Word: duets
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Dates: during 1970-1979
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...choreography of Godspell embodies the enthusiasm of the newly converted; most dance numbers reflect the influence of gospel rhythms, with hand-clapping and swaying bodies, and the exuberant spontaneity of exercise. The best number, however, is the soft shoe duet "All for the Best", which pits Jesus against Judas (David Alpert) for the first time...
Nikolais's choreography becomes more involved at times when he de-emphasizes the light and slide show. (Some of his dances fuse light and movement at their most essential level; others use costume and light traditionally, as secondary arts.) Somniloquy, an all-dance duet, turns Suzanne McDermott and Gerald Otte into fast-moving comic caricatures, Nikolais's way of treating a potentially sexual situation. He has the couple move with such highly-charged energy that they forget their partner is of the opposite sex. At these times Nikolais emphasizes traces of movement rather than the precise shapes of movements...
...pains after a hard day's singing and-of all things-hoofing with Comedienne Carol Burnett. The pair joined forces last week for a TV show titled Sills and Burnett at the Met, a CBS special scheduled for next fall. The program features a blues and opera duet by the entertainers-and a demanding tap-dancing finale to be filmed at New York City's Metropolitan Opera House. "I had my first tap lessons when I was five," explained Sills, now 46. "They were 50? an hour, and I learned four steps. We haven't used...
...American beliefs than in evoking the anomie that results from their loss. The first break with the viciously comic tenor of the early part of the show is the hauntingly elegiac "Nothing to be Sure Of." A dirge on the familiar theme of the son lost at war, this duet is made memorable by the beautiful blending of Greg Gordon's baritone and Carol Flynn's crystalline soprano, the best voices in a generally proficient cast...
...time for fuss, and the atmosphere is usually very businesslike. Though obviously still still angry over the Logan-Colonnade affair, Rostropovich loosed the atmosphere with his antics. At one point in the concerto's slow movement, the oboe and the solo cello join in a singing contrapuntal duet. The oboist was playing too loudly for Rostropovich's taste, and so he stopped playing, turned around, and, shaking his index finger, abruptly accused and convicted the offender. "Are you the cause of this?" Rostropovich mockingly sneered. The wind players laughed, and Rostropovich grinned like a satisfied child...