Word: tenoritis
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Dates: during 1950-1959
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...first act to the flexible, bitter-sweet lyricism of the last, Tebaldi superbly defined Violetta's stirrings and renunciation; moreover, she avoided flawing the role with more than the necessary touches of sentimentality and melodrama. Baritone Leonard Warren was splendid as a resonant-voiced Germont. As Alfredo, Tenor Giuseppe Cam-pora had neither enough power nor presence to hold the stage, but to appear with Tebaldi in last week's production would not have been easy for any singer. The Met crowd was clearly there to render personal homage to Tebaldi, and at the end, there were...
Ellington at Newport (Columbia). An audible report on the highly charged performance of Diminuendo and Crescendo in Blue, which set Newport bloods to stomping up the aisles last summer. Most notable: the supple solo by Tenor Saxman Paul Gonsalves, who lovingly rocks through no fewer than 27 choruses...
...parking lot.") The Communist paper L'Unitaá meanwhile played the story as the tragedy of the poor workingman forced to foot the bills for "the luxuries and extravagances" of opera stars paid $1,500 a performance (actually a lot less than was paid 30 years ago). Tenor Mario Del Monaco volunteered to accept a pay cut "if other singers will do likewise." There were no takers, but one blunt comment from Soprano Maria Meneghini Callas: "La Scala can close down as far as I am concerned; I will never lack for a stage...
...Schweitzer than can be found in a very short biographical essay. Most of the scenes were shot in Africa in oppressive heat; as a result, the film's general quality smacks of better-than-average home movies. The producers have dramatized little of Schweitzer's eventful life, keeping the tenor of the story subdued throughout, almost underplaying their material. They review Schweitzer's early life in and around Gunsbach, in Alsace: the parsonage where he was born and grew up, his first schoolroom, and the quiet countryside he came to love as a boy all pass before the camera...
...known works. One of the happiest recent finds: Puccini's one-acter, II Tabarro, on an excellent RCA Victor LP. This somberly lyric tale of jealousy, betrayal and murder on a Seine River barge is sung with power and intensity by Baritone Tito Gobbi, Soprano Margaret Mas and Tenor Giacinto Prandelli, strongly backed by the Rome Opera's chorus and orchestra under Veteran Conductor Vincenzo Bellezza. As the betrayed husband, Gobbi magnificently defines-in a voice alternately liquid with longing and rough-edged with rage-the climate of mind that drives him to murder...