Word: tenoritis
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Then the entertainment began, swinging from rowdy boogies to fervent waltzes, all in praise of the Lord. First was the Gospel Melody Quartet, then the Harmoneers, featuring Tenor Happy Edwards in eye-rolling low comedy, the LeFevre Trio (Eva Mae and Urias LeFevre plus Little Troy Lumpkin) in an almost solemn harmonization of In My Father's House Are Many Mansions. After that came M. C. Fowler's own group, the white-suited Oak Ridge Quartet, then the Blackwood Brothers, who brought down the house with Have You Talked to the Man Upstairs?, and Atlanta...
Hulking Hollywood Tenor Mario Lanza was a big box-office hit 3½ years ago in The Great Caruso. But when his temperament interfered with his work on The Student Prince, M-G-M canceled his contract (TIME, Sept. 15, 1952). Lanza relaxed in his rented ($2,000 a month) Beverly Hills house, eating well while his already overstuffed bulk swelled...
When CBS offered him $40,000 to appear on Shower of Stars, Tenor Lanza announced he would make his long-awaited comeback. He dieted furiously and reduced his weight by 40 Ibs. But when it came time to loose the famous voice, he was too weak from dieting. CBS, deciding that Lanza was too big a name to drop from Shower's première, tried a secret expedient. When the monthly show opened last week with Betty Grable and Harry James, Mario merely mouthed the lyrics while some of his three-year-old recordings provided the sound...
Venice's handsome La Fenice theater was festively decked with roses as the full-dress crowd drifted in from gondolas. On hand in person to conduct the world premiere, wearing a white suit and red tie, was Composer Britten, 40. On a stark stage, British Tenor Peter Pears sang the prologue ("It is a curious story. I have it written in faded ink . . ."). From then on. the plot followed the outlines of the Henry James chiller about a young governess in an English country house who attempts to protect her young charges from the evil doings of a pair...
Cathedral Hush. Everything following might be expected to be anticlimactic, but Berlioz achieves perhaps his greatest effects in the quieter passages that grip the heart after all the thunder. The superb Sanctus calls for a tenor solo in which, by a dazzling piece of orchestration, the single, defenseless human voice is set off against the relentless clash of cymbals; and in the sweet, concluding Agnus Dei, there are chilling traces of jagged pagan rhythms (later used by Stravinsky). Conductor Munch tenderly and forcefully drove toward the end, spinning out the Amen with a loving final touch. A cathedral hush hung...