Word: deux
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...presidential car sped along the road from Paris to Villacoublay Airport. Hurrying to catch the plane home to Colombey-les-Deux-Eglises were President Charles de Gaulle and his wife Yvonne; up front with the chauffeur was the De Gaulles' son-in-law, Alain de Boissieu. Close behind followed a security car and two motorcycle policemen. As the small motorcade slowed down for a traffic circle in suburban Clamart, Old Soldier de Gaulle once again faced the guns of an enemy...
...find Leontyne Price singing Tosca, despite the white singer in the romantic lead opposite her. The ballet, too, has recognized Negro talent and given dancers parts that ignore their color: at the New York City Ballet Arthur Mitchell dances a wide range of the repertory, including pas de deux with white ballerinas. The historical distance and artistic level of the classics give roles an existence apart from those who play them, an advantage that modern theater unavoidably lacks...
...screen, Balanchine's dancers moved with an agile, flowing grace. Adam and Eve (Jacques d'Amboise and Jillana) performed an erotic pas de deux that eloquently argued for their eviction from Eden. There was tragedy-Lucifer being consumed by vanity and ambition. There was comedy-Noah and his tipsy wife got in a domestic squabble. And there were the mournful Te Deums of the Columbia Chorus...
...front of the cathedral with the wilted flowers of the federation in my arms." Today he remains a friend of De Gaulle's; sometimes, referring to his hero's country home, he will call his own modest house in the village of Yamoussoukro "Colom-bey-les-Deux-Eglises." Houphouet-Boigny's sentiments have hardly endeared him to the hotheads of Africa-the Nkrumahs. the Toures and the Nassers-whose political existence is largely based on cursing yesterday's colonialism and extolling today's "positive neutralism.'' This foggy ideology, says Houphouet, is "merely...
...most of the emphasis was inevitably on swirling group movements and splashy stage effects: clouds of smoke pouring over the footlights into the orchestra pit, Titania coming onstage with a magnificent retinue. There were also some deft characterizations and some fine bits of choreography: a fluent, elegant pas de deux between Conrad Ludlow and Violette Verdy, an elastically lyric solo by Edward Villella as Oberon, a wonderfully comic and closely knit dialogue of movement between Melissa Hayden as the Queen of the Fairies and Roland Vazquez as Bottom, wearing a donkey's head...