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End Me a Tenor (A Glee Club Mystery), by Joelle Charbonneau
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Joelle Charbonneau’s “delightfully witty”* Glee Club Mysteries returns for an encore performance. It’s the holiday season, and high school show choir coach Paige Marshall may be on the verge of her first big break as an opera singer. But she probably shouldn’t quit her day job just yet . . .
A part to kill for
Singing in a production of the Messiah and rehearsing her show choir for a holiday concert may be more than Paige can Handel. Not only does she have to contend with the overblown ego of world-renowned tenor David Richard, she now has to quickly revamp the show choir’s number, since not one but two other high schools are performing the same song for the quickly approaching competition season.
The tempestuous tenor may have a voice to die for, but when he drops dead during rehearsal after drinking poisoned water, Paige has to compose herself and once again solo as a sleuth to find a killer who’s no choirboy . . .
*Miranda James, New York Times bestselling author
- Sales Rank: #1752655 in Books
- Published on: 2013-04-02
- Released on: 2013-04-02
- Original language: English
- Number of items: 1
- Dimensions: 6.84" h x .87" w x 4.30" l, 1.00 pounds
- Binding: Mass Market Paperback
- 304 pages
Review
"Enormous fun...Encore, encore!"—Miranda James, New York Times bestselling author
"Charbonneau hits all the right notes with her show choir coach sleuth."—Denise Swanson, New York Times bestselling author
"An intriguing mystery...I'm looking forward to future entries in this series."—Donna Andrews, New York Times bestselling author
"Imagine if Stephanie Plum joined the cast of Glee."—Deke Sharon, vocal producer of NBC'S The Sing-Off
About the Author
Joelle Charbonneau is an entertainer. She has performed in a variety of operas, musical theatre, and children’s theatre productions across the Chicagoland area. In addition to her stage work, Joelle has also performed with several bands and worked as a solo performer. While Joelle is happy to perform for an audience, she is equally delighted to teach private voice lessons and use her experience from the stage to create compelling characters in her mysteries. Joelle lives with her husband, Andy, and their toddler son. She is a member of Romance Writers of America, Mystery Writers of America, and Sisters in Crime.
Most helpful customer reviews
2 of 2 people found the following review helpful.
Wonderful Encore!
By Lori Caswell/Dollycas
High School Show Choir Coach Paige Marshall has her hands full. She has just learned that two other high schools are performing the same number as her choir in the upcoming competition season. She needs to quickly replace that song, complete with choreography, with another before they debut at the holiday concert in just a few days.
Paige has also been selected as one of the soloists in a production of the Messiah and is rehearsing daily to prepare. She is so excited, but the man singing the tenor part is world-renowned tenor David Richard and his overblown ego is hitting all the wrong notes. When the tempestuous tenor drops dead during rehearsal Paige finds herself investigating another murder and finds out the tenor was certainly no choirboy.
What a wonderful encore to Murder for Choir. Charbonneau hits all the right notes!
The author combines mystery with a romantic triangle that reads like a marvelous melody. Should Paige be with Devlyn or Mike? The hunky detective or the talented teacher? Paige is extraordinary as she deals with keeping her current job while trying to further her singing career plus she is dealing with her love life, her students, and her boss Larry, and trying to catch a killer.
The story has layers and is full of humor. The characters just draw you right into their lives. It is easy to see the author is a performer but she is also a terrific storyteller. Her insight into the musical arena shines through this entire literary score.
As I said in my review of Murder for Choir...
Like Glee, you will love this book!
Like cozy mysteries, you won't be able to put this one down!
I can't wait for the next performance. It must almost be time for the Show Choir Competitions to begin.
2 of 2 people found the following review helpful.
Murder, mayham, and..........song?
By k.c. quinn
This is a great entry to a fun cozy mystery series about the choir director of the high school glee club. The heroine of this series is a talented singer who lives with her aunt and directs the glee club while trying to advance her own career as a singer. In this book, she gets more and more involved with her students while helping them get ready for a concert as she rehearses for her own performance. The performing insights in the novel are quite interesting. The author has a very smooth flow to her writing so this is an easy read. The mystery aspect of the story, while not overly complex keeps the reader interested through the book. The main character has two potential love interests and we get to know them a little better this time around. This story can be read as a stand alone, but is more enjoyable when read as part of the series. This series and this book in particular are recommended for all cozy mystery lovers.
1 of 1 people found the following review helpful.
Mayhem and Music at Prospect Glen High School
By L. E. Cantrell
This a novel that fits very firmly within the accepted limits of the "cozy mystery." That is to say, we are presented with the standard tropes of the genre: a female protagonist, in this book, Paige Marshall who is employed as a high school teacher (sort of) while involved in the di rigueur (tepid) romantic triangle. In the course of routine activities, she stumbles over a dead body (of course!) Like all cozy heroines, Paige is convinced to her very bones that she, and only she, can succor the innocent and expose the guilty. The genre typically requires the cozy heroine do this with the cooperation of an astonishingly compliant local police force or in spite of their obvious wrong-headedness. In this book, however, the slightly novel course of making the police effectively irrelevant is followed. There is nothing wrong with formulas, and particularly with the cozy formula. The cozy genre quite regularly produces books that are genuinely entertaining in lightweight and familiar ways. That is very much the case here with "End Me a Tenor.".
