Word: lyricizing
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...seen by an immense constituency of collectors and museumgoers as the quintessential Jewish artist of the 20th century, even though he was not Orthodox and professed, if anything, a discreet and nonmilitant atheism. He had a lyric, flyaway, enraptured imagination, allied to an enviable fluency of hand; the former could weaken into marzipan poignancy, the latter into routine charm. He left behind him an oeuvre of paintings, drawings, prints, book illustrations, private and public art of every kind, rivaling Picasso's in size, if not always in variety or intensity. The number of novice collectors who cut their milk teeth...
...spirit of their time. A surge in population had fattened the cities and fostered Greek colonies from Sicily to Asia Minor, creating the prerequisites for free inquiry and sophisticated taste: prosperity, cosmopolitanism and leisure. An individual voice was being heard, graceful but down to earth, in the new lyric poets like Sappho and Anacreon. Artists began signing their work. On a red-figure drinking cup that shows a young athlete bending over a washbowl, a blunt autograph bends over the image: "Pamphaios made...
...been written. Like an opera, Phantom is almost entirely sung, and its characters are outfitted with sharply etched musical motifs. Except for the title song, there is no rock music in the score; instead it is a sweeping, romantic evocation of Belle Epoque Paris for coloratura soprano, lyric tenor and full-dress symphony orchestra...
...author's sound instinct is to play against the dramatic. There is no resolution of the brother's predicament. You are missing the point if you try to watch one chunk of carrot in the roil of this Sleazy Street stew (the phrase is from a country-funk song lyric in praise of downward mobility: "It's coffee in the pot and a dirty sugar spoon/ it's towels on the floor of a dirty bathroom/ and a smell like me and a smell like you/ all mixed together in a Sleazy Street stew...
...hoariest cliches justifying timorous programming is that there is always someone in the audience who has never heard Beethoven's Fifth. "For the first-time viewer, you've got to have Bohemes and Toscas and Carmens," says Ardis Krainik, general manager of the Lyric Opera of Chicago, whose company this season had an unexpected hit with Glass's Satyagraha. "Those are the things they need to bring them back again." But is sheer repetition of a handful of staples the way to cultivate new audiences...