Word: ets
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Dates: during 1960-1969
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...extraordinarily accurate a capella performance of his Mass (1963) by the Glee Club and Choral Society was a pleasurable emotional experience as well as an impressive display of musicianship. Except for one clunker that occured when the singers failed to listen to each other on the Credo "passus et supultus est" and an octave became a major seventh, the Glee Clubs exhibited a professional command of the difficult intervals and harmonies. Unfortunately, the great energy that was consumed in singing the right notes left nothing for interpretation, and the resulting dynamic inflexibility diminished much of the emotional impact...
...Europe and individual guidebooks to 17 nations every year. Unlike Fielding, his books cover the full range of tourism, from historical background to such practical tips as how to kick a hangover in Paris (drink Fernet-Branca) and how to gamble in casinos (for the best odds, play trente et quarante). Trouble is, Fodor leaves the actual writing and research of his books to a staff of 100 contributors, and the results are wildly uneven. He is good on France and Austria, far behind on Portugal and Spain...
...Testing 25 to 45 varieties, they matched the acidity of one with the sweetness of another, the weakness of one with another's strong alcoholic body. When they were done, the formula had been arrived at by which such famous champagne houses as Krug, Mumm, Moët et Chandon and Pol Roger will blend their 1965 product...
...foreign buyer, with 5,181,185 bottles last year, but the U.S. is a fast-growing second, with 3,478,522 bottles. French champagne makers are unworried over competition from U.S. wines. "They are our avant-garde," says Robert Jean de Vogüé, head of Moët et Chandon. "When people come to appreciate wine, they will appreciate French champagne." The French companies do resent the fact that U.S. makers are permitted to label their product champagne. In England and on the Continent, only wine from the actual Champagne district-35,000 acres on either bank...
...required Kirby's Flying Circus (London), a Godzilla-ish sea monster, smoke generators, a wave-making machine, a mobile cloud-carriage and an expert ballet troupe--but the Boston Opera's unfathomable Sarah Caldwell managed to elevate Jean-Phillipe Rameau's mediocre first opera, Hippolyte et Aricie (1733), in its American premiere, to a delightful rococo Juliet of the Spirits...