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Word: tenoritis (lookup in dictionary) (lookup stats)
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...other principals are somewhat less polished. To Patience Joan Corbett brought a voice that Miss Russell would categorize as "English--pleasant, pure, and utterly sexless." The stock part of the yearning tenor Gilbert has split into two roles, a comic duke and a second poet--this one Swinburne. (One of the chief technical flaws of Patience is W.S.G.'s halfhearted attempts to tinker with a successful and standard formula; the only result is a fragmentation of the familiar.) As the duke, Stephen A. Barre has a few good gestures and not much of a voice. The voice of the "Idyllic...

Author: By Anthony Hiss, | Title: Patience | 4/28/1961 | See Source »

...Grandison Singers-three guileless-looking Negro girls in their 20s and a tenor-pianist-combine all three styles. They prefer to "take it apart and lay it on the table." When they put it together again it comes out something that might be called "distilled" gospel-a style that forgoes the screaming, stamping frenzies common to many a small church choir but that retains the slogging, sanctified beat of jazz and rhythm 'n' blues. As a close-harmony quartet, the Grandisons exude a curiously mingled air of sex and sanctity...

Author: /time Magazine | Title: Nightclubs: Sanctity with a Beat | 4/28/1961 | See Source »

Died. James Melton, 57, handsome strapping (6 ft. 2½ in.), Georgia-born tenor who hit his peak in the 1940s with the Metropolitan Opera and such radio shows as The Telephone Hour; of pneumonia; in Manhattan. A practical-joking extravert who once had an ambulance deliver him to a party on a stretcher. Melton got his first job by bellowing melodically outside the locked office of Impresario Samuel L. ("Roxy") Rothafel, who unlocked the door, hired him on the spot. Almost as well known as his voice was his $250,000 collection of vintage autos, including a one-cylinder...

Author: /time Magazine | Title: Milestones: Apr. 28, 1961 | 4/28/1961 | See Source »

Archie Epp,s a tenor, was principal soloist of the evening, and he is as versatile as the Glee Club itself. Mr. Epps was required to sing both Mozart recitative and American spiritual; this he did very creditably. Frederick Ford, another tenor, whose voice is pleasant and relaxed if slightly husky, sang one of the evening's few folk songs...

Author: By Anthony Hiss, | Title: The Harvard Glee Club | 4/13/1961 | See Source »

...better than that, and Tozzi went to Italy to study. With the help of his teacher, he changed from baritone to bass, a decision he never regretted, although in basso roles he rarely gets the rafter-ringing aria or the girl. He admits to some annoyance when a tenor or soprano "who has been singing lousily all evening gets up there and hits a high note and brings the house down." But on balance, he will stick with the kings, priests, inquisitors and assassins who fall to the basso's lot. Being the villain, he finds, helps...

Author: /time Magazine | Title: Music: The Basso's Lot | 4/7/1961 | See Source »

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