Word: sung
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...generation that turned on to rock'n'roll in the '50s and '60s, and now there are some artists who are being honest about the '70s. Unlike the now naive (in fact, senile) voices of the Rock Establishment--including Rod Stewart, Mick Jagger and Paul McCartney--Street Hassle is sung right from the street, with the same honesty about life that Jagger and Stewart once...
...seen in Count Almaviva's failure to return Figaro's help in the second half of the play. That argument, however, would have little evidence to support it except the final chorus, which includes lines like, "But hear the thunder from the left, denouncing property as theft," and is sung to the tun of the British Labour Party's song ("The People's Flag is Deepest Red"). While there are other lines in the play that hint at a political interpretation--money breeds money, especially through corruption, we are told--these are generally passed over by the cast...
Originally commissioned by the Scottish Opera, the music is built on a dissonant counterpoint between the vocal lines and orchestration. Although it has little charm or lyricism, the score does have strength. And there are some masterly touches, as in a ballroom scene in Act 1 in which Bothwell (sung by Barry Busse) and his soldiers watch awkwardly as Mary (Ashley Putnam) and her courtiers dance stately pavanes. Infuriated by the perfumed elegance, Bothwell strides forward and belts forth a rough Scottish reel. The roistering tune and sinister tremolo accompaniment overwhelm the lutelike Renaissance melody of the dance...
...takes place at the former hobo's seashore hotel. The fresh air revives the chorus: "Linger in the Lobby" is peppy, sung and danced with a snappiness that doesn't quit till the last bows. In the lobby, the chorus lingers and mingles with larger-than-life-size cutouts of hotel guests, bell-hops and beach umbrellas, all of which give the stage an effective style halfway between art deco and '70s surrealism. None of the flesh and blood lingers in the second act. The cutouts sway and stir as each character dashes madly around. Laurel Leslie, playing Susie...
...used to be. He has lost 85 lbs., and in doing so disproves the theory that a singer who loses much weight loses vocal beauty. The voice is in lustrous condition. Pavarotti gave a virile E lucevan le stelle from Tosca, an aria that is often more wept than sung. He took on Beethoven's In questa tomba oscura, an unyielding piece, though a war-horse of recital repertory. In the last two bitter words, ingrata, ingrata, he showed how a bold singer with operatic instincts can bring pathos to the whole song. Perhaps the most perfect...