Word: tenors
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Dates: during 1950-1959
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...fact that the Lyric Opera's orchestra is a competent but far from first-rate pickup group. But he kindled a performance of ravishing warmth and coloration, better by far than anything previously heard from the Lyric Opera's pit. With Soprano Birgit Nilsson as Isolde, Tenor Karl Liebl as Tristan, and Mezzo Grace Hoffman as Brangaene, Rodzinski shaped a youthfully vibrant production, as remarkable for its knotted dramatic tensions as it was for its moments of shadowed repose...
Onstage in Dallas last week, this exchange took place in Italian between Maria Meneghini Callas and Tenor Jon Vickers in a new production of Medea (see below). But it also summed up Maria Callas' offstage exchange with a far more improbable Jason-the Metropolitan Opera's Rudolf Bing, who last week stunned the Met's public by casting Maria Callas out of his golden opera house...
...starting her first-act aria reclining voluptuously on the steps leading to the open-air stage; Canio, ripping off his white clown's coat at the opera's end, revealing a blood-red shirt. All in all, it was a topnotch new Pagliacci, thanks partly to robustious Tenor Mario Del Monaco, who not only burned the gold paint off several rear boxes with a scorching Vesti la giubba, but turned in a chilling acting job as well...
Mario Del Monaco, 39, tenor, singing opposite Tebaldi in this week's opening Tosca. Endowed with the most glorious top register in all opera, Del Monaco came to the Met in 1952 after serving in the Italian army and making his big-time debut at Covent Garden. Short, stocky and a shouter, Del Monaco commands ringing B-flats that have made a name for him in all the roles-Pagliacci's Canio, Samson, Aïda's Radames-in which vocal volume, height and brilliance are needed simultaneously. His interpretation of Otello, by critical consensus...
Richard Tucker, 44, today the world's best tenor. A Brooklyn boy, Tucker sang as a cantor in the neighborhood synagogue, for years owned his own textile business, broke into the Met in 1945 with almost no previous operatic experience. He freely confesses his lack of acting talent, but under proper direction he has produced some fine dramatic characterizations, e.g., Don José, Turiddu, Farrando in Così Fan Tutte. He has a big, warm, sensuous tenore robusto...