Word: vocalisms
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Judith Blegen and Frederica von Stade (Charles Wadsworth, piano and harpsichord; Gervase de Peyer, clarinet: Gerard Schwarz, trumpet; Columbia: $6.98). Two brilliant young American-born singers team up with a superior set of instrumentalists in a glowing recital of vocal music. The mood shifts in a varied repertory that encompasses Schumann's playful duet Das Glück as well as Chausson's haunting Chanson Perpetuelle, sung with grave beauty by Von Stade. Blegen's supple trills whirl with Gerard Schwarz's bright trumpet through Alessandro Scarlatti's aria Se geloso e il mio core...
...chief reason for this is Rod Steiger, who gives an interpretation rather than an impression of the man who may be the most mimicked comedian of the century. Steiger's makeup is expert; his approximation of Fields' voice and of his unique rhythms, both physical and vocal, is both funny and thoughtful. Steiger obviously wants to resemble Fields enough to be believable, yet avoid making a nightclub turn out of his work...
...significance in his life, was scarcely objective or complete. Doubtless they cared for each other in a way that the movie is not clear about; doubtless she eased his passage through these years when drink wreaked its vengeance on him. Except for a certain vocal monotony, Valerie Perrine is winning as Carlotta. Like everyone else involved in W.C. Fields and Me, she gives it a very good, serious...
WORKING WITH no more pure vocal equipment than Dylan, she digs deep into her Pitman, New Jersey, garbage-cans-crashing-in-the-morning voice to come up with some sultry Piaf and sneering Jagger and belts it out with a kind of controlled epileptic frenzy. Gangfight scuzz. What's not so simple and brutal are the words. She is a poet and her rock and roll is all based on her poetry. A cultural groupie, it is clear that she has swallowed a lot of influences to have borne the devil child of her work. An article in Rolling Stone...
...grimaces the plight of a parched seed, and Don Marocchio's impersonation of our former president is painfully accurate. Manulis' directorial coup, however, is his dramatization of the parable of the prodigal son, which features strippers enticing the prodigal to the strains of "Hey, Big Spender" and the amazing vocal contortions of David Alpert as the narrator...