They include Lillias White, who won a Tony Award in 1997 as a big-voiced, big-hearted, blunt-spoken prostitute in "The Life," who appealingly shows up here as a big-voiced, big-hearted, blunt-spoken grandma.
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Kristin Chenoweth, Broadway's good witch, works some big-voiced, bright-eyed magic.
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DUA LIPA "New Rules" (Warner Bros.) Dua Lipa sings brash, big-voiced pop with self-empowerment in mind.
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Rihanna sang "Wild Thoughts" with Bryson Tiller and DJ Khaled, fully in character as a big-voiced hype man.
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The actors give the material their big-voiced, big-haired all, but the antics often feel forced rather than delirious.
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Opera fans live for the moments when a big-voiced singer fills a soaring melody with raw emotion and thrilling sound.
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NEW YORK (AP) — A big-voiced soul singer who performed with high energy onstage has died in New York after battling pancreatic cancer.
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Ms. Lipa is a big-voiced, broad-stroke songwriter and performer who was raised on pop bangers and is now writing her own.
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The era of the big-voiced diva isn't completely over — there's Adele and Ariana Grande and I guess Sam Smith (heavy sigh) to testify to that.
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The big-voiced actress Cynthia Erivo has been called all kinds of goddess, from "a goddess of musical theater" to just plain "goddess," by the theater god Lin-Manuel Miranda.
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As the show begins, Lauren Oya Olamina (a big-voiced Shayna Small) is a 15-year-old African-American girl who lives in a walled compound just outside of Los Angeles.
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Whereas the boys like to do all the big boomy loud concerts, and their big-voiced things—which I can do also—but I also like to do the storytelling side of his music.
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The project was crafted as an homage to doo-wop music of the '20183s and '22018s accentuated with vocal stylings reminiscent of the big-voiced divas of the '22018s like Mariah Carey and Whitney Houston.
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It can be easy to play Manon as a ruthless femme fatale, for example, as she becomes the toast of Paris, and Ms. Oropesa was suddenly big-voiced, glamorously tossing off high notes with insouciant sprezzatura.
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And in a moment where it seems virtually impossible for a big-voiced black woman singer who doesn't look like Rihanna or dance like Beyoncé to achieve widespread pop chart dominance, we need those reminders more than ever.
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Grande is chromed and polished, a laser-precise, big-voiced, old-fashioned maximalist; Eilish is offbeat and earthy, with an almost shrugging approach to fame and a voice that sometimes remains at the level of a conspiratorial whisper.
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The youngsters — Amelia (the big-voiced, cool-toned Marina Rebeka) and Gabriele (the warmly ringing Charles Castronovo) — try to escape from the shadow of a fading generation's knotted hatreds and conspiracies, but by the end they, too, seem only exhausted and defeated.
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The youngsters — Amelia (the big-voiced, cool-toned Marina Rebeka) and Gabriele (the warmly ringing Charles Castronovo) — try to escape from the shadow of a fading generation's knotted hatreds and conspiracies, but by the end they, too, seem only exhausted and defeated.
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Arts | Long Island If you try to imagine a grown-up Annie, of the musical by that name, you might easily find her to be a lot like Reno Sweeney, the lead character of Cole Porter's "Anything Goes" — sassy and brassy, big-hearted and big-voiced.
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JON PARELES "Love So Soft" is one of a pair of new songs from Kelly Clarkson's forthcoming album, "Meaning of Life," and it underscores the fact that there are few places in the pop mainstream to turn to for big-voiced soul singers not named Adele or Beyoncé.
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Five years after "The Truth About Love" — and 17 years after her debut — she returns with "Beautiful Trauma," an album filled with big-voiced anthems and strong-attitude songwriting featuring collaborations with Jack Antonoff, Max Martin, Shellback, and the team that assisted Ed Sheeran on "÷," Johnny McDaid and Steve Mac.
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There the principal singers, whose characters are never really developed further, blend with the crowd as they dance to wonderfully fun jukebox songs — written by Mr. Bell and Mr. Campbell, and sung by Darlene Love — before being interrupted by the police, portrayed with simplistic villainy and led by the big-voiced tenor Marc Heller.
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I wonder when I stopped being the person who, on a school bus in 1997, argued that Puff Daddy was a strong and important MC. Or the person who — in the great teen pop battles of the late '90s and early aughts — chose Christina Aguilera instead of Britney Spears, in part because I was raised to love big-voiced singers but also because the Catholic schoolgirl entry point of Spears wasn't exactly catered to my type of interests, having lived just down the street from a Catholic school and spending the occasional weekend attempting (and failing) to date actual Catholic schoolgirls.
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Sister Sparrow, also known as Arleigh Kincheloe, is the "big-voiced" frontwoman of the Dirty Birds.Harris, Rachel Lee (2011-03-03). "Weekend Miser" The New York Times. Retrieved 2011-05-02.
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His true nature, as Jacob discovers one day, is sweet and gentle. He only acts like a barbarian because it's written in his contract. He's really a big kid at heart, and becomes a great secret pal of Jacob's, occasionally helping out when a mission requires someone really really big. Voiced by Bret Hart.
