Word: shrills
(lookup in dictionary)
(lookup stats)
Dates: during 1950-1959
Sort By: most recent first
(reverse)
...other singers display considerable versatility. Jo Sullivan, as Rosabella the sometime bride, is rather shrill in attempting to combine vivacity with shame. Morley Meredith, the well-meaning, and over-masculine hired hand, is strapping, restless, and insensitive, as he should be. The strength of the cast comes mostly from a huge roster of chorus and incidental players, all in good voice and enthusiasm...
When Eden rose to reply after dinner, the Tories boosted him on his way with a sustained, vehement "Hear, hear." But the Prime Minister began badly. Discomfited by Labor heckling from the front bench opposite, Eden lost his usual urbanity. His voice was almost shrill as he complained that Labor was not giving him time to speak. Shouting that he had spoken "for 30 years in this House." Eden had to appeal to the Speaker to quiet the ridicule. A Churchill would have met the hecklers with confident abuse...
...outstanding Italian dramatic tenor of our day, too much forcing has taken its toll on his voice and he can no longer sustain the line as well as he should. He is still effective in declamatory passages, but the many lyric moments are sung roughly. Tebaldi tends to be shrill as Leonora, although parts of her performance are controlled and lovely. The opera itself is uneven, so the singers must sometimes surpass their material. They have only partial success: contralto Giulia Simionato is fine, but basso Cesare Siepi is a disappointment. The best performance comes from baritone Bastianini, making...
...Friends Only. The craving for the "don't-give-a-damn" pills is not confined to Hollywood. In staid Boston the demand is as keen, but less shrill. It is the same in New York City, Washington...
...Mozart, and he by an Italian aria from The Marriage of Figaro. The most successful song was Bellini's Dolente Immagine, in which Tebaldi lingered over every vowel, almost caressing the notes with her voice. Another highlight was the magnificent Ave Maria from Verdi's Otello, which despite one shrill phrase was memorable for a ravishing final high note in mezza-voce. The audience went wild, and called Tebaldi back for three Puccini arias as encores. She didn't mind the tiring program, and sounded as warm-voiced, and also as occasionally shrill-voiced...