Word: da
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...slips back into the poet's mind-and anything is fair game here, from Wright's recollections of his childhood, or a vulgarity he sees scrawled on a gravestone, to his later experiences with the super-natural and the exotic to what he has learned about Leonardo da Vinci during his life. Often ethereal, sometimes convoluted and tortured, the images crawl or sour quietly off the page, so that Wright doesn't just make you taste a grape--he makes you taste a purple grape, with the world "purple" taking on tinges of sunset, foreign lands, juice on the palate...
...wind, which one would expect to triumph at the end, fades out like a dream scene. The reverse is central to the poem, and Wright makes it universal simply by allowing it to grow larger than the words. Similarly, in "Wherever Home Is," he allows a statue of Leonardo da Vinci to filter into his mind and emerge uncontrollable on paper. He relishes the flavor of da Vinci's life and the historical impression he is left with: affectionately he calls Leonardo a "madman" and wanders off in the sun with the artist. The last stanza is memorable...
...rhythm of the Flamenco. Something like "Da-da-da-da-da... BOOM' Da-da-da-da... BOOM!" "Get set, wind-up, pitch... BOOM' Get set, wind-up, pitch... BOOM...
...composers out of date. Mozart's ability to portray real emotions on the stage instead of stylized attitudes, and his inventive use of the orchestra as an active participant instead of merely an accompanist, powerfully influenced later generations of composers. In the works he created with Librettist Lorenzo da Ponte-The Marriage of Figaro, Don Giovanni and Così Fan Tutte-Mozart's genius transcended the conventional boundaries of master-servant comedies and lovers' farces to create a new kind of psychological music drama...
...performances. But he was never a man of the commercial theater as Mozart was. His operas, mostly light in character, did not have to please any taste but the Esterházys'. And rather than working closely with a librettist to create something new-as Mozart did with Da Ponte-Haydn was largely content to accept preexisting librettos...