Word: tenoritis
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Dates: during 1970-1979
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...soloists in the Passion were, for the most part, top flight. Karl Dan Sorensen, as the Evangelist, had a remarkable tenor voice of incomparable beauty, given a slight tendency to thin out in the upper register. Francis Hester as Jesus was beyond praise, giving a flawless performance of a beautiful part. Nancy Wilson, a sophomore called in at the last minute to fill in for the ailing soprano, did a splendid job, handling most of her role as if she knew it by heart. The choruses were in wonderful shape, as was the first orchestra which handled itself remarkably well...
...leading member of this crew is Israel Horovitz, who wrote The Indian Wants The Bronx, and now Line. Other playwrights with a similar tenor of mind are John Guare (CopOut, The House of Blue Leaves), Kurt Vonnegut Jr. (Happy Birthday, Wanda June), and Jules Feiffer (Little Murders, The White House Murder Case). In a sense, they are all cartoonists (as Feiffer actually is), commenting on life, but never really bringing life to birth on the stage. They all write rather like Madison Avenue dropouts, reaching for the zingy zany line that will somehow sell their intrinsically pessimistic little packages. They...
...making. Begun as a project for expository writing on "Why I Came To Harvard," it soon emerged as a more expansive account of Innis' four years at this school. However, far from being just another embellished journal, the work, by sophomore year, had become a revealing description of the tenor of undergraduate life. Innis' peculiarly idiosyncratic career (he attended Exeter and came to Harvard, joined the CRIMSON, majored in Soc Rel, and spent his summers as a Newsweek correspondent while also teaching black ghetto children, allows him to achieve a distance from the insulated condition of Cambridge life. Saved from...
...ultimate snobbery is the snobbery of pain, the ultimate snob may be the vanquished German soldier-Siegfried, in the agony of defeat, singing a prouder tenor than his enemies can manage in victory...
...brassy surface excitement that had a celebrity-filled audience cheering to the chandeliers. Save for a shaky Abscheulicher! in Act I, Soprano Leonie Rysanek as Leonore rescued her mate Florestan from Pizarro's dungeon with a heroinism that any latter-day Women's Lib leader would envy. Tenor Jon Vickers gave glorious vocal heart to Florestan's piteous degradation. Austrian Stage Director Otto Schenk clothed the production in medieval-dungeon darkness that gave way brilliantly at the end to the blinding whiteness of day-and freedom. Though the Nazi-like greatcoat worn by Pizarro (formidably portrayed...