Word: mets
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Dates: during 1950-1959
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...select group of Americans there is a global plan of expense-paid travel. In Paris, for example, such a privileged person may be met on arrival by an officer of the U.S. Embassy-sometimes fondly called "the Boodle Man." The traveler is handed an envelope containing the boodle: as much as $500 in French francs. From then on, the visitor is on his own, needs only to check in with the embassy's boodle man to replenish his wallet. In 1955 in Paris alone, some 700 Junketeers availed themselves of this service, to the tune...
...Russians had a political youth organization called DISZ to keep an eye on young intellectuals like Janos, but nobody took it seriously. One evening last summer, Janos and three friends met up with the top Moscow-trained DISZ leader, drunk and convivial in a restaurant, and one of Janos' friends suggested that what DISZ needed was a social club where young Communists could sit around, drink tea and play chess. A few days later, DISZ opened the Kossuth Club at its headquarters on Republic Square. Janos and his circle sent out word: use the club...
...respects to Old Friend Dwight D. Eisenhower. On Al Gruenther's Distinguished Service Medal Ike pinned a third Oak Leaf Cluster, wished him well in his forthcoming presidency of the American Red Cross. That afternoon Gruenther mistily watched a "retreat parade" in his honor, then met some 600 friends who gave him a farewell handshake in observance of his 38-year military career that ends this week...
...have been asked by the management to say officially that I am the only performer who has ever been engaged by the Metropolitan Opera in spite of his voice." So writes Cyril Ritchard in a Met program note. At any rate, the Met hired him to stage and star in its new production of Jacques Offenbach's La Périchole, and Manager Rudolf Bing has rarely had a better idea. Actor Ritchard's singing may only be an educated guess ("My voice has four legitimate notes," he says, "the rest is just growl"), but he makes...
...richole, never before done at the Met and rarely seen in the U.S. anywhere, replaced Die Fledermaus as the Met's showpiece operetta and special New Year's Eve attraction. The score is second-rate Offenbach, first performed in 1868, well after the glories of La Belle Helens (1864) and Orpheus (1858); but it is still the work of a master in his field. The libretto is by two hacks of genius, Henri Meilhac and Ludovic Halévy, who vaguely based it (as they did their celebrated book for Carmen) on a work by Prosper...