Word: pompousness
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Special credit is due Arthur Waldstein as the Duke of Plaza-Toro and to his whole entourage, including John Bernard as his attendant, Alison Keith as the pompous Duchess, and Marjory Harper as the daughter, later Queen of Barataria. Waldstein is nothing short of hilarious as the somewhat down-at-the-heels Duke. Alison Keith, who is well-known to Cambridge audiences, is an excellent actress who possesses a fine comic opera voice. John Bernard has an extremely able voice and he appeared quite natural in his role as drummer-boy, later King of Barataria. As his beloved, Marjory Harper...
...August 1948, Stalin's heir apparent, the tough and flamboyant Andrei Zhdanov, died at 52 of what his doctors called "paralysis of the heart." The old tyrant gave Zhdanov the most pompous funeral since Lenin's, and walked behind the caisson with tears in his eyes. As boss of Leningrad before and during World War II, Zhdanov had placed a clique of up-and-coming young administrators in crucial posts. Scarcely had his body been lowered into a grave at the foot of the Kremlin wall when his chief rival, pudgy Georgy Malenkov, joined with Secret Police Boss...
Beef & Beer. Elgar became Master of the King's Musick. He fitted the public picture of clubman and country squire, complimented himself that he neither looked nor dressed like an artist. It was this pompous Elgar who turned out the first Pomp and Circumstance march (its trio is also known as "Land of Hope and Glory"), along with The Crown of India, The Banner of St. George, Imperial March -all marked by bombast, contrived orchestral climaxes, syrupy sentiment. "I want to write something as typically and thoroughly English as roast beef and beer," Elgar said, and he succeeded...
Your article on Howard Miller [April 29] failed to point out that most Chicagoans know him for what he really is - an insincere, bigoted, pompous windbag...
...heavily romantic Symphony in B minor by Borodin, whose musical expression is starker and more rough-hewn than Liszt's, but similar in its unrestrained and often pompous emotionality, was sympathetically interpreted by the orchestra. Borodin often employs thick brass and woodwind textures in his scores, and the playing of these sections was particularly good. The objectionable thing here is the music itself, specifically the first movement, which is little more than the reiteration, ad nauseam, of a single motive. The rest of the symphony, although often cumbersome and awkward, is better...