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Columbus S. Perry (January 20, 1922 – February 5, 2009), better known as Piney Brown, was an American R&B; and blues singer and songwriter, who has been described as a "fine, big-voiced shouter". He released a string of singles between 1948 and 1988 and issued two albums late in his career. His songs have been recorded by Little Milton and James Brown.
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His early songs were dramatic big-voiced numbers, many of which were written by Mitch Murray and Peter Callander. He recorded albums regularly throughout the 1970s and made infrequent appearances on the charts. His album With Loving Feeling sold well boosted by the hit single "Is This The Way to Amarillo". He recorded an album in the United States in 1973 with the record producer Snuff Garrett, which did little to stop his commercial slide.
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Tillis had previously cut these two songs while on Warner in the 1980s. The album's title track reached number 11, and the last single, "Blue Rose Is", peaked at number 21. The album was certified gold by the Recording Industry Association of America (RIAA). Alanna Nash of Entertainment Weekly gave the album a B+ rating, saying that it "shows how well she can craft smart and sassy country material[…]and also sell it with a commanding, big-voiced presence".
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Shilpa Ray is an American singer-songwriter from Brooklyn, New York with a blues punk sound. Her music has been compared to Blondie, The Cramps, and Screamin' Jay Hawkins and her singing has been compared to the style of Patti Smith, Nick Cave, and Ella Fitzgerald. Ray is notable for combining an Indian harmonium with a "big-voiced blues-rock howler" vocal approach. Her eponymous band signed a record contract with Northern Spy Records and has toured internationally.
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Indeed, her exhibition of sass and funkiness is certainly more provocative" in comparison to her previous work. NME wrote: "Jackson has gone a long way in shaking off the experience of being a shadow Jackson child. She is an artist in her own right." Newsweek stated "[i]n an era of big-voiced pop-soul divas ... her current hit album, is taut, funky, hard as nails, an alternative to the sentimental balladry and opulent arrangements of Patti LaBelle and Whitney Houston.
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Popular music, or "classic pop," dominated the charts for the first half of the 1950s. Vocal-driven classic pop replaced Big Band/Swing at the end of World War II, although it often used orchestras to back the vocalists. 1940s style Crooners vied with a new generation of big voiced singers, many drawing on Italian bel canto traditions. Mitch Miller, A&R; man at the era's most successful label, Columbia Records, set the tone for the development of popular music well into the middle of decade.
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Popular music dominated the charts for the first half of the decade. Vocal-driven classic pop replaced big band/swing at the end of World War II, although it often used orchestras to back the vocalists. 1940s style Crooners vied with a new generation of big voiced singers, many drawing on Italian Canto Bella traditions. Mitch Miller, A&R; man at the era's most successful label, Columbia Records, set the tone for the development of popular music well into the middle of the decade.
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Jonathan Keefe from Slant Magazine praised the song, notably its sparse electric guitar riff and Pink's "phenomenal vocal turn that is both vulnerable and accusatory", while New York Times reporter Jon Caramanica claimed "I Don't Believe You" swells like a classic soul ballad, as Pink pleads for a lover to reconsider walking away. On another side, Christian Hoard of Rolling Stone magazine gave a negative review, claiming the song is a "goopy ballad", which makes the singer sound like "just another big-voiced chart-buster", and that she has shown more personality on previous singles.
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Music writer Dann Gennoe, who describes the track as a "piano-based big-voiced" and "lighter-friendly" ballad. In his review of E=MC², a writer from the Los Angeles Times described the song's lyrics and production in detail: > When Carey tries to open up a bit more, her sentiments are the equivalent of > a Hallmark Precious Moments figurine. In a ballad 'Bye Bye', Carey isn't > taking chances, designing the lyrics for mass appeal by dedicating them to > anyone who ever lost somebody, be it 'your best friend, your baby, your man > or your lady'. But Carey gracefully pulls off the universality of the > lyrics, and the tune will likely be a massive hit.
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They were given comic parts in the tradition of the previous century's comic bass by Gilbert and Sullivan in many of their productions. This did not prevent the French master of operetta, Jacques Offenbach, from assigning the villain's role in The Tales of Hoffmann to a big-voiced baritone for the sake of dramatic effect. Other 19th-century French composers like Meyerbeer, Hector Berlioz, Camille Saint-Saëns, Georges Bizet and Jules Massenet wrote attractive parts for baritones, too. These included Nelusko in L'Africaine (Meyerbeer's last opera), Mephistopheles in La damnation de Faust (a role also sung by basses), the Priest of Dagon in Samson and Delilah, Escamillo in Carmen, Zurga in Les pêcheurs de perles, Lescaut in Manon, Athanael in Thaïs and Herod in Hérodiade.
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They sang French opera, too, as did the American-born but also Paris-based baritone of the 1920s, and 1930s Arthur Endreze. Also to be found singing Verdi roles at the Met, Covent Garden and the Vienna Opera during the late 1930s and the 1940s was the big-voiced Hungarian baritone, Sandor (Alexander) Sved. The leading Verdi baritones of the 1970s and 1980s were probably Italy's Renato Bruson and Piero Cappuccilli, America's Sherrill Milnes, Sweden's Ingvar Wixell and the Romanian baritone Nicolae Herlea. At the same time, Britain's Sir Thomas Allen was considered to be the most versatile baritone of his generation in regards to repertoire, which ranged from Mozart to Verdi and lighter Wagner roles, through French and Russian opera, to modern English music.
