You wouldn't know from this program that there are tap dancers today — lots of them, both young and middle-aged — who can stand comparison with the storied past and make tap feel alive and bracingly relevant.
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Making the point that neither "Monsieur Lange" nor "Les Dames" would "stand comparison with the technically more expert films of today," Mr. Crowther ignored their deliberate departure from the Hollywood conventions of the 1930s and '40s.
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"Over his 70 years, Philip and I have seen Charles become a champion of conservation and the arts, a great charitable leader — a dedicated and respected heir to the throne to stand comparison with any in history — and a wonderful father," she said.
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"Over his 70 years, Philip and I have seen Charles become a champion of conservation and the arts, a great charitable leader — a dedicated and respected heir to the throne to stand comparison with any in history — and a wonderful father," the monarch said.
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"Over his 70 years, Philip and I have seen Charles become a champion of conservation and the arts, a great charitable leader — a dedicated and respected heir to the throne to stand comparison with any in history — and a wonderful father," the 92-year-old monarch said.
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The Shakespeare renaissance of the nineteenth and twentieth centuries deprecated modifications of Shakespeare's plots. Cibber's adaptation could not stand comparison with Shakespearean originals, and has rarely been staged since.
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Oxford: The Clarendon press. As literature, it is often considered to stand comparison with the best of Sanskrit poetry. The ' also has ' ("The Death of ") as an alternative title. It is improbable that this was the original title as Ravana's death is only one short episode in the whole poem.
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Anthony Boucher received the novel unfavorably, describing it as "slow and muddled" and saying that "Neither story nor science can stand comparison with Taine's best work.""Recommended Reading," F&SF;, September 1954, p.93. P. Schuyler Miller reported that "it's not the best Taine.""The Reference Library", Astounding Science Fiction, January 1955, p.
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Holoman (1989), pp. 25–27 In August 1823 Berlioz made the first of many contributions to the musical press: a letter to the journal Le Corsaire defending French opera against the incursions of its Italian rival.Barzun, p. 47 He contended that all Rossini's operas put together could not stand comparison with even a few bars of those of Gluck, Spontini or Le Sueur.
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According to Adler, "For Walden, Cubism, Futurism, and Expressionism were essentially the same, and he sought to unite them in his own all-embracing Sturm-Kunst." What Walden had lacked, however, before August Stramm contacted him in 1914, was a German poet "whose work could stand comparison with the international elite who figured in Der Sturm."Tim Cross (1988), The Lost Voices of World War I, page 124. From the time of their first meeting, a close friendship developed between Walden and Stramm.
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Critics believe that his record and performances stand comparison with bowlers of greater reputation and longer careers. Chosen for the West indies tour of England in 1933 despite having played little cricket and being an unknown quantity, he was a great success. He took over 100 first- class wickets and took over half of the West Indies' wickets in the three Tests played. He was the leading bowler when West Indies won their first Test series, against England in 1935-36, and had great success against the leading English batsmen.
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Although The Band Concert did not receive any Academy Award nominations, it has nonetheless become one of the most highly acclaimed Disney short films. Esquire magazine cultural critic Gilbert Seldes wrote that "[none of] dozens of works produced in America at the same time in all the other arts can stand comparison with this one." The Italian conductor Arturo Toscanini was such a fan of The Band Concert that he saw it six times in the theater and later invited Walt Disney to his home in Italy.Gabler, Neal.
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In 1594 he published the new edition of Ambrosian Missal which preparation was started under Charles Borromeo. Following the footsteps of Charles Borromeo, Visconti convened six diocesan synods, started the pastoral visit to all the diocese, erected new churches such as Santa Maria al Paradiso in Milan and the church of Montevecchia and established the hospital of Fatebenefratelli in Milan. Visconti found difficulties in his action as bishop, which cannot stand comparison with Charles Borromeo's one. Gaspare Visconti died on 12 January 1595 in Milan, and his remains were buried in the South nave of the Cathedral of Milan.
