Word: tenoritis
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...voices two tenor and two bass are tolerably strong the orchestra disciplined and subdued; the only touch that proves more distracting than ingenuous is the "Creative" black tie of the soloists, which includes a woven Indian style smock along with the cummerbunds and so forth. But what happens on stage necessarily leaves them pale by comparison. Carlo Rizzo who dances the rooster is astonishing as is Susan White as the Fox; the latter in a scarlet body stocking attacks and "dies" with a sinuous grace while Rizzo does best in the rooster's moments of sweaty panic. In one such...
...years later, just after Dinah's death in a suicidal, drunken car crash. There are now ten characters instead of two: the couple's son Junior (Baritone Timothy Nolen) and daughter Dede (Soprano Sheri Greenawald, in an outstanding performance); Dede's bisexual husband François (Tenor Peter Kazaras), who was formerly Junior's lover; Dinah's brother; her best friend Susie; an analyst; the family doctor and his wife; a funeral director; and, of course, Sam (Baritone Chester Ludgin). Balanchine's famous dictum that there are no mothers-in-law in ballet...
After considering the arguments, the N.C.C. delegates will reconvene in November to vote on the Metropolitan application. If that passes, a second ballot by the delegates, and then by each denomination in the N.C.C., will occur in May 1984. From the tenor of last week's debate, the homosexual church has little chance of being accepted...
...production that was proper right down to the last parasol. There wasn't a bumbershoot of any description on the Lyric stage. No fans either. They were replaced with tokens and totems of the new pan-Orientalism: signs that blink out Sony, Seiko and, inevitably, Coca-Cola; NankiPoo (Tenor Neil Rosenshein), the wandering minstrel, transformed into a rocker with a red guitar; Yum-Yum (Soprano Michelle Harman-Gulick) in a flared short skirt and visor cap, giggling and jawing gum like a Tokyo Valley Girl; and the Mikado himself (Bass Donald Adams), arriving onstage, with all appropriate ceremony...
...opera from stage to screen lies in respecting the musical source but exploit ing the film medium's restless, inquiring mobility. As both a film maker (Romeo and Juliet, The Champ, Endless Love and an experienced opera director, Zeffirelli understands both genres. In Soprano Teresa Stratas (Violetta) and Tenor Placido Domingo (Alfredo), he has chosen two exceptionally convincing singing actors. But film also demands motion, sweep and scope, so at intense moments the camera breaks free of its traditional front-row-center moorings and begins to roam. As counterpoint to Alfredo's second-act aria, in which...