You have access to two of the world's most ravishing dancers.
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It is the most ravishing work I've read in a long time.
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"Drummer Crab," a Conradian tale of the high seas, showed Mr. Coutard at his most ravishing.
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It is both morbid and mordant and contains some of Ms. Walker's most ravishing ink drawing.
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One of the most ravishing musicals you will ever be seduced by opened on Thursday night at the Barrymore Theater.
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One of the most ravishing figures may have been intended for purely medical uses: Alphonse Lami's 1857 flayed, or écorché, figure.
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"His monologue contains some of the most ravishing music ever written, but it's also very long and very inward," he said.
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What a stroke of luck that two of Renaissance Rome's most ravishing streets, Via del Pellegrino and the intersecting Via dei Banchi Vecchi, are lined with some of the city's most tempting boutiques.
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"Many representational pieces from the 18th, 19th and 20th centuries look most ravishing against strongly colored walls, even lacquered ones," Mr. Drake said, citing the example of his own bedroom, where Deborah Oropallo's "Napoleon, 2001" hangs against deep gray lacquered walls.
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The physical production may be the most ravishing and organic that a Kennedy dreamscape has ever been given, starting with Christopher Barreca's weathered wooden set, a synecdoche for the miniature model of the town the audience passes on the way to its seats.
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At a recent performance of "Nice Fish," a quirky charmer of a play written by Mr. Rylance and Louis Jenkins, the audience greeted every stuttered utterance of Mr. Rylance's with delighted laughter and murmurs of pleasure, as if sampling the world's most ravishing tasting menu.
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Kenrick describes this recording as "one of the most ravishing that this glorious Rodgers & Hammerstein classic has ever received" and "a show tune lover's dream come true." The 2008 Broadway revival cast album was released on May 27, 2008 by Masterworks Broadway. Gans, Andrew and Hetrick, Adam. "'South Pacific' Company Records CD April 14; Recording Due in May" , playbill.
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Taking its message as a rejection of modern technology, he compared it favorably to Steven Soderbergh's Contagion, which shows science and the government triumphant in a crisis of natural origin. Brody made a point of separating art and politics: "Looking to filmmakers for practical advice in the teeth of trouble is usually as pointless as turning to politicians for visions of beauty." Time Out called it "one of Renoir's most ravishing, and simultaneously most irritating films", because the "sumptuous photography" repeatedly "collapses into cold argument".
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About two years later after her small role in Dragon Gate Inn at the age of 19 she got a leading part in King Hu's classic martial arts epos A Touch of Zen (1971). She played the daughter of general Yang, who had to flee the capital after her father was murdered by assassins of the imperial eunuch Wei. Her performance was later described by the film critic Richard Corliss (Time) as the screen's gravest, most ravishing woman warrior. A Touch of Zen later also changed Hsu's outlook on films.
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The Daily Telegraph critic commented: "I have never left a play more convinced that I had just witnessed a masterpiece". Vincent Canby of The New York Times described the play as "Tom Stoppard's richest, most ravishing comedy to date, a play of wit, intellect, language, brio and, new for him, emotion". But other New York reviews were mixed or unfavourable, complaining of the anachronisms and lack of realism. The production left John Simon of New York Magazine with the view that "Stoppard overdoes it…Arcadia makes better reading than seeing".
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The Broadway production, which featured a revised script and score, was praised by the Twin Cities Arts Reader as "one of the best new musicals of the year, gifted with a beautiful score and touching performances." The New York Times said it was "one of the most ravishing musicals you will ever be seduced by," and also "a Broadway rarity seldom found these days outside of the canon of Stephen Sondheim: an honest- to-God musical for grown-ups." It also praised the adaptation for the bigger stage, due to an "impeccably coordinated creative team." Deadline also gave the musical a positive review.
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Mlle Guimard welcomed as courtesan the financier Jean-Joseph de Laborde, the bishop of Taranto, and other important persons. In a career of luxury, she offered three dinner parties a week, according to Edmond de Goncourt. One dinner was for the greatest of lords and those of the highest consideration at Court; a second dinner invited writers, artists, and wits that all but rivaled the salon of Mme Geoffrin; a third dinner was devoted to all the most ravishing and lascivious young women. Mlle Guimard uniquely sold her hotel by holding a lottery, selling 2,500 tickets at 120 francs each.
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The dialogue is opened by the soprano as the Soul in an aria in E minor, marked lento, "" (Dearest Jesus, my desire), The voice is complemented by an obbligato oboe, described by John Eliot Gardiner as "a solo oboe as her accomplice in spinning the most ravishing cantilena in the manner of one of Bach’s concerto slow movements". Julian Mincham distinguishes in the oboe line two different "ideas", in the first five measures a "sense of striving, effort and stretching upwards", then "garlands" of content in achieving a union, as the last lines of the text say "" (Ah! My treasure, bring me joy, let me embrace You with greatest delight).
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