I was learning something about holding yourself to standards of simplicity and limpidity.
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The totemic majesty of ancient monolithic architecture was joined with the limpidity of the glass curtain wall.
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There is an obvious link between Cunningham's style and that of Ms. Tanowitz, who deploys similar limpidity, balletic lines, shifts of weight and direction, complex footwork and non sequitur sequences of steps.
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This time the illusion holds — the cornfed limpidity of their voices, the conflation of pedal steel and keyboard gleam, the twangy squeak of the rhythm guitar, all produce not warmth or homespun comfort but rather shimmering artificiality.
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A > man of light, he does not shine; of good faith, he keeps no promises. He > sleeps without dreaming, wakes without worry. His spirit is pure and clean, > his soul never wearied. In emptiness, nonbeing, and limpidity, he joins with > the Virtue of Heaven.
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Barrientos was a singer with a voice of almost instrumental limpidity. She made a valuable set of recordings for Fonotipia Records and Columbia Records. She retired to the south-west of France, where she became an enthusiastic bridge player. She died at Ciboure on 8 August 1946.
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See external link Gardoni knew and worked with Balfe, who composed items particularly for him.Basil Walsh, 'Balfe in Italy', Opera Quarterly Vol. 18.4 (Autumn 2002), 484-502. The limpidity and clarity of his voice, and his ravishing upper notes (no less than his youth, charm and elegance) were greatly admired in Paris:E.g.
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Hegarty 2007, 13–14. In his 1913 manifesto The Art of Noises he observes: > At first the art of music sought purity, limpidity and sweetness of sound. > Then different sounds were amalgamated, care being taken, however, to caress > the ear with gentle harmonies. Today music, as it becomes continually more > complicated, strives to amalgamate the most dissonant, strange and harsh > sounds.
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Zhou's Taiji tushuo diagram The Lingxian (), written around 120 by the polymath Zhang Heng, thoroughly accounts for the creation of Heaven and Earth. > Before the Great Plainness [or Great Basis, Taisu, ] came to be, there was > dark limpidity and mysterious quiescence, dim and dark. No image of it can > be formed. Its midst was void; its exterior was non-existence.
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"Niculina Oprea belongs certainly, to a permanent expressionism, resurgence of the best quality. She has affinities with the stylistic limpidity and with the hermetic expressiveness of Paul Celan’s lyric, in the parentage of whose she could enroll", says literary critic and poet Paul Aretzu.Critical Visions, 2005 As of 2011, Oprea was working on another book, Between Reality and Visionary, Aspects of the Contemporary Poetry.
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The council displayed it for two years before returning it as unsuitable for public display. It is now in the Tate Gallery.New York Times: John Russell, "From Lopsidedness to Limpidity: A Rethought and Renewed Tate," February 14, 1990, accessed October 27, 2011 In 1911 Warren adopted a four- year-old child, Travis. The child grew up at Lewes House and Fewacres, calling Warren "Papa".
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Jules Arsène Arnaud Claretie wrote about Bernard with much praise: :He surpasses [Balzac] in energy and limpidity of composition. His style is elegant and cultured. His genius is most fully represented in a score or so of delightful tales ... full of invention and originality, and saturated with the purest and pleasantest essence of the spirit which ... made French literature the delight and recreation of Europe. In The Paris Sketch Book William Makepeace Thackeray discusses Bernard's writing: :M.
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Her singing was lovely in its limpidity and refinement, but she seemed downcast and numb rather than the lively personality that she generally was. The singers in the secondary roles fared better. Christiane Barbaux was a "pleasantly clear" Barbarina, Jules Bastin a "well articulated" Bartolo, Jane Berbié a "neat" if occasionally strained Marcellina, Heinz Zednik a "capable if not imaginative" Basilio and Frederica von Stade "a model of clear and straightforward singing" as Cherubino. The orchestra's contribution was laudable in some respects, disappointing in others.
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Jnanashakti pertains to Sattvaguna whose effects are – limpidity of mind, realisation of one’s own self, supreme peace, contentment, great joy and being anchored in the Paramatman always which ensures the enjoyment of bliss without intermission. Adi Shankara states that sattva is very pure yet in combination with rajas and tamas it makes for samsara in the same way as the original which is the atman when reflected makes the entire inanimate world bright as the sun does. The effects of this shakti are – complete absence of pride etc., the presence of yama ("self-restraint") and niyama ("practice of prescribed acts" etc.
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A spinto soprano (also lirico-spinto, spinto lyric soprano or "pushed lyric") is a type of operatic soprano voice that has the limpidity and easy high notes of a lyric soprano, yet can be "pushed" on to achieve dramatic climaxes without strain. This type of voice may possess a somewhat darker timbre, too, than the average lyric soprano. It generally uses squillo to "slice" through the sound of a full orchestra, rather than singing over the orchestra like a true dramatic soprano. Spinto sopranos are also expected to handle dynamic changes in the music that they are performing with skill and poise.
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In 1933, while being tortured and imprisoned by the Kuomintang and writing his book Da'an River — My Nanny, he went to write his surname (Jiang, ), but stopped at the first component "艹" due to his bitterness towards KMT leader Chiang Kai-shek. He resented sharing the same surname (Jiang/Chiang) and simply crossed out the rest of the character with an "X". This happens to be the Chinese character ài (), and since the rest of his name, Hǎi Chéng meant the limpidity of the sea, it implied the color of limpid water qīng (青, turquoise, blue, or green), so he adopted the pen name Ai Qing.
