Word: tenoritis
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Dates: during 1970-1979
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...human "hosts" are four: a black couple, a bright-eyed Irish tenor and a crusty old man. Each is wholly individual, but like the monsters, they all find that no problem can be solved without cooperation. Four hands, they demonstrate, are better than two. In a series of instructional songs, they show that there is no such thing as solo harmony. The show is unsponsored, but it has commercialsrhythmic breaks in the action to "sell" the alphabet and numbers. Its chief target is "disadvantaged" children, its announced goal the teaching of "recognition of letters, numbers and simple counting ability...
From the swirl of contrary trends, ticket-splitting, upsets and dissimilar contests, one result seemed certain: most voters in most places opted for calm, for reasonableness, for a cessation of domestic hostilities. Spiro Agnew, and Nixon in the final days, dispensed bitterness. The current tenor of conservatism was surely there to be exploited, but not by a narrow, harsh approach reminiscent of Nixon in the 1950s...
...Mary Magdalene (Yvonne Elliman) has been etched in melodically with Puccini-like tenderness, and the rollicking minstrel beat under the Apostles' chant, "What's the buzz? Tell me what's a-happening," is a Cakewalk of pure joy. The swinging gospel-rock music sung by Judas (Tenor Murray Head) brings him brilliantly to nagging, skeptical, near-paranoid life. Sound effects add to a building sense of drama: the listener hears the slap of 39 lashes over a satiric rock beat, as well as the noise of nails being driven into the cross...
...welcome exception is Tenor Placido Domingo, who not only looks at his heroines but seems to like them as well. Tall, dark and Teddy-bear handsome, Domingo at 29 is virile evidence that believability and passion are not necessarily inconsistent with operatic love. He has the sweetest and one of the biggest lyric-dramatic tenor voices on the operatic stage, and he phrases his serenades with a taste and elegance unmatched since the days of Jussi Bjorling. As an actor, he is manly, confident and capable of the kind of tender gestures that can thrill girls on both sides...
...Maschera. On Thursday, across the plaza at the New York City Opera, where Domingo broke into the big time four years ago, he played the Earl of Essex to Beverly Sills' Queen Elizabeth in a splendid new production of Donizetti's Roberto Devereux. Like any operatic tenor, Domingo does a lot of theatrical dying. "When you are dying," he says with a wink, "you have more chance to suffer, and the public likes suffering...