从1822年开始，伊丽莎白·芭蕾特的兴趣越来越倾向于古典学派和文学方面。
From 1822 on, Elizabeth Barrett's interests tended more and more to the scholarly and literary.
这段纯洁而高尚的友情也鼓舞了芭蕾特，她不顾父亲的阻挠，从芭蕾特小姐变成了布朗宁夫人。
The pure and noble friendship even encouraged Miss Barrett to be Mrs. Browning, against her father's will.
他于是了解到芭蕾特让人感到快乐，可她很害羞；她那时已不年轻，身体非常虚弱，整天躺在床上；这位能看懂希腊、拉丁文的才女，十二岁就名扬诗坛了。
He learned that she was a delightful but very shy woman, no longer quite young, so weak as to lie in bed all day and all night, who read Greek and Latin, and a poet since the age of twelve.
其他25名来自世界各地艺术界或娱乐界的小组成员中包括有大提琴演奏家马友友，大慈善家特雷沙·海因茨，建筑家索姆·摩尔，以及芭蕾舞蹈家达米恩·沃策尔。
The 25 panel members from the world of arts and entertainment also include the cellist Yo-yo Ma, the philanthropist Teresa Heinz, Thom Moore, the architect and Damian Woetzel, a ballet dancer.
这座名为“渴望”的大桥位于考文特花园中皇家芭蕾舞学校和皇家歌剧院之间。
The Bridge of Aspiration between the Royal Ballet School and the Royal Opera House in Covent Garden.
克斯特亚平稳地把车开上街头，艾薇塔抬头看着她妈妈在芭蕾舞学院二楼的办公室。
As Kostya eased the van onto the street, Ivetta looked up at her mother's office, on the second floor of the Ballet Academy.
瓦利·贝基特表示：“我并不是在讲芭蕾舞的故事。我讲的是人物的故事。”
"I'm not telling a story about ballet. I'm telling a story about the characters," said Walley-Beckett.
为了让剧集看起来更真实，瓦利·贝基特坚持让真正的芭蕾舞演员参演。
To create a sense of authenticity, Walley-Beckett insisted that the show cast real-life ballet dancers.
斯特拉·文斯基写过一些很著名的芭蕾舞曲，如《火鸟》、《彼得·鲁什卡》和《春之祭》。
Stravinsky wrote some of his best-known music for ballets: The Firebird, Petrushka, and The Rite of Spring.
从俄罗斯海滨酒家出来，克斯特亚开车去了“首席”芭蕾舞学院，给艾薇塔去送她忘在他公寓里的上衣。
From the Russian Riviera, Kostya drove to the Prima Donna Ballet Academy to return a blouse that Ivetta had forgotten at his apartment.
劳勃阿特曼以优雅及非刻意强调吸引力的镜头来进入芭蕾舞的世界。
Altman takes an elegant, appealingly unemphatic look at the world of ballet.
劳勃阿特曼以优雅及非刻意强调吸引力的镜头来进入芭蕾舞的世界。
Altman takes an elegant, appealingly unemphatic look at the world of ballet.
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