Word: tenoritis
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...came up on the liberation scene. But the rest of Director Herbert Grof's production was dull and conventional. As Leonore, the faithful wife, Norwegian Soprano Aase Nordmo Loevberg showed neither the vocal nor the dramatic power her taxing role demanded. In minor roles, Soprano Laurel Hurley and Tenor Charles Anthony were adequate as the jailer's daughter, Marzelline, and the turnkey Jacquino, and Bass Oskar Czerwenka contributed a strong, virile-voiced Jailer Rocco. But in their first-act quartet in the form of a canon, Mir ist so wunderbar, the four were often shakily uneven. The only...
...hunger for learning. Always a quick study, he could memorize his homework with a reading, and his A record in high school was marred by only one B, in Latin. In high school, too, he was into everything: he played baseball, basketball, football, ran the half-mile, sang second tenor in the operetta, blew the baritone horn in the school band, played piano. He was a Life Scout, captain of the debating team (his coaching methods were successful enough to propel his kid sister into the state declamation championship), and, inevitably, he was class valedictorian. A talent for leadership...
...Wagner with both Odysseus and the Wandering Jew) Baritone George London was convincingly demon-ridden, his voice fresh, passionate but controlled. In the comparatively minor role of Daland, the Norse sea captain, Bass Giorgio Tozzi-convincingly costumed in turtleneck sweater, jacket and boots-sang with warm-timbred verve, while Tenor Karl Liebl turned in his best performance of the season as the huntsman Erik. But the real standout of a standout cast was Soprano Leonie Rysanek in the role of Senta, the self-sacrificing heroine who in characteristic Wagnerian style must die to secure the redemption of her lover...
...seasoned, intelligent performers, neither has the considerable vocal resources or discipline requisite for the taxing part. When Melchior left the Metropolitan's stage in 1949, there was no Heldentenor to replace him. By that time, Set Svanhom, his beautiful voice always a bit too lyric for the heaviest Wagnerian tenor roles such as Tristan and Parsifal, was also to retire. After Svanholm's few remaining years with the company, no one could be found on either side of the Atlantic who could make a reasonable claim to the place in the roster vacated by him. Revivals of Wagner haven...
...gentle, in the manner of Orpheus and the Sonata for two pianos. The considerable body of instruments is never used all at once, but broken into chamber-like groups; even then the instrumental comments are decidedly laconic. Exceptionally, the first movement includes a remarkable passage for tenor and fluegelhorn in free canon, while low sopranos, altos and low violins tremolandi move about restlessly. The peculiar, dark tone of the fluegelhorn (alto bugle) is oddly appropriate in this setting of the most terrible portions of the text. But the canons are the heart of the work. These are uncompromisingly bare...