Word: vocals
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Dates: during 1990-1999
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...like labor practices in Burma are perfectly capable of organizing a group, staging a protest or writing a letter. The same applies to controversial issues specific to Harvard. If enough students are really miffed by the supposed lack of Faculty diversity, there is nothing stopping them from launching a vocal movement. In the meantime, the lack of such a movement is an indication that most of us are perfectly content with the progress of the University's already vigorous affirmative action programs...
...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...
...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...