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Word: arias (lookup in dictionary) (lookup stats)
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Still, while art should be experimental and exploratory, it should never be intrusive. It shouldn't knock you over the head. The sound waves emanating from these hopeless bells pierce the air. They do not discriminate in choosing the audience for their terrible aria...

Author: By Gayle K. Turk, | Title: Stop Those @!&# Bells | 2/22/1992 | See Source »

Beside the two other principals, Nucci is disappointing as Iago. His voice doesn't seem to provide the kind of deeply treacherous character that the role demands, and, in duets with Pavarotti's passionate warrior, Nucci comes across as an insipid foil rather than a calculating fiend. The tremendous aria Credo in un Dio crudel is unspectacular, and the orchestra actually unseats Nucci in places with its impressive rendering of Verdi's meticulously detailed score. Anthony Rolfe Johnson provides a beautiful Cassio, whose innocent virtue is not equalled by Nucci's sinister duplicity...

Author: NO WRITER ATTRIBUTED | Title: Pavarotti's Gamble | 2/13/1992 | See Source »

...even for Mitchell, who died in 1949 after she was struck by a car on Peachtree Street. She had steadfastly refused to write a sequel, preferring the icy finality of Rhett's, "My dear, I don't give a damn" (Gable threw in the "Frankly"). Yet Scarlett's final aria, "Tomorrow is another day," left the door open...

Author: /time Magazine | Title: Frankly, It's Not Worth a Damn | 10/7/1991 | See Source »

...they'll talk to this curious listener. Toujours Provence contains an intricate aria of shoptalk from an expert truffle hunter who has even filmed his pig at work, "its snout moving rhythmically back and forth, ears flopping over its eyes, a single-minded earth-moving machine." A similar cameo on the history of pastis ("the milk of Provence") is written with an unpompous sense of discovery and an appropriate amount of thirst...

Author: /time Magazine | Title: How To Eat, How to Live | 7/22/1991 | See Source »

...thing, it's no Nixon. That work contained big, powerful set pieces: the Nixons' arrival in Peking aboard the Spirit of '76; the spellbinding banquet scene; a hallucinatory ballet; a tender aria for Pat and a hair raiser for Madame Mao. Instead, the new work takes its cue from Nixon's third act, a contemplative series of interlocking monologues that stripped the statesmen of their blue suits and Mao jackets and revealed them for the tired, nervous and scared human beings they were...

Author: /time Magazine | Title: Art And Terror in the Same Boat | 4/1/1991 | See Source »

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