For the record, I'm missing some posts too.
Cheers,
Jon
>From: Robin Hamilton <[log in to unmask]>
>Reply-To: Robin Hamilton <[log in to unmask]>
>To: [log in to unmask]
>Subject: Re: 1945 Was His Finest Year
>Date: Fri, 11 Jan 2002 23:37:44 -0000
>
>I'd like to withdraw what I said to Richard below.
>
>I've only just realised (working through the sequence of posts in this
>thread once more) that at least two never reached me. One was Richard's
>question to Alison, and the second was her reply to him. I've managed to
>work this out (if I've got it right even now) by references in the posts I
>+do+ have, to posts which appear never to have reached me.
>
>I took Richard's comments to link to Alison's +original+ post. The missing
>posts obviously change the context in which I'd have read his words.
>
>My apologies (and especially to Richard) for this confusion (and to
>everyone
>to whom my explanation may seem equally confused).
>
>Robin
>
> > > Does the opera advance any notion that the Palestianians might be
> > > pawns in the hands of larger geopolitical forces? Does it compare
> > > their leadership with that of, say, Martin Luther King or Mahatma
> > > Ghandi?
> >
> > The problem I have with this, Richard, is that it's implicitly
>challenging
> > the opera in terms of what it +doesn't+ say rather than what it does.
>I'm
> > bothered, given that there are always innumerable things that can be
>said,
> > and almost +any+ work could be faulted for "omissions".
> >
> > Anyway, Alison's post was the first I'd heard of the opera, or the issue
> > (or, indeed, I'm ashamed to say, the composer!). So I'm off to chase
>the
> > link that Jeremy kindly provided, to try and find out more.
> >
> > Cheers
> >
> > Robin
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