Word: dammed
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Dates: during 1980-1989
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...regime seems scarcely interested in attending to such problems. For the fiscal year ending in March 1983, the Islamic Revolution Records, ostensibly a record-keeping body but believed to be a front for KGB-trained secret police, was budgeted to receive 60 times as much money as dam construction and harbor repair combined. This year at least one-third of Iran's oil revenues (which account for 95% of its national income) will be used...
...Secretary of State George Shultz appeared before the same committee to testify on the Lebanese political situation, Republican Congressman William S. Broomfield of Michigan warned, "We are wondering whether or not our policy [in Lebanon] is dramatically changing." Emerging from private briefings by Deputy Secretary of State Kenneth W. Dam on the intended Marine redeployment, Democrats and Republicans alike expressed scorn and consternation. Said a Republican Senator after the meetings: "They don't want to leave Lebanon without some measure of success. That doesn't sound like withdrawal to me. They don't have any intention...
...quarter-mile span. The blast snapped the suspension cables and sent twisted sections of roadway plummeting into the Lempa River. Until the bridge can be repaired, cotton, sugar and coffee harvests from the eastern departments will have to be transported across the top of a near by dam...
...fifth scene, an angel (Soprano Christiane Eda-Pierre) visits the saint (Bass-Baritone José Van Dam) as he is praying. "You speak with God through music," the angel sings, no doubt voicing Messiaen's own conception of his artistic role. "He will reply to you through music. Let the secrets, the secrets of glory open." As the angel begins to play a heavenly viol, an Ondes Martenot sounds a deceptively ingenuous melody. At once oddly angular but celestially serene, it floats above a soft C major chord in the strings and a wordless chorus. The moment...
Outstandingly conducted by Ozawa, a longtime Messiaen champion, the production is generally worthy of its subject. The title role, superbly sung by Van Dam, must surely be the longest individual part in the operatic literature. The saint appears in seven of the eight tableaux and does much, if not most, of the singing in each. At the composer's request, Giuseppe Crisolini-Malatesta based the sets and costumes on paintings by Fra Angelico, Giotto and Matthias Grünewald. As staged by Sandro Sequi, scenes are played in small, diorama-like boxes to emphasize the work's distant...