Word: singe
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Dates: during 1970-1979
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...master of the lyrical song. He is a good poet and a good composer but his true genius lies in his ability to integrate his lyrics and his music into an inviolable whole. After you listen to a Brel song you don't walk away humming it--you really sing it, words and all. The tune just can't be separated from the lyric content of the song...
Judy Lander is the strongest of the performers and has some of Brel's best songs to sing. In "Old Folks" she sings with the slow pace and gentle hesitations that mark elderly people's speech patterns, and at the same time captures the ticking rhythm of the clock that is measuring their final hours. In "Carousel" her voice turns into a whirling machine moving at a furiously accelerating pace. Like the machine, the voice comes towards us and then recedes as it goes round and round. The voice becomes the cycle of fate that condemns people to relive...
...Noah's graduation from a North Philadelphia elementary school in June 1972, Lois Mark Stalvey felt nothing but "a bleak hopelessness." When the new graduates, mostly black, began to sing We've Only Just Begun, tears streamed down her cheeks, but not from sentiment. "I was weeping for all the bright-faced children who were leaving their last chance behind," she writes in Getting Ready (Morrow; $7.95). Her new book is both a remarkable chronicle of a white family's confrontation with inner-city schools and a harsh indictment of an educational system that is a disaster...
Long stretches of the album are really bad. The ideas must have sounded good on the drawing board, but they come off as silly and boring when performed. Professors sing lectures on medieval agrarian history against a background of rock music; a panel of experts is asked, "What changes would you make if you were Hitler?"; and a pet shop specializes in turning dogs into cats, fish and parakeets with just a little scissors-and-paste...
...addition to these actors, four soloists sing numerous arias and ariosos which reflect upon the drama. These singers were the source of whatever weakness existed in the performance. The accurate but weak soprano of Susan Larson failed to fill the hall. Alto Pamela Gore often shrouded pitch and rhythm with an excessive vibrato. Tenor Ivan Oak had inexcusable difficulty in following the conductor which, together with an inability to pronounce the German text, resulted in a disappointing performance. David Evitts, however, displaying a full-toned but agile bass, gave the sensation of an effortless flow of notes...