Word: solos
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...most of the time he plies a sober, analytical course through the jazz recordings made between New Orleans' Storyville days and the birth of the big-band era in the early 1930s. He scrutinizes Louis Armstrong's solo on Big Butter and Egg Man (1926) as if it were a song of Mozart's. In fact, he writes, "not even a Mozart or a Schubert composed anything more natural and simply inspired." Blues Singer Bessie Smith's laments of a gin-soaked life might as well be lieder sung by Lotte Lehmann for the way Schuller...
...attempt Adams may have made to impose order was unsuccessful. The Debussy failed to take on any overall shape and, apart from Geoffrey Greenfield's competent flute solo, few distinct lines were extracted from the prevailing mire...
...York audience, nurtured in the Metropolitan Opera's grand-opera tradition, found a welcome change in Fasano's creation of an intimate, two-century-old court tradition. They chuckled when Italian Clown Sesto Bruscantini scored a solid single in Cimarosa's 18-minute solo opera Il Maestro di Cappella, and then roared out loud as Bruscantini and Carlo Badioli, an even funnier man, rapped out a two-bass hit with the huffa-buffa La Cambiale di Matrimonio, Rossini's first stage work. This week the troupe will pack the show on their backs for a brief...
...durchgesungen Italian opera, was capable of producing such an amalgam of song, dance, pagentry, stage effects, and the spoken word--a truly bastard form of entertainment. This particular work is a castrated adaption of A Midsummer Night's Dream liberally interspersed with incidental music in the form of solo songs, ensembles, choruses, and instrumental pieces. With taste and dramatic rectitude thrown to the winds, extravagance is its only excuse and sole salvation--co-authors W. Shakespeare and H. Purcell notwithstanding...
...most likely the direct consequences of youth and the luck of the draw, since the club depends on an uncertain pool of transient talent. As for baritones, director Elliot Forbes seems to have struck a rich vein since the section contains at least three men capable of pleasing solo presentations. The had on the whole a good sound, but the second tenors (an imperious breed of specialists as difficult to find as second fiddles) were not a match for the firsts in quality. The result was a slight imbalance and loss of clarity in the inner voices...