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Once you embrace this as basically a lateral move on any faux pas charts, you can polish up your exits by having some not-untrue, not-impolite segues always at the ready. Out to drinks or dinner, or over someone’s house: “I’m tapping out, I’ve got an early day“; or, “Time’s up for me.”. In a work transaction: “OK then, is there anything else?”. After a chance encounter: “I’ve got to run.”. At a party: “Excuse me, I need a refill”; “Oh, I need to catch Whatsername before she goes.” Or ask for help: “Where’s the restroom?” If they don’t know, excuse yourself to look.

In fact, nature can call whenever we need it to, Or just: “So great to talk/catch dancing ballerina girl, stars, ballet shoes, purple pink flannel, dancing fairy fabric, little girl fabric up/see you.”, If sincere, you can always add, “Let’s make plans again soon.”, All of this covers the how, but you asked about the more complicated why, That’s where confidence comes in, First there’s the confidence that you won’t be judged harshly the moment you turn your back — or that you will be judged but you’ll survive it socially, because, who cares what people think, Insecurity is powerful, but overruling it gets easier with practice as you successfully end conversations and live to converse again..

Next there’s the confidence that it’s OK for you to decide the conversation is over solely because you want it to be. This part is about agency, and it gets easier with conviction: The more you believe that conversing and listening are an expression of self, versus a compulsory service to others, then the better — the more reflexive — you’ll get at knowing when to say “when.”. “Tell Me About It” by Carolyn Hax appears Tuesdays, Thursdays and Saturdays. Send your questions to tellme@washpost.com or fax 202-334-5669.

BERKELEY — With its luminous score and frequent flights into choreographed dance sequences, “Le Temple de la Gloire” (The Temple of Glory) is a rare example of the large-scale works of the French Baroque era, dancing ballerina girl, stars, ballet shoes, purple pink flannel, dancing fairy fabric, little girl fabric Related ArticlesCalifornia Symphony joins forces with ‘Star Wars’ soundtrackMTT, SF Symphony team with all-world violinist Christian TetzlaffValley of the Moon Fest brings Brahms banquet to BerkeleyMTT opens up about his approaching final season with SF SymphonyBrand new ‘Dreamers’ oratorio brings immigrant stories to Berkeley stageMusic lovers might wait a lifetime for a revival of Jean-Philippe Rameau’s 1745 “ballet-héroique” (or opera-ballet), But thanks to a co-production by Cal Performances, the Philharmonia Baroque Orchestra and the Centre de musique baroque de Versailles, the composer’s score is getting a top-notch production this weekend in Berkeley..

In the first of three performances Friday night at Zellerbach Hall, Philharmonia music director Nicholas McGegan led his orchestra, the Philharmonia Chorale and a large cast of singers, dancers and extras in this 18th century masterwork. The nearly three-hour opera sounded, well, glorious — as it suggested that satire, as a response to the politics of the day, is hardly a 21st century phenomenon. Rameau, who was considered the greatest French composer of his era, and his unconventional librettist, Voltaire, built “The Temple of Glory” on the story of three men vying to enter the sacred temple at Mount Parnassus, a spot reserved for larger-than-life heroes. Those candidates are the hawkish Bélus, the dissipated Bacchus and the genuinely good Roman emperor Trajan.

The opera was written to celebrate King Louis XV’s victory in the Battle of Fontenoy, but the pairing of Rameau and Voltaire was an dancing ballerina girl, stars, ballet shoes, purple pink flannel, dancing fairy fabric, little girl fabric uneasy one, Not surprisingly, the libretto’s thinly veiled suggestion that kings earn the loyalty of their subjects with benevolence, not conquest, met with a tepid response, Its depiction of Bélus and Bacchus as bellicose, perpetually inebriated and possibly promiscuous didn’t sit well with the king, Rameau hastily revised the opera in 1746, but McGegan is using the original, more pointed, version, from Rameau’s own manuscript, owned by UC Berkeley and housed in the university’s Jean Gray Hargrove Music Library, Today, the message comes across brilliantly..

Friday’s opening benefited from expert leadership by McGegan in the pit, and lavish stage direction and choreography by Catherine Turocy, whose New York Baroque Dance Company brought a vivacious corps of artists able to navigate the gigues, gavottes, forlanes and other French dance forms specific to the score. Scott Blake’s set, augmented by Pierre Dupouey’s atmospheric lighting, turned the Zellerbach stage into an 18th century proscenium theater ornately framed in gold leaf. Projected backdrops suggested palace interiors and pastoral scenes, and the special effects were striking — in one scene, a group of muses danced downstage, while their projected images floated overhead.

McGegan conducted with his trademark verve and attention to detail, drawing forceful orchestral responses in the triumphant music and gentle, opulent sound in the pastoral scenes, The singers, decked out in Marie Anne Chiment’s rich-toned costumes, were dancing ballerina girl, stars, ballet shoes, purple pink flannel, dancing fairy fabric, little girl fabric magnificent, Baritone Philippe-Nicolas Martin was an emphatic Bélus, and soprano Chantal Santon-Jeffery, who sang expressively in her extended first act aria as his scorned lover, Lydie, returned in the third act as the dazzling embodiment of Glory..

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