Word: limpidly
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Dates: during 1960-1969
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...woman. I can grovel before the original of this superb, unabashed sexual woman without a qualm. I ask only to bring the beauty of her limpid prose before the English-speaking world. Though if the reader will permit, I have stopped somewhat this side of abject enslavement. I ask only to bare this woman's essence to the world. We must know who she is. Why has she kept herself in secret? She must be a lovely creature to know so much of the whip...
MENDELSSOHN: ELIJAH (Angel). In a superb recording, Sir Malcolm Sargent conducts the Royal Society Orchestra in highlights only, but the cuts are not really missed: Sir Malcolm wisely opts for the graceful Mendelssohnian airs; Soprano Elizabeth Harwood gives a limpid account of "Hear ye. Israel"; John Shirley-Quick delivers "Is not his word like a fire" in an opulent basso style. The only low points, in fact, are the hammer-heavy choruses, which remind the listener that this florid form was not really suited to the urbane Mendelssohn, and that when he essayed heroism he often made only noise...
...zanne cried, "J'emmerde Bouguereau!"; Matisse fled his studio in anger). Though his brush stroke was immaculate, his subject matter tended toward soaring echelons of well-stuffed nymphs in the buff, ruddy satyrs in postures of half prayer, half lust. When religiosity overcame him, he produced limpid-eyed madonnas and tableaux of martyrs (preferably female) borne by Roman-nosed pallbearers (preferably male). In the heyday of the Second Empire, no one admitted being titillated by his tangles of tushies and concupiscent cupids; the critics professed to see only the pursuit of Raphael's ideal of beauty...
...foiled in its aim to get the text across by a bad setting. The singers work their hardest, but the result is ... zip. Although Friday night's texts were all in the program, it really wasn't necessary to follow them. Between the singers' crystalline diction, and Thompson's limpid settings, the words came across...
...came onstage and swept through Chopin's Scherzo in C-Sharp Minor with a fleet and fiery abandon that left the audience gasping. Though a slight, delicate girl, she played with an almost masculine power and assertiveness. For more introspective passages, she tempered her mercurial attack with a limpid, poetic tone and subtlety of phrasing that won her the added honor as best interpreter of Chopin's mazurkas...