Word: tenoritis
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Dates: during 1950-1959
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Waiting in the wings for his entrance cue during a Metropolitan Opera performance of The Marriage oj Figaro last week, Tenor Charles Kullman (Don Basilic) suddenly realized that he was missing something: his voice. His vocal cords evidently affected by a lingering cold, Kullman rushed to the dressing room and started desperately croaking at Tenor Gabor Carelli, who was not scheduled to go on (in the role of Don Curzio) until the third act. Carelli looked up amiably from his newspaper. "Quit your kidding, Charlie," he said. When Kullman finally got his message across. Carelli hastily switched costumes and rushed...
Watching the performance from the audience, Tenor Robert Nagy guessed what had happened, hurried backstage and climbed into Carelli's discarded Don Curzio costume. After that, the performance went off without a hitch, despite the fact that Carelli had never sung Basilio at the Met (he had recorded it in Vienna). The audience failed to notice the switch, but Conductor Erich Leinsdorf was shaken. "You should have seen his face," said Tenor Carelli afterward. "He nearly fell off his chair...
...title role, Tenor Sénéchal, in green tufted wig and high-heeled green shoes, made his way down the aisle to a spattering of applause. (For reasons best known to the French, the foolish old nymph in Platée was written for a tenor.) As Sénéchal launched into the music, he quickly demonstrated why he is one of France's most courted lyric tenors. The smooth, light-textured voice moved with ease from falsetto to full voice, changing shading and color as it kept pace with Tenor...
...concert's end, the audience crowded forward to congratulate Sénéchal, one fan pausing to extract a pack of Camels from beneath his powdered wig. At 28, Tenor Sénéchal, who will tour the U.S. after his private debut, is so much in demand that opera or concerts keep him busy five nights a week. Platée, he confessed last week over a post-performance glass of warm milk, is his favorite role, and the Varieties one of his favorite theaters. Unlike Fanny Kemble, he was delighted to be rubbing elbows with...
Committee Counsel Robert W. Lishman: In that respect, Mr. Kintner, I would like to call your attention to an article which appeared in TIME Magazine April 22, 1957, more than a year before this time. The opening sentence indicates its tenor: "Are the quiz shows rigged?" It points out with reference to a number of quiz shows that there was a great deal of suspicion. It concludes: "The producers seem to be able to control virtually everything except their own fears of losing their audience...