Word: flawless
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...opening night, and his style and storytelling gestures were well suited to the role. In the beautifully staged snow scene, Larissa Ponamarenko was absolute perfection as the Snow Queen: the slenderness of her arms and legs captured the delicate, precise angles of a snowflake in midair, while her flawless technique and feather-light jumps evoked the quality of snow melting as it hits the ground. Victor Plotnikov, as the Snow King, was a worthy partner, strong both technically and artistically, while the choreography of the snowflakes created the impression of swirling, wind-blown snow as the dancers turned and glided...
DIED. BUCK LEONARD, 90, Hall of Fame first baseman hailed as the Lou Gehrig of the Negro Leagues; in Rocky Mount, N.C. With flawless glove work and a career batting average well above .300, Leonard anchored the Washington Homestead Grays from 1934 to 1950. "We had our own league, like another world," he recalled philosophically, "and we played like no other league existed...
Chang played quickly and never lingered on particularly expressive passages, but she never skimmed over a note in any of the piece's numerous virtuosic passages. Technically, Chang's playing was flawless. Chang proved herself completely flexible in the Strauss piece, jumping with remarkable clarity from her growling low register to her blossoming upper one. The last movement of the sonata was particularly memorable. Chang pushed the last movement's triumphant theme forward almost stubbornly. With expert poise, Chang bluffed the audience with the faux ending--some audience members prepared to clap. Unlike most faux endings, this one was truly...
...staff, the H.R.D.C. has managed to pull off the second in a series of successful Loeb Ex shows. Catch-22, adapted from Joseph Heller's famous novel of the same name brings together commendable directing an uproariously funny cast and an innovative set design. The result: a nearly flawless production that leaves its audience in hysterics most of the time...
...piece isolates colors of the orchestra, either in solo or choir, allowing for great contrasts in instrumentation and texture. The winds throughout were exceptional: the extended English horn solo of the slow second movement was technically flawless, delicate and expressive and balanced perfectly with the orchestra. The third movement, with its searing if not overbearing triangle tremolos, was carried by the performance of the timpani. When loud, as in the first and last movements, the brass was sharp and tight; when delicate, as in the opening chorale of the second movement, they showed amazing sensitivity to dynamics and melodic contour...