Word: straussed
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Harvard moved into its customary first period lead with center Vern Strand and Lenny Strauss showing the way to a 19 to 12 score. But the outside shooting Gary Nell soon wrecked the Crimson's of Bruin Captain Gene Barth and center early plans and the score was tied at 41-all by half-time...
...taking pride in its performance. This is especially noticeable when watching the team play defense. This year the Crimson has been using a tightly-knit 2-3 zone which places Gene Augustine and Leo Scully a bit beyond the foul line, and the three deep men--usually Len Strauss, Vern Strand, and Dennis Lynch--in a line in front of the basket...
...pleasing as Scully is to watch, other Crimson players have also played major roles in the team's victories over Cornell and Dartmouth (twice). Len Strauss took over the spot vacated by Pete Kelley, and has turned in consistent performances as a rebounder and scorer. Dennis Lynch has scored well while getting need to a new set of contact lenses and should be even better, especially from long distances, once he gets used to them. Captain Gene Augustine's constant haranguing is the key to the success of the some defense, and Vern Strand is, according to one startled onlooker...
Though every German soprano worthy of her breastplate has sung the role of the Marschallin in Strauss's Der Rosenkavalier, other singers keep a respectful distance. The Marschallin's notes are within easy reach of the best sopranos, but dramatically her role is too restrained for Italians, too aristocratic for Americans, too Viennese for the French. Last week though, a French soprano named Régine Crespin sang the final Marschallin of her first season at the Metropolitan Opera. It was the best at the Met since Lotte Lehmann's swan song 16 years...
...peerless Marschallin-had returned at 74 to coach the new singer, but Crespin clearly had ideas of her own. "We have met an impasse," Crespin said, then went onstage to offer a compromise interpretation of the role that even Lehmann had to admire. True to her introspective notion of Strauss's aging princess, Crespin sang the first act at fingertip touch, hiding her immense voice behind a melancholy that was queenly and cool. Only in the final act did she display the full range of her vocal power; when she did, she reached the Met's distant chairs...