Word: duet
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Sabrina Matthews’ choreography was also intensely aware of the creative process. Her piece, entitled “Ein von Viel”—which translates to “one of many”—was a male duet set to selections from J.S. Bach’s “The Goldberg Variations.” The use of an onstage pianist, Freda Locker, was successful; the dancers incorporated but never overshadowed her playing. During brief moments of silence, they would subtly communicate with a nod of the head or a shared sense...
...with Igor Stravinsky’s “Suite No. 1 for Small Orchestra,” which showcased the woodwind players at their very best. The small size of the orchestra helped build an intimate atmosphere within Paine Hall.In the first movement, a lilting flute and clarinet duet soothed away the cares of the audience, and the strings and woodwinds melded together like milk and honey.Then the woodwinds leaped into action in the second movement, though the brass players offset their energy by playing somewhat off beat.The strings delivered a dramatic performance in the third movement, though...
...lyrics distinctly focus on alcohol, especially in the quatrain “Beer is not dark / Beer is not light / It just tastes good / Especially tonight.” Second single “No Lucifer” begins with a subtle reverb effect birthing a somber violin-guitar duet, which then bursts into a My Bloody Valentine-esque melody, complete with high-pitched, feedback-laden vocals. These are smart, catchy tracks with the potential for universal appeal, if only Americans would turn off their Linkin Park and 50 Cent long enough to notice them. Though British Sea Power...
...film, “The Astronaut’s Wife,” in which Theron’s character does not realize her husband is an alien until the end of the film. Next, a Pudding actor impersonating Keanu Reeves came out to taunt Theron for ruining their duet in the film, “Sweet November.” Faux-Reeves demanded that Theron demonstrate her abilities as a “triple threat”–dancer, actress, model. The former ballerina broke it down to “Sandstorm,” showed...
...instrumental and voice soloists performed very well, although some vocalists got off to a rather shaky start. Both the arias of the third and sixth movements aptly portrayed Bach’s duet between Christ and the Soul. The sustained notes were especially rich and skillfully conveyed a spiritual sense of love and longing. The charming two-note slurs of the oboe solo in the fourth movement complemented the well-phrased vocal lines with grace. The cantata culminated in a grand finale as the full voices of the choir soared above the orchestra...