The Bavarian soprano usually covers mainstream opera from Mozart to Strauss with a dash of big Italian roles. Here, she dips into operetta, but with a personal twist. Aside from a handful of Johann Strauss, Lehar and Kalman, she sings mid-20th century Broadway rep, some in English, some in German. To my ears, My Fair Lady is much improved auf Deutsch (and with a burglar-scaring squeak), though Sweeney Todd stumbles a bit and Ms D does Andrew Lloyd Webber a favour by choosing Queen’s English for an aria from Phantom of the Aria, perhaps the most musical rendition it has ever received. David Charles Abell conducts the Royal Liverpool Philharmonic in top-notch sound and the only regret is the superfluous, expensive inclusion of a brittle-voiced Rolando Villazon in the Merry Widow duet.
DJs often beatmatch the underlying tempos of recordings, rather than their strict bpm value suggested by the kick drum, particularly when dealing with high tempo tracks. A 240 bpm track, for example, matches the beat of a 120 bpm track without slowing down or speeding up, because both have an underlying tempo of 120 quarter notes per minute. Thus, some soul music (around 75–90 bpm) mixes well with a drum and bass beat (from 150–185 bpm). When speeding up or slowing down a record on a turntable, the pitch and tempo of a track are linked: spinning a disc 10% faster makes both pitch and tempo 10% higher. Software processing to change the pitch without changing the tempo, or vice versa, is called time-stretching or pitch-shifting . While it works fairly well for small adjustments (± 20%), the result can be noisy and unmusical for larger changes. [ citation needed ]