Sentence examples for expressive account from inspiring English sources
The phrase "expressive account" is correct and usable in written English.
It can be used when describing a narrative or description that conveys strong emotions or vivid imagery. Example: "Her expressive account of the event left the audience in tears, as they could feel the depth of her experience."
This expressive account of language, mind and logic is, finally, an account of who "we" are.
The soprano Measha Brueggergosman followed with an intensely expressive account of "My Man's Gone Now" from Gershwin's "Porgy and Bess".
Anja Kampe, a German soprano, gave a strong and expressive account of the extended aria "Ah! perfido".
Finally, she gave a deeply expressive account of the Chaconne, dispatching the challenges with such security that you did not notice the sheer virtuosity at work.
Sean Botkin, vibrant in the Concerto in A, also ended the program with a gripping, boldly expressive account of the D minor Concerto, the most familiar of these works.
This was a performance of intense inward eloquence, sweet-toned and reflective, with Khachatryan rarely opening his eyes during a restrained and expressive account of a solo part that even Oistrakh found difficult.
Gaining confidence as he went on, he supplied tense yet expressive accounts of Macduff's aria and the Berio arrangements.
The same was true of Ms. DiDonato's intensely expressive accounts of two arias from Mozart's "Clemenza di Tito": Sesto's "Deh, per questo istante solo" and Vitellia's "Non più di fiori" — presented after intermission.
Edith Davis Tidwell, a soprano, gave meltingly expressive accounts of three selections from Mr. Lieberson's "Rilke Songs" (2001), gently angular settings with richly detailed piano accompaniments, played deftly by Naomi Oliphant.
She took up singing full-time while studying in Boston in the early eighties, drawing notice first for her precisely expressive accounts of Bach cantatas at Emmanuel Church, under the direction of Craig Smith.
She took up singing full time while studying in Boston in the early eighties, drawing notice first for her precisely expressive accounts of Bach cantatas at Emmanuel Church and then for her work in radical opera productions, by Peter Sellars, of Handel's "Giulio Cesare in Egitto" and Mozart's "Don Giovanni".
