Word: sung
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...face, intensely pleased to watch beautiful people gaze at one another and sing lines like, "Mais tu es merveilleuse," and "Son profil est celui de ces vierges mythiques qui hantent les musees et les adolescents." Michel Legrand's music (never absent--like Cherbourg, the film is entirely sung) makes much use of half a dozen excellent themes; a ridiculously Rachmanioffy piano concerto and the chanson de Maxence are particularly memorable. Demy's lyrics simple and direct ("Estelle loin d'ici? Est-elle pres de moi? Je n'en sais rien encore mais je sais qu'elle existe.") advancing exposition without...
...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 praises their "fusion of technical perfection with a profound depth of expression...
...major asset: Bernstein had persuaded Mezzo Christa Ludwig to abandon her accustomed role as the youth Octavian for the lead role of the aging Marschallin, usually sung by a soprano. Ludwig's vocal prowess, womanly softness and pathos proved her a perfect choice. Said Bernstein: "She was so marvelous in the last scene that I cried watching her." And that was no Viennese exaggeration...
...Ebenezer Baptist Church marked their first opportunity to observe the soul and spirit of the black man's Christian faith. Compared with the austere and stately worship at most mainstream Protestant or Roman Catholic churches, the funeral service was almost unbearably emotional. The simple, old-fashioned hymns, sung with tearful intensity by the church choir, were pure "soul"; a succession of black-robed speakers praised the memory of Dr. King in fustian oratory rich with Biblical imagery. In effect, it was a crystalline demonstration of the fact that Negro churches, by and large, are fundamentalist in outlook and still...
...Ever since he wrote his first major work, Carmina Burana (1936), Orff has steadily pared away the body of Western musical devices-themes, counterpoints, harmonic progressions and so on-to arrive at a skeletal idiom of powerfully primitive, repetitive sounds. In Prometheus, what little melody was left was expertly sung by U.S. Baritone Carlos Alexander as Prometheus and Australian Mezzo Althea Bridges as the tormented lo. The other singers, obscured by grotesque masks and headdresses, declaimed the drama in incantatory drones, while the orchestra rolled along in seemingly endless ostinato figures or erupted with brash punctuations...