Word: tenoritis
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...Radio City Music Hall (billing himself as Robert Field). For a while he was master of ceremonies in Manhattan's big, lowbrow nightclub, Leon & Eddie's. But for a man who wanted to get into opera, he seemed to be making no progress at all. By 1947, Tenor Rounseville, aged 30, found himself in vaudeville...
Last week, Tenor Rounseville finally got success, of the kind he wanted. With financial help from his home town of Attleboro, Mass., he had worked hard with a teacher, spent the summer of 1948 at Boris Goldovsky's opera school at Tanglewood. After a student production of the Fountain Scene from Pelléas and Mélisande there, he landed a chance to sing Pélleas in the New York City Opera's closing performance last year. Ace French Repertory Conductor Jean Morel liked Rounseville's big, wide-ranging tenor voice, taught him to sing...
...Richard Tucker had never before tried the big, dramatic tenor role of Radames; Toscanini's favorite soprano, red-haired Herva Nelli, who had had to hold herself in as Desdemona in his 1947 broadcast of Otello, was getting a chance to open up as Aida. He had picked three newcomers: slim Norwegian Contralto Eva Gustavson (Amneris), who arrived in the U.S. last October, young Canadian Bass-Baritone Dennis Harbour (the King of Egypt), who a fortnight ago won the Met's radio auditions, and Soprano Teresa Randall (the Priestess), a finalist in the same contest. Baritone Giuseppe Valdengo...
Highest praise must go to the principals. The generally high quality of both singing and acting fully compensates for the absence of big names. Brian Sullivan sings the tenor role of Grimes with understanding realism, and Ellen Orford, the widow schoolmistress, is touchingly played by Polyna Stoska...
Verdi: La Forza del Destine (Maria Caniglia, soprano; Ebe Stignani, mezzo-soprano; Galliano Masini, tenor; Tancredi Pasero, bass; Carlo Tagliabue, baritone, and others with the EIAR Symphony Orchestra and chorus, Gino Marinuzzi conducting; Cetra-Soria, 36 sides). Some of the singers made Verdi's less worthy opera sound far better than the Aïda. Recording: good...