Ms. Buck was wonderful, her vocalism soaring, strong and pure.
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Some of Ms. Bell's music is taped, but some consists of remarkable vocalism.
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Their tuneful songs reward flashy vocalism and are generic enough to flatter many kinds of interpretation.
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But she need not have worried, so well do her vocalism and her carriage withstand close scrutiny.
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The arias were transformed beyond the usual displays of sumptuous vocalism; they were urgent, even desperate communication.
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Ms. Feola's artistry is grounded in the bel canto style that has been a hallmark of her country's vocalism for centuries.
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Ms. De Vita, in the smaller male role of Tancredi, proved yet more remarkable, with incisive diction: Her vocalism burns like a dark flame.
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In "Lucia" that prompts exalted vocalism from the heroine, whereas Giselle's heart-catching rushes across the stage in pursuit of something unseen — but what?
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The vocalism is here more athletically florid than declamatory, little problem for the fiery mezzo Ann Hallenberg, like Ms. Mingardo unaccountably obscure in America, and her cast mates.
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His rhythms have been fudged; his operas have become occasions for vulgar high-note battles rather than displays of refinement, subtle vocalism and meticulous wedding of text and music.
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But that growth is not just in volume, it's in depth, and I keep returning to her lament near the end, "Addio del passato," when her low range anchored some fearless vocalism.
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Composers may sub out a symphony orchestra for pretaped material or electronically aided arrangements; linear narrative flow is often abandoned for more abstract approaches; vocalism can encompass speaking, screaming and much else beyond traditional lyricism.
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His Ojai wasn't set up to prove the influence of, say, classical Indian singing on contemporary American a cappella vocalism; the weekend's performances and styles seemed to inform one another without imposing themselves on one another.
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Listeners accustomed to the autumnal warmth of a mezzo-soprano in "Der Abschied" might have found Gerhaher too cool and reserved, but for me the inward, confiding quality of his vocalism gave human focus to Mahler's sprawling landscape.
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The influence of Ms. Collins's classical piano training can be felt in her disciplined vocalism in those numbers, allowing her to maintain, at 78, much of the beautiful tone and control she exhibited while singing them 40 years ago.
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The passage is over in a second, but Ms. Rachvelishvili (pronounced rahtch-vel-ish-VEEL-ee), 34, has rocketed to stardom over the past few years with performances built from brief moments just like it: combinations of arresting vocalism and thoughtful subtlety.
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There are sequences, however, when their virtuosity — especially Ms. Munyaneza's — becomes an end in itself, showing too much relish in the wow effects she makes with clicking vocalism and off-kilter movement, as if she were a movie actor adoring the close-up in a powerful monologue.
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The vocalism and consonantism differentiate the Dacian and Thracian languages.
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The vocalism ends here, then one hears Éowyn facing the Witch-king and slaying him.
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Vocalism has been responsible for securing planning for the structure and all dressings throughout the duration of the project.
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OndaRock.it's Claudio Fabretti described the song as "an essay of muffled vocalism, counterpointed with a lot of choruses and wind instruments on a rocking rhythm".
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The Slavic name survives in two traditions, the Old Church Slavonic one using the vocalism Vladi- and the Old East Slavic one in the vocalism Volodi-. The Old Church Slavonic form Vladimir (Владимир) is used in Russian, Bulgarian, Serbian, Montenegrin and Macedonian, borrowed into Slovenian, Croatian Vladimir, Czech and Slovak Vladimír. The polnoglasie "-olo-" of Old East Slavic form Volodiměr (Володимѣръ) persists in the Ukrainian form Володимир Volodymyr. Historical diminutive forms: Vladimirko (Russian), Volodymyrko (Ukrainian).
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In March, he released his second mini-album NeΦ Vocalism. Around the same time, it was announced that he would form a new group called 3Peace☆Lovers with Hayato Nikaido and ZE:A's Ha Min Woo.
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Some of the differences between the texts are just varying spelling conventions: w and ', for example, are only different ways to indicate the same sound, a consonantal u. However, many other differences are to be explained by widely diverging views on the phonological and morphological systems of PIE. Schleichers reconstruction assumed that the o/e vocalism was secondary, and his version of PIE is much more closely based on Sanskrit than modern reconstructions. Hirt introduced the o/e vocalism, syllabic resonants, labiovelars and palatalized velars.
