Word: vocalizings
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Dates: during 1950-1959
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...left unfinished at his death in 1924. Completed by his friend Franco Alfano, Turandot is rarely performed despite the exotic splendors of its score. Chief reasons for its neglect: a certain harshness that sets it apart from the big Puccini favorites (Tosca, Bohème, Butterfly), some devilishly difficult vocal parts, and a need for sumptuous staging...
...Army Jupiter with Little Old Reliable aboard got off its Cape Canaveral launching pad in a perfect takeoff. Atop the passenger's head was a tiny helmet with a microphone attached to record vocal sounds, and fitted into the little compartment were assorted instruments to measure heartbeat rate, blood pressure, body temperature, breathing rate. During the first few minutes of flight, while the missile was accelerating under the thrust of its engines, telemetering devices reported slowed-down and irregular breathing, slightly speeded-up heartbeat. Then, during about eight minutes of weightlessness while the missile was in ballistic flight, breathing...
Many of the eager young politicians of the ruling Istiqlal (Independence) Party view the King (and onetime Sultan) as an old-fashioned survival. Fighting tribesmen in the Rif mountains, in turn, view the Istiqlal with suspicion as "Frenchified city slickers." Inside the Istiqlal itself, a vocal left-of-center minority demands a neutralist foreign policy and denounces "palace politics...
...detective stories, classics such as Crime and Punishment. As he wound up his third U.S. tour last week on the West Coast, nobody thought to ask him whether he was stoking his emotional fires on Donne or Dostoevsky or Dashiell Hammett. What mattered was that he was in top vocal form, and that meant that he was giving his audiences the most moving performances of German lieder to be heard in the world today...
Spine-Tingling Blasts. There are showier, more opulent-sounding baritones than Fischer-Dieskau. But there are no singers about nowadays who use their voices with more intelligence, accuracy or theatrical effect. Fischer-Dieskau never uses his texts as excuses for mere vocal gymnastics. In the art songs of Schubert, Schumann, Wolf, he sings his way into moods alternately tragic, boisterous and nostalgic with subtle modulations of his dry, husky voice. And when at climactic moments he throws his baritone out in a high, ringing fortissimo, the effect is as spine-tingling as a trumpet blast...