text:
CZÁRDÁS!
Lilla Heinrich-Szász
Lachlan Glen
The beautiful soprano Lilla Heinrich-Szász managed to create on short notice a beautiful recital with the collaborative pianist Lachan Glen, who always makes a major contribution with his nuanced playing. The entire recital was delightful but what swept us away was her closing number--"Heia in dem Bergen" from Imre Kálmán's Die Csardasfürstin. This highly spirited aria was given its full measure by this gracious performer who put her entire heart and soul into it, not to mention her whirly-swirly hand-clapping dance, after which she graciously thanked her voice teacher Marlena Malas, her mentor and her piano partner. We have seen her perform this aria before and hope she will use it to conclude every future performance. It is unique to her.
With a bright crystalline sound and melismatic skill, she performed several selections from the baroque repertory--"With plaintive notes" from Handel's Samson and two selections from Les fêtes d'Hébé by Rameau. We especially admired the mood shifts in "Fuis, fuis, porte ailleurs tes fureurs".
The Grieg songs were well handled with "Lauf der Welt" being particularly charming. Marie's "Salut à la France!" from Donizetti's La Fille du Regiment was completely enchanting. José Serrano's "Marinela" from La Canción del Olvido was so lovely that we wish to learn it ourselves. (Hooray for the recent interest in Spanish canciónes!) In Verdi's "Arrigo! Ah, parli a un core" from I Vespri Siciliani we were impressed by the fine trill and the roller coaster-like descending scale.
There is a unique pleasure in witnessing a young singer's completion of her work at Juilliard, having enjoyed observing their growth. But there is also a feeling of sadness to see them spread their wings and leave the Juilliard nest. We want to thank Ms. Heinrich-Szász for so many fine recitals and wish her luck as she takes her Master of Music Degree into the wider world.
© meche kroop
Posted by meche at 5:03 AM No comments:
Labels: Die Csardasfurstin, Imre Kalman, Lachlan Glen, Lilla Heinrich-Szasz, The Juilliard School
CAN YOU CAN-CAN?
Maestro Jorge Parodi
Director Dona D. Vaughn
With stunning showmanship, Director Dona D. Vaughn has presented a memorable Orphée aux Enfers at the Manhattan School of Music. Marshaling abundant musical resources, far outweighing meager budgetary resources, the performance of Jacques Offenbach's first full-length opera from 1858 was of the highest quality--dramatically, visually, and musically. We have dared to call it an opera because we believe the title "operetta" would diminish its value. We believe that opera can be, no should be, above all else, entertaining,
Liberated from some prior licensing restrictions, Mr. Offenbach was free to tackle his topics in greater depth, to give free rein to his gentle satire and to delight his audience with ideas that must have seemed risqué at the time. We are fortunate that his oeuvre has aged well and that we today can be as delighted as were his contemporaries.
The tale being told is a frisky retelling of the myth of Orpheus and Eurydice. In Gluck's opera Orphée et Eurydice, quoted musically in Offenbach's work, Orpheus grieves for his beloved Euridice and goes to the underworld to beg for her release. In Offenbach's off-kilter version, the two dislike each other and Euridice is happy to be dead so she can be with her lover Pluto who had appeared to her disguised as a shepherd. It is only the character known as Public Opinion who represents morality and insists that the recalcitrant Orpheus travel to the underworld to beg Pluto for her release. After many plot twists and turns, there is a happy ending in store for all. All except for Public Opinion who has been defeated.
Offenbach's music readily engages the ear with charming melodies right from the overture when the wind section seems to be having a blast, punctuated by pounding of the bass drum. The small orchestra responded to the lively and impassioned conducting of Maestro Jorge Parodi (whom we have seen a great deal of lately, and only in the best places) with some superb musicianship. We would expect no less!
And the singing! There must be a great deal of depth in the Opera Program, of which Ms. Vaughn is the Artistic Director, to allow the parts to be so perfectly cast. It is difficult to believe that the performers are all seniors in the program and that this is their first fully-staged performance with orchestra. Monica Danilov used her bright lyric soprano and charm to fill out the role of the fickle Eurydice. Stephen Biegner used his fine tenor as the musician Orpheus whose violin playing irritates his wife to the point of distraction. This gorgeous melody was performed by Concertmaster Sven Stucke in the orchestra.
Sweet-voiced tenor Christopher Lilley turned in a fine performance as Pluto, god of the underworld masquerading as the shepherd Aristée; the score calls for some very amusing falsetto singing which he handled well. Baritone Tyler Schoen made a superb Jupiter whose randy escapades were clearly annoying to his wife Juno, well performed by mezzo Claire Gellert. (Hello Wotan and Fricka!) Mr. Schoen was rolling-on-the-floor hilarious when he transformed himself into a lusty fly and made Euridice fall in love with him.
Mezzo Kendra Dodd was completely adorable as Cupid and used her voice well, as did mezzo Megan Samarin as Venus. Tamara Rusqué has a sizable soprano voice and used it well in Diana's showpiece aria. Mr. Offenbach certainly knew how to write for the voice and all three women fulfilled the promise of the writing.
Baritone Alexander Chen provided even more laughs as the tipsy John Styx whose business it was to keep our heroine under lock and key in the underworld, to her obvious disdain. Only Public Opinion was serious and mezzo Noragh Devlin made the pomposity funny. We all love to see these scolds get the wrong end of the stick, don't we? The chorus was superb and the can-can of the gods was enjoyed by audience and performers alike. Denise DiRenzo is credited with the choreography.
The dialogue was appropriately spoken in English while the arias were sung in French. Diction (coached by Bénédicte Jourdois) was as excellent as the singing. Titles were present but barely necessary. Sets and props were minimal, leaving the focus on the singers. Costumes were partly improvised and coordinated by Rachel Guilfoyle, but that doesn't take away from their effectiveness. There was not a wrong note (pun intended) in the entire evening.
An evening that puts a grin on your face for two hours should not be taken lightly. The problem is that it is seven hours post-performance and we are still grinning. Can we still call it opera?
Labels: Dona D.Vaughn, Jacques Offenbach, Jorge Parodi, Manhattan School of Music, Orphee aux Enfers
LIEDER ARE FOR LOVERS
Our favorite hang
It is impossible to sit in Paul Hall at Juilliard during one of the liederabend without feeling grateful for the opportunity to hear the stars of tomorrow and being impressed by the quality of the talent. These young artists are already performing professionally around the USA and abroad and/or recording. We have them right here to enjoy and the recitals are free. Take that, Cleveland!
