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<a href="http://www.accessmylibrary.com/coms2/summary_0286-6132738_ITM" title="Facts and information about Fast break: Matthew Gurewitsch charts the speedy rise of tenor Rolando Villazon, whose debut solo CD is released this month.">Fast break: Matthew Gurewitsch charts the speedy rise of tenor Rolando Villazon, whose debut solo CD is released this month.</a>
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Fast break: Matthew Gurewitsch charts the speedy rise of tenor Rolando Villazon, whose debut solo CD is released this month.
High notes are the name of the game, but sometimes a bright tenor will exercise the low option. Consider the close of the first act of La Boheme. Mimi and Rodolfo have wandered offstage, headed for the Cafe Momus. He asks her to say she loves him. She complies. Puccini sets "Amor," the one word that says it all, as a calm sigh of ecstasy, exhaled three rimes. The third time, Mimi crests on a high C, marked pianissimo. And Rodolfo? The score specifies a comfortable E, also pianissimo. But tradition sanctions a high C for Rodolfo as well, and a high C is what tenors usually offer--all too often in a squawk of naked panic, plus or minus an excruciating microtone.
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