Word: tenors
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Dates: during 1940-1949
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...stage performance of Boris Godunoff, which opened the Metropolitan Opera's diamond jubilee season last week, Critic Downes was right. The horse, a splendid specimen of white charger from the Ben Hur Stables, succeeded repeatedly in bringing down the house. On several occasions as his rider, Tenor Armand Tokatyan, soared toward a top note, the animal turned a ripely expressive backside to the audience and obliged Tokatyan to sing squarely into the scenery...
...also plays at least 15 musical and questionable instruments, to wit: banjo, fiddle, guitar, French harp, tenor guitar, ukulele, trumpet, accordion, piano, twelve-string guitars, Jew's-harp, dulcimer, five-string banjo, hand saw, rubber gloves, "and a tune I makes by just slopping against my cheeks with my hands." Tobalcker & Opry. How she acquired these abilities is something of a mystery, even to Cousin Emmy. She was born, next youngest of eight children, 12 miles from the nearest railroad at Lamb, Ky.-the family lived in a two-room log cabin which "had cracks between the walls...
Enrico Caruso made his dazzling international reputation in Manhattan's Metropolitan Opera. The son of a wine-swilling Neapolitan mechanic, he started as one of the many bush-league Italian tenors of the '90s with a voice so deep that he was accused of being a baritone. Not for several years did he discover his golden tenor range and enormous volume. And even with these assets, his Metropolitan debut in 1903 was no smash. Critics found his acting inferior and his vocal style coarser than that of his great, aristocratic predecessor, Jean de Reszke...
Dickerson, up from New York's Downtown Cafe Society, blew some magnificent, dirty trombone and was the hit of the affair with his horn and vocal and Black and Blue. Newton and Morgan shared the vocals on a blues that also highlighted the session, and Arthur Karle (ex-Goodman tenor saxophonist) knocked out the crowd with several fine choruses. The musicians form something of a mutual admiration society and it certainly showed in the wonderfully cohesive ensembles they improvised on most numbers...
...young ladies' faces and shoes on young ladies' behinds, here develops his tenderest relationships with middle-aged ladies (the Misses George, Main and Hattie McDaniel), and each of them is worth a dozen average love scenes. Edward McNamara (an easygoing friend of the Cagneys whose fine, fresh tenor Caruso once coached and whom Madame Schumann-Heink once "discovered" as a caroling Jersey cop) is something new and convincing in villainy. He looks like neither a swindling person or the unconfessed byblow of a neanderthal rake, but like the sort of hard-soft, period Irishman he is supposed...