Last night's program was bookended by barihunks. Philip Stoddard, partnered by pianist Jung A. Bang opened with four selections from Mahler's Rückert-Lieder, performed with consummate sensitivity and musicality. In "Ich atmet' einen linden Duft" one could sense the aroma in the air. And just listen to what Mr. Stoddard did with the word "frühling"! This delicacy was followed by the wry mood of "Blicke mir nicht in die Lieder" and the solitude of "Ich bin der Welt abhanden gekommen". We were totally transported by the variety of moods. The lovely Ms. Bang has an equally sensitive light touch on the keys.
Partnered by Kyung Hee Kim, soprano Lindsey Nakatani used her bright soprano to perform Walzer Gesänge by Alexander Zemlinsky, settings of poetry by Ferdinand Gregorovius which Ms. Nakatani translated herself. These are songs with which we wish to become better acquainted.
We have heard Mr. Bielfield and his superb tenor several times before and it was exciting to see him grow in a new direction, performing two selections from Liszt's Tre Sonetti di Petrarca. With excellent support from pianist Ari Livne he conveyed the anxiety and the passion of the poet in "Pace non trovo".
Soprano Lilla Heinrich-Szász sang Sechs Lieder, Op. 48 of Edvard Grieg accompanied by Dan K. Kurland, a fine partnership if we ever heard one. Many moods were expressed and we especially enjoyed the lighthearted "Lauf der Welt" and "Die verschwiegene Nachtigall" and the always lovely "Ein Traum". Ms. Heinrich-Szász will have the stage to herself Saturday night at 8:30 and we will be there.
Soprano Lara Secord-Haid and pianist Art Williford sang four selections from Enrique Granados' Canciones Amatorias. We always welcome the opportunity to hear Spanish songs and these were lovely.
Baritone Emmett O'Hanlon closed the program with some American songs, stepping out of the late 19th c. from whence came the other songs on the program. Piano partner Lachlan Glen, well known from Schubert&Co's year long perusal of all of Schubert's 600+ songs, showed us a different aspect of his pianistic skills in the songs by Charles Ives which Mr. O'Hanlon sang with fine technique and depth of feeling. The optimistic "He is there!" contrasted with the sad "In Flanders Fields". In the former, flutist Daniel James added his silvery voice. But it was in the final song that Mr. O'Hanlon was the most moving, Lee Hoiby's setting of "Last Letter Home", an actual letter by Pfc. Jesse Givens who apparently lost his life in service to our country. It was difficult to hold back the tears.
Let it be noted that the singers were all involved with their material and connected with the audience; they stepped forward away from the piano and used their entire bodies to convey the meaning of the song. We have complained often about famous singers who hang onto the piano or who have not memorized the music and are so pleased to know that these young singers are not falling into those dreaded habits.
Mr. Stoddard's graduation recital will be April 8th at 8PM so if you missed his superb performance last night you will get another opportunity.
Labels: Ari Livne, Art Williford, Dan K. Kurland, Emmett O'Hanlon, Juiliard, Jung A Bang, Kyle Bielfield, Kyung Hee Kim, Lachlan Glen, Lara Secord-Haid, Lilla Heinrich-Szasz, Lindsey Nakatani, Philip Stoddard
DMITRI THE ROCKSTAR
Ivari Ilja
Decked out in a knee-length jacket with sequined lapels and tossing his shoulder length white hair, Russian baritone Dmitri Hvorostovsky commands the stage like no other. It is impossible to take your eyes off this operatic superstar. The audience went wild and offered so much applause between songs that someone was obliged to come out on stage before the second part began to request that applause be held until the end of the cycle of songs. Did that matter? Not a bit. Not even a chorus of "shushers" could silence the hearty applause.
That being said, it was not until the encores, which Mr. Hvorostovsky called "Part three of the recital" that we were able to experience him as the artist we know from the operatic stage. Part of the problem, as we see it, is that the songs he chose were of an intimate nature and perhaps unsuited to the vast size of Carnegie Hall. But how else could his legion of fans be accommodated?
A different sort of problem was Mr. Hvorostovsky's use of the music stand which he glanced at frequently. That longed for feeling of connection with the audience and connection with the material just wasn't there until "Part Three" when Mr. H. threw himself into Rachmaninoff's "In the Silence of the Night" with which he seemed to have a deep connection and for which he needed no music stand. The unfortunately unidentified encores which followed were supremely lovely. Mr. H. has a voice of burnished bronze that is well focused and sets the air to vibrating with ample overtones. There is no denying his exquisite musicality.
As collaborative pianist, the Estonian Ivari Ilja merits every accolade he receives. His playing was so astonishing in its subtleties that we were able to see the scenes depicted in our mind's eye. Sergei Rachmaninoff composed a large number of songs in his youth and the eleven we heard last night gave a fine depiction of the Russian soul. The languor heard in "In my soul", the passion heard in "Once again I am alone", the aggressive chords in "The raising of Lazarus" and the delicacy of "Lilacs" (our personal favorite) combined to give a picture of a soul capable of great joy and equally great despair.
The second half of the program comprised a song cycle entitled Petersburg by the 20th c. composer Georgy Sviridov. How reassuring to hear music of our own era that is tonal and rhythmic. We realize that other music lovers may disagree with us but these are qualities that we love, along with a singable melodic line. Sviridov's harmonies have surely evolved beyond those of Rachmaninoff's Late Romanticism but there is nothing abrasive to the ear, although the poetry by Aleksandr Blok is often despairing.
Again, our attention was drawn to the evocative playing of Mr. Ilja. The cycle depicts St. Petersburg, or perhaps the St. Petersburg of Mr. Blok's imagination. Church bells can be heard in the beginning and at the end. The songs offered Mr. H. and Mr. Ilja the opportunity for a great deal of dynamic variety, particularly in "The Golden Oar". In "A Voice from the Chorus" Mr. H. seemed more connected with the despair than he had in much of the rest of the program. In "I am nailed to a tavern counter" Mr. H. held the climactic note just long enough. "Those born in obscure years" was unremittingly grim. Our personal favorite was "The Bride" which tells the story of a widow in a funeral procession for her late husband. One could speculate on the symbolism or just enjoy the music. "Petersburg Song" permitted Mr. Ilja to convey the sound of an organ grinder, reminding us of "Der Leierman" by Schubert. But the former has a happier ending, as did this recital when Mr. H. finally showed us the intense involvement that we want to hear from him.
