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Word: tenoritis (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

Observers questioned tended to agree that Bok probably would not have given the same speech in another House, and that his tenor catered to his audience...

Author: By Mary G. Gotschall, | Title: Bok Writes Open Letter About Gifts, Draws Fire for Kirkland House Speech | 5/8/1979 | See Source »

...Greek family. Sheila is younger, a rock singer, and lives with ambisexual fellow band members in a loft commune. When Sheila explains to Alex that her loft is located in the Little Tokyo section of Los Angeles, he replies, "All those neighborhoods look alike to me." Such is the tenor of the movie's repartee...

Author: /time Magazine | Title: Cinema: Doodles | 4/9/1979 | See Source »

...opening-night audience greeted all this with a mixed but emphatic response. There were cheers for the buoyant conducting of James Levine and the splendid ensemble of Soprano Carol Neblett Tenor William Lewis, Bass-Baritone José van Dam and Bass Paul Plishka. The applause for Ponnelle was mixed with full-throated booing sounds, heard often enough on the Continent but rarely at the Met. New York audiences like their Wagner to be conventional...

Author: /time Magazine | Title: Music: Anti-Wagner | 3/19/1979 | See Source »

Brumit offers glimpses of a variety of modern interpretations, and sticks to none. Raymond Sepe plays Alfred--the Italian tenor who can't control the urge to break forth in snatches of every showpiece aria in the book--like a disco cruiser hoping to score; William Walton at one point debases Eisenstein to use Steve Martin's "wild and crazy guy" line; and Mary Ann Martini gives Prince Orlofsky a German-accented sadism that's hard to take along with Strauss's froth...

Author: By Scott A. Rosenberg, | Title: Taking Vienna Out of Strauss | 3/15/1979 | See Source »

...just an excuse for the dance music. In the famous trio "So muss allein ich bleiben" ("I must remain alone, then"), Rosalinda--whom Gretchen Johnson plays with vocal agility but no sense of style--begins lamenting her parting with husband Einstein. But she, Eisenstein, and Alfred the mad Italian tenor keep breaking out of the mock tragic music into a perky little waltz, as if to tip the audience off that nothing happening on the stage is terribly important...

Author: By Scott A. Rosenberg, | Title: Taking Vienna Out of Strauss | 3/15/1979 | See Source »

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