Word: vibrato
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...actors, four soloists sing numerous arias and ariosos which reflect upon the drama. These singers were the source of whatever weakness existed in the performance. The accurate but weak soprano of Susan Larson failed to fill the hall. Alto Pamela Gore often shrouded pitch and rhythm with an excessive vibrato. Tenor Ivan Oak had inexcusable difficulty in following the conductor which, together with an inability to pronounce the German text, resulted in a disappointing performance. David Evitts, however, displaying a full-toned but agile bass, gave the sensation of an effortless flow of notes...
...guitarist Bill Connors and Corea. Connors has developed a unique hybrid sound, one that draws equally from the last five years or so of rock guitar playing. He has a very heavy tone, almost ponderous and always close to the listener; the result of combined use of sustain and vibrato from the usual bank of foot switches filtered through a slightly open wah-wah pedal. You can hear shades of everyone from Eric Clapton to John McLaughlin. His solos were short, to maintain a structural balance, but beautifully constructed out of soaring lines and tasteful phrases. Connors has a subdued...
...recitative, sung by Charles Hefling. Hefling sings with a baritone's lightness and ease. He gave intelligent emphasis to the text; were his range a tenor's, he would make an admirable Evangelist for the Passion settings. Ronald Coons, singing the tenor recitative, fared badly in comparison where his vibrato obscured his diction. He was much better, joined by alto Paula Shepard, in the duet which was the climax of the piece...
...wonderfully slipshod drumming. Gary Mallaber's vibes add to that unreal quality. Labes' piano struggles to cement the song and fails, yet remains as coloring. Platania's noodling and inconsistency work perfectly here. This is a song of instants, like the vibes and wah-wah fusion for a haunting vibrato under the single word "dream," or Schlosser's cymbal crash in the middle of what passes for a chorus...
...more to her singing than mere vocal acrobatics. There is, for one thing, the sultry, mischievous beauty that belies her 45 years-often enhanced by her penchant for wearing flowing gowns unbuttoned to the waist. There is the emotional intensity that glints inside every wave of her finely controlled vibrato on a ballad like Night and Day. Then there is the quicksilver sensitivity to shifting harmonies on a snaky blues like Gimme a Pigfoot...