Word: tenorizing
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...said 'there's mah man!'" At first, Louis just listened. He ran errands, hawked bananas, ground up old brick and sold it to prostitutes for scouring their front steps on Saturday mornings. When he was eleven, he also started a street quartet in which he sang tenor, picked up loose change by serenading through the red-light district. Says Armstrong: "A drunk come along, and maybe he'd give us a dollar. The grown folks were workin' for a dollar a day then." Only his mother was still calling him Little Louie. To everyone else...
...critics reaching back for comparisons to Olive Fremstad, who sang (but did not dance) the U.S. premiere of Salome in 1907. And she carried the rest of the cast into the spirit of the thing with her: even though some of his voice has gone to Valhalla, Wagnerian Tenor Max Lorenz couldn't have been more convincing as the dissolute, incestuous Herod; and Baritone Joel Berglund, as Jokanaan (John the Baptist), had the starkness of a primitive carving as he hurled his curses on Salome. When the curtain was down, instead of morosely reaching for their coats, the audience...
After 36 years in Europe and private U.S. salons, a little-known group portrait of Baritone Titta Ruffo, now 71, the late Tenor Enrico Caruso and the late Basso Feodor Chaliapin turned up in a spot where U.S. opera lovers could get a look at it-the lounge of Manhattan's Metropolitan Opera House. In 1912 fast-painting Portraitist Tade Styka had herded the three together, daubed away between impromptu arias, somehow managed to catch the highstrung trio in a portrait that all but played its own temperamental mood music...
When the great gold brocade curtains parted, the two audiences could see & hear for themselves that the Met hadn't really changed its ways. The opening storm music that the Met's best conductor, Fritz Busch, whipped out of his pit orchestra was only faintly furious. Tenor Vinay sang powerfully, and what top notes he couldn't sing he shouted. But Booth's burnoose could not disguise his lurching, hand-wringing acting. Like most Met stage lovers, he more often sang of his passion to Conductor Busch, at whom he stared fixedly, than to Desdemona...
...ability. As the week wore on, critics found some things to applaud more heartily: the season's first Götterdammerung, the sound and spirit of Conductor Wilfred Pelletier's orchestra in Mignon, Cloe Elmo and Jussi Bjoerling's Il Trovatore, and the excitement of Tenor Ferruccio Tagliavini's L'Elisir D'Amore...