Word: tenoritis
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...have come bearing an olive branch and a freedom fighter's gun. Do not let the olive branch fall from my hand." Yasser Arafat's tenor voice was urgent and his fluid arms moved to match his Arabic imagery last week as the leader of the Palestine Liberation Organization (TIME cover, Nov. 11) concluded an extraordinary 80-minute speech to the United Nations General Assembly. Arafat, dressed in a fawn windbreaker and brown trousers and wearing both his familiar black-and-white checkered kaffiyeh and a pistol holster, which aides insisted was empty, finished his perorations, walked away...
...After 25 years, you are not what you were," reflected Diva Maria Callas last week. Though critics have been telling the volatile prima donna something like that for years, the Callas star quality still blazes in Japan where she and Tenor Giuseppe di Stefano have drawn sellout audiences and 40-minute curtain calls during their concert tour. Pausing in her $330-a-day Tokyo hotel suite, where the air-conditioning ducts were sealed to protect the famous Callas cords, the star spoke of her on-again, off-again career. "At a certain point in my life I had wanted...
...Kosy as a fantasy-spinning child. She takes a potentially pedestrian part and makes it fly, in a technically superb performance. Her fifteen-minute sequence is almost worth seeing for its own sake. But the remainder of the cast is undistinguished. Joanna Temple accentuates the already brittle, shrill tenor of Toni's role. Sheila Greene as Nina does little to pry her part loose from its rather uninspired box. Only Joan Trachtman as Toni's mother seems unhappily tethered to a very limited script. One senses she could do a great deal more with the part, given a little room...
...fails to deal with the then up-and-coming black musicians, particularly John Coltrane and Eric Dolphy, who when the movie was made were far from their deathbeds. And more importantly, he precludes any sort of white imitations arising, a viewpoint which the plangent sounds of John Klemmer's tenor sax go far to dispute...
...tales to tell that match her effortless animation: of studying intermittently but intensely with Albert Schweitzer, her spiritual mentor, in Africa during the 1950s; of Artur Rubinstein and Bruno Walter, who were patrons when she was searching for an orchestra to lead; of a fight with Tenor John Charles Thomas, who refused to perform in concert with a woman as a conductor. In the 1930s Antonia organized an all-woman orchestra in New York. Later she brought men into it, because, as she says quite reasonably, "women and men are together in life." Along with her various orchestras, sheponducted...