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" Top10cinema.com wrote it was a "prevalently fashioned tune of Yuvan Shankar Raja: more vitality exists on both vocalism and instrumentals. Followed by his previous composition Telugu song ‘Oye’, Yuvan has used live drums. Interludes with stringed instruments enhance the song.
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In Larry M. Hyman, ed., CTT 71-95 consist of a major syllable with fully stressed vowel, preceded by a minor syllable ::Temiar ləpud 'caudal fin' ::Semai kʔɛːp [kɛʔɛːp] 'centipede'Diffloth, Gerard.1976a. Minor-syllably vocalism in Senoic languages. In Jenner et al.
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This also explains the vocalism of New Testament Greek words such as λεγεών ('legion'; < Lat. legio) or λέντιον ('towel'; < Lat. linteum), where Latin was perceived to be similar to Greek . In Attic, the open-mid and close-mid each have three main origins.
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A particular highlight from his recordings with the Sängerknaben is a performance of the vocal version of Johann Strauss II's Frühlingsstimmen, a remarkable feat of vocalism for a boy soprano. Cenčić was educated at Downside School in Somerset between the ages of 14 and 16.
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Smith, C. Green)- 4:19 #"It Don't Stop" (Featuring Suga T) (K. Smith, C. Green, F. Morales, M. Ludlum, T. Stevens)- 5:17 #"Female Vocalism" (K. Smith, C. Green, E. Brooks)- 4:11 #"Da Mack Hit" (K. Smith, C. Green, O. Jackson)- 3:31 #"Who Got Da Mic" (K.
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Multi-vocalism is a form of vocal musicianship conceptualized by British Beatboxer and vocalist Killa Kela. It describes Beatboxers who incorporate other vocal disciplines and practices into their routines and performances such as singing, rapping, sound mimicry and other vocal arts. Beardyman is a well known multi-vocalist.
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Gilda Lyons in 2012. Gilda Lyons (born January 11, 1975, Rhinebeck, New York, United States) is a United States composer, vocalist, and visual artist who writes music that “combines elements of renaissance, neo-baroque, spectral, agitprop Music Theater, and extended vocalism”.Gilda Lyons website , retrieved 5 October 2014.
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The song was released a day prior to the release of The Colour in Anything through Polydor Records, alongside two other tracks from the album. ”Radio Silence” was met with positive reviews from music critics. Pitchfork deemed it as “Best New Track”, praising the instrumentalism and vocalism of the track.
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He explains the Sicilian vowel system through bilingualism, where Romance , was identified with Byzantine , ; variation between the two vowel systems seems to have persisted until the post-Norman era. The ambivalent nature of Sicilian vowel development has resulted in various attempts to determine whether the vowels developed as in Italo-Western languages or as in Sardinian, with the subsequent merger to and . Calvano argued that Sicilian is an Italo-Western language, given the observation that Sicilian vocalism, but not Sardinian vocalism, is predictable from that of Italo-Western. Lausberg posited that a variation of the Italo-Western development by merging lax, high vowels with tense, mid vowels to lax, high vowels, followed by the merger which is peculiar to Sicilian.
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In a review of a 2008 revival in Washington, D.C., Anne Midgette described it as "an exuberant sendup of over-the-top comic opera plots, filled with effusive lovers leaping with alacrity to wrong conclusions in floods of extreme vocalism."Midgette, Anne (15 July 2008). "Modest at Best, but No Less Operatic". Washington Post.
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The New York Times called her an "Energizer Bunny of a comedian with a big ponytail, giant hoop earrings and an impressive résumé" and cites her vocalism and style as ranging from "quasi-operatic" to gospel and rock. The NAACP Theatre Awards nominated her performance for being outstanding in the Los Angeles production of The Lion King.
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Other rivals included Polish-born Édouard de Reszke, Bohemian- born Wilhelm Hesch, the Italians Francesco Navarini and Vittorio Arimondi and, from a younger generation of singers, the Russians Lev Sibiriakov and Feodor Chaliapin and the Pole Adamo Didur. He more than held his own in this exalted company, remaining, then as now, the paragon of sophisticated and graceful vocalism.
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Unlike many cartoon animals, Precious did not speak. His usual vocalism was an asthmatic-sounding, "wheezing" laugh used even more famously by Muttley, a Hanna-Barbera character introduced three years later. He usually outsmarted his enemies, most notably Bruiser, the neighborhood bulldog, but he also usually outsmarted his oblivious owner, too. Twenty-six episodes were produced.
