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...dream? A freak show? No, it's what happens whenever countertenor David Daniels makes another debut, as he did in April at New York City's Metropolitan Opera, and will be doing in August at the prestigious Edinburgh Festival. Seven short years ago, he was a frustrated tenor whose high notes refused to kick in; now he is racking up reviews that might make even Pavarotti envious...

Author: /time Magazine | Title: Music: He Sings Higher | 6/7/1999 | See Source »

...have had major careers. In the 18th century, falsettists regularly alternated with castrati on the operatic stage, singing the virtuoso coloratura roles of Handel and Gluck. But once the castration of boys was banned, and unaltered male singers started belting out high notes in the manner of the modern tenor, the demand for countertenors began to decline. By the end of the 19th century the voice type had all but vanished; on the rare occasions when baroque operas were staged, the male alto roles were typically taken over by women in drag...

Author: /time Magazine | Title: Music: He Sings Higher | 6/7/1999 | See Source »

...four-encore lovefest at which he sang art songs by Britten, Schubert and Ravel so gorgeously that the audience was reduced to frenzied foot-stomping; or the fact that in November he will record Handel's Rinaldo with Cecilia Bartoli. It is all proof positive that the ex-tenor with the shaky top has definitely found his other voice...

Author: /time Magazine | Title: Music: He Sings Higher | 6/7/1999 | See Source »

...Rebeca Salmon (vocals, senior at Boston University), Neal Padte (alto sax, junior at BU), Dorian Ramirez '99 (tenor sax), Jeff Weinshenker '00 (trumpet), Annie Durston '01 (keyboard), Eliot Wadsworth '00 (guitar), Brett Sherman '00 (a.k.a. Sherm, a.k.a. Shermy, bass), Michael Blaugrund '00 (drums, percussion, back-up vocals, turntables, sitar...

Author: By Diane W. Lewis, CRIMSON STAFF WRITER | Title: Favorite Jello Flavors At the Pfoho Dining Hall | 5/7/1999 | See Source »

When Pat strummed the chilled first chord of his beloved ballad "Haven't Seen for a While," a collective sigh filled the club. Accompanied only by Ghegan's tenor sax, Pat reminded us once again of his solo acoustic artistry. Pulses of veteran audience members raced as, just as hoped, Walsh and Williams strolled casually on stage. "It's 5:15," they suddenly chimed; their rich, warm, blood-rushing harmonies melted the room. Magic, pure magic. The moment was crystallized...

Author: By Sarah D. Redmond, | Title: Pat McGee hot & sticky | 5/7/1999 | See Source »

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