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Word: glucks (lookup in dictionary) (lookup stats)
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...disturbing venture into the world of trauma and abuse. See today’s review. Written by Caryl Gluck, directed by Aoife Spillane-Hinks and produced by Mollie Kirk and Sarah Curtis. The play is presented and sponsored by the Harvard University Committee on Human Rights Studies and the Ann Radcliffe Trust. Loeb Ex. Tickets free at the Loeb Drama Center box office...

Author: NO WRITER ATTRIBUTED | Title: NO HEADLINE | 10/15/2004 | See Source »

...military's "co-opting" of relief efforts. The Nobel-prizewinning organization, which sends doctors and nurses into conflict zones, has withdrawn from only two other countries in its 33-year history, Ethiopia and North Korea; this is the first time they have withdrawn for security reasons. Kenny Gluck, the group's operational director, called the withdrawal "a very painful decision...

Author: /time Magazine | Title: Milestones | 8/2/2004 | See Source »

...International Festival, which runs from Aug. 15 to Sept. 5, appeals to the highbrow set. This year's 160 performances include everything from a new production of Gluck's opera Orfeo ed Euridice to Paul Claudel's Le Soulier de Satin, an 11-hour epic play set in 15th century Spain. Both the Hanover State Opera and Cleveland Orchestra will be in town. And there's a major retrospective of Antony Tudor's choreography...

Author: /time Magazine | Title: Artistic Explosion | 7/19/2004 | See Source »

...made concerted efforts during her career to champion marginalized composers and underrated works that are rarely performed for the public. Her impressive commitment to the popularization of early music is evident in her work to bring the compositions of figures such as Scarlatti, Paisiello, Caldara, Caccini, Vivaldi, Gluck, and Salieri to the attentions of contemporary concert-goers and music-lovers...

Author: By Sarah R. Lehrer-graiwer, CRIMSON STAFF WRITER | Title: Concert Review | 3/5/2004 | See Source »

Christoph Willibald Gluck (1714-1787) was represented by his “Di questa cetra” from Il Parnasi confuso which exhibited Bartoli’s sublime command of mellifluous and seamless tonal transitions and passages that hovered and drifted weightlessly through her listeners, lingering hauntingly in the air. The latter half of the concert was comprised of eleven pieces by Antonio Salieri (1750-1825) drawn from La fiera di Venezia, Armida, La secchia rapita, La finta scema, La scuola de’ gelosi, Palmira, Regina di Persia, and La cifra...

Author: By Sarah R. Lehrer-graiwer, CRIMSON STAFF WRITER | Title: Concert Review | 3/5/2004 | See Source »

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