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...blowsy, flighty, attention-craving alter ego Midler created in her stage shows. "Bette" blitzes her way through the series, to the bemusement and exhaustion of her family and support group: her professor husband (Kevin Dunn), her teenage daughter (Marina Malota), her manager (Joanna Gleason) and her fussy British accompanist (James Dreyfus). "You can't have Bette Midler on television playing a housewife," says Lane. "It would have been hard to separate the character from the entertainer we all know. It would also have been tough to find an excuse for the character to sing...

Author: /time Magazine | Title: Television: Bette Midler Plays the Role of Her Life--Literally | 10/16/2000 | See Source »

Lawless won the Miss Massachusetts competition's talent award by performing a Fredrick Chopin piece for piano, which she has studied for 15 years. She has also served as a accompanist for the Radcliffe Choral Society...

Author: By Geoffrey A. Fowler, CRIMSON STAFF WRITER | Title: Lawless Competes in Pageant | 6/25/1999 | See Source »

Lawless won the Miss Massachusetts competition's talent award by performing a Fredrick Chopin piece for piano, which she has studied for 15 years. She has also served as accompanist for the Radcliffe Choral Society...

Author: By Geoffrey A. Fowler, CRIMSON STAFF WRITER | Title: Lawless Competes in State Pageant | 6/25/1999 | See Source »

...detail, but Perahia wisely observed the printed note values for the dotted first theme, which these days tends to degenerate into rubato soup. The capital offenses were in the finale, where often his left hand growled indistinctly or pounded an ostinato where it should have been a more sensitive accompanist, and once he even wandered into a thicket of wrong notes. It made one grateful and Perahia did not have access to Beethoven's rickety old Broadwood piano...

Author: By Matt A. Carter, CRIMSON STAFF WRITER | Title: Trapped in Classical World: A Boston Weekend | 4/30/1999 | See Source »

...This specialized repertoire develops in tandem with commissions from contemporary composers, many of whom write specifically to Glennie's prodigious gifts. She opened with a piece by John Psathas called "Matre's Dance," featuring very loud, very impressive drumming, but to such an extent that the role of her accompanist, Philip Smith, was all but obviated. Glennie then played her own transcription of the Albeniz "Asturias," which did well in the transition from solo piano to solo marimba. The recitative quality of the right hand in the original blossomed in its new reverberating longevite. Glennie was especially sensitive...

Author: By Matt A. Carter, CRIMSON STAFF WRITER | Title: Trapped in Classical World: A Boston Weekend | 4/30/1999 | See Source »

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