Word: tenoritis
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Last week, during the intermission of Alcestis (see below), Tenor Martinelli, 66, was holding court as usual, elegant in evening clothes. He had a lot more to discuss with his friends and courtiers than old times at the Met. A man who still bubbles with force, Martinelli is lifting his voice in public again on TV programs, and having the time of his life. Says Martinelli: "Old tenors never die, they simply fade away...
...Martinelli took pleasure in setting him straight. "I can sing as well as I ever could," he insists-although "I would not say I could get through Otello or Aïda now." Those who heard him sing Ideale were surprised at the ease and quality of the old tenor robusto's voice. The catch, and the reason for his retirement from the Met in 1945: "It is the heart . . . When one is older, the heart cannot bear the strain and worry and excitement [of the opera stage]. It tells on the voice." However, he finds TV more pleasure...
Flagstad was statuesque in the white robes of the Grecian queen, yet touchingly human at the same time. As always, her voice filled the cavernous Met with its thrilling power. But it was also rich with an expressiveness that seems to grow more poignant with the years. Tenor Brian Sullivan sang his role of Admetus powerfully, if not always as cleanly as the classical style demands. The staging was a trifle fussy, and the corps de ballet postured like so many figures on a Grecian urn. But alongside the triumphs of the performance, the defects were minor. Top honors: Kirsten...
...made a dramatic debut in a last-minute substitution a year and a half ago as Zerlina in Don Giovanni, announced they would marry this summer. They met while singing Figaro and Rosina in The Barber of Seville, in which Figaro tries to persuade Rosina to marry the romantic tenor, Count Almaviva. Cracked Merrill: "This time the baritone got the girl...
...anyone when Enrico Caruso (in reissues) proved to be the company's No. 2 bestselling classical artist last year (No. 1: Mario Lanza). Quickly recovering from its surprise, Victor has reached into the treasury for more. In one LP, labeled Caruso In Opera and Song, the great tenor can be heard in ten arias, including familiar ones from Il Trovatore, Tosca and La Boheme. Famous Duets includes Caruso and Alma Gluck in La Traviata, and Caruso and Geraldine Farrar in the soaring first-act duet of Madame Butterfly. The quality of recording varies, since some of the originals were...