Word: armida
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...cozy storefront sits unassumingly on Broadway in Arlington, but inside, the warm glow of colorful walls and bright paintings create a comforting South-of-the-border cocoon. Co-owner Armida Amor glides about from kitchen to table to front door like a benevolent hostess, anxious to make sure you’re having a good time...
...Bartoli’s sublime command of mellifluous and seamless tonal transitions and passages that hovered and drifted weightlessly through her listeners, lingering hauntingly in the air. The latter half of the concert was comprised of eleven pieces by Antonio Salieri (1750-1825) drawn from La fiera di Venezia, Armida, La secchia rapita, La finta scema, La scuola de’ gelosi, Palmira, Regina di Persia, and La cifra...
...weren't original; their handling became increasingly so. Over his working life--roughly 50 years--Tiepolo didn't use any narratives in his painting that weren't already familiar. There are the figures from antiquity (Achilles, Dido, Alexander, Scipio), the heroes and heroines out of Renaissance literature (Rinaldo and Armida from Tasso's epic Gerusalemme liberata), the biblical patriarchs and Madonnas and martyrs, the allegorical figures of Virtue or Envy or the Four Continents, the flocks of putti as dense as pigeons in the piazza. All these had swarmed across every painted surface in Venice for generations before Tiepolo...
...from formal to intimate portraiture, from state commemoration to religious allegory. His big religious paintings, mostly for Flemish churches, are bravura performances, but none of them have the trumpeting conviction or the sheer inventiveness of Rubens'. His best paintings were his portraits and his secular allegories, like Rinaldo and Armida, 1629, done under the spell of Titian. Taken from Tasso's epic poem Jerusalem Delivered, a great favorite at Charles' court, it illustrates the moment when the sorceress Armida falls in love with the wandering Christian knight Rinaldo on glimpsing his sleeping face. The sensuous color, the glow of flesh...
...essentially a vehicle for Home, in a title role composed for a castrate. The outlines of Handel's opera are preserved in the plot, which concerns the struggle for the Holy Land between the Crusaders, led by Rinaldo, and the Saracens, under Argante (Ramey) and the sorceress Armida (Soprano Edda Moser). But Martin Katz, Home's longtime accompanist, has conflated the 1711 and 1731 versions, trimming the recitatives, shortening some arias, shuffling others and even adding a duet from Handel's Ad-meto. It may be argued that Katz is only following a convention to which Handel...