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Théoden's speech is declaimed, followed by music. A vocalist sings how the Rohirrim host rides forth and attacks the forces of darkness. Then the vocalism changes again and one hears Jack May and Anthony Hyde, voicing respectively Théoden and Éomer, saying a Nazgûl is coming. The 'opera' begins again, stating the Witch-king attacks Théoden, strikes him down and prepares to kill him.
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The Dacians are generally considered to have been Thracian speakers, representing a cultural continuity from earlier Iron Age communities. Some historians and linguists consider Dacian language to be a dialect of or the same language as Thracian. The vocalism and consonantism differentiate the Dacian and Thracian languages. Others consider that Dacian and Illyrian form regional varieties (dialects) of a common language.
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Ulhas Kashalkar initially worked as a programme executive at the Mumbai station of All India Radio. In 1993 he became a teacher at the ITC Sangeet Research Academy, where he remains today. Both Rambhau and Gajananrao were traditionalists which finds reflection in Kashalkar's vocalism. He possesses the ability to switch between three styles (namely Gwalior, Jaipur and Agra), at times even in the course of a single performance.
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Historically Basiola's voice was located in a transitional, intermediate time between late 19th-century vocalism and verismo tastes, somewhat like Carlo Galeffi (also a student of Cotogni). While he lived and worked at a time when deformative tendencies were impinging on the interpretative forms of 19th-century repertoire, Basiola nurtured the legacy of his schooling: he was a high baritone, with a voice clear and free of the defects of the dramatic baritone, with its dark, opaque timbre acquired with artificiality and encumbrances in emission. Basiola also avoided the search for any easy effects that were outside of a purely vocal technical nature. Verismo vocalism, besides being antithetical to the search for “aristocratic” phrasing, tended to place the tessitura in the lower middle voice, causing other singers to forget the technical features that would allow them to dominate the high notes with ease, instead causing them to push in order to fatten the voice, which in turn weighed down its easy emission.
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Maria Ewing "yowled" Gershwin's "My man's gone now" with her hands rather oddly thrust into her pockets. Kiri Te Kanawa's honeyed performance of an aria from Don Giovanni was accompanied by "comic-vamp routines". Ghena Dimitrova, Franco Farina and Juan Pons sang a trio from Un ballo in maschera as though working in some theatre in the provinces. Renée Fleming provided the most beautiful vocalism of the entire concert in her excerpts from Louise and Der Rosenkavalier.
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Because of its common name, Crimean Tatar is sometimes mistaken to be a dialect of Tatar proper, or both being two dialects of the same language. However, Tatar spoken in Tatarstan and the Volga-Ural region of Russia belongs to the different Bulgaric () subgroup of the Kipchak languages, and its closet relative is Bashkir. Both Volga Tatar and Bashkir differ notably from Crimean Tatar, particularly because of the specific Volga-Ural Turkic vocalism and historical shifts.
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Sanders performs clean and harsh vocals in Mastodon, where he shares lead vocal duties with Brent Hinds and Brann Dailor. His harsher vocal style is similar to Dave Edwardson of Neurosis and Buzz Osborne of the Melvins, utilizing low growls but not low enough to be death grunts. His harsh vocalism was largely applied in Mastodon's earlier Lifesblood and Remission. In Mastodon's more recent albums, Leviathan through Emperor of Sand, Sanders utilizes a different range of clean vocals along with his harsher style.
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Arnab's early training followed the Maihar and Shahjahanpur schools, which both derived from the Senia idiom founded by the legendary Mian Tansen. However, he has long been influenced by the vocalism-inspired style of the Etawah Gharana, which was taken to new heights by Ustad Vilayat Khan. . Chakrabarty continues an extended period of part-tutelage part-collaboration with Vinayak Chittar of this Gharana. He has also studied with a number of vocalists of the Agra and Gwalior Gharanas, notably Yeshwantbua Joshi.
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An early supporter was the French linguist Albert Cuny—better known for his role in the development of the laryngeal theorySzemerényi 1996:124.—who published his Recherches sur le vocalisme, le consonantisme et la formation des racines en « nostratique », ancêtre de l'indo-européen et du chamito-sémitique ('Researches on the Vocalism, Consonantism, and Formation of Roots in "Nostratic", Ancestor of Indo-European and Hamito-Semitic') in 1943. Although Cuny enjoyed a high reputation as a linguist, the work was coldly received.
