Word: pas
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Dates: during 1950-1959
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...hour when D-day was coming and fluffed their unparalleled opportunity to mangle the invasion forces. As early as January 1944, wily Admiral Wilhelm Canaris, then chief of German intelligence, had briefed Lieut. Colonel Hellmuth Meyer, intelligence officer and chief of a radio-monitoring unit with the Pas-de-Calais-based Fifteenth Army, on the code message with which the Allies would alert the European underground for the invasion. It consisted of the first two lines of the poem Chanson d'Automne, by the 19th century French poet Paul Verlaine. During a haggard all-night listening session on June...
...Rome. Wounded he was-but still deadly dangerous, with 60 divisions, including his crack Panzers, to defend Western Europe. Adolf Hitler correctly divined Normandy as the probable Allied Schwerpunkt, concentrated his armored reserves behind seven infantry divisions in the target area and, closer to Germany, maintained strength in the Pas de Calais area (see map). Hitler's most mobile general, Field Marshal Erwin Rommel, well knew that Allied air superiority (5,000 fighters on the channel front to a mere 119 for the battered Luftwaffe) would rule out any battle of maneuver. Rommel strengthened the coast defenses and prepared...
...dancing and investing in the stock market alike? Wall Street may not think so, but Dancer Nicholas Darvas does. To find out how he has danced his way to a fortune in stocks, see BUSINESS, Pas de Dough...
Balanchine's plotless episodes were set to later, drier Webern-music that chattered, squeaked, moaned and repeatedly died away in cacophonous little cries. Dance matched music with some wonderfully inventive and often funny sequences of movement. In one pas de deux (set to Five Pieces, Opus 10), Balanchine has a man and a woman approach each other time and again in an elaborate effort to embrace, only to have a final miscalculation leaving them clutching at air. Vastly different in their approaches, both Balanchine and Graham were remarkably successful at illuminating Webern's sparse, mostly atonal scores-perhaps...
...effects in the series of soaring Act II lifts and in the last-act duet in which she hovered back to consciousness on feet as tremulous as a butterfly's wing. And where Plisetskaya had omitted the famous 32 fouettés (snapped turns) in the "Black Swan Pas de Deux," Timofeyeva whipped them off with a bravura that brought the house alive with a roar...