Word: tenore
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...rock-sure control. He attacked at a slower than usual tempo, underscored the sensuous quality of the music without letting his orchestra wallow in it. There were the usual first-night flaws. During the second-act love duet, the word über-mächtig "vanished without trace" from Tenor Wolfgang Windgassen's memory. With a series of semaphore cues that almost sent him clambering on the stage, Sawallisch brought order out of chaos while Soprano Birgit Nilsson improvised for several measures. But the third act went off with well-oiled precision, and the audience responded with cheering, stamping...
...track tape recorders, loudspeakers, amplifiers and oscillators. With promotion and distribution costs, Victor figures to sink $250,000 in Butterfly with a relatively unknown cast of young singers headed by Philadelphia-bred Soprano Anna Moffo, $250,000 in Tosca, which features such established names as Soprano Zinka Milanov (Tosca), Tenor Jussi Bjoerling (Cavaradossi), Baritone Leonard Warren (Scarpia...
...curtain raiser, the brand-new Santa Fe Opera Association had selected a surefire heart-throbber-Puccini's Madame Butterfly. The 32-piece orchestra launched into the opening bars as the distant view of the Jemez range faded in the dusk. Tenor William McGrath and Soprano Maria Ferriero soared expertly through Lieut. Pinkerton's and Cio-Cio-San's famous love scene climaxed by her Twilight Has Fallen, and Butterfly's lingering, final-curtain suicide touched off a round of applause that lasted through ten curtain calls. Technically, there were a few first-night bobbles. Gusts...
...earned Melchior something less than an Equity minimum. As the tenor untied himself, grabbed a deer rifle and hustled out the door, his captor audience skedaddled back out the gate, taking with it $140,000 in boodle (jewelry and cash). Police bag by week's end: two of the four badmen, all but about $40,000 of their loot...
...recordings of Orpheus and Eurydice break with tradition by casting a male singer as Orpheus, normally sung by a contralto. (Gluck himself wrote the role for a male contralto, later rearranged it for tenor in Paris, where castrati singers were frowned upon.) Of the two versions, Epic's (in French) is more authentic historically, but less effective, chiefly because Canadian Tenor Leopold Simoneau's silver-hued voice seems less moving in the role of the suffering Orpheus than the lyric baritone of Dietrich Fischer-Dieskau, imaginatively cast by Decca in its German-language version. The supporting casts...