Word: tenoritis
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...music was an intricate work in five movements, the last a musical inversion of the first, the fourth the reverse of the second. Most listenable was No. 2, an aria on the Song of Songs, which British Tenor Richard Lewis made sweet and plaintive as an Urdu love song, each syllable quivering through half a dozen notes. Elsewhere, the 70-voice chorus surged in powerful chant, defeating the squeaking, thudding, 50-piece orchestra. When it was over, Stravinsky bowed to the orchestra in the thundering silence and bounced off. Said one festival official: "In a cathedral the audience cannot applaud...
...when audiences went sour on all the high-flown words, Operettist Rudolf Friml sweetened them up with some pleasant, sugary music. The Vagabond King ran for 511 performances on Broadway, and had every high-school tenor in the country gargling such sentimental favorites as Only a Rose, Someday and The Vagabond Song. Hollywood made a movie of the musical in 1930-not to mention two film versions of the McCarthy play in 1920 and 1938-and now the poor poet's corpse has been dug up once again...
...Technicolor, not VistaVision can conceal the overripe condition of the subject; and the silly new script ("Your rapid maneuvers leave me breathless indeed"), along with a down-the-same-old-rut production, is ill-calculated to restore life. The principals, Kathryn Grayson and a European tenor called Oreste, sing about as well as most people do in the movies, though at times the audience may find itself wishing that Oreste, who can holler pretty loud when he's a mind to, had two names and only one lung...
...fewer than seven iT.P.s on the market, with three more coming soon, for he plays with an ingratiating style that appeals to jazz lovers without frightening record executives. Does he think it is time to pick up another instrument? "Well," says Elliott wistfully, "I always wanted to play tenor sax or flute. But"-and his determination seems to harden-"I play enough...
...that magic moment Ellington's Paul Gonsalves was ripping off a fast but insinuating solo on his tenor saxophone, his fancies dandled by a bounding beat on bass and drums (Jimmy Woode and Sam Woodyard). The Duke himself tweaked an occasional fragment on the high piano. Gradually, the beat began to ricochet from the audience as more and more fans began to clap hands on the offbeats until the crowd was one vast, rhythmic chorus, yelling its approval. There were howls of "More! More!" and there was dancing in the aisles. One young woman broke loose from her escort...