Word: tenoritis
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Dates: during 1970-1979
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...sold more than 86 million records in the era of crank-up phonographs; of lung cancer; in Palm Springs, Calif. Austin began his career as an entertainer by pounding bawdyhouse pianos. After a stint in vaudeville, he moved to the recording studios of RCA Victor, where his drawling tenor made hits of tunes like How Come You Do Me Like You Do? and Ramona. His biggest success, My Blue Heaven (1927), became his theme song...
While you did not draw conclusions thereon I was concerned with the tenor of your Atlantic article and especially its editorial introduction (which must have had your tacit assent) suggesting at least to this reader that the answer to (2) might well also be positive. The statement in your letter, that "while the difference may be more or less genetic, we do not, at this time, have the data to permit a further conclusion," leaves me with the same flavor. As close reading of paragraphs 5 and 6 of my letter will show, it was the support (or lack thereof...
...conductor of Wagner, makes the opera brilliant and unabashedly grand. As Venus, Mezzo-Soprano Christa Ludwig seethes with eroticism, suggesting a world of impossible sexuality. Soprano Helga Dernesch as Elisabeth, Wagner's virginal opposite to Venus, is the perfect embodiment of pinched Victorian purity. Best of all is Tenor René Kollo, a German pop singer metamorphosed into a Heldentenor, who sings Tannhäuser with a gleaming tone, power, and a dramatic force unequaled since Lauritz Melchior...
...hopes to return the house somewhat to its original conception of a resident repertory company by drawing on a "really good" new generation of British-trained singers. Figaro, for example, boasts several comparative youngsters who had never sung important roles at Covent Garden before the Davis regime (among them Tenor Robert Tear and pearly voiced Soprano Kiri Te Kanawa, who scored a sensation as the Countess). Says Davis: "If I find a dozen first-class singers, we shall have what we want. Then we can stimulate ourselves and our audiences by importing guests. But I don't want international...
...group's members noted that Adams had taught them a great deal not only about the individual pieces under rehearsal, but about musicianship, vocal technique and music history as well. The tenor said. "In the Bach Motet, John continually points out the musical symbolizations of the text. I had always known that Baroque, music did that, but I tended not to notice it as much as I do now. I sing much more intelligently now." The soprano agreed: "It's difficult to mediate between concentrating on the small, glorious moment and the macrostructure of a piece of music. John points...