Labels: Aleksandr Blok, Carnegie Hall, Dmitri Hvorostovsky Ivari Ilja, Georgy Sviridov, Petersburg, Sergei Rachmaninoff
SATURDAY NIGHT SPECIAL AT JUILLIARD
Takaoki Onishi and Dimitri Dover
A good recital shows the artist off to his/her best advantage and comprises, with certain exceptions, a variety of styles, moods and languages. A GREAT recital does all the above with finely honed artistry. Such was the case last night at Juilliard when a capacity crowd was treated to a memorable recital, as is so often the case at Juilliard. One tends to run out of superlatives. As they say, "You had to be there!"
We have seen both artists perform before and are always impressed by their musicianship and total involvement. Last night seemed like a culmination although Mr. Onishi has been accepted in the Artists Diploma Program and we are glad of it since it will provide a further opportunity to hear this stunning young baritone. He has a large voice that sets the very molecules of air to vibrating but this generous sound is under complete control. His tone is consistent throughout the register. In spite of the fact that none of the languages are his first language, he makes absolute sense out of all the poetry.
He began the program with four songs by Respighi that we never before found very interesting since the poetry is rather spare. But Mr. Onishi's artistry brought out subtleties that we'd never before heard, such as the exquisite diminuendo in "Nebbie". Mr. Dover's artistry contributed a great deal as he elucidated the descending chords, emphasizing the sadness and loneliness. In "Pioggia" his pianism so realized the falling rain that we nearly reached for an umbrella.
Mahler's Lieder eines fahrenden Gesellen is a song cycle much beloved by us and what a treat it was to hear it sung with such depth of feeling. The abundant melodies are familiar from Mahler's symphonies. The composer himself wrote the poetry and it is heartbreaking. A young man's beloved has married another and he is filled with despair, then anger, then regret and resignation. Finally he finds peace under a linden tree. This gives the singer an opportunity and a challenge to convey all these mood swings with word coloring. Mr. Onishi rose to the challenge and left us stunned. His intense involvement with the work made us hope that he has not had such a heartbreak in his own life and that it was "only" artistry.
We also enjoyed the stylish way he performed Ravel's songs from Don Quichotte à Dulcinée. He sang "Chanson romanesque" with impressive nobility, "Chanson épique" with earnestness and "Chanson à boire" with a lively sense of fun.
He closed the program with three songs by Rachmaninoff. If we preferred "Vesennije vody" it was only because it was more familiar to our ear. Mr. Dover's piano conveyed the rushing of the water. How appropriate to end the recital with a reference to Spring!
But fortunately for the audience Mr. Onishi graciously provided two encores. Since most of the program was on the sad side, it made perfect sense for this fine artist to share his humorous side with Tartaglia's aria from Mascagni's "Le Maschere" in which the stuttering commedia del'arte player cannot quite sing out what he wants to say. The second aria was a lovely strophic Japanese folk song that made everyone feel relaxed after the high-wire breath holding of the rest of the evening.
Labels: Dimitri Dover, Don Quichotte a Dulcinee, Juilliard, Le Maschere, Lieder eines fahrenden Gesellen, Mahler, Mascagni, Ravel, Respighi, Sergei Rachmaninoff, Takaoki Onishi
Do we take for granted what is in our own backyard? We were asking ourselves that question during last night's recital by the Lindemann Young Artist Development Program. Here in New York the six gifted artists we heard are known as "young artists" or "emerging artists". If we lived in any other city in the United States or any European City, they would be (and actually are) considered superstars of the opera stage. They often assume relatively small roles on the stage of The Metropolitan Opera but are uniformly capable of assuming lead roles in other companies.
Take for example tenor Mario Chang who will sing the Italian Tenor in Der Rosenkavalier next season at the Met but who just performed Nemorino abroad. Last night we enjoyed his full-throated round Italianate voice, his melting messa di voce and melismatic grace in five Venetian songs by Reynaldo Hahn, accompanied by equally talented Alexandra Naumenko. His use of the music stand, however, diminished his connection with the audience; we were far more thrilled at the end of the recital when he sang Turina's Poema en forma canciones without the music stand and we could fully appreciate his connection. It also gave Ms. Naumenko an opportunity to show her stuff in the "Dedicatoria".
Let us then consider Russian baritone Alexey Lavrov who is only in his first year at Lindemann and will sing some small roles at the Met this season but has sung the title role in Eugene Onegin at the Rheinsberg Festival in Germany. Mr. Lavrov has a mature sound and an uncanny gift for choosing a variety of songs that showed off his dramatic skills. In "Chi sprezzando" from Händel's The Passion he was stiff and harsh as the text demands. In "Deh vieni alla finestra" from Mozart's Don Giovanni he was louche, lounging against the piano and smirking. His partnership with collaborative pianist Bryan Wagorn is a match made in vocal heaven. Rimsky-Korsakov's "Redejet oblakov", a setting of poetry by Pushkin, thrilled us with its passion, Mr. Lavrov's matched by Mr. Wagorn's. In Georgy Sviridov's "Oh, my homeland" he was absolutely heroic. In "An eine Äolsharfe" we heard him caress each vowel without shortchanging the consonants. The only other singer we know who can perform this magic is Jonas Kaufmann.
Also a yearling, tenor Andrew Stenson has sung Orphée at the Seattle Opera, amongst other roles. Last night, accompanied by the brilliant Nimrod Pfeffer, he performed Beethoven's "Adelaide" with such connection to the material that we could visualize all the elements of nature described therein. Just watching and listening, one could tell that Mr. Stenson was seeing them as well. In Schubert's "Epistel 'An Herrn Josef von Spaun'" Mr. Pfeffer's control over dynamics and rhythmic thrust impressed us greatly, as did his fleet fingering in the Liszt. It was in the Liszt Tre Sonetti di Petrarca that Mr. Stenson loosened his grip on the piano and stepped forward, giving himself a major step forward in engaging the audience.
What great fortune to hear these six talented artists right here in our own backyard!
Labels: Alexandra Naumenko, Alexey Lavrov, Andrew Stenson, Bran Wagorn, Lindemann Young Artist Development Program, Mario Chang, Nimrod David Pfeffer
STUCK ON GLUCK
