Word: rodolfo
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Dates: during 2000-2009
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...that of Mexico has grown 20%. The village of Tanque de Guadalupe is typical. Virtually every male age 17 and older is gone, and the town's population--now 120--has been cut in half. "There is no sign that it is going to slow down," says veteran demographer Rodolfo Corona of El Colegio de la Frontera Norte, the country's main border-issues research center. Zacatecans in the U.S. are so widespread--and so successful--that many band together to form clubs to pool their earnings and send cash back home to build roads, clinics and schools. Some...
...connection that LHO makes to Harvard Square, although very successful in the physical sense, does not quite achieve the ironic goals of the adaptation. Although the production would like to confront its Harvard audience and its treatment of the poor, it fails to take full advantage of proximity of Rodolfo, Marcello, Mimi and the others to their counterparts in the Ivory Tower. The underground “apartment” that the four men share in the Harvard MBTA stop is the only scene which seems to speak directly to the Harvard elite. Unfortunately, the powerful image and sentiment conveyed...
...Bohème is a four-act opera in which six poverty-stricken artists struggle to find success amidst their bohemian lifestyles. Rodolfo, a poet (Robert Grady) falls in love with a silk flower-maker, Mimi (Susan Brownfield) who is fatally ill. As the opera progresses, Rodolfo and Mimi realize that their relationship cannot last—Rodolfo can not stand by and watch helplessly as Mimi’s consumption steals her away from him. In the end, although Rodolfo and his friends give their most prized possessions, this is not enough to save Mimi’s life...
...remains true to this story from beginning to end. But in placing its story in Harvard Square, it hopes to use the proximity of the “haves,” the resource-rich Harvard community, and the “have-nots,” Rodolfo, Mimi and their friends, to show how the leisure class exploits its underclass on many different levels...
Living underground, in the Harvard Square MBTA station, Rodolfo, Marcello, an artist (Lee M. Poulis ’02), Colline, a philosopher (Alexander Prokhorov) and Schaunard, a musician (David Howse) are inhabitants of one of the busiest and most affluent parts of Boston yet, they have little employment opportunity as artists; their craft is created for and enjoyed only by the leisure class, which derives its leisure from the exploitation of the underclass...