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She made her public debut at the conservatory as a soloist with the Handel and Haydn Society. Convinced that she could forge a successful career as a professional performer, Norton travelled to Italy and put a final bel canto polish on her vocalism through study in Milan. "Nordica", a stage name, was bestowed by an Italian maestro at the beginning of her operatic career. He convinced her that European opera- goers would not tolerate a diva with a plain sounding, Anglo-American name.
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In 1885, she created the part of Yum-Yum in The Mikado, perhaps her best known role. The Era reported that "Miss Braham has in the part of Yum-Yum full opportunities for displaying those powers of finished acting and accomplished vocalism which have long since won for her the friendly admiration of all habitues of the Savoy.""The Mikado at the Savoy", The Era, 12 September 1885, p. 9 She next created the part of Rose Maybud in Ruddigore (1887).
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He then sang in Boston from 1911 to 1913. Audiences at the Boston Opera House admired him for his stylish vocalism, exemplary diction and elegant stage presence during his engagement with the Boston Opera Company. Although his voice was not large, he was considered to be one of the leading Roméos and Don Josés of his era by dint of his musicianship. Clément returned to his homeland when the First World War erupted in 1914 and was wounded subsequently while serving with the French army.
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The generally established classical Arabic system used the iskan to > mark the pause. Kfarsghab has recourse to diphthongizations or changes of > timbre of vowels; in the same way it is in Shhim and also in Zahlé... ... A > major originality of the accent of Kfarsghab is its vocalism evolution. The > Lebanese are especially struck by the frequency of its vowel 'o'. The well- > read men see there an influence of the Syriac, as they attribute the 'o' one > hears in North-Lebanon to an influence of the Syriac.
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105 n. 4 understands Pecunia as protector and increaser of the flock. Dumézil maintains the cult usage of these epithets is not documented and that the epithet Ruminus, as Wissowa and Latte remarked, may not have the meaning given by Augustine but it should be understood as part of a series including Rumina, Ruminalis ficus, Iuppiter Ruminus, which bears the name of Rome itself with an Etruscan vocalism preserved in inscriptions, series that would be preserved in the sacred language (cf. Rumach Etruscan for Roman).
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In a 2013 contribution to OC Weekly, Marco Torres added that "Baila Esta Cumbia" is a "fun song" and noted its "lively" addictive nature. John Storm Roberts wrote in his book The Latin Tinge, that the recording is an "up-tempo romantic piece" for his review of Selena's live album, Live (1993). Roberts added that with "Como la Flor", the two "mixes pop vocalism, some quite free scatting, and a classic banda keyboard sound." Federico Martinez of the San Antonio La Prensa called the recording "upbeat".
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In epigraphy, the regional name occurs as Hestiōtai, ambassadors in Athens and Histiōtai in the Thessalian grain decree for Rome (see Pelasgiotis) but most similarly written names are related to Histiaea, an Attic deme and a city in North Euboea. The epigraphical Aeolic Greek vocalism of Hestiaeotis is bizarre and idiomatic.A history of ancient Greek: from the beginnings to late antiquity By Anastasios-Phoivos Christidēs, Maria Arapopoulou Page 467 (2007) Histiaeotis is first mentioned by Herodotus,Herodotus, translated by Robin Waterfield; Carolyn Dewald (1998). The Histories.
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Upon the completion of the opera, preparations for the initial performance were conducted in absolute secrecy and Verdi reserved the right to cancel the premiere up to the last minute. In particular, the composer expressed reservations about Tamagno's softer singing, though not about the power and ring of his vocalism in dramatic passages of the score. Verdi need not have worried: Otellos debut proved to be a resounding success. The audience's enthusiasm for Verdi was shown by the 20 curtain calls that he took at the end of the opera.
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The wide leaps of the Caro nome coda were taken effortlessly and > squarely on the note. The Met audience does not often hear a trill as > thrushlike and as precise as Miss Anderson's, nor a soprano who can soar as > grandly over the ensemble in the quartet.Donal Henahan, Review/Opera; > Review/Opera; Pavarotti and Vocalism Star in Met's 'Rigoletto', The New York > Times, November 6, 1989. In July 1989, she sang at the inaugural gala of the new Opéra Bastille in Paris, performing Ombre légère from Le pardon de Ploërmel, by Meyerbeer.
