Word: voi
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...tradition of the country that the people should never forgive those who "dem voi ve day ma to" (take the elephants back to stamp out the grave-yards of the ancestors). Figuratively, it means that they should never forgive those who invite foreigners back to destroy their fatherland (in Vietnamese it is called dat to, which means the land of the ancestors). (This is the reason why the Vietnamese have sacrificed almost anything to repulse foreign invaders from Vietnam: the Chinese, the Japanese, the French, and hopefully "you-know-who" someday. Especially it is clear to many who the foreign...
...Schubert's Auf dem Wasser zu singen was conveyed more in the singer's facial expression than in the somewhat imperfect articulation of the notes. Madame Schwarzkopf's historical curiosity got the better of her usually flawless taste when she chose to sing a version of Mozart's Voi che sapete "with embellishments noted down at a performance in Vienna at which Mozart was present." As the soprano explained, such frills and furbelows were usually improvised on the spur of the moment and then forgotten; this version of the aria, however, lay hidden in a German castle until...
Some of the sources of Orsini's inspiration can be guessed at. The ogre seems borrowed from the Mouth of Hell leading to Pluto's cave, as illustrated in medieval manuscripts on Ovid. The curious words ringing the ogre's mouth-Lasciate Ogni Pensiero Voi Que Entrate (Abandon all thought, ye who enter)-refer to the cup of forgetfulness ancient Greeks thought was drunk before crossing the river Lethe. The dragon-fighting lions (probably an oblique reference to political feuds) derived from a sketch by Leonardo da Vinci. The elephant with castle was a symbol used...
...Bing had momentarily run out of new productions, but he put on a high-spirited Marriage of Figaro, and introduced a promising American newcomer while he was about it. Cleveland-born Mezzo-Soprano Mildred Miller sang a charming, properly boyish Cherubino, stopped the show with her second-act aria, Voi Che Sapete. It was, everybody agreed, the final bright spot in the Met's sparkling week...
When Margaret came on stage, the audience of 15,000 gave her an encouraging ovation. After her opening aria, Voi Che Sapete from Mozart's Marriage of Figaro, the audience called her back for two bows, thundered when she received a bouquet of orchids. But as the concert progressed, limitations became evident...