Kiddi (Theodor Juliusson) is larger, ruddier, drunker and luckier than Gummi (Sigurdur Sigurjonsson), and maybe better at raising and breeding sheep.
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For instance, Dr. Conlon says those with fairer or ruddier complexions may have more noticeably irritating reactions, even if they're not actually getting bitten more often than those with darker complexions.
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The classic Gurney type was pale of skin (though slightly ruddier after summers in Maine or winters in Florida), courteous by nature and descended from a long and unbroken line of Anglo Saxons.
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The Good Life is a troubling but darkly amusing archive, a nostalgic retrospective of a ruddier time where willful corruption, widespread fraud, and the unethical irreverence of America's corporate culture had not yet seen its comeuppance.
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What happens during "Smoke" is that the taped score, which has original music by Justin Levine and Matt Stine, starts to interpolate chunks of Handel (especially the irresistible aria "O ruddier than the cherry," from "Acis and Galatea"), and then turns them into pop music, with various disco and rock accompaniments.
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Pound 1969, 126–127. The festival was interrupted by the outbreak of World War I.Brook 1958. However, Allin did sing the Handel aria "O ruddier than the cherry", from Acis and Galatea, at a Promenade Concert for Wood during the war.Wood 1946, 292.
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This is a long bird. Its plumage is patterned with grey, brown, white and black, but this snowcock looks grey from any distance. The breast is darker and the flanks ruddier than the rest of the body. It has a white throat and a white patch on the side of the neck.
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He played with the band from the mid-1850s to about 1860. In 1860 the band won the national contest at The Crystal Palace, but Hughes was no longer with them. He also played with Louis Antoine Jullien's orchestra. There he became a star, known especially for his ophicleide solo of "Ruddier Than the Cherry" from Acis and Galatea.
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The house's inaugural concert was performed, consisting of Beethoven's Archduke Trio, Handel's "O, Ruddier than the Cherry", two songs by Bach, and Beethoven's "Adelaide". After these performances and hors d'œuvres, ninety members of the association ascended to the Marsh Room where, over the next three hours, a seven-course candlelight feast was consumed. The seven accompanying wines came from the same regions, and in three instances the same vineyards, as those served in 1892. Dr. Richard W. Dwight (a member of the association since 1933) and Mrs.
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Reeves, on account of Hatton's appearance with a bald dome and surrounding fringe, used to call him 'The Sultan'. Hatton used to perform a comic song "The little fat man" which was supposed to be a skit on himself.Simpson, A Century of Ballads, p. 127. When, for instance, he sang it before the Leeds Rational Recreation Society in April 1853, he also performed 'La ci darem la mano' with Mme D'Anteny, gave his own song 'Day and Night', and finished off with Handel's 'O ruddier than the cherry' (from Acis and Galatea).
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At the Handel Festival in June 1868 he sang the Messiah solos, and on the selection day, 'O voi dell'Erebo' from La Resurrezione and 'O ruddier than the cherry' from Acis and Galatea. He also sang 'The Lord is a Man of War' with Signor Foli. At Hereford he sang Dr Wesley's anthem The Wilderness, and under Dr Wesley, Elijah, with Louisa Pyne. In 1869 a Rossini festival took place at the Crystal Palace, with a chorus and orchestra of about 3,000, in which he sang in the Stabat Mater, and appeared in the scene of the 'Blessing of the Banners' from The Siege of Corinth.
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Polyphemus, by Van Cleve, Louvre The opera shifts from its pastoral and sensual mood into an elegiac quality as the chorus warns Acis and Galatea about the arrival of a monstrous giant, Polyphemus, singing "no joy shall last". The fugal minor-key of the chorus's music along with the percussive lines in the lower instruments, indicating the heavy footsteps of the giant, provides an effective dramatic transition into the more serious nature of the second act. Polyphemus enters singing of his jealous love for Galatea, "I rage, I melt, I burn", which is in a part-comic furioso accompanied recitative. This is followed by his aria "O ruddier than the cherry" which is written in counterpoint to a sopranino recorder.
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Radford had an early and successful relationship with the gramophone, beginning with a song called 'Ho! ho! hear the wild winds blow' for the Gramophone Company in June 1903. His first 12" records were 'It is enough' and 'Lord God of Abraham' from Mendelssohn's Elijah in 1906-7 (supplementing 'For the mountains shall depart', and 'Is not his word like a fire' on 10" records): over the next few years he added 'I am a Roamer' (Mendelssohn), 'Nazareth', 'Vulcan's Song' (Philemon and Baucis), and 'She alone charmeth my sadness' (Gounod), 'O ruddier than the cherry' (Acis and Galatea), 'Hear, ye winds and waves' (Scipio), 'Honour and Arms', 'Arm, arm ye brave' (Judas Maccabaeus) (Handel), 'Arise ye subterranean winds' (Purcell), and many of the better and longer ballads of the time.
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The plot is virtually the same as in Handel's later English-language pastoral opera Acis and Galatea, but Handel drew little on the music of the cantata when he returned to the story in 1718, although he did take care to introduce the half-lovable villain — the one-eyed giant Polyphemus — with another signature comic aria, faster and demanding virtuosity of a different kind than the one in Aci (see below), namely, "O ruddier than the cherry." The role of Polifemo (Polyphemus), a cyclops whose actions have lethal consequences for Aci (Acis), is particularly notable for the vast range and singular vocal agility required. The part ranges from the D below the bass staff to the A above it — and that in his main satirical slow, ponderous buffa aria, "Fra l'ombre e gl'orrori". The role may have been taken at the premiere by the bass Antonio Manna, who sang at the court chapel in Vienna.
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