Why this work is in the frame
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Bibliographic record
Abstract
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. …
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Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.007 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it