The headliner is Don Omar, one of the biggest stars in the booming Puerto Rico-based genre known as reggaeton; his infectious refrains make his sing-along ballads near as exciting as his frenetic club tracks.
Mr. Donahue commanded attention for the expressive way he made his singing voice lament, growl, snarl and implore as Weill's moods demanded.
Mr. Wright has a hefty tone and a broad vibrato that makes his singing drag the tempo slightly; he sang English with opera-house diction, sometimes sounding as if it had been translated from Italian.
Mr. Goerne's ability to maneuver through such transitions is part of what makes his singing so encouraging, so positive, even when, as here, his messages were often bleak.
His first big chance in West End musicals came at the same theatre four years later with Wolf Mankowitz's Expresso Bongo, in which Paul Scofield made his singing debut as a variety agent.
Visually and sonically, he was the band's tension and its ecstasy — whistling and cooing at the outset of "Young Liars," making his singing almost raplike on "Dancing Choose," and crawling slowly and cleanly out of the band's distortion on "Halfway Home".
Mr. Perahia did not only make his piano sing the opening "Aria," he had it sing in three subtly different voices one after the other, voices arising from the different registers of the melody and all concurring in phrasing and feeling.
IN 1859, a young schoolteacher in Illinois who would later become a famous explorer, John Wesley Powell, used to make his students sing: "Our lands are broad enough.
(When Mr. Baptista did take a guitar solo, however, he could make his instrument sing and slash like Carlos Santana or Eric Clapton).
To make his wings sing, the male holds them aloft over his back and vibrates them more than 100 times per second – twice as fast as a hummingbird.
