Word: crescendoed
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...sounding as though Menotti's notions about love were being used to teach his Ruritanians basic English. Incidents of little significance were treated as moments of high drama. When the cook announced that her culinary specialty 'has not risen to the occasion,' the music shifted into crescendo furor. There was plenty of theatricality, but much less real theater. By the time Menotti came to the end of his third act, he was faced with the eternal creative problem-how to sign and sing off. Instead of boldness, he chose a nicely cathartic murder in which nobody suffered...
...jealousy on everyone around, even defying the oracle of Delphi. Of Shakespeare's three great studies of jealousy--Leontes, Othello, and Ford--this is the most realistic. Leontes is a neurotic with high blood pressure and fits of paranoia. Whereas Othello's jealousy builds up in a steady crescendo, Leontes' bursts out in white heat at the outset and, feeding on itself, stays at the same level...
...country out of the frontier with the strength of their hands adjust to the business suit and all the other impersonal appurtenances of a white collar middle class world. The leitmotif of loss of contact with the land resounds again and again until it crashes out in the final crescendo climax of the play. On one level Arthur Miller's play is one of violent social criticism if perhaps to call its roots Marxist would not be going...
...thick or unimaginative, needs an orchestra for many reasons, as the substitution of an organ, as in Sunday's performance, made painfully clear. The instrumental effects, such as pizzicato, used as a foil to the voices; the tonal texture of different groups of instruments; and the all-pervading crescendo and diminuendo which is so essential--all these are impossible for an organist...
...efforts of the organist, James Armstrong, to surmount these difficulties while playing an extremely difficult part, were in some cases, notably the tremendous crescendo in "Behold, all flesh," very successful. However, his choice of stops was not always happy, particularly in the use of reeds in quieter sections. But the main defects were entirely beyond his control: the sense of release which is so integral to the form of the work is impossible except as indicated in the original scoring...