Word: vividly
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...patented sword-and-breastplate roles. It is scenically spectacular, full of the kind of deus ex machina theatricality that so delighted baroque audiences: dragon-drawn chariots fly through the air belching smoke, monsters writhe, and looming castles collapse in a heap of rubble. Bright and vivid, Rinaldo is a bauble for the eye; as sung by an imposing cast that includes Bass Samuel Ramey and Soprano Benita Valente, it is a treat for the ear. But whether it serves Handel or the thorny cause of baroque opera faithfully is moot...
...degree of dominance. For this week's cover story on the new multimillionaires, written by Associate Editor Alexander L. Taylor III, the numbers are more easily grasped than most. They have to do with numbers of dollars, which is to say money. Observes Taylor: "The approach is a vivid way of looking at the dynamic force of the U.S. economy. It was a lot of fun, and a little different from the usual business story, to see how our cover subjects made it so big and so fast, how they are spending it, and how it is changing them...
Glenn is so prosaic that sometimes he has trouble reciting the vivid rhetoric of his staff-written speeches. His off-the-cuff remarks are rote and usually filled with military acronyms, numbing statistics and gawky phrases like "Nobel laureate-type research." He rarely seems loose in public, let alone passionate. Nor is it just a matter of style: his ideas tend to be fuzzy when they are not unimaginative. "Voters are looking for candidates with some vision of what this country can be," says Chicago's Lawrence Walsh, a media consultant...
...have convinced ourselves that children don't die anymore, not in the latter half of the 20th century, not in the United States of America, and certainly not in the suburbs." But of course they do, as Journalist and Novelist Frank Deford piercingly recounts in this spare and vivid eulogy to his daughter Alexandra, "Alex," who died in 1980 of cystic fibrosis...
What Miró did with this fund of imagery after he moved to Paris in 1919 marked his emergence. Miró did not need groups. He became a surrealist because surrealism needed him; it had plenty of poets but no great formal artist (as distinct from vivid dream illustrators like Dali or Magritte). Even allowing for the recent rise in the critical fortunes of André Masson, the painter who introduced Miró to the surrealist group, it still seems clear that, as a draftsman and colorist, as an inventor of epigrammatic shapes set in exquisitely pure pictorial fields...