Word: vibratoed
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Dates: during 1990-1999
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...first act, she goes from airy coquettish high notes to the wistful, delicate "Goodbyes" to the passionate lament of the "misterioso" theme that haunts the entire opera. She pulls off coloratura singing--that ornamented style of singing with lots of extra notes, scales and vibrato thrown in for effect that is so easily botched by less capable and confident sopranos--remarkably well, jumping up and down the scale and throwing in lots of trills and other musical treats with consumate ease. Her acting is just melodramatic enough to be believable in the larger-than-life world of opera...
...this is not surprising to the average Rusted Root fan. By combining lead singer Mike Glabicki's lucid vibrato and earth-moving wails with the entire band's ethereal usage of percussion instruments, Rusted Root comes across as a deft mixture of the Grateful Dead, a Native American ghost story and perhaps more than a little peyote (even if it was smoked only by the album cover artist.) Translation: if one of Barbara Kingsolver's books was made into a movie, this music would be the sound-track...
...music, his range and abilities as an interpretive singer have grown exponentially on his somewhat alienating experiments of recent years. His work on the songs with Bacharach is ambitious and expressive, informed with emotional truth and an outstanding dynamic range; he soars into high notes with a rough, intense vibrato and settles into bitter moments with deliberate, raw pauses. Opting for broad, naked sentiment over sneaky sweetness, rough around the edges, the album is nothing like it might be if its voice were a more conventional pop singer, but not necessarily worse. While at times, the straining quality...
Steven Rickards, who sang the counter-tenor in the December 5-10 performances only, was downright magnificent, displaying a remarkable range and amazing facility in both a smooth, unornamented style and a more decorative, vibrato-filled voice. Certain fast high notes, especially quick jumps up the range in the first few tenor solos sounded a touch over-breathy. However, as the piece progressed, Rickards' slow high sections became a real asset, showing off his incredibly pure, sweet timbre and bell-like resonance. Rickards' runs were exquisite and flawless, his style characterized by very creative use of flourishes, including several impressive...
...welcome exception to the flatness of the acting can be found in the unfortunately far too small part of a sailor played by Joseph Specter. Specter sang with a very pleasing, quick vibrato, fine enunciation of his words and clear tone. And he is one of the few actors, if not the only one, who projects a consistent, believable stage presence. He simply assumes the character of the role he played, without pandering to the audience or looking shell-shocked by their presence...