Word: tenoritis
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Dates: during 1970-1979
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...perfection of modern studio recording is one thing. The excitement of live performance is another. Who, for example, would not want to hear two of the century's greatest Wagnerians, Soprano Kirsten Flagstad and Tenor Lauritz Melchior, sing Tristan und Isolde together as they did at the Metropolitan Opera before World War II? Trouble is, Flagstad and Melchior never commercially recorded a complete opera together. For that matter, Melchior never recorded any complete opera...
...Hoog at the Orangerie in Paris this summer, the man belonged to no movement. His rainbow-hued paintings shared very little with cubism. "But they're painting with cobwebs!" was his reaction to the sober, niggling brown-and-gray facets of the first cubist pictures he saw. The tenor of Delaunay's imagination was different: coarser, more exuberant. In a crucial sense, it was more modern as well...
...sleepy ballad while making rhythmic clicks deep in his throat to provide a percussive counterpoint. Jarreau's vocal antics on this LP are confined to a guitar (Fire and Rain), flute (Glow) and bass (Hold On). But Jarreau is no mere sound effects man. His husky tenor is agile and warmly appealing...
...Words a Day. No hint of such a source comes to light in the little that is known of Sabatini's reclusive life. The son of an Italian operatic tenor and an English soprano, he was raised in Oporto, Portugal, where his father found work as a singing teacher. The boy went off to school in Switzerland and at 17 got a job as a clerk in London. One day in 1901, rising 26 and bored with answering foreign mail for a rubber company, he dashed off a short story in English and sent it to a magazine. Within...
...cannot fail to mention Tom McDermott's lovable portrayal of the tired old Adam, a role that some evidence indicates Shakespeare himself originally played. Praise too for Keith Baker, making his AST debut as Amiens; not only does he speak well but he proves himself an absolutely splendid tenor in rendering Lee Hoiby's songs. And the bright E-major setting of "It was a lover and his lass," the loveliest song in all the plays (albeit extraneous here), is enchantingly and impeccably sung by two little boy-sopranos, Harold Safferstein and David Vogel. These lads then scatter blossoms...