Word: tenoritis
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...Destino, the first great ovation was reserved for Soprano Renata Tebaldi, making her first Met appearance of the season in the role of Leonora. But in the second act, Baritone Leonard Warren came on as Don Carlo and promptly mesmerized the great house in the famous duet with Tenor Richard Tucker as Don Alvaro. Later, dressed in the gold and black uniform of a Spanish grenadier, Warren soliloquized about his gravely wounded comrade-in-arms: "Morir! . . . Tremenda cosa!" ("To die! Tremendous thing!"). Finally he sang the great aria, "Urna fatale del mio destino" ("Fatal urn of my destiny"), giving...
...Voice Stopped. Tenor Tucker, who had been standing in the wings joking with General Manager Rudolf Bing and Warren's wife Agatha, had just commented, "What a glorious voice!" when the voice stopped, and he turned to see Warren on the floor. He ran onstage as the curtain fell, crying "Lennie, Lennie, what is it? Get back to yourself!" While Baritone Osie Hawkins attempted mouth-to-mouth respiration, the Met's house physician sent for oxygen from the first-aid room...
...Traviata, the title role in Simon Boccanegra. What Warren lacked in natural acting ability he more than made up with his remarkable and splendidly controlled voice; it had impressive size, fine texture and immense range. Warren even commanded the top notes, including the high C that many a tenor lacks...
...started his musical career as a tenor back in the days when he was attending Evander Childs High School in The Bronx. Born. Leonard Warrenoff, son of the Russian-born owner of a fur shop, Warren dabbled in singing until he was 14, dropped the idea, returned to it as a baritone when he was 19, and started studying seriously. In the Depression years he worked in his father's shop, then landed a job in the chorus at the Radio City Music Hall...
Three Regimes. Since that first Aïda, Mezzo Belleri (who was married to Tenor Lamberto Belleri, also a longtime member of the Met chorus until his death in 1945) has appeared in more than 100 different operas, often in as many as eight performances a week. And she has witnessed three management changes - Giulio Gatti-Casazza, Edward Johnson and Rudolf Bing...