Word: tenors
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Dates: during 1990-1999
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...Hate You Then I Love You, Dion makes the mistake of having opera star Luciano Pavarotti join her in a duet. Now, inviting Pavarotti to sing a fluff-headed pop song is like asking Picasso to paint your house--it's just not practical. Pavarotti's big, clear tenor easily trumps Dion's showy yelp, and he doesn't stop there--he goes on to overwhelm the song's flitty lyrics and thrash its slight melody. Final score: Pavarotti: 3, Song: 0, Dion: 0. And while we're at it, give Dion a zero for this album...
...character of the Sorceress, who takes on the role which the gods held in the classical story of Virgil's Aeneid. This part, an alto role traditionally assigned to female singers, is performed by a male student, Christopher Thorpe '98, who someone must have decided was a counter-tenor of some sort. However, all of his lines sounded as if they were sung in a bad falsetto. The odd effect was emphasized by a very strange makeup job which made Thorpe's Sorcerer seem not like something supernatural or frightening but merely a werewolfish extra from a very bad horror...
...daughter of two music teachers, Fleming majored in music education at the State University of New York at Potsdam and sang at a local nightclub on weekends. When the legendary tenor-saxophonist Illinois Jacquet heard her do You've Changed, he offered to take her on the road with his big band. Instead, she did graduate work at the Eastman School of Music and at the Juilliard School, where she met and married actor Rick Ross, caught the ear of classical-music-business professionals and began her speedy climb to stardom. James Levine, who two years ago led the season...
...surely, if drastic changes are needed to redraw district lines to more accurately reflect the population, they should be made. When historians look back at the census of the millennium, we don't want them to take the political tenor of the country into their consideration of numbers...
Both the soprano and bass parts contain a great deal of extremely demanding coloratura, vocal play and lengthy runs, reminiscent of the earliest tenor and bass airs in Part I of Handel's Messiah. These passages, like nearly all of the piece, were executed masterfully. Saffer in particular seemed the very bird described by her lines, "Sweet bird,.../ Most musical, most melancholy,/ Thee, chantress of the woods among,/ I woo to hear thy even song." Saffer's song floated through incredible trills and arpeggios which spanned several octaves without the slightest hint of effort. The choir, though little utilized...