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...recordings and in concert, her low, tremulous instrument is backed by a band consisting of a 12-string Portuguese guitar and a Spanish guitar, the traditional fado instruments, and a bass guitar. The 12-string guitarist, Custodio Castelo, is Branco's husband as well as her chief collaborator in songwriting. She presents him with a poem she likes, usually Portuguese, and the two of them craft it into song...

Author: /time Magazine | Title: Fast Forward: Cristina Branco | 9/15/2001 | See Source »

...VOICE By July of 1938, Welles was already a radio veteran, and a kind of star. His supple, authoritative baritone virtually destined him to some higher form of public speaking. "With a vocal instrument of abnormal resonance and flexibility," writes Houseman in his autobiography "Run-Through," which is largely a memoir of the Mercury days, "he was capable of expressing an almost unlimited range of moods and emotions." (When, I won-der, did young Orson?s voice change? And was that the moment when he knew he?d be an actor?) Welles on radio was Homer or Aesop...

Author: /time Magazine | Title: That Old Feeling: Mercury, God of Radio | 8/27/2001 | See Source »

...Institution's National Museum of American History in Washington. Occasionally a musician of renown is allowed to play the Servais: in 1992 Dutchman Anner Bylsma made a beautiful recording of Bach's six solo suites, which were composed about 20 years after Stradivari put the finishing touches to the instrument...

Author: /time Magazine | Title: In Praise Of Quality | 8/20/2001 | See Source »

...almost at once, Servais lost it. While he was crossing the Russian steppes by night, the cello fell off a sled. The horrified traveler immediately retraced his route. And there in the snow he found the instrument - intact, though only just. During the night, wolves had gnawed at the leather straps keeping shut its case, but they had not managed to open it. Roll over Stradivari...

Author: /time Magazine | Title: In Praise Of Quality | 8/20/2001 | See Source »

...makes cases no Russian wolf would want to chew. Igor Pantelic, part Croat, part Dutch, was using glass fiber to repair speedboats when a musician friend suggested the material would be good to encase his cello: strong, light and capable of being molded to the peculiar shape of each instrument. Today, Pantelic numbers among his clients Yo-Yo Ma and Anner Bylsma, he of Servais fame. Pantelic is modest, saying his work "is just plastic and stinking chemicals." But one aspect of what he does would have applied equally to Stradivari: "I have no one between me and the customer...

Author: /time Magazine | Title: In Praise Of Quality | 8/20/2001 | See Source »

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