Word: lyricizing
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Elton's beat constantly punctuates Taupin's lyrical line in arresting ways. There is a curious blend of sophistication and primitivism in Elton's assertive piano style that makes it an instantly recognizable musical signature-as unmistakable in its way as a Beach Boys harmony or Joe Cocker's sandpaper rasp. Elton's own voice is a supple instrument. He can growl like Mick Jagger or sing an insinuating lyric plaint. He writes for himselfnot surprisingly with supreme correctness, confidence, even elegance. To an unusual degree, he is the only...
Hint of Passion. At 25, Parsons was already a star of longhair country, who was stretching folk material across thudding rock rhythms. Emmylou had a gift for penetrating to the heart of a lyric. Parsons taught her to sing honky-tonk ballads like his Sin City, and soon invited her to Los Angeles to do back-up harmonies for his albums (GP and Grievous Angel). When Parsons died in 1973, she was personally and professionally devastated. "Gram turned me on to root country, to George Jones with his East Texas twang," she says. "I still try to learn Gram...
...nostalgic love for the fairy-tale side of romantic Imperial ballet. That fondness has produced masterpieces - The Nutcracker, for example - but it can also lead to muddled fables like L'Enfant et les Sortilèges (The Boy and the Sorceries). Described as a "lyric fantasy" and based on a story by Colette, L'Enfant is as much an operetta as a ballet. It requires a chorus, a quintet of singing narrators and a boy soprano. He plays a naughty child who escapes from his studies into a fantasy world of cavorting armchairs, dancing teapots, and a veritable...
Lyon writes all his music himself, and a few of his lyrics. Most of them, though are written by Tom McNamee, winner of the American Academy of Poets Younger Poet Price in 1969, who is now employed by Columbia Records. A typical McNamee lyric goes something like this: "I set my sleep in neatly ordered rows/She scatters dreams like the ashes of a diary page./I don't keep no records, don't look back./She comes she goes I don't keep track. /The floor is covered with her empty clothes./O my passion! O my rage!" Under McNamee...
...Handel's Julius Caesar. Subsequent years brought triumphs in Massenet's Manon; Donizetti's Lucia di Lammermoor and trilogy of queens, Roberto Devereux, Maria Stuarda, Anna Bolena; and more recently, Bellini's / Puritani. Vocal fireworks are Sills' glory. She has a light, lyric coloratura so clear and swift that it seems phosphorescent. Though she is the best Manon around, her trademark has become the revival of obscure operas of the 19th century bel canto...