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After the walk out, Mintaredja was displaced as the chairman of PPP by the government through a political manipulation designed by Ali Murtopo, and the government replaced him with Naro. Without any meetings or muktamar, Naro declared himself as the chairman of PPP, supported by the government. After Naro became the chairman of the party, he neutralized the vocalism of NU faction inside the party. Naro ensured that none of the party members had an independent source of power, and effectively centralized all of the patronage channels to himself.
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Some impressive examples of his vocalism are preserved on gramophone records he made in the early 20th century. These recordings, which include a few French songs and arias from Otello, Falstaff and Don Giovanni, have been reissued on CD by various companies. Maurel also wrote a number of books on opera and the art of singing, and dabbled in theatrical set design. Volume One of Michael Scott's The Record of Singing (London: Duckworth, 1977) contains an informative overview of the baritone's career, an assessment of his musical importance and a brief discussion of his recordings.
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The song projects a sombre and melancholy mood with Madonna lyrically asserting that she is "drawn to sadness" and "loneliness has never been a stranger" on the song. The next song on Bedtime Stories is "Sanctuary" where Madonna quotes Walt Whitman's poem Vocalism in the lyrics, and aligns love and death. Musically it has a "techno pull" and has an atmospheric introduction with an assortment of odd noises, electric guitar and some strings. The song is linked to the beginning of the next album track, "Bedtime Story", which starts with its chords.
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The ensemble recorded Edvard Grieg's part songs for male voices in 2002. A review observed that they "define ensemble unity as well as interpretive acuity" and mentioned their "impeccable vocalism and outstanding ensemble singing". They recorded Franz Schubert's 95 complete part songs for male voices, which were intended to be sung by soloists, because the Congress of Vienna restricted all-male groups, even male choruses. A review of the recording noted that the singers "have been together almost twenty years and the members' voices have the rich sound and perfect blend of a string ensemble".
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Jörundur Garðars Hilmarsson (15 March 1946 – 13 August 1992), was an Icelandic linguist, scholar and grammarian specializing in comparative grammar of Indo- European languages. He finished his doctoral thesis, Studies in Tocharian Phonology, Morphology and Etymology with special emphasis on the o-vocalism at the Leiden University. He gave great importance to the study of Tocharian languages, authoring a detailed etymological dictionary for the language. Jörundur also established the international scholarly journal Tocharian and Indo-European Studies (TIES) in 1987 and continued to head its editorial staff from Reykjavík until his premature death in 1992 at the age of 46.
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His broad phrasing and the sonority of his voice also allowed him to create characters that were both noble and imposing. Over time Basiola had to make some concessions to verismo vocalism, and his incessant activity did bring about some cloudiness of the voice, but his technique and style made him much in demand, especially in works from the second half of the 19th century. What he could not entirely achieve was to put an unmistakably personal stamp on his interpretations. Nevertheless, Basiola was his immense technical and artistic value during his career and to modern historians of the voice and singing.
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She then moved to the Berlin Stadtische Oper where her performance in Janáček's Jenufa led to an offer from The Metropolitan Opera, where she debuted in 1957, again as Eboli, to great applause. One New York City reviewer, Raymond Erickson, wrote: > Her expert vocalism and musicianship were immediately apparent in the "Veil > Song", which Dalis sang better than I have ever heard it sung. In the tricky > ensemble with Carlo and Rodrigo in the Queen's gardens, she was just as > impressive, and her sweeping, almost torrential handling of O don fatale won > her a genuine ovation from the capacity audience.
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Malipiero possessed a clear, bright, well-trained voice with a slightly husky timbre. Italian music critics and audiences of the 1930-1960 period praised his singing style, regarding it as belonging to the elegant 'old school' of pre-verismo vocalism. He can be heard as Edgardo in a complete recording of Donizetti's Lucia di Lammermoor, with the coloratura soprano Lina Pagliughi in the title role and Ugo Tansini conducting, that was made by Cetra Records at the height of the tenor's powers in 1939. This performance was remastered in 2001 and released on CD by Naxos Records.
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In the castrato role of Sesto, the infatuated instrument of Vitellia's scheming, Yvonne Minton delivered a performance that was arguably more impressive still. She was equally successful at portraying both sides of Sesto's character: the youth besotted with his vengeful mistress, and the "Roman of the highest standards of honour, courage and resolve" torn by the competing claims of duty and desire. And as well as singing with "real dramatic power", Minton displayed "virtuosity of a high order". Pure, superb and magnificent were just some of the accolades that Sadie bestowed on her vocalism, although he acknowledged that sometimes.
