Word: tenoritis
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Conductor Attilio Poto's conception of the symphony seemed good, emphasizing both the power and the humor of the music. The Brandeis chorus showed off wonderful soprano and alto sections; the men were somewhat weaker in tone quality. The best of the soloists was tenor Carl Nelson, whose voice was throaty but well-handled. Baritone Edmond had a fine voice but made a false entrance in the solo quartet near the end of the symphony...
...speeches this year. The first, made last summer but published only last month, decreed a drastic stepping-up of farm collectivization (TIME, Dec. 5). The second speech, made six weeks ago, was called "Socialist Transformation of Private Industry and Commerce." It still has not been made public, but its tenor can be judged by a sudden spate of propaganda on the evils of free enterprise. Nanking's Hsinhua Daily took aim at the "lawless bourgeoisie" for using "sugarcoated bullets" in its "attack against the working class." Apparently the remaining shop owners, who are forbidden to close up their businesses...
...Hoffmann had some serviceable singing by the large cast, with Tenor Richard Tucker in particularly mellow voice and French Baritone Martial Singher singing with enormous power and control. Roberta Peters was the pert doll. The standout was Soprano Lucine Amara. who brought to the stage the kind of dazzling vocal splendor that made the Met famous. The sound of her voice was eggshell-fragile, sunset-colored, and so surprisingly powerful that the audience burst into cheers at the end of her big aria...
Champagne Diet. Monteux gets his results partly by impeccable musicianship, partly by his remarkable vitality, partly by personal appeal. Says Tenor Tucker: "I love him. I want to hug him the minute...
...glow was brighter than ever, for Soprano Callas had just signed a contract as leading soprano next fall with Manhattan's Metropolitan Opera. Il Trovatore's first notes, when she stood in slender profile in her crimson robe and sang of her love for an unknown troubadour (Tenor Jussi Bjoerling), until she took poison and died in Act IV, her voice contained some of the bite and much of the richness of a clarinet. But its quality was warmed and softened with womanliness. It floated with effortless grace, swelled until it filled the whole block-long auditorium, tapered...