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...Gustav Mahler in 1907. Aware that he was dying of a heart ailment, the composer felt a heightened awareness of worldly joys and beauties, and a piercing melancholy over losing them. He took six verses by Li T'ai-Po and other Chinese poets as texts for tenor, contralto and orchestra, and wrote his farewell in Das Lied von der Erde (The Song of the Earth), his most personal and by all odds his best work. Scored in a rich, late-romantic idiom, its bursts of sweetness are coated with vinegar, its drawn-out lines of resignation elevated...

Author: /time Magazine | Title: Ballet: Golden Dregs | 5/5/1967 | See Source »

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...

Author: By Stephen Hart, | Title: Glee Club Choral Society | 4/24/1967 | See Source »

...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...

Author: By Stephen Hart, | Title: Cantata Singers | 4/18/1967 | See Source »

...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...

Author: By Stephen Hart, | Title: Cantata Singers | 4/18/1967 | See Source »

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...

Author: /time Magazine | Title: Music: Ripples Instead of Waves | 3/31/1967 | See Source »

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