The plucky chamber opera company known as The Little Opera Theatre of NY has unearthed a little-known comic opera by Christoph Willibald Gluck; L'ivrogne corrigé, a short one-act piece premiered in Vienna in 1760, just two years before his well-known Orfeo ed Euridice. The stock situation of a young couple whose romantic plans are obstructed by a guardian is familiar to us from literature and opera libretti.
The venue chosen, 59E59 Theater worked surprisingly well. The sightlines are superb and Scenic Designer Neil Patel did a most effective job in dividing the small stage on the diagonal placing the musicians (comprising a string quartet with oboe and harpsichord) to one side and the operatic stage to the other. Nothing more was needed than a couple chairs, some hanging lights, and a wardrobe that doubled as a bed and a platform. Costume Design by Lara de Bruijn was lovely and appropriate to the period. Director Philip Shneidman kept the action lucid.
Herr Gluck wrote some gorgeous music here, some of it presaging his later works. Conductor Richard Owen at the harpsichord brought out many subtleties in the score; it was oboist Slava Znatchenii who captured our ears most often, as well as first violinist Francisco Salazar. The duet between the eponymous "hero" Mathurin, sung by tenor Anthony Wright Webb and his drinking buddy Lucas, sung by a very funny baritone Ron Loyd, involved some beautiful vocal blending. A subsequent duet between Mathurine the tippler's wife, sung by mezzo Teresa Buchholz, and her niece Colette, sung by soprano Jessica Sandidge delighted the ear with its harmonies in major thirds--very appropriate for two women discussing the price women pay for marriage.
The plot centers around the two women plotting along with Cléon, Colette's love interest, sung by tenor Jonathan Winell, in an effort to forestall Mathurin's plan to marry Colette off to Lucas. The three of them get the two unconscious drunkards onto the bed together (providing the audience with no small degree of laughter) then wake them and convince them they are dead; they then don masks and present themselves as Pluto and two furies who first condemn the men to the underworld but finally relent and allow them a reprieve if they beat each other. Mathurin must promise to drink no more and to allow his niece to marry Cléon.
The singing was fine throughout, as was the acting. Mr. Loyd was consistently hilarious. Mr. Winell was a bit stolid as Cléon but made much more out of his playing the part of Pluto. Diction was variable and therein lay the sole problem with this delightful evening. The original libretto by Louis Anseaume and Jean-Baptiste Lourdet de Santerre was written in French in rhyming couplets. Here we got a ham-handed translation by Ivana Mestrovic which did not scan and did not rhyme. Musical accents and verbal accents seemed at war with one another. The irony is that the plot is so straightforward that no one would have protested a performance in French, even without titles. This was an (un)artistic decision which we failed to understand.
Nonetheless, it was an enjoyable evening and we count on the feisty Little Opera Theater of New York will bring us more undiscovered gems in the future.
Labels: 59E59, Christoph Willibald Gluck, Francisco Salazar, L'ivrogne corrigé, Neil Patel, Philip Shneidman, Richard Owen, Slava Znatchenii, The Little Opera Theatre of NY, The Reformed Drunkard
MARIA, I JUST MET A GIRL NAMED MARIA!
Jorge Parodi
JP Jofre
Marcelo Guzzo
Maria de Buenos Aires was composed over 40 years ago by Astor Piazzolla and has been getting produced all around the world. This past weekend it was given an admirable production as the capstone of the Opera Hispanica Festival; Founder and Artistic Director Daniel Frost Hernandez left no detail to chance, assembling a fine cast and production team. Nine musicians were in the capable hands of Maestro Jorge Parodi, Artistic Director, Music Director and conductor of undisputable talent. Chief among them was JP Jofre whose electrifying playing of the bandoneon is both music and dance. Guitarist Tali Roth also stood out for her fine musicianship. The opera has a marvelous melody "Tema de Maria" which is reprised a couple times throughout the opera, a tune which we have been humming all night.
There were only two sung roles; performing the part of the eponymous heroine was Solange Merdinian whose movement skills were just as impressive as her voice and baritone Marcelo Guzzo as El Payador, a gentle country poet whose dark chocolate voice reminded me of Guinness. (Well, it was St. Patrick's Day!) Having learned a bit about the Argentinean dialect from Maestro Parodi at the master class a couple days earlier, we feel confident in saying that the diction was right on point.
The spoken role of El Duende was performed by Gerardo Gudiño and one couldn't ask for any more from an evil spirit reciting surreal poetry. As far as the libretto by Uruguayan poet Horacio Ferrer, it had a lovely rhythm in Spanish and was replete with symbolism but not in narrative coherence. The projected English translation was not much different from other translations into English; neither comprehensible nor poetic. The story is not even meant to be a narrative but a rather surrealistic examination of redemption. Allusions to the story of the virgin birth and perhaps also to Jesus' resurrection are also present.
Stage Director Beth Greenberg did her customary excellent work in keeping one's attention focused on the significant action. Maria in Part I is an unfortunate prostitute from the ghetto and in Part II, after her death, a "shadow" (perhaps what we call "a shade") who gives birth to herself for what may be a second chance at life.
Choreographer Daniel Fetecua Soto along with dancers Gayle Madeira and Sidney Grant provided the tango dancing. We have never seen a tango for three dancers and found it rather compelling. When not dancing, the trio sat at the back of the stage at a table, drinking and passing the time. Projections were provided by Brett Banakis and Anka Lupes was credited with the costume design.
Choosing a nightclub in Greenwich Village as a venue was an interesting choice. The buzz about the tango opera was huge and there was insufficient standing room for all the folks who wanted to attend. The applause was deafening and the many curtain calls responded to the adulation of the audience. On the other hand, the multiple distractions of people ordering food and drinks as well as the consequent delivery and consumption of same was a bit distracting. To those accustomed to nightclubs it wouldn't be a problem; to those who attend musical events in an auditorium it would be.
We are eager to see what impressario Daniel Frost Hernandez has up his sleeve next!
Labels: Astor Piazzolla, Beth Greenberg, Daniel Frost Hernandez, Gerardo Gudino, Horacio Ferrer, Jorge Parodi, JP Jofre, Marcelo Guzzo, Maria de Buenos Aires, Opera Hispanica, Solange Merdinian, Tali Roth
THE HIGHS AND THE LOWS
A TWO-MASTERS CLASS
SONG OF THE MIDNIGHT SUN
METROPOLITAN OPERA NATIONAL COUNCIL GRAND FINALS
ALEK SHRADER FIVE YEARS LATER
OPERA HISPANICA FESTIVAL
PARSING PARSIFAL
BACK TO THE 19th CENTURY
GEORGE LONDON FOUNDATION AWARDS
SCHUBERT'S UNPUBLISHED SONG CYCLE
SIMPLY STELLAR