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He also handled the trying conditions of the early sound 'studios', with their boxy confines and wall-mounted recording funnel, much better than did many of his contemporaries, who often felt inhibited or intimidated by their uninspiring surroundings. His singing was considered to be 'old-fashioned', even in the circa-1900 era. Consequently, his discs provide a retrospective guide to Italian singing practice of the early-to- mid-19th century (the era of Gaetano Donizetti and Vincenzo Bellini)—as well as exemplifying the "grand manner" style of vocalism for which much Romantic operatic music was written. Battistini delivers this kind of music in a virile, bold and patrician way.
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Already in 1870s the Neogrammarians realised that the Greek/Latin vocalism couldn't be explained on the basis of the Sanskrit one, and therefore must be more original. The Indo-Iranian and Uralic languages influenced each other, with the Finno-Ugric languages containing Indo-European loan words. A telling example is the Finnish word vasara, "hammer", which is related to vajra, the weapon of Indra. Since the Finno- Ugric homeland was located in the northern forest zone in northern Europe, the contacts must have taken place – in line with the placement of the proto-Indo- European homeland at the Pontic-Caspian steppes – between the Black Sea and the Caspian Sea.
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He even made some early forays into Wagner during his days at La Scala (Like several Italian singers of that era, he eschewed the German language, singing only in Italian and French). De Luca's elegant vocalism is preserved on numerous recordings which he made for the Gramophone, Fonotipia and Victor companies in Italy and America from the early 1900s through to the 1920s and '30s. On some of them, he is partnered by other great singers of the Metropolitan Opera's golden age, including Enrico Caruso, Giovanni Martinelli, Beniamino Gigli, Amelita Galli-Curci, Elisabeth Rethberg, Rosa Ponselle and Ezio Pinza. CD reissues of his recordings are widely available today.
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He possessed a mellow and powerful vocal timbre during his prime and was a master of the head voice. His range extended up to E5, although he never went higher than D5 in public. He sang during a turning-point in French operatic vocalism, when performers began using a rounder, more open-throated and Italianate method of voice production than hitherto had been the case, with less resort to falsetto by tenors. Indeed, the scores of the musical passages written for Nourrit by Rossini, Giacomo Meyerbeer and others, contain orchestral markings which indicate that he could not have been singing in falsetto in his upper register.
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In the latter half of the 20th century, the Patiala style of Khayal vocalism has been represented by two streams of the gharana. One stream, gave the music world the Amanat Ali Khan and Bade Fateh Ali Khan duo. The other stream, through its training of Patiala-Kasur gharana vocalists, produced Bade Ghulam Ali Khan (1903–1968), his brother Barkat Ali Khan (1907–1963), and the former's son, Munawar Ali Khan (1933–1989). With the stylistic distinctiveness and continuity of Khayal gharanas having fallen prey to socio-cultural changes on both sides of the India-Pakistan border, Bade Fateh Ali Khan is the last of the thoroughbred Patiala Gharana vocalists.
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Some of them, like Marconi's sweet-toned and finely structured version of Cielo e mar from La Gioconda and his stylish delivery of arias from Lucia di Lammermoor, successfully convey the limpidity and grace of his bel canto method of vocalism; but most of them demonstrate that by the age of 50, both his breath control and the sweetly lyrical timbre of his voice had been damaged by the strain of singing such taxing rolesScott 1977, 123. as Radames, Otello, Lohengrin and Don Alvaro. Marconi notably partnered Antonio Cotogni, an illustrious baritone and voice teacher from an earlier generation, in the only record that is known to have been made by Cotogni, the duet I Mulattieri.Scott 1977, 105.
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Knote made his American debut at the Metropolitan Opera on 3 December 1904 in Die Meistersinger. He was so successful in this and other Wagner operas that during his three seasons with the Met company, his popularity was said to have almost rivalled that of the Met's superstar tenors Enrico Caruso and, from the previous generation, Jean de Reszke. Surprisingly enough, Knote never sang at the Bayreuth Festival. (His legato-based method of singing would not have been a good fit in any case with Bayreuth's then favoured sprechgesang style of vocalism.) He did, however, enter into a contract with the artistically esteemed Dresden Opera; but this was cancelled suddenly in 1909 after a dispute with management.
