Word: chorused
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Dates: during 1990-1999
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...bopping in the proper Liverpudlian fashion. Head Apple Robert Schneider makes writing classic '60s pop songs sound effortless--he writes songs that, like the Beatles' best, transcend their short length and pull you into the music. Many of these tracks will stay in your head, leaving you humming the chorus on your way to class, annoying passers-by. So what's the problem? The problem is that there is no problem: Tone Soul Evolution is a fine CD, without any real weaknesses, but it lacks the spark, innovation and contrast that mark great albums from the simply decent. Chances...
...danger to ensue/The hero loves as well as you...." The close harmonies are lovely, and the two women's strong, ringing voices are well-matched. Despite slight difficulties with intonation at a few points, both Cannon and Oh demonstrate remarkable facility in the duet's challenging runs. The chorus' reiteration of the verse, on the other hand--the opera's first big choral part--lacks clarity and strength. The choral "Cupid only throws the dart/That's dreadful to the warrior's heart..." is much better in terms of musicality and volume, despite problems with unity and articulation of final consonants...
Purcell's music itself is wonderful, full of interesting harmonies and surprising contrasts. Unfortunately, the beauty of his work is too often obliterated by the shoddy instrumental delivery or weak chorus, if not utterly disguised by the distractingly awful acting. Dido, even in her more musically successful moments, maintains a dreadful expression of peevish nervousness. Even as Belinda liltingly intones of the beautiful queen, "Her eyes confess the flame her tongue denies," all that this reviewer could observe in Bruckmann's eye was a sour distaste for the whole situation...
...blocking and slight choreography are generally well done. The "Triumphing Dance" in particular is prettily, though simply, executed. The various members of the Carthaginian court and chorus leave the stage in pairs, dropping smiles and curtsies all around, and file down the central aisle. In comparison with the power achieved by the two diminutive female soloists alone, the ensemble's volume is downright puny. Once more, difficulties which could easily have been worked out by additional rehearsing mar an otherwise pleasant sequence in the production...
...music works in much the same way. On 32 Flavors, she covers a song by punk-folk singer Ani DiFranco, lending it an upbeat, pop-oriented grace. On the title track, Davis coasts into a relaxed jazz-jam mode. And then on Turtle, her voice arches above the chorus, R.-and-B. diva-like, aching with emotion. Davis will no doubt draw comparisons to acts from various genres--you can hear Joni Mitchell, Tracy Chapman and even Stevie Wonder churning inside her songs. But like most true talents, she eludes direct matches. The gentle waves of her music beat against...