text:
MCA chief pays tribute to workforce
PETALING JAYA: Malaysia has an invaluable workforce of quality and is considered to have the most hireable workers in the region, said MCA president Datuk Seri Dr Chua Soi Lek.
In his Workers Day message, Dr Chua said the party thanked the Malaysian workforce for their contribution, adding they had helped propel the country to greater heights.
"The wide usage of English among Malaysians also makes our country a clearer choice compared to our Asean neighbours.
"While other countries can beat us in labour cost and manpower strength, it is the quality of our workforce which places us on a higher pedestal because of our competitive edge," he said in his message yesterday.
Dr Chua noted that more Malaysians were coming back home to serve the country, adding that the initiative by Talent Corporation under its Returning Experts Programme (REP) had received good response.
"The backbone of any nation is always centred on its workforce," he said, adding that 680 applictions were approved under the REP last year, compared to 313 in 2010.
Dr Chua added that it was important to continue to remain a competitive nation as well as preserve economic and political stability to ensure continued investment and development.
"The people should be wary of the seeds of hatred and distrust sowed by certain groups which want to see a failed government to gain inroads.
"Instead, the people should base their judgment on actual result-driven initiatives, with a proven economic model to develop the socio-economic sector of the nation.
"We need a government that addresses the underlying economic structural issues and already the high-income nation agenda is on track to uplift the living standards of the people," he said.
The Economic Transformation Programme, he added, had helped Malaysia achieve a gross national income of RM228.55bil and committed investments worth RM171.21bil since October last year with 389,263 potential new jobs.
"A big thank you again to the people of Malaysia for their big role in the country's achievements," said Dr Chua.

