Chicago Tribune from Chicago, Illinois • 24

6 Section cnicago Tribune, Monday; November i4, lar Greatest Family Show on Ice fill IC UYH l) SHIPSTADS Hits i i viiiii -1 JOHNSON ItV 3" With Olympic World Champion gjp rtf 5 1 PEGGY FLEMING noetic se5 1 Vrialltf thru Nov. 27 at sitr1 rs-jr MILLION DOLLAR 2 2 A ICE SPECTACULAR with ice Chorus OPENING -fcOV UTE BENEFIT AUGUSTANA HOSPITAL Bargain Shows bkotm $210 Boi. Pin, Men. $4.50 Sat.Nov.19S 26 1030 AM 7:30 PM WedJov.Z) Thurs.Nov.24 7.30PM of A 100 Beautiful Girls I All OSm Shows Including Mitnees fWconiM Mezzanine $5.50 $7.00 Sal. Nov.

19 126 Tickets on Salt it STADIUM I TICKETRON Family Shows hkoniet S3 00 S5.50 25 7.30 PM Ffi.Nov.25 Sun.Nov.20 1 27 5:00 PM MAIL NOW Sun. Nov 20127 1PM Enclose self-addressed stamped envelope I CHICAGO STADIUM lr 73S00 Wikman proves he has faithful following By John Von Rhein Music critic rUSIC OF THE BAROQUE ventured out of I I the Baroque into the classical period for jy 1 1 part of the opening concert of its eighth sea-U USon Sunday afternoon. The eager crush of choral music lovers who filled St. Paul's United Church of Christ to capacity (the concert was delayed until all latecomers were jammed into pews) was proof enough that musical director Thomas Wikman has built an audience for his enterprising ensemble that will follow it just about anywhere. The group's growing musical reputation was nicely borne out by Sunday's program, an appropriately festive affair which opened with Haydn's "Missa in Tempore Belli" in Time of and closed with Handel's Dettingen Te Deum.

THIS IS MUSIC THAT calls primarily for hearty choral singing peppered with the jubilant flourishes of trumpets and trombones. And that is what the well-drilled, 28-voice mixed chorus brought to it, ably supported by a responsive instrumental body of 30 under Wikman's energetic direction. The Haydn emerged less successfully, mostly because in his zeal to underscore the darkly dramatic elements of this late masterpiece, Wikman pumped up the fortes rather more than was necessary. In the resonant acoustics of St. Paul's, the wide-open choral declamation sounded, paradoxically, too healthy (the Gloria suffered the most in this respect), especially when yoked with the fateful tym-pani strokes.

Tempos felt precipitous when they should have had more flexibility; All of the solo sections were professionally taken, but the singing of JoAnn Pickens, soprano, and Ger-shon Silins, baritone, proved especially notable. THE RELATIVELY uncomplicated festiveness of the Handel work found a more idiomatic balance of stylishness and spirit from all participants. Wikman was sometimes cavalier about enforcing tidy entrances, but his conducting seemed less bound to one plane than in the. Haydn work, and there was little in the balance of voices and instruments one could fault. The chorus managed the long Handelian lines with firmly supported, well-blended tone.

Charles Rhodes delivered the single tenor solo appreciatively. The 1977-78 Music of the Baroque season resumes Dec. 18 (St. Thomas the Apostle Church) and Dec. 20 (First United Methodist Church, Evanston) with Bach's Christmas Oratorio.

Other concerts will offer Pergolesi's Stabat Mater and Vivaldi's Gloria (Feb. 19, St. Giles Church, Oak Park); Bach's St. Matthew Passion (March 12, United Church of Hyde Park, repeated March 15 at Evanston's First United Methodist); Baroque cantatas (April 9, St. Paul's United Church of Christ), and Handel's "Alexander's Feast" (May 7, United Church of Hyde Park).

ALLA BREVE: Chicago Opera Studio has changed its name to Chicago Opera Theater, a title the company feels is more in keeping with its professional status The Northwestern University Contemporary Music Ensemble will give the premiere of John Cage's "49 Waltzes for the Five Boroughs" Nov. 21 at 8:15 p.m. in Pick-Staiger Concert Hall. Cage's graphic score, drawn upon a map of the New York City boroughs, will be realized in this performance by ensemble codirector Robert Moran and NU graduate student Tim Zimmerman. Italian student fights for his minority rights Continued from 1st Tempo page Admissions Test) scores were higher than those of 10 of the people who were admitted through the program.

"I APPLIED again the next year, and they just mailed my application back, saying I was not a minority applicant." DiLeo, unlike Bakke, doesn't want to strike down the affirmative action admissions program at his school. But, like Bakke, he thinks a person's race or national origin should not be the basis for the decision. "I'm saying that these programs should be run in a racially neutral manner. It's not just blacks and Chicanos and American Indians who are deprived," says DiLeo. "And, furthermore, it's an insult to those groups to keep assuming that all their members need special help.

