Word: sopranos
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Dates: during 2000-2009
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...show's themes and Chiklis' brooding, minotaur-like physicality invite comparison with that Urtext of male antiheroes, The Sopranos. But our relationship with Mackey is more complicated--and self-implicating--than ours was with Tony Soprano. Tony was roguish and funny; we even rooted for him against other Mob bosses. But we had more distance from him because he was a criminal and a sociopath, beyond redemption and beyond our experience...
...Baroque-music diva” according to The New Yorker—proved that sleight of hand can improve even the most skilled voices. During a lecture and masterclass hosted by the Office for the Arts (OFA) at the New College Theatre (NCT), soprano Hargis demonstrated the importance of performance gestures.“Ellen Hargis is an extraordinary resource for Baroque vocal music,” said Thomas Lee, Program Manager for the OFA’s Learning From Performers series. “She is both passionate and knowledgeable as a singer as well as a teacher...
When “The Sopranos” ended with its infamous black screen in June of last year, many of the show’s dedicated fans were furious. People had fallen in love with emotionally complicated crime boss Tony Soprano and had tuned in episode after episode, only to have the show come to an unceremonious end less than an hour after Tony’s intricate web of conflict had finally unraveled. I sympathize with those who felt cheated, but I’ve grown to realize that “Sopranos” fans were...
...make sure he shoots surely in the all-or-nothing finals. But Mr. Snyder, as well as singer Emily Pulley, who played a fretful and unlikable Agathe, does not act with enough conviction to make anyone really care whether his bullets will land. The bright-voiced and comical soprano Heather Buck, in the archetypal sassy-best-friend-to-the-leading-lady role, fared much better as Ännchen.The vague and muted acting of most of the ensemble went hand in hand with the production’s unfathomable setting. With “Der Freisch?...
...most climactic moments, the orchestra’s sound felt flat in the 1,166-seat concert hall. Sakir led precisely but cautiously. After Sakir’s brief stint on the Sanders stage, he was relieved by Hangen, the conductor of the BCO, who introduced California-born soprano Wendy Bryn Harmer to conclude the first half of the concert with the prelude and “Liebestod” from “Tristan and Isolde.” Garbed in a floor-length dress of dull bluish gray, Harmer took a seat in the back of the orchestra...