Pourquoi ce travail est dans la base
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Notice bibliographique
Résumé
Patricia Racette: Diva on Detour.Patricia Racette, soprano; Craig Terry, piano. (GRP Records; 61:19)Gershwin/Gershwin: Got Rhythm (Girl Crazy). Arlen/Koehler: Get Happy. Van Heusen/Burke: Here's that Rainy Day. Brent/Dennis: Angel Eyes. Sondheim: I'm Calm (A Funny Thing Happened on the Way to the Forum), Not a Day Goes By (Merrily We Roll Along). Moustaki/ Monnot: Milford. Glanzberg/Contet: Padam. Guglielmi/Piaf: La vie en Rose. Arlen/ I.Gershwin: Man that Got Away {A Star is Born). Arlen/Mercer: Rain or Come Shine. Rodgers/ Hart: Where or (Babes in Arms), To Keep My Alive [A Connecticut Yankee). Carey/Fischer: You've Changed. Boyd/Grand: Guess Who I Saw Today. Bergman/Mandel: Where Do You Start. Porter: So in Love (Kiss Me Kate). Vaucaire/Dumont: Mon Dieu.There is nothing new about classical singers crossing over into the realm of popular music. It has been part of the musical landscape since the days of Jenny Lind, the Swedish Nightingale. She lived before the days of audio recordings, so all we can do is imagine how she and her contemporaries managed the transition. Since the days of Edison's cylinders, however, we have a rich and complex recorded legacy that documents the crossover efforts of singers from Adelina Patti to Renee Fleming and the various ways in which such crossovers can succeed. There are singers like Dorothy Kirsten whose timbre and technical approach seem all but identical across genres, while someone like Eileen Farrell shifts gears so dramatically that she almost seems like two different singers rolled into one. There are many pathways to success in this field. There are many roads to failure as well, as one can hear with the disconcerting tentativeness of Kiri te Kanawa or the ghastly leadenness of Gwyneth Jones. And much can depend on the particular project at hand; Deborah Voigt has had a number of successes in crossover, but evidently her attempt at Annie get your Gun was not one of them. Meanwhile, Stephanie Blythe, one of our most treasured operatic artists in both opera seria and Wagner, has scored a sensational success singing the songs of Kate Smith. When it comes to impressive artistic leaps, that may be one of the most impressive of them all.This recording presents the cabaret program of Canadian soprano Patricia Racette, an artist renowned for her impassioned performances as Cio Cio San, Floria Tosca, and Ellen Orford at the Metropolitan Opera and in other major houses around the world. A gifted singing actress not given to showy histrionics, Racette embodies her roles in completely authentic, unforced manner. Her singing has a similarly natural quality to it, yet she is fully capable of creating thrilling sizzle when the music calls for it. Especially impressive is the way in which her voice flows seamlessly between registers at any dynamic level, a sure indication of solid vocal technique.That's Patricia Racette the opera singer. As a cabaret singer, dwelling almost exclusively in the lower realms of chest voice, Racette is a perfectly capable but slightly more ordinary vocalist. The sound itself is unfailingly handsome but less varied in color, and her singing tends to be overly emphatic and even overwrought on occasion. This is most evident in the opening track, Gershwin's Got Rhythm, which is seriously undermined by the singer's stiff, heavy-handed style. Any number of singers, including plenty of amateurs, would dispatch this song with far more natural ease and rhythmic accuracy. Most of the upbeat songs sound similarly self-conscious, as does much of Racette's banter between numbers. It's not that she isn't entertaining and at times hilariously funny, but the fact that she talks so much about this drastic departure from her operatic center and so little about the actual songs she's singing suggests an artist who is more ill at ease than she lets on. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,007 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découle