Word: vibratoed
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Chang's playing, too, is anything but youthful. She plays aggressively, with a throaty sound, and caps off her notes with a fast, urgent vibrato. She is unafraid of digging into challenging runs or over-playing. Chang's tone, like Audrey Hepburn's character in Breakfast at Tiffany's, has the mean reds...
...sweet melodies cannot be trudged through. The ringing intensity of Chang's playing was not at all suited to the delicate and almost childlike sonata. Chang's high notes blossomed in this piece as in all the others, but the low notes were swallowed up in the thick vibrato--and the simple, rustic melodies assumed a sinister face. Chang did not play as if she loved the music: her movements, even her facial expressions, seemed too programmed and felt too forced--probably not because Chang is a universally negative performer, but because her style is not suited to Mozart...
Much appreciated relief came with the entrance of Sarita Cannon '98 as Belinda, Dido's confidante. Cannon's voice is consistently strong, clear and confidently delivered. As Dido, Lara Bruckmann is decidedly less imposing. Though her voice is clearly very highly trained, and possesses a wonderful, delicate vibrato and a good range, Bruckmann's performance, particularly in the first act of the two-part operetta, is hesitant and overly breathy...
...instrument creates an interesting circumstance for most audiences: expectation defined by the instrument itself, rather than a repertoire of standard works or recordings of well known performers. In many ways, the marimba is a very limited instrument. The wood bars that generate the sound make subtle fluctuations of pitch (vibrato) impossible. The metal tubes under each bar--the resonators--provide only a few seconds worth of audible sustain. The use of four mallets, two to a hand, limits the simultaneous articulation of tones to tetrachord. The challenge then, in both performing and writing for this instrument, is making it sing...
...band made an abrupt transition in tempo and mood as Redman began a long cadenza to preface the ballad, "What's New?" Here his very slow, almost imperceptible vibrato and airy, floating tone were vividly apparent. He played several motifs in different octaves, never once hinting that he might be performing at the extreme registers of his instrument. After the drums made a discreet entrance, and the delicate melody had been presented, McBride picked up a bow and displayed a facet of his amazing versatility as he coaxed a lush, sustained solo from his instrument...