Word: fausts
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Dates: during 1950-1959
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...Raise Standards. Under mild-mannered, capable Clarence Faust, the Fund for the Advancement of Education has made its most important contributions in two fields: the training and recruitment of teachers, and improving the intellectual lot of the gifted student. In 1951 it launched its famous statewide Arkansas Plan to attract more public-school teachers by giving liberal-arts graduates one year of training and internship instead of the tedious mishmash of courses usually doled out by schools of education. Though Arkansas is perhaps too poor a state to carry on such an experiment successfully, the fifth-year idea has spread...
...months he has been president, the Ford Foundation has already felt his touch. To consolidate the educational work of the foundation and the Fund for the Advancement of Education, he drew up plans to merge the two, appointed the fund's respected Clarence Faust a foundation vice president. He also made clear that he thought the Program Committee, which reviewed all projects and managed to satisfy no one, should be eliminated. "When?" someone asked him. "Now," said Heald...
...give up the other. So he goes along, year after year, swallowing his disgust ("After each sitting [i.e., conference] I feel like pulling the chain") and guzzling champagne-the picture of a man too weak to put the public good before his private passions, the picture of a Fascist Faust. In the end, of course, the devil demands the reckoning, and Harras goes gallantly to hell...
...Christoff, Giacinto Prandelli, Orietta Moscucci; Orchestra and Chorus of the Rome Opera conducted by Vittorio Gui). Known chiefly as a poet and mighty librettist (Verdi's Otello and Falstaff), Boïto always remained an interesting oddity as a composer; he premiered his version of Goethe's Faust at La Scala in 1868 only to see it booed off the stage after two performances because of its experimentation with Wagnerian techniques. Intellectually more challenging than Gounod's lovely but un-Faustian version, more dramatic than Berlioz' rambling opéra de concert, it suffers from...
...just after the turn of the century, in the golden age of U.S. opera. On the stage of the Metropolitan the great Australian-born Soprano Nellie Melba was singing Marguerite's spinning-wheel aria in Gounod's Faust. In midphrase Nellie was interrupted by the clatter of half a dozen wax cylinders which smashed down one after the other from the fly floor high above the stage. There, in brown suit and wing collar, crouched a spidery little man over an Edison cylinder gramophone with a horn almost as big as he was. Although he lost the Melba...