Word: vibratoed
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...Shettle as Georages handles the initial father-son exchange with honesty and forthrightness. The interaction he has with Conte is endearing, although at times, his voice becomes a bit laggardly. J. Matthew Riopelle as Jean-Michel has a crystalline, resonant voice, with a very well-controlled vibrato. He plays a keen, maturing son, but in Friday's performance sometimes found the joks in the play so funny that he could not contain his own smirk. Ethan Golden as the stage manager Francis and as Mrs. Dindon provides timely comic relief, especially as the politician's muppet-like wife. And Richard...
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...
...more intriguing,as each repetition of a given part acquired a newcharacter, slightly more gentle, or much moreaggressive. The opening piano chords of thefollowing movement, an exquisitely personal andpainful document of sorrow, did much to establishthe intimacy of the setting and the spectralnature of the sound. But Chase's vibrato uponentering destroyed the perfection of the moment,and the syncopations o the climax were far frommoving. In the Finale, though still not entirelycommitted, the performers paid back some of theemotional deficit which had accured at theirexpense during other sections of the piece; Rauchfinally established an expressive voice andChase's flaws...
Perhaps the root of Chase's vibrato "problem"and the lack of fluidity characterizing herphrases lies in her experience as aperiod-instrument performer; playing frequently inarchaized style without vibrato and with notesseparated by the constraints of the baroque bow,she had become unused to the Romantic way ofplaying. But the precision of the next piece, theBeethoven Septet, suited her, and all those whoperformed in it. With Arturo Delmoni on viola,Ronald Thomas as `cellist, Timothy Cob as bass,Thomas Hill as clarinet, Donald Bravo playingbassoon and Robert Rauch again on French horn, theintimacy of the ensemble prevented thesemiorchestral atmosphere...