One of the applicants who got in through the special program in 1973 was a black man whose father was a lawyer, and there was a Chicano girl whose father made $50,000 a year. They're not deprived." DiLeo remembers one year when he and his sister were in a parochial elementary school and his father was earning $47 a week. (In purchasing power, that's about $75 a week in today's terms.) "MY PARENTS could barely scrape together the $1 a month to pay the school tuition, and there even were instances when our financial circumstances were brought to the attention of the class:" He recalls, also, that this school also had the lowest reading scores of any school in New York City. When DiLeo was graduated, at the top among the boys of his class, he went to an aviation public high school in Long Island with the intention of becoming an airplane mechanic. Then, about midway through, he had a change of heart.

"I had given up the idea of ever going to college," he says. "And then this teacher encouraged me and I thought, to hell with it, I'm going to go all out and give it a try. So I switched to a college prep program. In my senior year, I had to go to school 10 periods a day to get in extra courses. But I was graduated with honors, and a flight engineer's award, and a perfect attendance record, even though I had to take the subway back and forth every day." But when he entered the University of Colorado, momentum was halted.

"IT WAS A little rich kids' school, with lots of sororities and fraternities and rushing. You know, the whole bit. And you have to remember that in 1965 there weren't many concrete programs to help disadvantaged students," DiLeo recalls. "I got F's in English that first year. In comparison with the students in New York I had been good, but now I was really doing lousy.

The only thing that helped was the support I got from teachers who understood what was happening." But he eyes with incredulity the comeuppance he got from one of the school's social workers. "I went to her at a time when I was feeling low, just for some moral support to keep me going. And do you know what she said? Maybe I was 'reaching too fair mm mym Philip DiLeo: "It's not just Chicanos, American Indians, and blacks who are deprived." then they got more political and suddenly I was no longer a brown brother. They took the position that they were the only ones who were being harassed." REVERSE DISCRIMINATION Bias against whites has been called "benign" racial discrimination, because it is meant to restore justice. But whites have argued that such policy is not "benign" when it keeps them out of a medical or law school.

The California Supreme Court agreed when it ruled in favor of Bakke. Alfred McDonnell, associate dean of the Colorado law school, says the purpose of the special admissions program is td "remedy a serious problem" the problem of under-representation of certain disadvantaged groups in the legal profession and that if educational and cultural disadvantages alone were the criteria for selection in such progams, then some 70 per cent of the special students would be white. The Colorado trial court ruled in favor of the university, saying that in attempting to remedy one problem the school didn't have to remedy all problems. DiLeo's lawyer, David J. Ternlund, replies that such a position abridges the Constitution.

"We could do away with the Fourth Amendment (with its protection against search and seizure), and we could probably round up all the criminals, but would we be justified in doing so?" he asks. "I told the Colorado Supreme Court that I'm not arguing Mr. DiLeo should get in because he's an Italian American. It would be no different if he were French, Jordanian, or just an apple-pie American. "WHAT WE'RE saying is that if you consider a person because he's disadvantaged, then you can't tell an equally dsadvantaged nonminority member that just because you're not black, or Chicano, or Indian we'll deny you admission." To DiLeo, it seems that as he was looking at the "Great American it faded from his sight.

"It just seems so unfair," he says. "I worked so hard I don't even know how did it. I was running on pure paranoia, always with the goal to get ahead, get ahead. And then it seemed I finally made it. I the race.

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Address IMinatiml ImpWttann hi Offica Opm Orty 10 On SHawMM Ota nw IMMMtllCMOIIISM at lu tflica For Tlakat Inforaiatlon Call (ais)U)4-Mis iarv "If a counselor today were to tell that to a minority student well, it makes me nauseous to remember it." But he kept going and in his senior year he racked up a 3.4 (B-plus) grade point average, graduating in 1970 with a major in anthropology. STILL, IN OTHER ways, things went from bad to worse. Being an Italian American often seemed to relegate him to a social no-man's land. In his early years in Colorado, when consciousness-raising among Latinos was in its infancy, DiLeo was readily accepted as one of them. "I tutored in the United Mexican American Students program, and they considered me part of their movement.

But Film festival fare: Enjoyable 'One Sings' By Gene Siskel Movie critic THE 13TH ANNUAL Chicago International Film Festival continues Monday, highlighted by an enjoyable French film about a friendship between two women. If you've seen "Julia," and if you're planning to see "The Turning Point" both about female friendship you might want to add Agnes Varda's "One Sings, the Other Doesn't" to your collection. It will be shown at 6:30 p.m. Monday at the Biograph Theater. It's the story of a friendship between a young woman whose husband commits suicide and leaves her with children, and a more carefree woman who is a singer specializing in political protest songs.

The latter helps liberate the former by example. Unlike films about male friendship, where the two guys do everything together as a team, "One Sings, the Other Doesn't" offers a more natural, leisurely set of circumstances with the two women drifting in and out of each other's lives. AT 9:15 P.M. at the Biograph. the festival concludes its three-day tribute to director Lindsay Anderson with a program of his documentary films.

Anderson will be present to answer questions. The Granada Theater's Monday offerings include at 6:30 p.m., "Orphans," a strong Russian film about an old poet revisiting his childhood in flashbacks and, at 9:15 p.m., an English version of "Hamlet," with the accent on male nudity. And the Oak Park Lamar Theater, the festival's third house, presents "The Ascent," a Russian film about two World War II prisoners who react differently to captivity. Show times are 6:30 and 8:40 p.m. Admission to each festival film is $3.50.

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