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He enjoyed the added advantage of working closely with Verdi, and his vocalism acquired a discipline and polish that hitherto it had lacked. According to The Concise Oxford Dictionary of Opera, he eventually took part in every La Scala season until the end of 1887 and appeared there again in 1901 as a guest artist. He did not completely turn his back on Turin, however, and he found time to sing periodically in his hometown; indeed, his last known public engagement occurred in Turin in 1905. Argentina was an overseas bastion of Italian opera throughout this period, and Tamagno undertook the first of several well-remunerated visits to Buenos Aires in 1879.
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While in Italy, he began by modelling himself on the bel-canto tenor Rubini, whose bravura vocalism was a byword for sweetness and elegiac inflexion. Soon, however, he found a new source of inspiration in the person of Domenico Donzelli, the then greatest living "baritonal" tenor. Donzelli possessed a robust voice and a deliberately darkened timbre, coupled with firmly accented diction, immense nobility of phrasing and a vibrant, intense method of acting. The merging of Rubini and Donzelli's contrasting styles in Duprez, and the introduction of the famous high C from the chest (which soon became a standard feature of Romantic singing), gave rise to a fresh category of tenor, the tenore di forza.
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In such exulted and entrenched company there was not much attention paid to a new, unheralded young baritone! However, he would receive much greater réclame in London during subsequent Covent Garden appearances in 1905–1906, when the now mature performer established himself as a darling of Edwardian-era high society due to his dashing vocalism and polished off-stage demeanour. Unlike his initial London experience, when Battistini made his debut at the important Teatro San Carlo in Naples in 1886, he scored an immediate triumph. Two years later, he once more sailed to Buenos Aires to fulfil a series of singing engagements; but this proved to be his last trans-Atlantic excursion, and he never appeared again in South America.
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Burzio was born in Poirino, Piedmont. Initially, she pursued a career as a violinist but decided instead to concentrate on opera singing whilst a teenager, stating she was born in 1879 in order to study voice at the Milan Conservatory with Carolina Ferni who herself had studied with Giuditta Pasta. She made her professional début as Santuzza, in Pietro Mascagni's Cavalleria rusticana, at the Teatro Vittorio Emmanuel, Turin in 1899. She went on to enjoy a highly successful career throughout her homeland as a lyric- dramatic soprano, although her ardent, larger-than-life mode of vocalism was not calculated to appeal to the taste of more conservative British and American audiences and she never sang at Covent Garden or the Metropolitan Opera.
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Giuseppe Anselmi Giuseppe Anselmi Commentators often describe Anselmi (and his famous contemporary Alessandro Bonci) as being among the last exponents of the old bel canto method of Italian singing, which was largely supplanted in Italy during the early 1900s by a more forceful mode of vocalism associated with Wagner's music dramas and verismo opera. Anselmi was a good-looking man with an arresting stage presence, which made him extremely popular with many opera- goers. He was sometimes referred to as Il tenore di donne (the tenor of/for women) which apparently had a double meaning; details of his personal life have never emerged. He possessed a sweet-toned if rather throaty and fluttery lyric tenor voice, which he employed with memorable grace and elegance.
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Augustine gives an explanation of the ones he lists which should reflect Varro's: Opitulus because he brings opem (means, relief) to the needy, Almus because he nourishes everything, Ruminus because he nourishes the living beings by breastfeeding them, Pecunia because everything belongs to him. n. 4 understands Pecunia as protector and increaser of the flock. Dumézil maintains the cult usage of these epithets is not documented and that the epithet Ruminus, as Wissowa and Latte remarked, may not have the meaning given by Augustine but it should be understood as part of a series including Rumina, Ruminalis ficus, Iuppiter Ruminus, which bears the name of Rome itself with an Etruscan vocalism preserved in inscriptions, series that would be preserved in the sacred language (cf. Rumach Etruscan for Roman).
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The verismo opera style featured music that showed signs of more declamatory singing, in contrast to the traditional tenets of elegant, 19th century bel canto singing that had preceded the movement, which were purely based on markings in the written music of authors preceding this “era”. Opera singers adapted to the demands of the “new” style. The most extreme exponents of verismo vocalism sang habitually in a vociferous fashion, were focusing on the passionate aspect of music. They would 'beef up' the timbre of their voices, use greater amounts of vocal fold mass on their top notes, and often employ a conspicuous vibrato in order to accentuate the emotionalism of their ardent interpretations (this kind of proper “chiaroscuro” technique singing, which promised a great longevity of the voice, that a lot of preceding singers used up to this point in time).
