Word: duetting
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Dates: during 1990-1999
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...Prince of Egypt. Unfortunately, John doesn't do songs he didn't write. Enter HILLARY CLINTON. (Seemingly a casual drop-by, she was actually there by prearrangement with Katzenberg in the hope that she would find John with STEVIE WONDER so she could urge the two to perform a duet at the dinner.) She greeted them, then asked John if he was going to sing a song for Prince of Egypt. John, smelling a setup, glowered at Katzenberg. After a few minutes of chitchat, AL GORE entered. He greeted the group, expressed admiration for John, then asked (purely by coincidence...
...began the strangest and most pivotal chapter in the whole drama: the Getting to Know You duet between Ken Starr and Monica Lewinsky. In exchange for immunity, he wanted her to tell him all the details of the affair, and most important, to agree to wear a wire that would let him catch Jordan trying to keep her quiet. Otherwise, he had the tapes that would allow him to prosecute her for perjury. Faced with this choice, Lewinsky fell apart. She cried. She asked for her mother. "My life is ruined," she said...
...another song, I Hate You Then I Love You, Dion makes the mistake of having opera star Luciano Pavarotti join her in a duet. Now, inviting Pavarotti to sing a fluff-headed pop song is like asking Picasso to paint your house--it's just not practical. Pavarotti's big, clear tenor easily trumps Dion's showy yelp, and he doesn't stop there--he goes on to overwhelm the song's flitty lyrics and thrash its slight melody. Final score: Pavarotti: 3, Song: 0, Dion: 0. And while we're at it, give Dion a zero for this album...
...best on the track On Holy Ground: her voice scales the song, rising above the piano and the organ and the gospel choir, and at the climax hits a decisive, optimistic end note. She would have done well to have left off the song Tell Him, a duet with Dion that appears on both their albums. Streisand's too good to share billing with Dion. Hopefully, Streisand's next album will be a more fitting showcase for her transporting talents...
...particularly striking moment arrives with the duet of Belinda and the Second Woman, "Fear no 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...