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Under the direction of Jameson Marvin, the huge chorus had a rich, full sound and excellent diction. After the especially gorgeous Amen in the last section of the piece, the chorus and conductor looked physically exhausted--as if they had poured themselves wholly into the performance...

Author: By Jamie L. Jones, | Title: Hats Off to Brahms: A Musical Tribute | 4/24/1997 | See Source »

...strings shone throughout the piece, though the winds experienced some intonation problems. The chorus was amazing: Their sound was beautiful and perfectly controlled, and their diction was even better in this piece than in the previous one. The blissful expressions on the performers' faces showed how deeply moved they were by the power of the music...

Author: By Jamie L. Jones, | Title: Hats Off to Brahms: A Musical Tribute | 4/24/1997 | See Source »

...flaws are few and far between. The players' diction, while hardly in classical Shakespearean style, is usually fresh and easily comprehensible, although some actors do occasionally garble lines by speaking too quickly. If the actors feel pressured to rush through their lines, the play might have benefited from further cutting...

Author: By Susannah R. Mandel, | Title: The Bard Transmogrified Shines | 3/13/1997 | See Source »

...Life," the central poem of his book) "on the Advocate in nineteen forty-eight," has taken him through a range of styles. After an early phase of neat, metrical poems, and a later bout with surrealism, his poetry has more recently developed certain regular characteristics: the use of ordinary diction; an engagement with certain issues, especially family history, the difference between urban and rural life and the approach of death; and, frequently, the use of a central conceit, sometimes quite fantastic, to structure his poems. This last tendency is best illustrated in The Museum of Clear Ideas, Hall...

Author: By Adam Kirsch, | Title: Poets, Poems, Poetry Readings | 9/26/1996 | See Source »

...oddly important on this album is the extreme emphasis placed on Stipe's voice. Most songs seem engineered so as to push Stipe's vocals right up to the front of the music, with the instrumentals forming a more distant, solid layer of background noise. Stipe's style and diction has also changed somewhat from previous albums. He sports a breathy, melodic fullness, especially on the single "E-bow the Letter," which is a departure from the stylized, wavery thinness on which his career was built. Certain pronunciations also seem peculiar, even to the point of suggesting a regional accent...

Author: By Joyelle H. Mcsweeney, | Title: R.E.M. Turns Corn-Belt Rock Gods | 9/19/1996 | See Source »

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