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Here is a movie so fresh and funny it didn't even need a big budget or a pedigree." The Variety magazine review concluded that "though its plot wins no points for originality, Breaking Away is a thoroughly delightful light comedy, lifted by fine performances from Dennis Christopher and Paul Dooley." Critic Dave Kehr, however, gave a later, somewhat dissenting opinion: "Released at a time when any small-scale film earned critical favor simply by virtue of its unpretentiousness, Breaking Away probably looked better in context than it does now." However, he conceded that "Peter Yates lends the film a fine, unexpected limpidity, and the principals are mostly excellent.
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The wine was one of the first to be described as "limpid" or sediment-free. This was due to the new technique of remuage or riddling developed by Veuve Cliquot that tackled the historical problem of how to remove the ill tasting and unpleasant looking sediments from the sparkling wine without losing the carbon-dioxide gas that makes it bubble. The development of riddling was a hallmark moment in the evolution of the modern Champagne industry. In the early 19th century, Veuve Clicquot tried to keep their techniques a secret, but the clarity and limpidity of their Champagne captured worldwide attention and eventually their secret escaped.
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Some of them, like Marconi's sweet-toned and finely structured version of Cielo e mar from La Gioconda and his stylish delivery of arias from Lucia di Lammermoor, successfully convey the limpidity and grace of his bel canto method of vocalism; but most of them demonstrate that by the age of 50, both his breath control and the sweetly lyrical timbre of his voice had been damaged by the strain of singing such taxing rolesScott 1977, 123. as Radames, Otello, Lohengrin and Don Alvaro. Marconi notably partnered Antonio Cotogni, an illustrious baritone and voice teacher from an earlier generation, in the only record that is known to have been made by Cotogni, the duet I Mulattieri.Scott 1977, 105.
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Despite the balance and bright limpidity of his playing and his wonderful technique, which aroused the enthusiasm of admirers throughout Europe, his music has also been described as "devoid of the masculine and the feminine". He was a master in his pianistic repertoire, but it was in his own compositions that he was more admired.His early works show the influence of Frédéric Chopin, Felix Mendelssohn, and in particular Robert Schumann, a composer who later would mould Moszkowski's own style, which clearly shows Schumann's subtle sense of the instrument and its capabilities. His music rapidly became a sensation, but he also had legitimate success in major works for the stage and the concert hall.
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Vicarino's voice was described as having "all the range and limpidity of an ideal coloratura," in the Los Angeles Herald in 1910; the critic went into further detail, writing that "The upper register is clear and brilliant, and the lower tones are wonderfully vibrant and rich for a coloratura voice."Florence Bosard Lawrence, "New Star Shines at Opera Start" Los Angeles Herald (November 1, 1910): 16. via California Digital Newspaper Collection She frequently sang the lead role in Donizetti's Lucia di Lammermoor,"Triumph for Vicarino, Soprano Enchantress" San Francisco Call (January 28, 1913): 9. via California Digital Newspaper Collection and she was also considered successful as Violetta in La traviata,"Regina Vicarino Sings Violetta" Town Talk (September 24, 1910): 20.
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Two years later, he was called upon to perform at the new Teatro Colón in Buenos Aires. Good-looking and solidly built—as photographs attest—Borgatti is described in contemporary reviews of his performances as having possessed abundant reserves of stamina and strong histrionic ability in addition to a smooth, well-schooled voice of robust size. Modern-day critics, including Scott, J.B. Steane and John Freestone, have praised him, too, for the clarity of his diction, the limpidity of his tone and the fineness of his phrasing. He took pride in the fact that even after he took on the heavy Wagnerian repertoire, he was still able to put across a bel canto aria like "Una furtiva lagrima" (from Gaetano Donizetti's L'elisir d'amore) with lyrical ease.
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On this account, the Eggen Thal is probably the most appropriate avenue of approach to those mysterious mountains. It is a corridor of time, that leads us from old igneous rocks, forged in the earths fiery furnace when our globe was young, to coral reefs, on which the ocean waves once broke in glittering spray, but which now sparkle in the frosty air, ten thousand feet above their early home. At times one looks up almost timidly between these jaws of ruddy porphyry toward the narrow streak of blue, so far away. It seems like a celestial river, whose noiselessness, limpidity and calm present a great contrast to the maddened stream beside us, as our deal of heaven differs from the storms and sorrows of this earthly life.
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In 1819, Henry Schoolcraft was exploring the Ozarks and spent a night in the Cotter area. He said of the area,Scenes and Adventures in the Semi-Alpine Regions of the Ozark of Missouri and Arkansas (1853) pg 120-121 > White River is one of the most beautiful and enchanting streams, and by far > the most transparent, which discharge their waters into the Mississippi ... > We here behold the assembled tributaries flowing in a smooth, broad. deep, > and majestic current ... skirted at a short distance by mountains of the > most imposing grandeur.... [The] extreme limpidity and want of colour ... > was early seized upon by the French traders on first visiting this stream, > in calling it "La Rivière Blanche" (White River). Future president, Herbert Hoover, spent the summer of 1892 helping Geologist John C. Branner survey the northern Ozarks.
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