Word: tenorizing
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Although the Faculty purposely allowed a wide interpretation of the work study program in 1971, Whitlock said, "the tenor of the times has changed...
Manrico, the tenor troubadour in Il Trovatore, may be the biggest patsy among all the operatic heroes created by Giuseppe Verdi. Just stir up a little trouble and Manrico will dash off to get involved-usually with disastrous results. At the end of Act I he rushes forth to outduel the evil Count di Luna, but he spares the count's life and later gets stabbed for his trouble. At the end of Act III he races to rescue his adoptive mother Azucena; both end up in prison...
...role of Manrico that Italian Tenor Luciano Pavarotti presided over the opening of the Metropolitan Opera's 92nd season in New York last week. Weighing in at well over 300 Ibs., his swordsmanship lightheartedly heavy handed, Pavarotti did little visually to make a believable character of Manrico. Vocally it was another matter. This was the kind of elegant, radiant singing that has made Pavarotti the most exciting lyric tenor in all opera. For Pavarotti and opera fans alike, Manrico was a major turning point in a notable career. It was the first time at the Met that Pavarotti...
...until the point where even Cotton Mather would be urging them on that Barrault and Lanoux bed down. We are then treated to the much touted "healthy sensuality." I confess to being moved by much of this. There is a child-like and playful tenor to the sexuality here that is refreshing and just as real as the pathologies so often paraded before us. Rarely has lovemaking on the screen been so suffused with intimacy. Yet there wasn't one moment anyone could really call erotic. Lanoux and Barrault seemed at times almost de sexed, one with his roly-poly...
...particular a worker finally makes love to his reluctant bride when, in the midst of his hot pursuit, a television falls and she has to thrust her arms defenselessly behind her head to keep the set from smashing. Even this bit may upset some, and the over-all tenor of the film is probably exemplified better by a bizarre "dance" of beef carcasses in a slaughter house, done to an operatic score. The entire image suggests Wertmuller's perverse opinion of her characters, and it certainly shows the possibilities of fervid imagination pitted it now seems clear after five features...