Word: vocalization
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Dates: during 1960-1969
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...themselves forward, or are thrust forward by the situation--in the stadium, in the classroom, before the microphone--and come to stand as changing symbols for the largely unchanging multitude. They are those who ride with the spirit of the times, those who are under the circumstances the most vocal and aggressive and, also, those who are seized upon by the public as "typical." The coon-skin coat and the flapper were as rare on the campuses in the 1920's as the beard and black stockings in the 1960's, and yet each of these visions came to stand...
...under a $272,000 U.S. Office of Education grant by the University of Southern California School of Medicine and Aerojet-General's Von Karman Center, the robot is life-sized (6 ft. 2 in., 195 Ibs.). Its skin feels like skin, and it comes equipped with a tongue, vocal cords, an esophageal opening and bronchial tubes...
...alter the role from mezzo to soprano; he also changed the role of her son from tenor to baritone. That was regrettable. Though John Reardon as the son and Sherill Milnes as the lover both performed superbly, the pairing of two baritones and two sopranos robbed the vocal writing of contrast. More damaging was the fact that Levy's mildly modern score, conducted by Zubin Mehta, did not meet the challenge of the theme, too often resorted to clever percussive chattering that seemed to say "crisis coming!" Melodies meandered, the curiously opaque orchestration lagged meekly behind instead of leaping...
Miller was more concerned with theme than with characterization, and most of the male roles read like emblems or attitudes rather than people. As a result, an actor must add character through gesture or vocal power where the script doesn't supply it. Finch's male actors aren't good enough; all of them give unmodulated one-note performances. If an actor happens to hit the right note, as in the case of Tim Hall's paranoid Danforth, the performance can be extremely effective. But in the first two acts, Steve Hill as the nasty Reverend Parris and John Brady...
...darkly warning of the dangers of experimentation, never strayed from his roots, disdained writing for "the well-trained and elite" in favor of reaching "the simple man who can understand by direct feeling without learning music." A steady but not prolific composer, he excelled more at vocal than orchestral music, and pieces like the suite from his bright, good-humored opera Háry János became concert-hall staples. His life's output was remarkable for its uniform excellence; his unabashedly melodic First Symphony, for example, written when he was 79, evokes the same atmosphere of Transylvanian...