Word: vibratoed
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Dates: during 1990-1999
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Bartok's First Violin Sonata, while heavily influenced by the atonality of Schoenberg, abounds with injunctions of "espressivo" and "appasionato". A listener not aware of this might have thought from Chase's performance that Bartok, desiring some special effect, had ordered the violinist to play dispassionately, and vibrato only selectively if at all. While the first movement is supposed to be tense in character, the rigidity manifest in Chase did not seem quite appropriate. Her sound was frequently forced, and what at first seemed like a special effect--the fact that her vibrato began only after half of each note...
Photo Courtesy BCSM one of the few displays of ecstatic ensemblewithin the context of the Bartok. The thirdmovement, marked "Allegro" and abounding withvehement and syncopated rhythms, concealed for themost part Chase's difficulties; while hertechnique was not impeccable, it certainly farsurpassed her vibrato. In this section, though theperformers were always "with" each other, one didnot receive the impression of collaboration whichhad appeared briefly in the second movement andwhich graces the best chamber music performances.On the whole, Chase's rendition of the Sonata wascompetent but uninspired; she did not seem toderive any personal significance from the work orendow it with...
Played out in public, her extravagant affairs -- with actors, musicians and athletes -- added to the legend. But her legacy is the voice. Penetrating, with a wide, natural vibrato, it had an urgency of emotion that touched everyone, from the misbegotten of the meanest quartier to the most refined boulevardiers. Jean Cocteau, who died within hours of Piaf, called her a genius: "There has never been another like her . . . and there never will be." He compared her to a nightingale, but the impresario who discovered Edith Giovanna Gassion at 19, singing on the corner of a Paris avenue, had bestowed...
...stage and sings about justifying her love, but this songbird's debut album will never make MTV. Lesley Garrett, the English National Opera's untraditional lead soprano, presents a sumptuous assortment of operatic arias on DIVA! A SOPRANO AT THE MOVIES. Her finely colored voice with its firm vibrato is not elitist, and she sings this collection of songs that have made their way into films with a passion and abandon that would make Madonna envious. Garrett's plaintive Voi che sapete, from The Marriage of Figaro, and her flirtatious plotting in Quando m'en vo, from La Boheme...
...years after Cambridge, I played for Neville Marriner with the Academy of St Martin's, and I really thought that was the most I would hear in my lifetime, getting the Academy of St. Martin's in the Fields to play without vibrato. I thought this sounded very lovely, but gradually people convinced me otherwise...