Word: vocalisms
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...parents didn't have any affinity for opera, though they do a bit now since I sing. It's not clear how got interested. I guess I started listening to classical music on the radio when I was little-- just by chance. I remember coming across vocal music later and finding that more pleasing [than purely instrumental music]. I liked the individual achievement, the idea of one person singing there with an entire orchestra...
After turning down one of eight prestigious vocal openings at Juilliard, Lee Poulis '02 decided to come to Harvard where he has already been busy as the lead in this month's Ethan Frome. Despite a long weekend of Ethan Frome performances and rehearsals for the upcoming Gondoliers, Poulis remained enthusiastic as he told The Crimson about his beginnings in the fabulous world of opera...
...what Mahler saw--a combination of fear, ennui and child-like wonder. Unsurprisingly, an exquisite performance of Mahler is moving--but rare. And so, when conductor Seiji Ozawa and the Boston Symphony Orchestra (B.S.O.) performed one of Mahler's final (and arguably, most perfect) pieces, the vocal accompanied Das Lied von der Erde (The Song of the Earth), they achieved two feats. Not only did the BSO lead us to Mahler's own spiritual crossroad--the dark hinterland that lingers between life and death--but it managed to affirm its reputation as one of America's greatest symphonies...
...only Harvard performer is first-year Poulis, who turned down one of the eight prestigious vocal spots at Julliard in favor of a liberal arts education supplemented by lessons from Edward Zambara. Hailing from Greenlawn, N.Y., his last two performances were American operas preformed in New York City Opera Companies. In a review his most recent performance, the November Opera News claimed that "ticketholders got a peek at a prospective star of tomorrow," who will grace the stage on Friday as Ethan...
...knobby knees, shaggy bowl cut and slightly crooked teeth make her a refreshingly sincere Annie, with just enough natural charm to make her lovable but not sticky-sweet. It is with this ease that she launchs into "Tomorrow," beginning the song in a conversational tone that briefly masks her vocal power. After the first bars, Kissinger's voice becomes stronger until her clear voice fills the auditorium completely. This is arguably the best song of the show, and the sight of Kissinger singing alone on the stage, undaunted by the packed house in front of her, is truly impressive...