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...likely to blow a shrill Tarzan victory call on a siren-whistle that could be mistaken for a hunting horn. He delights in the unexpected. In the middle of a flute solo, he will pop a child's plastic song flute into his right nostril and trill out a brief duet. For a performer who took up the flute only three years ago, Kirk plays it with astonishing virtuosity. He can begin with a slow, throaty, lyrical blues, punctuate the piece with jagged staccato yelps of outrage, and then tap the stops with his fingers like a woodpecker beating...

Author: /time Magazine | Title: Jazz: Finding the Lost Chord | 8/9/1963 | See Source »

Excitement was missing, too, from the 18th century arias with which Miss Berganza opened her recital: she sang them very nicely indeed (except for a disastrous trill in Handel's Lascia ch'io pianga), but instead of the grand manner and absolute command of style so necessary for Alessandro Scarlatti or Cherubini, she provided a good deal of hand-clasping and those imploring looks to the heavens which ought to be banned forever from the concert stage. In Rossini's Non Piu mesta (from La Cenerentola)--and Miss Berganza has something of a reputation as a Rossini specialist--one again...

Author: By Kenneth A. Bleeth, | Title: Teresa Berganza | 11/17/1962 | See Source »

...also marked the music and performance of Kent Kennan's Night Solilquy whose small scale manages to save it from cliched post-romanticism. Senturia's reserve eliminated the occasional triteness of the orchestral part, but on the other hand it weakened the score's build-up to a flute trill. Alex Ogle provided one of the really moving points in the evening with his supple runs and dynamic shadings...

Author: By William A. Weber, | Title: Harvard-Radcliffe Orchestra | 5/8/1961 | See Source »

...Caro nome, in which she ended with a high trill that floated like a feather across the darkened stage...

Author: /time Magazine | Title: Music: Tap Dancing to the Met | 4/14/1961 | See Source »

...Soprano Joan Marie Moynagh, Italy's Luigi Alva and Nicola Zaccaria. The star of the evening, though, was Sutherland, and she amply lived up to the reputation that had preceded her (TIME, June 13). Her range was wide, secure and even, her tone warm and sparkling. Her trill, as one critic noted, "really is a trill and not a wobble." In one of the many moments that won her bravos, Sutherland swept up to a high E flat with astonishing ease...

Author: /time Magazine | Title: Music: Gold Medal in Dallas | 11/28/1960 | See Source »

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