the bass, who plays the four incarnations of the devil. No surprise, since the roles are sung by that master of operatic guises and disguises Norman Treigle. By design, and also by the sheer magic of Treigle's acting, this Hoffmann is a black comedy that belongs-curly locks, shtik and fiddle-to the devil...
Cubist Fleshed. Granted this tenor of thought, it was inconceivable that Braque's kind of Cubism could ever have turned the corner into abstraction. Instead, his enterprise was to put flesh on the bones of Cubist structure, to give it the sensuousness of the world of objects, returning to the eye and hand a space which, though fictional, can be explored in real detail. "There is in na ture," he said later, "a tactile, I almost mean 'manual' space." The Mantel piece, 1922, is an example of this pro cess. At first one recognizes its elements...