Word: tempi
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...eyes, gazing off into space, or whistling about the light of the silvery moon, quite oblivious of what Maggie is saying. Eventually he is goaded into action, and uses a chair as a circus lion-tamer does. In the great scene with Big Daddy, he performs with the right tempi and with shattering intensity. Still, it is a weakness of the script that Williams has not given us a fully-rounded portrait of Brick; we really know less about him than we do about his friend Skipper, whom we never...
...opening movements, the Kyrie and the Gloria, were spectacular. Adams chose perfect tempi--a wonderfully slow Adagio to begin the work, a free-flowing Andante for the Christe, and a very lively Allegro vivace in the opening of the Gloria. He took the huge fugue, "in Gloria Dei Patris, Amen," at a breakneck speed which left the audience--and the singers--breathless at the intermission. The last movement, Agnus Dei, was extremely dramatic as the singers' supplications for "inward and outward peace" were interrupted by the trumpet calls of war. The several tempo transitions in this movement were managed smoothly...
...superimposed the geometric grid lines of New York, the monolithic city, the steel-and-glass giant. Film projections flash on high-rise panel backdrops and form skyscraper spectaculars. At their shadowy base laps the treacherous asphalt tide of the urban jungle. This translates into dance numbers with the slashing tempi of switchblades, though none are shown or used. Hookers, casual muggings and cops as cynical as the wink of an eye breeze across the stage, less in menace than in roguish mockery. Never mind if any of this is strictly true; it matches the urban mythos of the moment...
...many Angel LPs attest (notably the Bach Flute Sonatas with Harpsichordist George Malcolm), Shaffer is thoroughly at home in the recording studio. "Making a recording is like taking your stage makeup off," she says. "For example, the same tempi that work well before an audience tend to sound too slow coming from a disk. The same is true of dynamics. You can't be as loud, and you can't be as soft." Wherever she is playing, Shaffer tries to preserve the feeling that she is singing instead of merely blowing. That helps explain why she watches...
...collection of sopranos with others, it was a true equality of vocal parts so necessary to Bach's complex polyphony. Richter generally chose legato articulation, but the choir handled the staccato Pleni sunt coeli passage with case. The attention paid their conductor is yet another point: Richter varied his tempi suddenly, but singers and orchestra followed right along...