Word: tenors
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Dates: during 1980-1989
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...magazine so bedazzled by its own tradition-repeating every February its original cover of a dandy, Eustace Tilley, eyeing a butterfly through a monocle-The New Yorker has changed a lot. There have been two New Yorkers. The original reflected its founding genius, Harold Ross. ("Its general tenor will be one of gaiety, wit and satire," the prospectus said. "It will hate bunk," and would not be "edited for the old lady in Dubuque.") Its clever, brittle style survived the Depression but seemed frivolously out of sync when World War II began. So, war coverage was introduced, culminating...
Offensively, the Crimson was unstoppable, finally meshing all its varied skills to chalk up 90 points for the first time since the December 1 MIT game. Dixon's assist to forward Joe Carrabino with 6:48 to play illustrates well the tenor of the contest...
...little more than a month after Jimmy's defeat, do townspeople feel the pride of four years ago, the fervent expectancy encouraged in his always fragile Irish tenor at his swearing-in: "That when my time as your President has ended, people might say this about our nation-that we had remembered the words of [the prophet] Micah and renewed our search for humility, mercy and justice ... that we had enabled our people to be proud of their own government once again...
Verdi: Aïda (Mirella Freni, soprano; José Carreras, tenor; Agnes Baltsa, mezzo-soprano; Piero Cappuccilli, baritone; Ruggero Raimondi, bass; é van Dam, bass; Katia Ricciarelli, soprano; Thomas Moser, tenor; Vienna State Opera Chorus and the Vienna Philharmonic, Herbert von Karajan, conductor; Angel; three LPs). That old Ethiopian slave girl and would-be war bride finds a new and glorious incarnation in Mirella Freni, whose voice may not move pyramids but finds its way to the heart of the role. This is particularly true in the Nile Scene, where Aïda tussles with her passion for Radames...
...show's most touching number, "Thank Heaven for You", Everett Gibson, a solid tenor whose voice fills the theater with a marvelous operatic resonance, and Cheryl Coston, a petite soprano with a versatility that can conquer both ballads and jazzy scat-singing, perform a coppella love song that showcases the two most distinctive vocalists in a singer's show. Gibson and Coston dominate throughout, invigorating their songs with a range of expression that many of the other more static soloists lack. Although the choreography is both graceful and jazzy, the frozen and unnecessary presense of several non-singing...