redpajama_set_name: RedPajamaCommonCrawl


OPELOUSAS - Louisiana has a new member of the state Supreme Court.
Republican Jimmy Genovese, formerly an appeals court judge, was sworn in Tuesday to the seven-member high court at a ceremony in his hometown of Opelousas. He'll represent Louisiana's 3rd District, covering the Lafayette and Lake Charles areas.
The new associate justice defeated Marilyn Castle, a Republican state district court judge in Lafayette who was favored by business groups, in the November election to take the seat for a 10-year term. Genovese received 51 percent of the vote.
Gov. John Bel Edwards and Louisiana Supreme Court Chief Justice Bernette Johnson were among the speakers at Tuesday's ceremony.


text:
The United States Army Logistics Management College (ALMC), a subordinate school of the United States Army Combined Arms Support Command, is located at Fort Lee, Virginia.

The Army Logistics Management College's role was to develop and present quality education programs in logistics science, management science, and acquisition management to personnel of the Department of Defense, other Federal agencies, and foreign governments. In addition, ALMC offers research and consulting services that contribute to materiel readiness and improve acquisition and logistics management.

Army Logistics Management College was originally established as the Army Logistics Management Center on 1 July 1954. The Logistics Management Center conducted a 12-week Army Supply Management Course, but quickly expanded. On 1 May 1956, the Center was established under the operational control of the Department of the Army Deputy Chief of Staff for Logistics (DCSLOG), adding five new functional courses in management of requirements, procurement, distribution, maintenance, and property disposal to the curriculum. Four months later, the ALMC curriculum expanded again to include correspondence courses and use of accredited instructors in off-campus modes. In September 1958, logistics research and doctrine were added.

On 1 August 1962, ALMC was placed under the command of the US Army Materiel Command (AMC). Under AMC, new emphasis was placed on instruction in management of research and development, acquisition management, and on integration of all phases of the life cycle of materiel. In September 1969, ALMC started the bi-monthly publication of Army Logistician magazine, which transitioned on its 40th anniversary issue in the Summer of 2009, into the Army Sustainment Magazine, continuing its tradition as a much sought-after Professional Bulletin for Logisticians and Sustainers around the world. On 21 July 1970, a new four-story brick academic building called Bunker Hall was dedicated at the campus.

