Word: ils
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Dates: during 1980-1989
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...United States is a free country. Just as the Nazi Party had a right to march in Skokie, IL. so even a spokesman for a regime so heinous as that in South Africa deserve the right to speak unmolested in this country...
...your report of Saturday April 6 on the Encampment for Divestiture, you misquoted Jamin B. Raskin '83, IL. You quoted Jamie as saying, "[President Bok] has decided that the dialogue is over and that's in keeping with his character." Jamie did not say that. What he did say was that "[President Bok] has decided that the dialogue is over, and that's in keeping with the character of his position...
...notes, "more names than Jehovah," among them Moumou, Puss and the Dauphin. This spectrally beautiful, thin, pale child speaks a bewildering mixture of French and "Ol' Kintuck," the hayseed dialect he absorbed during his brief exposure to Governor Davis' three strapping sons: "O, he jest being plain bad. O, il m'echappe toujours!" All the Sioux are holding their breath to see how George takes to Castleton. Armand reassures his brother-in-law: "The Dauphin has a truly terrifying sense of gratitude. You'll be annihilated by it, my poor Vince. Nothing can stand up against this terrible, slow gratitude...
...following year, Conductor Herbert von Karajan cast her as Aida in Vienna; when she sang the Ethiopian princess at La Scala in 1960, one Italian critic exclaimed: "Our great Verdi would have found her the ideal Aida." Her Met debut came in 1961, as Leonora in Verdi's Il Trovatore; that performance provoked a prolonged ovation for only the fifth black artist to sing a major role in the house since Marian Anderson broke the color line six years earlier. In such dramatic soprano roles as Tosca, Donna Anna in Mozart's Don Giovanni and Verdi's other Leonora...
Glass, 47, in recent years has become a leading opera composer through such works as Satyagraha (1980) and Akhnaten, which was premiered in Stuttgart in March. Glass describes Act V of the CIV IL warSas his "romantic" opera. The repetitive rhythms and melodic figurations that are his trademark are still present, but the score is suffused with an Italianate warmth and passion that explicitly recall Verdi in some passages. The most dramatic of these occurs when Garibaldi, who has been sitting in a box placidly viewing the action onstage, suddenly interrupts to deliver an aria about his life that...