Mr. Polenzani conveyed the sentry's vulnerability in his sweet-toned singing.
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Plus, since it's all resistance-based, you'll get that sweet-toned look to your muscles.
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It's a sweet-toned anecdote, about a street-smart boy named Dud and his dog, that's spiced with a slangy pugnacity.
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So too did the tenor Francesco Meli, a polished, sweet-toned Radamès, and, as the jealous Amneris, the mezzo-soprano Ekaterina Semenchuk, restrained to the point of weakness.
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The soprano Erin Morley, a lovely, sweet-toned Pamina, conveyed the poignant confusion of a young woman trapped between an avenging mother and Sarastro (the powerful bass Morris Robinson).
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Two self-absorbed characters, Silvia, the Duchess of Avila, a young widowed mother worried about her boy at home, and her arrogant, idle brother, Francisco, are oddly sympathetic, especially as performed by the sweet-toned soprano Sally Matthews and the dynamic countertenor Iestyn Davies.
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There was excellent work from the mellow-voiced mezzo-soprano Gaëlle Arquez, as the confused prince Idamante, and the two singers playing the women who love him: the sweet-toned soprano Sophie Karthäuser as Ilia, a Trojan princess, and the intense soprano Alex Penda as the vengeful Elettra.
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In Barber's Violin Concerto, with the sweet-toned but fiery violinist Jennifer Frautschi as soloist, there were voluptuous tuttis in which the orchestra's string section flexed its might, part of a big-hearted and shapely performance that paid homage to the power of meticulously phrased, cleanly sung melody.
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Henriette Sontag, born Gertrude Walpurgis Sontag, and after her marriage entitled Countess Rossi (3 January 1806 – 17 June 1854), was a German operatic soprano of great international renown. She possessed a sweet-toned, lyrical voice and was a brilliant exponent of florid singing.
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During his active career he also sang important roles at the Royal Opera House, the Paris Opéra, San Francisco Opera and the Metropolitan Opera. In his prime, the music critic Alan Blyth considers, "he had a sweet-toned, lyrical voice and excellent diction."Blyth, Alan (n.d.) "Davies, Ryland", in Oxford Music Online, accessed 8 September 2017.
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Mitchell responds to the jeering and heckling from a section of the audience by forcefully playing an angular 3 second phrase that crosses the entire range of the alto saxophone and repeating that phrase for about 7 minutes and for a further 2 minutes breaks apart the phrase. Having at last silenced the hecklers his improvisation takes a quieter, more sweet toned direction and moves into more conventional free improvisation, ending with audience applause.
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The "Judge I Homer Sutton Bridge" sits near the Washington-Jefferson Historic District in Clarksville crossing the Soque River carrying Burton Road. It was named by an act of the State Legislature in 1956. He supplied "at his own exclusive expense a beautiful and sweet-toned Allen pipe organ in the Presbyterian Church of Clarkesville to the Glory of God and in honor of his beloved and devoted wife " Mary Pauline Burns whom he married in Clarkesville on October 10, 1917.
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Chappottín is widely regarded as the founder of the modern Cuban trumpet style due to his innovative approach in the development of son cubano between the 1920 and 1950s. According to Craig Harris, writer for AllMusic, Chappottín "continued to inspire Afro-Cuban music with his sweet-toned trumpet playing for more than six decades". In 2002, Chappottín was posthumously inducted into the International Latin Music Hall of Fame. After his death, his son and later his grandson have directed Conjunto Chappottín.
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In 2020, he received the Paszport Polityki Award presented by the Polityka yearly in the category of classical music. A second album 'Facce d'amore', consisting of "a wide-ranging and well-chosen collection devoted to the many faces of love" from operas by Cavalli, Boretti, Bononcini, Scarlatti, Handel, Predieri, Matteis and Conti, prompted reviewer Brian Robins to commend the singer's "talents as a dramatic singer" and his stylish ornamentation, summing up his voice as "sweet-toned".Brian Robins. CD review : Jakub Józef Orliński – Facce d'amore.
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She was a principal vocalist in the performance of Handel's 'Messiah' at the first Leeds Musical Festival at Leeds Town Hall in 1858. Throughout her singing career she received glowing reviews for her 'clear, ringing, sweet- toned soprano voice, and really excellent style'. When she performed in Sheffield in 1861 the Sheffield Daily Telegraph noted the 'animated brilliancy' of her rendition of 'Rejoice Greatly' from the Messiah. In May 1868 she sang part of Haydn's 'Creation' at Leeds Town Hall in front of the Prince of Wales during his visit to open Roundhay Park.
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The song received generally positive reviews from music critics. Leah Greenblatt of Entertainment Weekly called it a "sweet-toned swoon". Joe Vogel of The Huffington Post stated that the song was a "great new production by Neff-U", and "the new version retains all of the charm of the original while injecting some fresh elements, including new piano, bass, strings, and vocal effects." Jason Lipshutz, Gail Mitchell and Gary Graff from Billboard thought the song is "the simple sketch eventually led to this blissful love song with its layered vocals and gentle percussion".
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Like the Piano Concerto, the Violin Concerto uses the wide range of techniques he had developed up until that point as well as the new ideas he was working out at the moment. Among other techniques, it uses a passacaglia,Schell 2018 "microtonality, rapidly changing textures, comic juxtapositions... Hungarian folk melodies, Bulgarian dance rhythms, references to Medieval and Renaissance music and solo violin writing that ranges from the slow-paced and sweet-toned to the angular and fiery."Kozinn 2005. Other notable works from this period are the Viola Sonata (1994) and the Nonsense Madrigals (1988–93), a set of six a cappella compositions that set English texts from William Brighty Rands, Lewis Carroll, and Heinrich Hoffman.
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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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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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