Word: pureed
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
...positively regains the self-command which makes possible pure heroic action. The two suicides- as triumphs over Caesar- represent the greatest heroic acts possible in the world. Suicide is the last act to make life comprehensible. It is purified of self-contempt and vain resignation by the capture, through the suffering of shame, of that internal fire which burns the will clear. It is exonerated from the deeper vanity of despair, or storic contemptus mundi, by the perfect fusion of hand and heart. Decretas dispels all ambiguity...
...well, because his music draws entirely from within. It is an autonomous force and thus carries more impact when James Taylor plays it alone-without the double-tracking of the studio, without percussion or brass. Indeed, these elements seem superfluous once you've seen the music played in its pure form...
...most exciting thing about the production was the way it approached the metaphysical interplay of Marat and Sade. They are treated almost as pure dialectical forms (the lack of personality, in the two helps here). The struggle of the two theses moves with the dialogue into the minds of each member of the audience. They wage war; the dialectical revolution, spoken of in the play as "the revolution which burns up everything in blinding brightness, will only last as long as a lighting flash...
...intensely did Tchaikovsky throw himself into composition that when he died at the age of 53 he had produced a total of 325 hours of music. For The Lonely Heart, Composer-Conductor André Previn drew heavily upon that reserve-and it is pure Tchaikovsky. Dimitri used what he calls "Tchaikovsky's basic architecture"-with embellishments by Tiomkin. Still, the score is essentially Tchaikovsky-so much so that Dimitri, with unwonted modesty, lists himself in the credits as "adapter," not "composer...
...SAME craftsmanship extended to the female leads in the production. The role of Katasha, the aging, vindictive, bitchy noblewoman, requires a strong coloratura-type voice and a commanding stage presence, and Andrea Goodzeit provided both of these. Her voice had a pure yet vibrant timbre which eclipsed all of the other singers. She is a fine stage actress as well as a singer, and her demeanor was well suited to the role. similarly, Deborah Ward, as Yum-Yum, the child bride, had complete control of the character, although her voice was at times weak...