Word: songfulness
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...hero's welcome such as Serbia has rarely ever seen: More than 50,000 people gathered in a central Belgrade square on Sunday night to welcome home Marija Serifovic, the winner of the 2007 Eurovision Song contest. Prior to her arrival from Helsinki, police cleared the 10 mile road from the airport into the city in order to speed her passage, and a banner draped across the City Hall read "Ave Marija...
...course, we don't usually get the songs we want. More often we get the songs people need to write for the sake of their careers, which explains the arrival of "Rise Up," the Virginia Tech tribute song by R. Kelly...
...turns out, though, "Rise Up" is far more despicable as an idea than as a song. It's a ballad of course, and opens with a sample of a female Tech student saying how the school must be known not for what happened but for overcoming what happened. It also features the inevitable whispering choir whose volume rises in the chorus and gets punctuated by a cymbal clap...
...without its characteristic cardboard moon, handfuls of confetti, and brightly-colored cloth draped across the black pipe structure that is the central set piece. “The Fantasticks” would have been an altogether different show. Yet adherence to these traditions was not free from controversy. One song, “It Depends On What You Pay,” foregrounds the word “rape” and details a number of ways one might commit the act based on the idea that “rape” once simply meant...
...nobody, critic or informed amateur, is grousing by the end of the show, when most of the principals join in the 1951 skit-song "Catch Our Act at the Met," by Betty Comden, Adolph Green and Jule Styne. A high-art parody that's up there with Chuck Jones' Daffily Wagnerian "What's Opera, Doc?", the number combines parody, musical virtuosity and about a million laffs. As most every Encores! show does, it sends the audience out of Ciiy Center levitating on a contact high with the best in musical theater. At Encores!, the old shows are always loved...