Word: tenoritis
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Dates: during 1970-1979
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...know that the tenor is a being apart ...? He is not a denizen of this world, he is a world in himself...
...Francisco Opera an Italian tenor named Luciano Pavarotti was singing the role of Rodolfo in La Bohème, Suddenly, midway through the third act, the entire theater seemed to rumble and shudder. Chandeliers began swaying. Members of the audience stood up in confusion; some bolted for the exits. "What is happening?" Pavarotti hissed to the prompter between phrases. "Terremoto?earthquake!" the prompter breathed back. Pavarotti gripped the hand of his Mimi, Soprano Dorothy Kirsten, a little more tightly, but kept on singing at full voice and never missed a beat. The earthquake drew to a peaceful conclusion...
Harvard Glee Club: grumbling emerges from Holden Chapel. Jameson Marvin, the new choral director, walked into a hostile situation and met limited success last year. The all-male chorus sings a varied but small repertoire. Its highlight traditionally is a tenor's rendition of "Loch Lomond...
...Houdini, Tenor Jerold Norman was re-creating his role in the Amsterdam production, and the experience showed in his secure, if rather monochromatic, performance. Other major roles were ably filled by Rita Shane as Houdini's mother, John Brandstetter as his manager and Viviane Thomas as Bess. Conductor Richard Dufallo, who heads Aspen's annual Conference on Contemporary Music (at which Schat is one of this year's composers-in-residence), had the work firmly in hand. His youthful chorus and orchestra managed most of the score's difficulties, though without making them sound any less...
Benjamin Britten: Spring Symphony (Soprano Sheila Armstrong, Mezzo Janet Baker, Tenor Robert Tear, St. Clement Danes School Boys' Choir, London Symphony Orchestra and Chorus, Andre Previn conductor, Angel). Berlin born and Hollywood bred, Previn continues to show a surprising flair for English music. Here he leads a zesty performance of a piece that, like so much English music, makes a strength of its provincialism: it has medieval and folk echoes, strikes a resolutely winsome and pastoral note, and is steeped in native literature (with settings of verses by poets from Herrick and Blake to Auden). Britten composed it when...