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The show is also funny, and doesn't come off as pre-programmed and scripted as most over the top arena spectacles... that unpredictable eclecticism is just a broad stroke representation of the new genre-jumping normal, and it's from some combination of those elements that Cyrus will become a new Someone Else." Scott Mervis of the Pittsburgh Post-Gazette praised the show and Cyrus' vocals, calling it an "over-the-top dance-pop extravaganza with a wacky sense of humor, artful musical gestures and a big-voiced playful star who seemed thrilled to be there." Théoden Janes of The Charlotte Observer praised the show, writing, "Beneath all the audaciousness was a fair amount of awesomeness. Cyrus didn’t lip-synch a word.
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In The Village Voice, Robert Christgau wrote that there were essentially "only two songs on this album", "Money’s Too Tight (to Mention)" and "Heaven", but that Hucknall and the band carry off the album "on mood and groove alone". Reviewing the 1996 re-release for Q, Nick Duerden described Picture Book as "the most accomplished debut of its year". He said of Hucknall, "With the most prodigious voice this side of Motown and a burning socialist heart, here he infuses everything with a passion that he's rarely matched since." William Ruhlmann, in a retrospective review in AllMusic, felt that Simply Red produced "a steady R&B; groove reminiscent of '60s Stax house band the MG's" and that Hucknall was a "big-voiced soul singer".
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Without her, the last 13 years of big-voiced, tough chick music is hard to imagine." Following her performance at the American Music Awards of 2012, LZ Granderson of CNN wrote: > "... our culture's biggest sin may well be the auto-tuned syrup we've > allowed to dominate the pop charts. All-time chart records are handed to > vacuous acts such as the Black Eyed Peas and singing awards are given to > vocal lightweights such as Taylor Swift [...] But thank God for Pink. [...] > While Christina Aguilera has a tendency to oversing, Britney Spears can't > sing, and Lauryn Hill sorta stopped singing, Pink has managed to carve a > brilliant 13-year career by being something that is incredibly rare these > days—an artist.
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WQOK, often known as "The Big Q", was one of the first stations in the area to use fast talking, big voiced disc jockeys that would introduce the records with "jive talk" and take telephone requests from the listeners. The station also did live remotes for personal connections with its listeners. WQOK had a stable of popular DJs from 1958 through the late 1960s. Personalities such as Ken Dee (Dockins), Lake Cely, John Hudson, Sonny Epps, Bo Sanders, Carl Stubbs, Mal Harrison, Lee Sims, Paul Gold, Wayne Seal (later to become Governor Robert McNair's press secretary), Rick Fight, Dan Ellis, Charlie "Byrd" Lindsey, "Wild" Bill West, Noel Belue, Andy Rector, Mike Jones, Jack Kirby (aka Milton Bagby), Teddy Vee (aka Ted Vigodsky), Don "Happy Hearts" Bagwell, Little Davey Dee (aka Dave Dannheisser), Jim McAlister, Pete Dawley, Dave Wild (aka Dave Scott at other stations and Scott Studios) and Eston Johnson.
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In an Allmusic review, Alex Henderson notes that 'Martha Wash's work with the Weather Girls and Black Box was so strong that one couldn't help but greet this debut solo album with high expectations'. Henderson praised the 'dance-floor gems on the album (including "Things We Do for Love," "Leave a Light On" and the soaring "Carry On")' but wrote that 'most of the tracks fall under the heading of decent but not outstanding.' Describing Wash as a 'big- voiced diva', he noted 'album has more going for it than most of the faceless, soundalike releases flooding the urban contemporary market in 1992, but Wash is capable of so much more.' In Entertainment Weekly, David Browne also praised Wash's voice, expressing 'Martha Wash’s voice is diva incarnate, a big, lusty tornado that’s like Patti LaBelle without the bombast' but also expressed disappointment, writing 'stretched out over Martha Wash, an album of generic beats and rhyme-by-numbers material, she’s merely Zelma Davis with chops'.
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Ten elements were identified by the editors of the 2002 book Queer, which they claim describe themes common to many gay anthems: "big voiced divas; themes of overcoming hardship in love; "you are not alone;" themes of throwing your cares away (to party); hard won self- esteem; unashamed sexuality; the search for acceptance; torch songs for the world-weary; the theme of love conquers all; and of making no apologies for who you are." Research suggests that the song most commonly identified as a gay anthem is "I Will Survive" by Gloria Gaynor. The song is described as "a classic emblem of gay culture in the post-Stonewall and AIDS eras and arguably disco's greatest anthem." UK LGBT rights charity Stonewall named Christina Aguilera's "Beautiful" the most empowering song of the 2000s decade for LGBT people, and Elton John predicted it would replace "I Will Survive" as the pre- eminent gay anthem.
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