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Batatu, 2000, p. 723. Batatu has also described al-Arsuzi as having a racist outlook, which proved in the end intellectually sterile and unsatisfactory to his followers, and as having been deeply influenced in his thought by the tenets of his Alawi religious background. Al-Arsuzi argued that unlike the Latin language, which is conventional and uses arbitrary signs to explain certain objects, the Arabic language formed words derived from the vocalism of its syllables and "in its expression of a direct representation of a natural object" – unlike Latin, Arabic is essentially in conformity with nature. Arabic is, according to al-Arsuzi, an intuitive language; there is "a natural sympathy" between the pronunciation of Arabic words and their meaning: an Arabic word is united with its meaning by definition of a referent, which is absorbed in such an operation.
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The dawn of the 20th century opened up more opportunities for baritones than ever before as a taste for strenuously exciting vocalism and lurid, "slice-of-life" operatic plots took hold in Italy and spread elsewhere. The most prominent verismo baritones included such major singers in Europe and America as the polished Giuseppe De Luca (the first Sharpless in Madama Butterfly), Mario Sammarco (the first Gerard in Andrea Chénier), Eugenio Giraldoni (the first Scarpia in Tosca), Pasquale Amato (the first Rance in La fanciulla del West), Riccardo Stracciari (noted for his richly attractive timbre) and Domenico Viglione Borghese, whose voice was exceeded in size only by that of the lion-voiced Titta Ruffo. Ruffo was the most commanding Italian baritone of his era or, arguably, any other era. He was at his prime from the early 1900s to the early 1920s and enjoyed success in Italy, England and America (in Chicago and later at the Met).
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He studied with Cotogni from June 1915 to the latter's death in 1918, becoming one of his favorite students. His study with Cotogni was crucial for his acquiring a technique and style that allowed him to portray the situations in the verismo literature without compromising his “vocal organization.” Basiola at times denounced the era in which he worked (especially in certain interpretive tastes), and did not display the tendency toward sensational and boisterous vocalism as much as some of his contemporaries. Instead he maintained the capacity to deal with singing (especially in the Verdi literature) with correctness and measure, malleable timbre and fluent sureness in the upper voice that made him “one of the few baritones of his generation capable of representing the true traditional Italian school.” This early training period was very profitable for him but also very difficult: when he was expelled from the Conservatory for “insufficient voice” caused by a bout of "physical wasting," Cotogni came to his aid again.
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During the 1890s, the directors of the Bayreuth Festival initiated a particularly forceful style of Wagnerian singing that was totally at odds with the Italian ideals of bel canto. Called "Sprechgesang" by its proponents (and dubbed the "Bayreuth bark" by some opponents), the new Wagnerian style prioritized articulation of the individual words of the composer's libretti over legato delivery. This text-based, anti-legato approach to vocalism spread across the German-speaking parts of Europe prior to World War I. As a result of these many factors, the concept of bel canto became shrouded in mystique and confused by a plethora of individual notions and interpretations. To complicate matters further, German musicology in the early 20th century invented its own historical application for "bel canto", using the term to denote the simple lyricism that came to the fore in Venetian opera and the Roman cantata during the 1630s and '40s (the era of composers Antonio Cesti, Giacomo Carissimi and Luigi Rossi) as a reaction against the earlier, text- dominated stile rappresentativo.
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From a musicological standpoint, his singing is of considerable historical interest because the refined vocal method that he employed was shaped prior to the advent of passionate, slice-of-life verismo opera in the 1890s. (To perform the verismo repertoire effectively, 20th-century singers were required to adopt a less elegant and less florid style of operatic vocalism than had hitherto been the norm.) Indeed, Plançon is considered to be one of the last important figures in a long line of exceptional French basses and baritones stretching back to the birth of operatic music's romantic era in the early decades of the 19th century. His predecessors and contemporaries in this Gallic bel canto tradition included such celebrated artists as Henri- Bernard Dabadie, Nicolas Levasseur, Luigi Lablache, Prosper Dérivis, Paul Barroilhet, Jean-Baptiste Faure (see above), Victor Maurel, Jean Lassalle and Maurice Renaud. During the height of his 30-year career, he was confronted with stellar competition from a host of superlative operatic basses, including his fellow countrymen Jean-François Delmas (whose sonorous voice he particularly admired), Pedro Gailhard, Juste Nivette, Hippolyte Belhomme and Marcel Journet.
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