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In January 1950 Idloes Owen invited an astute businessman Bill Smith a former secretary of the defunct Cardiff Grand Opera to be his partner to develop the potential of the new company. Smith immediately responded by booking the young Charles Mackerras as conductor to take charge of The Tales of Hoffman that season. They shared a passion to make the WNO stand comparison with any other opera company in the world and in 1952 they staged Verdi's Nabucco. With its Biblical story, the opera needed a superb chorus, Verdi's third opera was ideal for WNO, and it was the Company's first in-house production.
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The Neue Mozart Ausgabe (NMA) quite rightly states that the five sextets have been underestimated in both the literature and musical practice: they are seldom performed in concert programs and the relevant literature usually mentions them only briefly without any detailed examination. This underestimation is most likely mainly due to the notion that, as mere "table music", the divertimenti are musically too superficial to deserve the attention the rest of Mozart's oeuvre does. Taking into account the restricted technical capabilities of the wind instruments featured here, these divertimenti can stand comparison with the Italian string quartets from the point of view of both compositional technique and richness of invention.
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The most famous of the four, and the one commonly referred to by this title, is the one which depicts the boy in a melancholic seated pose with his elbow on a table and his head cradled in his hand. It is currently held in Zürich, Switzerland. The other three portraits, of different poses, are in museums in the US. The Foundation E.G. Bührle, which currently owns the work, notes the painting's picturesqueness, adding that "There is a perfect balance here of high compositional intelligence and spontaneous painterly intuition." In 1895, art critic Gustave Geffroy said it could stand comparison with the finest figure paintings of the Old Masters.
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Michael Dirda was one of many critics who lavished praise on the work: > Shadow Country is altogether gripping, shocking, and brilliantly told, not > just a tour de force in its stylistic range, but a "Great American Novel," > as powerful a reading experience as nearly any in our literature. This > magnificent, sad masterpiece about race, history, and defeated dreams can > easily stand comparison with Ralph Ellison's Invisible Man and Robert Penn > Warren's All the King's Men. Little wonder, too, that parts of the story of > E.J. Watson call up comparisons with Dostoevsky, Conrad, and, inevitably, > Faulkner. In every way, Shadow Country is a bravura performance, at once > history, fiction, and myth—as well as the capstone to the career of one of > the most admired and admirable writers of our time.
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Saint Joseph and the Christ Child, 1640 Joseph and Potiphar's Wife, c.1630 Returning to Bologna more or less permanently after 1614, Reni established a successful and prolific studio there. He was commissioned to decorate the cupola of the chapel of Saint Dominic in Bologna's Basilica of San Domenico between 1613 and 1615, resulting in the radiant fresco Saint Dominic in Glory, a masterpiece that can stand comparison with the exquisite Arca di San Domenico below it. He also contributed to the decoration of the Rosary Chapel in the same church, with a Resurrection; and in 1611 he had already painted for San Domenico a superb Massacre of the Innocents, now in the Pinacoteca Nazionale di Bologna, which became an important reference for the French Neoclassic style, as well as a model for details in Picasso's Guernica.
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Although Nielsen came to compose mainly at the piano, he only composed directly for it occasionally over a period of 40 years, creating works often with a distinctive style which slowed their international acceptance. Nielsen's own piano technique, an echo of which is probably preserved in three wax cylinders marked "Carl Nielsen" at the State Archives in Aarhus, seems to have been mediocre. Reviewing the 1969 recording of works by the pianist John Ogdon, John Horton commented on the early pieces: "Nielsen's technical resources hardly measure up to the grandeur of his designs", whilst characterising the later pieces as "major works which can stand comparison with his symphonic music". The anti-romantic tone of the Symphonic Suite, Op. 8 (1894) was described by a later critic as "nothing less than a clenched fist straight in the face of all established musical convention".
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