Word: vocalized
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Dates: during 1950-1959
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...gait is more tortile and wambling than ever. She also displays a nice comedy touch, reminiscent of a baby-talk Judy Holliday. After listening to a Rachmaninoff concerto, Marilyn gets real comic conviction into her voice when she decides it must be classical music "because there's no vocal." Tom Ewell brings the expertise of long familiarity to his part of the agonized husband, but Director Wilder has let several of Ewell's monologues go on a shade too long. In minor roles, Robert Strauss and Donald MacBride also help to slow down the farce pace, while Oscar...
...passion. Its music stems from the German style, i.e., continuous, more or less expressive singing, rather than from the Italian fashion with its separate, show-stopping arias. The voice parts, in their way, are likely to resemble instrumental parts, as they did in the golden age of Italian-style vocalism (up through the days of Handel). Modern composers find this kind of singing more expressive than the vocal thunder of a Celeste...
Desmond (Fantasy). Alto Saxophonist Paul Desmond, who is usually heard with Dave Brubeck (TIME, Nov. 8), teams up with two other combos on this plaintive and appealing disk. On one side, he infuses his pure, sensitive tones into a handsome vocal fabric (by the Bill Bates Singers). On the other is a quintet, including amiable Trumpeter Dick Collins and Tenor Saxophonist Dave Van Kriedt, who composed such originals as a prelude (Baroque) and fugue (But Happy...
...after another (Brahms's Lullaby, Una furtiva lagrima from L'Elisir d'Amore, O Paradiso from L'Africana), but the cheering listeners evidently were in the mood for chestnuts. The music was just what Gigli always sang best, and he showed traces of his old vocal glory: a refined moment of color, a liquid pianissimo phrase, a ringing high note. More often, the voice was thin, unsteady, and unmistakably 65 years...
...Gigli replaced Caruso as the Metropolitan Opera's star tenor in 1920, audiences have applauded him less for artfulness than for artlessness. He sang and acted with his peasant's gusto-"with the whole force of his body," one critic wrote, "as naturally as a gamecock fights." Vocal style usually went out the window when he saw a chance to prolong a honeyed mezza voce, a thundering high B-flat, a sob, a gulp or a tearful portamento...