Word: sang
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...enliven the audience. While the Chorus Viennensis was robust and energetic (this was the older choir of supporting tenors and basses who rounded out the four-part treble scale), the Vienna Choir Boys sounded withered and disengaged. They found Haydn's notes, but groped for his meaning. The boys sang the first line, "We praise thee, O God!" ambivalence nearer to pity than joy--and set a lackluster pattern for the remainder of the piece...
This pattern of inconsistency continued. When the choir boys sang Schubert's Psalm No.23, they achieved some exquisite moments of technical flawlessness--and others of bored inertia. The choir boys were not in want of technical skills; only interpretive ones. Psalm No. 23 is a prayer of peace for someone who has realized that his life is in the hands of God. But an audience member might have known nothing about the meaning of the song--and the joy of love or the anticipation of heaven--if the lyrics had not been printed in the program...
...third album, Jagged Little Pill (1995), her first for Madonna's Maverick records, was her breakthrough. On it she no longer portrayed herself as a peppy pop princess but as a brash young woman with demands, demons--and desires. This new Morissette craved "intellectual intercourse." This new Morissette sang about irony, revenge and sex acts in theaters. Jagged Little Pill, according to SoundScan, sold more than 13 million copies...
...give it up" the crowd did. The enthusiastic audience, just beginning the weekend, cheered so loudly for the performers that it was often difficult to hear their names as they were announced or even some of the works they sang...
Following the overture, in her Boston debut, the soprano Christine Brewer sang Beethoven's concert aria Ah! Perfido. Brewer navigated the recitative, an abandoned woman's diatribe against her lover, with confidence and ease. The first slow half of the subsequent aria showcased her delicate control and artistry in the upper register. The second half, speckled with piercing cries directed against the faithless lover, called for a quicker, more agitated approach, which Brewer delivered well. The aria closed on a satisfying note with the reprise of the first theme. Throughout the piece, the intimate quality of the period orchestra proved...