Word: tenore
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...Rome Opera, scene of Soprano Callas' celebrated walkout due to "lowering of the voice" (TIME, Jan. 13), the boards again groaned under the strain of artistic temperament. During a rehearsal of Verdi's Don Carlos, famed Bulgarian Basso Boris Christoff and Italian Tenor Franco Corelli craftily maneuvered to gain the coveted stage-center spot. By the time Act II's libretto called for Corelli to draw his sword in defiance of Christoff (who played Philip II, Don Carlos' father), both singers were ready to fight. They drew, and Verdi was forgotten as the prop swords swished...
FLAVIANO LABO, 31, an Italian-born tenor whose clear, powerful singing more than makes up for his lack of height (under 5 ft. 5 in.). He made his successful Met debut as Alvaro in Forza del Destino, and his Edgardo in last week's Lucia di Lammermoor had the house cheering. His secure, robust voice approaches the stentorian singing of Mario Del Monaco, although darker and not so piercing...
NICOLAI GEDDA, 31. born in Stockholm of Russian-Swedish parents (his father was a baritone in the Don Cossack Chorus), did well in his Met debut as Faust, outdid himself as Ottavio in Don Giovanni, Anatol in Vanessa. Tall for a tenor-his pressagent, measuring with a basketball coach's rubber ruler, claims 6 ft. 3 in. -Gedda offers a clear, sweet voice that may lack warmth ("Champagne rather than Chianti," says one critic), but has strength and purity. His acting is intelligent, his pronunciation unusually correct for the opera stage; he is a linguist, speaks seven languages...
CARLO BERGONZI, 33, a thickset, muscular Italian tenor who paces the stage as he winds up for a big aria, is well worth hearing when he finally stands still and left loose. His voice is warm, strong and sure. Good tenors are never in plentiful supply; with Fellow Newcomers Labo and Gedda, Bergonzi makes the Met unusually rich in the tenor department...
...Societas Musica Orchestra of Copenhagen; Vanguard). A delicious antipasto of Italian baroque, featuring Albinoni's melodies in the Trio Sonata in A, Opus I No. 3 for two violins, cello and virginal; Alessandro Scarlatti's serene Sonata in F; and a highly stylized love song for tenor accompanied by cello and harpsichord, by a 17th century Casanova named Alessandro Stradella. The power of his music was legendary. Once, so a story goes, assassins hired by a prominent Venetian (whose mistress Stradella had carried off) caught up with him in a church where one of his oratorios was being...