In August 1987, ALMC was redesignated as the US Army Logistics Management College, and on 1 October 1991, ALMC became a Training and Doctrine Command (TRADOC) school under the command of the US Army Combined Arms Support Command and Fort Lee.

In 1992 ALMC assumed responsibility for the program to prepare Captains and First Lieutenants in the Ordnance, Quartermaster, Transportation, Aviation, and Medical branches, for company command and staff positions in multifunctional battalions. Renamed the Combined Logistics Captains Career Course (CLC3) in March 1999, CLC3 became ALMC's premiere course. The ALMC curriculum continued to expand in multifunctional logistics, supply automation management, operational logistics planning and intern development.

In September 2002, ALMC received formal accreditation as a non-degree-granting occupational education institution, recognized by the U.S. Department of Education.

On 2 July 2009, Army Logistics Management College became the Army Logistics University with the dedication of ALU's new $100 million university campus.

References

External links
 Official web site

Military logistics of the United States
Prince George County, Virginia
United States Army schools

redpajama_set_name: RedPajamaWikipedia


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Die evangelische Dorfkirche Semlin ist eine Saalkirche in Semlin, einem Ortsteil der Stadt Rathenow im brandenburgischen Landkreis Havelland. Die Kirchengemeinde gehört dem Pfarrsprengel Rathenow im Kirchenkreis Nauen-Rathenow der Evangelischen Kirche Berlin-Brandenburg-schlesische Oberlausitz an. Das Gebäude steht unter Denkmalschutz.

Baubeschreibung
Die Kirche steht östlich der Dorfstraße im Semliner Ortskern. Das Kirchengeböude wurde zwischen 1730 und 1732 erbaut und besteht aus verputztem Ziegelfachwerk. Es handelt sich um einen rechteckigen Saalbau mit einem eingezogenen Westturm, der mit einem Zeltdach abschließt. Im Jahr 1893 wurde die Kirche umfassend renoviert und erweitert. Im Osten wurde ein Altarraum angebaut; zudem wurden die Fenster verändert. Die Orgel, die von Friedrich Hermann Lütkemüller gefertigt wurde, die Kanzel und der Altar stammen aus demselben Jahr. Im Ersten Weltkrieg wurden die Pfeifen der Orgel eingeschmolzen und erst 1928 ersetzt. Seit den 1960er-Jahren war die Orgel jedoch unspielbar. Ab Mitte der 1980er-Jahre wurde die Kirche saniert. Die Hufeisenempore wurde repariert und trägt nun die wieder instandgesetzte Orgel, die im Juli 1999 mit einem Konzert neuerlich eingeweiht wurde. Im Turm befindet sich eine Bronzeglocke aus dem 15. Jahrhundert.

Literatur
 Georg Dehio: Handbuch der deutschen Kunstdenkmäler. Brandenburg. Bearbeitet von Gerhard Vinken, durchgesehen und erweitert von Barbara Rimpel; Deutscher Kunstverlag 2012, S. 1048.

Weblinks

 Dorfkirche Semlin auf der Website des Kirchenkreises Nauen-Rathenow

Einzelnachweise

Kirchengebäude in Rathenow
Baudenkmal in Rathenow
Kirchengebäude des Evangelischen Kirchenkreises Nauen-Rathenow
Fachwerkkirche in Brandenburg
Saalkirche
Erbaut in den 1730er Jahren
Kirchengebäude in Europa


