Word: tenors
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Dates: during 2000-2009
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...pushed in the direction of restricting commerce with other nations if the other nations act first. Obama faces the problem of having a Congress which will generally support him. But, when a Representative's district is losing jobs because of the dumping of Japanese steel or Swiss watches, the tenor of the conversation will change. Trade won't work out the way the G-20 summit says it will. National interests to protect local industries are too strong...
...moved away from the spare stylings of albums like “I See A Darkness” (which Johnny Cash liked so much he later recorded his own version with Oldham on backup) toward more polished studio trimmings. But in pulling in all the extra instruments (marimba, flute, tenor saxophone, and accordian, to name a few) it loses something of the stark devastation that gave voice to America’s stranger corners of existence. The album’s title should in the end serve as a warning to Oldham himself—amidst all the banjos...
...Billy Lawlor. While Cardona’s dancing is acceptable, his acting and singing are not suited for this role. Great songs like “Dames” and “Young and Healthy” fall flat, Cardona’s too-weak tenor voice drowned out by the lovely orchestra.The work of the fantastic ensemble sometimes suffers from technical glitches like delayed light cues, but overall their performance only adds to the dynamism of the show. In particular, Jennifer Cohen shines as Maggie Jones, a role that could read as too over...
...exquisitely sung. Davis was able to produce brilliance with her lower voice that was complemented by the fullness of her upper register. She also gave a most entrancing dramatic performance, especially in the opening of the fourth act. The title role of Otello was sung with gusto by the tenor Brian Landry, whose commanding stage presence and intensity of tone provided a compelling portrayal of the general. He did a marvelous job of conveying the rapidly changing emotions that Otello experiences over the course of the production, but sometimes these shifts were overly dramatic. His singing, which occasionally pushed...
...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 and delightful subito...