Word: tenore
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Dates: during 1980-1989
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Albrecht's strained tenor can communicate emotion well, but its one-dimensionally becomes painful when he has less than enthralling things...
...voices two tenor and two bass are tolerably strong the orchestra disciplined and subdued; the only touch that proves more distracting than ingenuous is the "Creative" black tie of the soloists, which includes a woven Indian style smock along with the cummerbunds and so forth. But what happens on stage necessarily leaves them pale by comparison. Carlo Rizzo who dances the rooster is astonishing as is Susan White as the Fox; the latter in a scarlet body stocking attacks and "dies" with a sinuous grace while Rizzo does best in the rooster's moments of sweaty panic. In one such...
What deters most from the complete success of this production is the orchestra. Through extremely well coordinated it frequently overpowers the actors, most distressingly Jones and Glaser: the stage is too small for such orchestral volume, Jones has a fine tenor voice but we miss too many words when the orchestra blares out especially in the show's witty title song. Glaser whose Marta is self effacingly comic gets drowned out in perhaps the show's most beautiful song. "Another Hundred People," which describe the anonymity of New York City life...
...years later, just after Dinah's death in a suicidal, drunken car crash. There are now ten characters instead of two: the couple's son Junior (Baritone Timothy Nolen) and daughter Dede (Soprano Sheri Greenawald, in an outstanding performance); Dede's bisexual husband François (Tenor Peter Kazaras), who was formerly Junior's lover; Dinah's brother; her best friend Susie; an analyst; the family doctor and his wife; a funeral director; and, of course, Sam (Baritone Chester Ludgin). Balanchine's famous dictum that there are no mothers-in-law in ballet...
...production that was proper right down to the last parasol. There wasn't a bumbershoot of any description on the Lyric stage. No fans either. They were replaced with tokens and totems of the new pan-Orientalism: signs that blink out Sony, Seiko and, inevitably, Coca-Cola; NankiPoo (Tenor Neil Rosenshein), the wandering minstrel, transformed into a rocker with a red guitar; Yum-Yum (Soprano Michelle Harman-Gulick) in a flared short skirt and visor cap, giggling and jawing gum like a Tokyo Valley Girl; and the Mikado himself (Bass Donald Adams), arriving onstage, with all appropriate ceremony...