Word: bizet
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Hughes' cool performance chilled her competitors into stiff responses. The eye-catching Cohen, after a solid short program, could not hold the landing of her triple-triple jump, and though she skated on brilliantly, portraying Bizet's Carmen, her performance lacked the energy of Hughes' routine. She and Hughes will surely be fighting for honors for years. Kwan clearly lacked magic, skating with little speed and tumbling clumsily and uncharacteristically doing a triple flip halfway through her program. The powerful Slutskaya didn't fall but stumbled several times...
Madama Butterfly, Puccini 21 Don Giovanni, Mozart 16 La Boheme, Puccini 15 Rigoletto, Verdi 12 Aida, Verdi 11 La Traviata, Verdi 11 Carmen, Bizet 9 Cosi Fan Tutte, Mozart 9 Die Fledermaus, Strauss 9 Die Zauberflote, Mozart...
...band is noted for its ability to take classical and classic jazz pieces and add their own panazz stamp to them. In the song "Carmen Jones," they took a melody from Bizet's famous opera and gave it a little jazz flavor before really mixing it with pan rhythms and letting the tenor players tear it up. Tenor player Dane Gulston made his presence known from the start of the show and, at center stage for the remainder, he kept the intensity flowing and the tone of the show light as he alternatingly teased and supported the other band members...
...Fantasy on Bizet's Carmen brought the concert to a triumphant close. The sultry melodies and sensual Spanish rhythms of Bizet's opera Carmen have led many composers to excerpt various dances and songs from the work. The flamboyant style of the melodies have made the work especially attractive to composers looking for virtuoso showpieces, and for no instrument has the opera been more metamorphosized in this manner than the violin. Pablo de Sarasota's Carmen Fantasy is probably the most famous, but there are also violin works by the German composer Franz Taxman and the Hungarian Jennie Hubby. Friday...
Though the company billed its new Carmen as the next best thing to a rock concert, the results were closer in style to a rip-roaring Broadway show, an impression strengthened by the use of Bizet's original opera-comique version, in which the dialogue is spoken rather than sung, and a refreshingly colloquial English translation by Sheldon Harnick (Fiddler on the Roof). Updated it was, but dumbed down it wasn't. Assaf made her dramatic points with crisp simplicity and no pandering whatsoever. No less direct was the Carmen of mezzo-soprano Suzanna Guzman, a fire-eating singing actress...