Word: duet
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...last week's performance, Moon proved to be a frolicsome work with a gaily rippling score, evocative of Haydn's more celebrated The Seasons. If it was sometimes as thin as the moon's atmosphere itself, it also offered several rollicking ensembles, a rousing love duet, and a bubbly beat, as if Papa Haydn had been determined to do a gavotte straight into the stratosphere...
...chief wonder of Alba was that Donizetti's music again surmounted the absurdities of plot. In last week's production the orchestra sailed in whirlwind rushes through Donizetti's lush score; as whispered duets and trios alternated with bellowed choruses, the opera built to its lyrical climax in Act II with a love duet for Amelia and Marcello. Critics found the duet as fine as anything in Lucia di Lammermoor, proclaimed Alba "worthy of Donizetti's genius." But they reserved their warmest praise for 29-year-old Conductor Schippers, who had triumphed, one wrote, "with...
Above all this floats the music, most of which displays Handel's more fluid, graceful style--the finest example being the superb duet of Arsemene and Romilda. The singers carry out their tasks well; John Leonard and Vivian Thomas produce especially beautiful sounds. Robert Scher deserves special mention for his performance (in a voice which suggests the weight and power of an articulated locomotive) of a song about wine that begins, "This persuasive potable makes your thoughts more quotable...
Timofeyeva relied on a broader, more flowing style, achieved some of her most moving effects in the series of soaring Act II lifts and in the last-act duet in which she hovered back to consciousness on feet as tremulous as a butterfly's wing. And where Plisetskaya had omitted the famous 32 fouettés (snapped turns) in the "Black Swan Pas de Deux," Timofeyeva whipped them off with a bravura that brought the house alive with a roar...
Dunster House calls Duet "Two plays for music," apparently indicating that the nature of Arthur Kopit's dramas makes a special provision for more music than the average play allows; i.e., more than a few atmospheric preludes. Well, there is more music than that, but anyone who expects a quasi-operatic commentary on the action will be disappointed. Victor Ziskin and Thomas Beveridge (particularly Mr. Beveridge) have worked rather in the manner of the film composer: a few bars to concentrate the atmosphere during a silence, music for the dances and circus performances Mr. Kopit has thoughtfully provided; low-volume...