Word: passionately
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Dates: during 1960-1969
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...concerts at Lincoln Center's Philharmonic Hall, at least when Lenny conducted, were seldom less than a sellout. Although the orchestra could play dispiritedly for antipatico guest conductors, at its best it was the equal of any in the world. Proof was the power, sweep and controlled passion of last week's stunning performances of the Mahler Third. Balletic Leaps. Purists complained of Bernstein's balletic leaps and flamboyant podium style, but he used his showmanship to the Philharmonic's advantage. Thanks to his records and televised concerts, he made the orchestra almost as much...
...plaintive monologues and a frustrated effort to seduce the Japanese barman. The barman (Jon Lee) is a model of stoic restraint and may represent serenity. He also represents something Williams does not admire: a planned hibernation of the spirit in which one evades any commitment to love, hate or passion. Instead of eloquence, the play offers truncated, disjointed sentences. Inertia usurps the role of action; the prevailing mood is torpor. All that Williams seems able to contribute is a little banal philosophizing about how the creation of art saps a man's life. Still, there is an axiom...
Sheila Hart (Phaedra) speaks with bewildered and frightened passion as the queen who lusts for her son Hippolytus. She commands such respect with each word that her accusingly harsh "Wicked!" to her Nurse seems to damn her for eternity. When she cries "Women, stop speaking!", they dare not speak. And when she predicts her fate, Death!", I feared for her very existence. Miss Hart overcome the awkward hand gestures devised by the director by using her face and the slightest turn of her head to convey the deepest emotion...
...strictly than their elders upon "fidelity based on authentic emotion." Such liaisons may ultimately prove healthier emotionally than an adulterous affair. Adulterers, Salzman continued, are usually individuals who fail to commit themselves entirely to a relationship, and therefore are able to reap neither the consequences nor the rewards of passion. In his view, fidelity is not simply a virtue but a way of life that can add to the fullness of creative living...
...figure of arguably divine characteristics (Terence Stamp) visits an industrialist's home in Milan. His stay is brief, but during it he manages to make love to the maid, the wife, the industrialist, the daughter and the son of the household. The passion is so indiscriminate and the acting so undisciplined that one half-expects to see the milkman, and perhaps his horse, included in the rutting. But Pasolini has other excesses in mind. When the visitor departs, he leaves behind a shrilling choir of victims. The daughter (Anne Wiazemsky) becomes catatonic; the son, an artist, urinates...