Word: duets
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...cannot deny the quality of Hippolyte's inspired, innovative sections: the Trio for the Fates in the Hades scene, "Quelle soudaine horreur," with its macabre, Gesualdo-like modulations (superbly sung in the production); Phedre's pathetic scena, "Cruella mere des amours": the Act IV Hippolyte-Aricie duet, "Ah! fautil e un jour," with its revealing major-minor key shifts, and Aricie's closing "Nightingale Aria," one of the first soprano vs. flute bel canto trials...
...baritone folk singer and guitar player who performed for Queen Elizabeth II while he was special assistant (from 1958 to 1960) to his cousin, John Hay Whitney, then Ambassador to Britain. When the Symingtons went to Washington, he began entertaining foreign visitors at informal songfests, usually in duet with his petite, chestnut-haired wife. An accomplished pianist and harpsichordist, Sylvia Symington has worked as a volunteer music teacher to Washington slum children, in 1960 organized a group of women to help wives of African diplomats overcome their awe of bustling Washington. Proficient in French, she even accompanied her wards...
...three remarkably flexible jazz singers create an exciting vocal equivalent of Basic's big band (accompanied by a real Basie rhythm section). Together, the trio sounds the brasses or the reeds, then Annie Ross sings a bright trumpet solo (in Blues Backstage) or with Hendricks a mellow saxophone duet (Two for the Blues...
...records, Alpert plays both parts of the trumpet duet, achieves a two-dimensional effect by slightly altering the synchronization and recording one trumpet line a shade sharp or flat by a process he keeps secret in order to discourage the many imitators that have cropped up in the wake of the Tijuana Brass's success. And aficionados of pure mariachi, who once scorned Ameriachi, are now buying it. One of the ten best-selling records in Mexico City last week was the Tijuana Brass's Whipped Cream...
...thrust, music of explosive lyric power and sweep was needed. Rorem, a conservative composer who scorns the avant-garde ("They are all writing the same piece"), provided instead a score that is largely music-to-probe-the-subconscious-by-moody, groaning, occasionally dissonant. The few lighter moments-a duet between two village lovers, the chorus celebrating the festival of Midsummer's Eve-were charmingly melodic, but the overall impact was blandly uncompelling. The sets, which Rorem confesses he "hates," were gingerbread concoctions totally antithetical to the spirit of the opera, and Soprano Marguerite Willauer in the title role sang...