When they peeked inside the sack, they found what appeared to be a ripely dissected human heart, left for the crew like a little gift.
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If you accept that guess (really, what choice do you have?) the trip to the TRAPPIST-13 system takes 40 years, just enough time for Ripely to grab another suspended animation nap.
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Well, maybe a digitally remixed Dutch master fruit painting would become a coat, narrow on top, ripely skirted below, practically bursting from its skin, and manga faces would transmogrify into layers of flowing robes.
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Add a couple of clashes between Dorante and Clarice's betrothed, Alcippe (Tony Roach) — caused, of course, by Dorante's fabulations — and the muddled ministrations of Dorante's father, Geronte (Adam LeFevre), trying to arrange a marriage for his son, and you have an ample recipe for ripely comic romantic complications.
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The story of Emerald City is much too busy, without any characters nearly as memorable as those in The Wonderful Wizard of Oz. Even Vincent D'Onofrio's take on the Wizard — which is truly, gloriously off the wall — wears thin after a while, and many of the other actors seem to be coping by competing to see who can pout the most ripely.
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Ripely Pine is the debut studio album by American musician Lady Lamb. It was released on February 19, 2013 under Ba Da Bing Records.
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God of Hell, a CurtainUp London review The play received its Australian premiere on April 7, 2007. Directed by Robyn Mclean, it was acted by Russel Newman as Frank, Paul Bertram as Haynes, Ripely Hood as Mr. Welch and Annie Cossins as Emma and stage managed by Simon Fox.
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The first Lady Lamb recordings were home recordings distributed in handmade packages to the local Bullmoose Record Store in Brunswick, Maine. In 2010, Spaltro moved to Brooklyn, New York. In 2012, Spaltro met producer Nadim Issa and recorded her debut studio record, Ripely Pine at Let Em In Music in Gowanus, Brooklyn. It was released February 19, 2013 on Brooklyn's Ba Da Bing Records.
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According to Andrew Achenbach, writing in Gramophone Awards Issue 2010, the work had "languished undiscovered in the papers of Bruce Phillips (chairman of the John Ireland Trust). The engraver’s markings on the manuscript suggest that this ripely romantic outpouring was at one stage intended for publication, but the self-critical composer evidently had second thoughts". Mark Kennedy, writing in the Sunday Telegraph (August 2010), remarked, "why Ireland withheld it for so long isn’t evident from the quality of the music".
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Kreepmas is a Gothic, macabre twist on the Charles Dickens classic A Christmas Carol, with book, music, and lyrics accredited to B. R. Kreep. It was presented on December 20–23, 2012. Characters included B. R. Kreep performed by O'Donnell, Albert T. Krumb performed by Jason "Ares" Altamirano, Kreepy H. Krawler performed by cellist Aidan McClave, Thaddeus Plum performed by Joey Ripely, Matilda Pift performed by Misha Cassella-Blackburn, and the two-headed Twipple Twins, Twinkle & Dinkle, performed by Cassella-blackburn and Ripley.
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From 2007, she has also had a recurring role in the BBC Radio 4 comedy series Bleak Expectations, a parody of Charles Dickens' novels and of Victoriana in general. Hadland provided the voice of Lily (née Bin) Sourquill, the daughter of Sir Philip ('Pip') Bin over the four series to date. She also voiced the characters Ripely Fecund (Pip's third wife, in series 2) and Miss Christmasham (a parody of Great Expectations' Miss Havisham, in series 3). In 2011, Hadland was cast as the new English teacher, Linda Radleigh, in the BBC drama Waterloo Road.
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This is seen even in his best-known pieces: Divertissement, for small orchestra is lighthearted, even frivolous, and Escales (1922) is a ripely romantic work for large orchestra. In tandem with his creative work, Ibert was the director of the Académie de France at the Villa Medici in Rome. During World War II he was proscribed by the pro- Nazi government in Paris, and for a time he went into exile in Switzerland. Restored to his former eminence in French musical life after the war, his final musical appointment was in charge of the Paris Opera and the Opéra- Comique.
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The film was generally well received by critics. Bosley Crowther of The New York Times remarked that it was "a good picture—nice and crisp and tough", praised the script writer Franklin Coen for "blueprinting a fresh idea, and salting it with some tingling, unstereotyped behavior and gristly dialogue". He further praised the cinematography, the casting of Holden and Widmark, which he considered "sardonic perfection", and added that the "picture perks up beautifully in the ripely-detailed homestretch". Variety praised the action sequences with the cattle stampede but, unlike Crowther, thought there were some issues with the script which they believed "overdevelops some characters and situations, and underdevelops others".
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Delta; new edition (1999), 337 Sondheim first came up with the idea of writing a musical when he saw the Italian film in 1983: > As Fosca started to speak and the camera cut back to her, I had my epiphany. > I realized that the story was not about how she is going to fall in love > with him, but about how he is going to fall in love with her . . . at the > same time thinking, "They're never going to convince me of that, they're > never going to pull that off," all the while knowing they would, that Scola > wouldn't have taken on such a ripely melodramatic story unless he was > convinced that he could make it plausible. By the end of the movie, the > unwritten songs in my head were brimming and I was certain of two things.
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Kreepmas is a Gothic, macabre twist on the Charles Dickens’ classic A Christmas Carol with book, music, and lyrics by B. R. Kreep. It was presented by the Black Pearl Cabaret on December 20–23, 2012 at the Undertown in Port Townsend, WA. Characters included The Kreep performed by R O'Donnell, Albert T. Krumb performed by Jason "Ares" Altamirano, Kreepy H. Krawler performed by cellist Aidan McClave, Thaddeus Plum performed by Joey Ripely, Matilda Pift performed by Misha Cassella-blackburn and the two-headed Twipple Twins, Twinkle & Dinkle, performed by Cassella-blackburn and Ripley. Cellist arrangements were by Aidan McClave, costumes design by O'Donnell and built by Mara Palmen, and stage managed by D. J. Adams. Songs included Kreepmas Celebration, Drink Up For Kreepmas, I'm the Ghost of Been There Done That, The Bells, Why Not For Me, and We Wish You a Merry Kreepmas.
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For example, Jane Eaglen's noble rendition of the immolation scene from Götterdämmerung was followed by the broad comedy of Frederica von Stade in the tipsy aria from La Périchole; the effect was to "dissipate the solemn afterglow of the one and make the other seem goofy and tasteless". Von Stade also supplied "one of the evening's true glories" in a performance of Cherubino's "Voi che sapete" [omitted from DG's DVD and CD]. "Opera has recently offered little more wonderful than von Stade's interpretation of that famous ardent, hormone- crazed pubescent boy". Also outstanding were Carlo Bergonzi and Alfredo Kraus, skillfully making the most of resources depleted by old age; Ileana Cotrubas, "ripely and irresistibly nostalgic" in Giuditta; Plácido Domingo, combining "magnificent vocalizing and the most acute artistic intelligence" in Don Carlo and Faust; Renée Fleming, "luscious and immaculate" in Louise, Don Giovanni and Der Rosenkavalier; Waltraud Meier, singing Isolde's curse with "thrilling ferocity"; and Ruth Ann Swenson, compensating for her technical deficiencies in a coloratura showpiece from Roméo et Juliette with character and intelligence.
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