Word: sopranos
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Dates: during 2000-2009
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Nurse Jackie has a fine-grained sense of hospitals' feudal hierarchy, but it's ultimately about the paradox of Jackie: she's dedicated and moral in her professional life but - in ways it's better not to spoil - hurtful in her private life. As when Falco portrayed Carmela Soprano, she plays tough while letting her emotions spark from every nerve, and she shows a gift for tart comedy here too. To get her job done, Jackie needs to be part nurturer, part con artist, part stand-up comic. "What do you call a nurse with a bad back?" she asks...
...Weird Witchcraft Antichrist begins in domestic rapture. In pristine black-and-white images rendered in slo-mo, and to a soprano's lofty rendition of Handel's Lascia ch'io pianga ("Leave me to weep over my cruel fate"), a couple makes love on a snowy evening. In another room the washing machine churns. In a third, the couple's son Nic escapes his crib to, and goes to a window ledge where he teeters, then falls to his death. The sex act, Nic's life and the wash conclude simultaneously. The child's last moment has a beauty...
...Britons will find another media darling, and Simon Cowell will find another unlikely star to mine for ratings. Boyle will land a record deal and sell enough albums to live comfortably to a ripe old age. But the next time a buffoonish-looking, middle-aged woman with a stellar soprano auditions for Britain’s Got Talent, she won’t make it very far—that’s already been done. Money, not principle, will always be the goal, and in a music scene full of Beyoncé Knowleses and Kelly Clarksons, there?...
...contrivances played simply for laughs; I get more insights into parenting (not to mention more amusement) from a typical episode of Two and a Half Men. What makes the play tolerable are the four good, and very different, actors - Marcia Gay Harden, Hope Davis, Jeff Daniels and James (Tony Soprano) Gandolfini - who at least have some juicy, if stereotypical, characters to sink their teeth into. Unfortunately, the play only made me grit mine...
...flair for the dramatic, proved all of the hype about him was well justified. Settling himself at the Steinway concert piano, Lang opened with a poetic rendition of Franz Schubert’s Piano Sonata No. 20 in A Major, D. 959. In the first movement, the interplay of soprano and tenor voices created a chorus of classical lines that conveyed a dialogue of teasing questions and indignant retorts. Raising a finger to his lips as if to silence the piano, Lang Lang physically signaled the dreamy transition into a barcarolle-like segment, which he executed with seamless tempo changes...