Word: tenore
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RICHARD TUCKER: THE ART OF BEL CANTO (Columbia). The great American tenor sings the ravishingly beautiful songs and arias (Caro mio ben, Gid il sole dal Gange) that constitute the canon of bel canto. His vocal line, the essential element in bel canto, is lyrical, firm and without breaks. There are more sensual interpretations of the art, but few more satisfying...
...program will be the Budavari Te Deum of Zoltan Kodaly, which the chorus performed earlier this summer at the Dartmouth College Congregation of the Arts. The chorus will be assisted in the Te Deum by members of the Cantabrigia Orchestra, conducted by Joel Lazar. Florence McBride, soprano, Henry Gibbons, tenor; Colleen Ryan Schwartzgebel, alto; and Peter Solomon, bass, will solo...
Atonal Dream. Shirley is far from embarrassed about his race, but he is a tenor, and therein lies the problem. In recent years, Negro basses and baritones have been accepted on the opera stage in large measure because the parts available to them are almost exclusively character roles. Tenors, on the other hand, are nearly always the romantic leads, and despite the increasing liberality of audiences, explains Shirley, "they don't like the lover of a white girl played by a Negro, make-believe or not." Lest this sensitivity detract from the impact of the opera, Shirley dons...
...King, a kind of atonal A Midsummer Night's Dream, the night belonged to Shirley, costumed in an oversized crown and half mask. An in stinctively gifted actor, he also displayed a lyrical, handsomely rounded voice, which prompted one Manhattan critic to declare: "Here, at last, is a tenor who might some day aspire to the supreme place still occupied by Richard Tucker." Though Henze's modernist fantasy was received with some eyebrow-raising by the Santa Fe audience, Shirley drew a rousingly enthusiastic ovation...
...Army. After singing with the Army chorus for three years, he moved to Manhattan, where his rise to prominence was nothing short of meteoric. In 1961 he won the Metropolitan Opera Auditions, made his Met debut in Cosi Fan Tutte as a last-minute substitute for an ailing tenor, and was promptly acclaimed the find of the season. In the years since, he has sung leading roles in Madame Butterfly, Simon Boccanegra and La Traviata, next season will portray Count Almaviva in The Barber of Seville. "Fifteen years ago," says Shirley, "I probably wouldn't have been accepted...