Word: tenorizing
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...little more than a month after Jimmy's defeat, do townspeople feel the pride of four years ago, the fervent expectancy encouraged in his always fragile Irish tenor at his swearing-in: "That when my time as your President has ended, people might say this about our nation-that we had remembered the words of [the prophet] Micah and renewed our search for humility, mercy and justice ... that we had enabled our people to be proud of their own government once again...
Verdi: Aïda (Mirella Freni, soprano; José Carreras, tenor; Agnes Baltsa, mezzo-soprano; Piero Cappuccilli, baritone; Ruggero Raimondi, bass; é van Dam, bass; Katia Ricciarelli, soprano; Thomas Moser, tenor; Vienna State Opera Chorus and the Vienna Philharmonic, Herbert von Karajan, conductor; Angel; three LPs). That old Ethiopian slave girl and would-be war bride finds a new and glorious incarnation in Mirella Freni, whose voice may not move pyramids but finds its way to the heart of the role. This is particularly true in the Nile Scene, where Aïda tussles with her passion for Radames...
Hovey handles this transformation prudently, choosing not to act out a drastic change of character, instead letting the circumstances around him shape his metamorphosis. His easy command of Gilbert's dialogue renders his earnest, deadpan performance natural and often slyly comical. Hovey uses his strong, sweet tenor to a similar end, mocking ever so slightly his heartwrenchingly serious solos...
...show's most touching number, "Thank Heaven for You", Everett Gibson, a solid tenor whose voice fills the theater with a marvelous operatic resonance, and Cheryl Coston, a petite soprano with a versatility that can conquer both ballads and jazzy scat-singing, perform a coppella love song that showcases the two most distinctive vocalists in a singer's show. Gibson and Coston dominate throughout, invigorating their songs with a range of expression that many of the other more static soloists lack. Although the choreography is both graceful and jazzy, the frozen and unnecessary presense of several non-singing...
...admirable theory, but the whole tradition of the demonic robot assumes that when a metal creature feels immortal longings, no mere law can rein him in. Arthur C. Clarke demonstrated that in 2001. The computer HAL not only operates the space ship and talks in a supercilious tenor but is so exalted by its own superiority ("I am incapable of making an error") that it starts killing the astronauts who interfere with its plans. In a 1976 MGM effort titled Demon Seed, a presumptuous robot goes even further and fulfills the sinful ambition of making Julie Christie pregnant. But then...