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Bass player Timothy B. Schmit, a former member of Poco who replaces Meisner, adds a new dimension to the Eagles, tempering the fury of The Long Run with his romantic "I Can't Tell You Why." Schmit's haunting tenor elevates run-of-the-mill lyrics to a sensitive, convincing level. In fact, the cut epitomizes what makes the good songs on this album click: they're from the heart, reflecting the experience and professionalism of the band members--they indicate the Eagles' ability to work creatively witnin the framework of their talents...

Author: By Nancy F. Bauer, | Title: Where Eagles Dare | 11/13/1979 | See Source »

...program. Each year it brings guest artists to Harvard to work on a small scale with undergraduates. Last year, the program brought the director of Broadway's Pacific Overtures. He ran a three-part seminar with students interested in theatrical direction. This year the office will offer seminars with tenor Paul Sperry and playwright Jonathan Levy. Sculptor Ann Sperry will offer a seminar as well as lecturing about contemporary American women artists. "We want to get students involved with artists in a way that they couldn't themselves," Mayman says, and the personal interaction that goes on in the seminar...

Author: By Suzanne R. Spring, | Title: Portrait of the Arts as a Young Program | 11/3/1979 | See Source »

Luciano Pavarotti is the finest operatic tenor since Jussi Bjoerling, if not since the legendary Enrico Caruso. Ah, but you have to hear Pavarotti in concert. When all 300 Ibs. of him were here in our lovely Music Hall, the city fathers were concerned that the stomping of those in the balconies might cause the balconies to collapse...

Author: /time Magazine | Title: Letters, Oct. 15, 1979 | 10/15/1979 | See Source »

...Tenor Placido Domingo was masterly in his first Otello in New York (he has performed it 40 times elsewhere and recorded it for RCA). Dramatically, he projected a strong warrior but a vulnerable man, a noble nature whose obliviousness to evil turned all his strengths-his depth of feeling, his decisiveness, his simplicity-to fatal weaknesses. The cruelly demanding role requires Otello to sing full-out the moment he walks onstage, with the famous cry of triumph, Esultate!, and scarcely ever allows him to let up thereafter. Domingo's voice was exhilaratingly equal to it all-dark and thrusting...

Author: /time Magazine | Title: Music: The Met, the Moor and the Eye | 10/8/1979 | See Source »

...tenor spends a month with his family in a converted farmhouse overlooking the Adriatic in Pesaro. Here, after eleven hectic months as a public performer, he can be a private man, an Italian papa. After a whirl of cosmopolitan continent-hopping, he can return to his cultural roots...

Author: /time Magazine | Title: Music: Privacy, Pavarotti Style | 9/24/1979 | See Source »

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