Word: tenoritis
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...Florence Festival documents the origin of her reputation as one of the finest dramatic sopranos in opera history. Her voice then had an almost unbelievable poignancy and precision, reinforced by an intelligence that makes most other singers' version of the mad scene seem like inane twittering. Tenor Giuseppi Di Stefano, Baritone Tito Gobbi and Conductor Tullio Serafin provide rousingly good support...
...especially in the opening violincello recitative which comes just before the main theme dispels Beethoven's irresolution. The solo quartet, however, was unconscionably bad. The bass, Mr. Mac Morgan, was totally inadequate to his tasks, displaying no vestige of tone and only a certain diaphrammatic eloquence. Paul Huddleston, the tenor, was the best of the four soloists, but was unremittingly routine. The two women, soprano Chloe Owen and contralto Mary Davenport, sang like superannuated Valkyries, spoiling the quartet passage with their mettalic loudness, and obliterating every bar they touched...
...College Bowl and then watched the program the next day. What flashed by on the television screen was a competitive event in which points and camera exposure were gained by making prescribed responses to specified stimuli. For those in the studio the situation also had an us-against-them tenor, but our opponents were not the so-called Daily News team. The real enemies were the show's producers, the television functionaries who might better be called the Emotion Control Meanies...
FRANCO CORELLI: GRANADA AND OTHER ROMANTIC SONGS (Capitol). Corelli uses his miraculous equipment unstintingly. He never underestimates the power of a note, especially a high C that he can hold until even his listeners feel short of oxygen. His powerful dark tenor nearly steamrollers the modest little songs on this disk; few of them justify the fervor with which he belts them...
Corsaro also concluded early on that he was not going to be influenced by Gounod's score, either. "It's sweet, it has charm and grace, and it's romantic -but it can bend any number of ways," he explains. Fortunately, Soprano Beverly Sills (Marguerite), Tenor Michele Molese (Faust), Bass Norman Treigle (Mephistopheles) and Conductor Rudel were on hand to see that it did not bend too much. Some traditionalists felt that it was going too far to deprive Marguerite of her usual departure for heaven in full view of the audience. But Corsaro decided that angels...