Word: tenoritis
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...front-page news story in Tuesday's CRIMSON [on 'The Double Helix'] is reasonably accurate, although I might complain of a couple of direct quotations made out of context. Nor can I object in general to the tenor of the editorial which appears in Wednesday's CRIMSON. But the editorial is in some parts definitely unfair and inaccurate...
...conductor was as capable of holding his ensemble back as bringing them out. The tenor aria in "Herr, gehe nicht ins Gericht" (BWV 105) contains many rapid sixteenth-note passages in the instrumental parts. Tenor Karl Dan Sorensen displayed a voice that was light, supple and unforced, but nonetheless somewhat diminutive--potentially something of a problem in Sanders Theatre. But Kirchner kept the instrumentalists down to a virtuosic pianissimo, and in spite of the busyness of the parts and his own brisk tempo, the aria was a model of balance and clarity...
...vocal typecasting that prevails in opera, sopranos play the heroines, winning the glory as often as they win the tenor. Lower-voiced mezzo-sopranos, on the other hand, usually end up on the limelight's fringes, portraying a disappointed rival or a sister-and wishing they were sopranos. As a result, the soprano field tends to be overcrowded. Two decades ago, Bronx-born Regina Resnik, a dramatic soprano with a rich lower range, found the field so overcrowded that even her widely recognized abilities were not taking her to the top. "I was just a talented youngster compared with...
...fateful faro game and an old countess who is scared to death. That's right, scared to death by a mad gambler named Herman. In this recording, the role of the Countess is fairly well sung by Mezzo-Soprano Valentina Levko, and Herman is less well sung by Tenor Zurab Andzhaparidzye. The other principals validate Russia's pride in its bassos and baritones, and embarrassment for its screechy sopranos. Boris Khaikin conducts the Bolshoi's orchestra with conviction-which is not an attitude easily assumed for this opera...
Primary Spark. Yet Mehta's motions are by no means shallow showmanship. They help make his performance "live all the time," in the words of Met Tenor Nicolai Gedda, who sings under Mehta in Carmen. Says Gedda: "He does not drag and he does not rush; he has the kind of pulse that is absolutely right." This is Mehta's essence as a musician: an instinct for the living pulse of a piece of music, along with a molten core of romantic feeling and a point-of-no-return commitment...