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KYIV (ANP/RTR) - De Oekraïense krijgsmacht claimt een nachtelijke aanval te hebben uitgevoerd op een dronefabriek in het Russische Taganrog, een stad aan de Zee van Azov. Daarbij zou het Russische vermogen om drones te produceren zijn aangetast.
"De vernietiging van deze faciliteit zal de capaciteit van de vijand om drones te produceren verminderen en de mogelijkheid van de Russische agressor om aanvallen uit te voeren op burgerdoelen in Oekraïne verzwakken", aldus de krijgsmacht op berichtendienst Telegram.
De Oekraïense president Volodymyr Zelensky meldt zondagochtend dat Rusland deze week meer dan 2360 aanvalsdrones en bijna zestig raketten tegen zijn land heeft ingezet. Donderdag vielen in Oekraïne minstens achttien doden en tientallen gewonden. Het land meldde zaterdag dat Rusland een van de zwaarste aanvallen van dit jaar uitvoerde met ruim veertig raketten en meer dan 650 drones.
The vice-president has endured his most humiliating – and damaging – week as his boss’s fall guy. How much more can Maga’s great hope take?
For a would-be president, JD Vance has an unfortunate habit of getting into fights he cannot win. Three losing battles in the past week – with Iranian negotiators, Hungarian voters and Pope Leo – brought censure, humiliation and mockery raining down on his head. None were of Vance’s choosing. All were fought vicariously on Donald Trump’s behalf.
The vice-president is paying a high price for sycophantic loyalty to his boss. His poll ratings are plunging. His Maga succession hopes falter. He suffers by association – although his own inflammatory statements and misjudgments often make matters worse. Yet amid growing doubts about Trump’s mental health and fitness to govern, Vance remains the White House’s next-in-line.
Simon Tisdall is a Guardian foreign affairs commentator
Continue reading...The opera – about the hijacking of a cruise by the PLF who murder a Jewish American wheelchair user – has been subject to protests and accused of romanticising terrorism. Why was the film-maker so desperate to stage it?
In a rehearsal room perched above the labyrinthine backstage of Florence’s starkly contemporary Maggio Musicale Fiorentino theatre, Luca Guadagnino is showing the women of the chorus how to make a second-act entrance. Dressed in a slouchy cardigan and slacks, the Italian director runs forward and stops short at a line of tape indicating the rim of the stage. A little out of breath, he turns past stretching dancers to conductor Lawrence Renes and asks if he minds the sound of stamping feet. “I never mind when we hear them talk, walk, breathe,” Renes says. “It’s live theatre.”
Better known for films like After the Hunt, Challengers and Call Me By Your Name, Guadagnino still sometimes punctuates stage rehearsals with instinctive cries of “Cut!” and “Action!”. But today he is directing an opera. It’s his second ever and his first in more than 15 years – and a highly controversial one to boot. The Death of Klinghoffer, a 1991 opera with music by John Adams and libretto by Alice Goodman, has sparked accusations of antisemitism whenever and wherever it has been performed. It depicts the 1985 hijacking of the cruise ship Achille Lauro by the Palestinian Liberation Front, their murder of disabled Jewish American tourist Leon Klinghoffer, and the grief and rage of his wife, Marilyn. The story is placed in a historical, even mythic, context.
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