Word: tenore
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Verdi: "Di quella pira" from Il Trovatore (Tap). This album, as its cover proudly proclaims, presents one aria rendered by 40 tenors, containing 80 high Cs. As written by Verdi, Di quella pira ("From that pyre"), from the third act of Il Trovatore, had not a single high C in it, but Tenor Enrico Tamberlik (1820-89) started inserting one in the middle and one at the end-and they have been there ever since. The 40 tenors sing in six languages, and generally bleat, screech, bawl and scream in a manner calculated to make any listener sympathize with Rossini...
...most thoroughly competent performance of the evening was Stravinsky's short In Memoriam Dylan Thomas, an interesting composition scored for tenor solo, string quartet, and four trombones. Its history is rather interesting: when Dylan Thomas died unexpectedly in 1954 he was en route to collaborate with Stravinsky on an opera, and the composer, much distraught, wrote this simple, direct work in memory of his friend. The In Memoriam opens with canonic music for trombones and string ritornello; this is repeated in the postlude with the parts reversed. The middle section is a strophic setting of Thomas's "In Memoriam," written...
...found the most enjoyable part of the concert to be Benjamin Britten's brilliant Serenade for Tenor Solo, Horn, and Strings. In this cycle of six English poems, Britten combines his British love of melody with a fascinating originality of composition, and the result is a masterpiece...
...Friday's concert Mallory Walker was tenor soloist with hornist Ralph Pottle, a member of the Boston Fine Arts Woodwind Quintet. Mr. Pottle unfortunately made a series of disastrous mistakes in his opening solo, and although the program notes explained that "the opening and closing horn passages shall be played as directed by the composer--on the natural harmonics of the instrument--hence the irregularities in intonation," it was painfully obvious to all what had happened when the identical passage was correctly played at the end of the piece. Those who realized at the time that Britten had not intended...
...second night of the season. In Mozart's Cost Fan Tutte, Connecticut's Teresa Stich-Randall made a long-overdue Metropolitan debut as Fiordiligi, displayed the purity, fullness and control that have won her ardent fans in Europe and on records. In the same opera, Negro Tenor George Shirley, 27, last year's Metropolitan Opera Auditions winner, filled in on short notice in the role of Ferrando, carried off the assignment with a handsomely rounded voice and natural dramatic flair. The Met was still suffering from shaky finances, but its voices were suffering from practically nothing...