Generally inflexible as the cozy formula is, it does demand innovation in some areas. Paige's occupation is one such area. She's a teacher. The cozy landscape is positively littered with teachers at all academic levels. Paige must therefore be an unusual teacher, and so she is: she is an aspiring opera diva, a soprano reaching out for the lowest steps on the ladder to Renée Fleming- or Joan Sutherland-like superstardom. In order to hold mind and body together while she inches up that ladder, she has taken a job as the coach of a high school show choir. Anyone who has ever seen an episode of Glee on television will instantly recognize the competitive, self-centered kids, the backbiting faculty members, the endless competitions, the general agita.
It was the operatic connection that made me snatch this book off the shelf, for I have an operatic connection myself. Paige Marshall (someday to be Italianized as Paggia Maresciallo?) is just beginning a professional operatic career. Long ago, while in my early twenties, never having suffered from the delusion that I was Enrico Caruso reborn, I wimped out of that difficult, uncertain and monstrously unforgiving career path and took a more-or-less honest job. Now retired and more than a decade after my kind of voice should have burned out, I have returned to my old avocation am content to sing supporting roles in about forty opera performances and a handful of concerts each year, while surrounded by young, ferociously talented men and women at about the same stage of their careers as Paige. And, yes, by the way, teaching music in schools is very definitely a default position for many of them.
This is the second volume of the Paige Marshall series. In the Amazon reviews of the first book and in earlier reviews of this one, a few reviewers have commented on author Joelle Charbonneau's use of language. I shall do so, too, but from a different stance. In the thumbnail bio at the back of the book it says that "Joelle Charbonneau is an entertainer. She has performed in a variety of operas, musical theatre, and children's theatre productions across the Chicagoland area." In "End Me a Tenor," Paige Marshall is regularly described specifically as an opera singer who, although she has done some musical theater and dancing, wants very much to become an opera star. To me, Paige does not sound at all like an opera singer but like an entertainer who has done a couple of operas, rather, in fact, as I imagine that Ms. Charbonneau must speak.
Here are a few of what strike me as Paige Marshall's verbal oddities:
~ On the first page of the novel, Paige tells us, "I'd gotten an opera gig, and my performance next weekend was going to be my big break." Well and good, yay Paige!, but it soon turns out that the "opera gig" consists of singing the lead soprano part in Handel's Messiah. I simply cannot imagine any opera singer I have ever known describing a Messiah concert as "an opera gig." While it would be a very welcome paying job and a nice ego-boost, opera it is not. Nor is it likely to be a big or any other kind of break, for it is to be a sing-along Messiah, a species of entertainment not notorious for artistic excellence. (That isn't of much import, though, since the sing-along aspect seems to have been forgotten around the halfway point in the novel.)
~ By the very act of getting a job in Messiah, Paige can be assumed to be a lyric or, less likely a coloratura soprano, but she never talks like one. Just once, I believe, does she mention working on a piece from the Mozart Requiem, and she never mentions the operas or roles she wants to sing, or name arias she is certainly carrying around in her head for audition purposes.
~ Paige talks about her first solo number coming after the beginning of Messiah by a specific number of minutes. Paige might indeed use such language to a musical illiterate, but in her own mind she would name the piece. In this case it might equally well be her first set of recitatives, beginning "There Were Shepherds Abiding in the Field" or, somewhat later, her first "air" as Handel calls it, "Rejoice Greatly, O Daughters of Zion."
~ Paige has an unusual attitude toward her art, choosing on more than one occasion to call Messiah a "show," something I've never heard from any serious singer in my life.. She also has a musical theater-ish reluctance to use the word "chorus" for--well--the chorus, preferring the not very operatic "ensemble" in its place.
~ Paige has an odd idea about the pecking order in opera. She clearly regards tenor David Richards, whose "End" is the subject of this book, as a very big deal indeed. Richards sings the tenor lead in Messiah and the one operatic role that he is identified as having sung is Don Ottavio in Mozart's Don Giovanni. Richards is therefore unquestionably in what the Germans call the fach of lyric tenor. Consider, however, all the big-name, big-money, big-shot operatic tenors singing today. Not one of them is widely associated with either Messiah or that wimp, Don Ottavio in Don Giovanni. The last really big-name tenors whom I can associate with Richards' sort of music are the monocle-wearing Austrian Richard Tauber and the Irish-as-Cuchullain John McCormack, who both flourished about eighty years ago.
All nit-picking aside, this is a good if not great cozy mystery with no more holes in its plot than might be expected from anything in the genre. It is perfectly capable of speeding along a few pleasant idle hours.
I think it is worth a solid four stars.
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