Collagen is a structural protein which produced by the skin and other parts of the body. This precious protein and other proteins such as elastin are components of youthful skin. For instance, it works with keratin to provide the skin with strength, smoothness, elasticity and resilience. They are basically building blocks of the skin, forming mesh-like bonds to hold it firm and stop it sagging. It works like the cement which keeps everything together.
Collagen production will continue as long as you are alive. However, there can be decreased collagen content in older skin compared to younger skin. That's why children and young people have such healthy shiny hair and smooth skin. When you are young, you have plenty of collagen in your body but collagen production declines with aging. Therefore, skin weakens and this causes wrinkles, necks become saggy, lines form around eyes and mouth. Collagen is important to keep your skin elastic and give it a plump, youthful look.
Before trying to increase collagen production, you must first try to prevent collagen degradation. Other than the natural aging process, the three S's are the three biggest enemies of collagen. It is important to avoid these three S's; smoking, sun and sugar for younger skin.
Smoking reduces the production of collagen, ending up with wrinkles. A study published in the "British Journal of Dermatology" in 2002 showed that 18 and 22 percent decrease in types I and III collagen were obtained by smokers, respectively, compared to nonsmokers. So, you better stop smoking to improve your overall health and promote collagen production for firmer skin.
Do not expose sun between 10:00 – 15:00. Also, you should wear sunglasses to protect the delicate collagen around your eyes. Do not forget to apply sunscreen lotion generously to your skin to prevent further damage to skin cells. Sunscreen helps protect your skin from the sun's harmful ultraviolet rays which can be destructive for collagen and elastin. Buy a sunscreen with a sun protection factor (SPF) of 30 and above and apply it to your skin 30 minutes before going outside.
Another aging factor is sugar. It is kind of a poison for collagen. When sugar molecules get in the blood stream, they attach to collagen proteins and prevent them from working properly.
Other factors such as stress, unhealthy lifestyle, overdependence on harmful processed foods, caffeine, alcohol, pollution and lack of exercise speeds up the process of skin aging. Because, they lead to both a degradation of collagen and a decrease in the formation of new collagen. To restore your levels, you must help these cells produce more collagen.
Collagen creams promise to decrease wrinkles and plump up your skin. However, scientists say that they are wasted money in a jar because the collagen molecules in these creams are merely too large to penetrate the skin. They just stay on your face until they are washed off your face down the drain, along with your hard-earned money.
There are lots of effective and natural ways to increase collagen production and make your skin as shiny as it can possibly be.
Blueberries include phytonutrients which are organic compounds. They ease collagen fibers link together, so it helps your body produce collagen.
Spinach, kale and Swiss chard are some of dark leafy greens and all rich in vitamin C and vitamin A and encourage the body to produce more collagen. You will also benefit from their other properties like cancer protection. They contain an antioxidant called lutein. You need only 10 mg of lutein to get results which is found in 4oz. of spinach or 2oz. of kale. A study suggests that they will improve skin hydration and elasticity to fight wrinkles.
Also, regular consumption of kale, spinach, collards, and asparagus help strengthen the body's ability to produce collagen and to utilize the protein effectively.
According to a study, vegetables containing sulfur, which garlic has plenty of, boost collagen production in your joints and skin. Garlic also contains taurine and lipid acids which help heal damaged collagen fibers. Cabbage, onions and fish are also sulfur-rich foods.
According to a study done by Kingston University, white tea can preserve the structure of the skin proteins, especially collagen molecules.
Ascorbic acid, which is also known as vitamin C, plays an essential role in elastin and collagen synthesis and may protect the skin from the damaging effects of ultraviolet radiation. It also decreases the rate of free-radical damage. Some of the fruits containing Vitamin C are strawberries, pineapple, oranges, tomatoes, citrus fruit, Broccoli, Bell Peppers, dark leafy greens, and papaya.
If you want a glowing healthy skin, your diet should include soy products like soy milk and cheese as they help you get rid of wrinkles and fine lines. They contain a compound known as genistein, which is a natural plant hormone in soy. This compound improves the production of collagen. Moreover the presence of genistein helps block enzymes that tend to break down and age the skin.
The presence of antioxidants in soya also has an important role in skin care. Antioxidants protect the skin by regulating the production of free radicals which can be the main reason of damage to a cell. Firming the skin is another important benefit of antioxidants.
Beans encourage your body to produce a vital anti-aging substance called hyaluronic acid. Hyaluronic acid holds water that plumps your skin, making wrinkles and lines less visible. It improves skin hydration, keeps the skin moist and smooth, increases skin elasticity and collagen synthesis, nourishes healthy skin cell growth, helps firm skin tone and supports healthier joints. It is one of the most important components that plays an important role in cell production and migration.
Try to eat at least two tablespoons of beans each day. You can consume in any form but sprouts will be a very healthy option.
Red fruits such as apples, oranges, cherries, strawberries and red vegetables such as beets, red peppers, carrots, red potatoes are anti-aging foods that promote collagen proliferation. Lycopene, which is an antioxidant in red fruits and vegetables, boosts collagen production and prevents DNA damage in cells and helps cells function better.
A study conducted by Dr. Ronald Watson at the University of Arizona has found that the antioxidants in red, yellow and orange foods form under the skin creating extra UV protection. Dr. Watson also says: "The effect is so strong that eating six portions a day for about two months will build a natural barrier equivalent to a factor four sunscreen". For this reason, try to add red fruits and vegetables to your diet.
Vitamin A not only helps increase collagen production but also slows the breakdown of collagen and elastin that leads to skin aging. It also thickens and stimulates the dermis where collagen, elastin and blood vessels exist. Moreover, to improve blood flow to the surface of the skin, it is beneficial as well.
Vitamin A also repairs the cellular structure of the epidermis, which help protect from UV rays and it reduces the clustering of melanin granules, which also reduce brown spots and pigmentation. It also helps get rid of acne by decreasing sebum production. In addition, it provides a strong cellular membrane around the cell and help eradicate pre-cancerous skin lesions. Consume more raw carrots, fresh cantaloupe, spinach, apricots, broccoli and baked sweet potatoes to get extra Vitamin A.
Omega-3 fatty acids are essential fatty acids which provide an ideal environment for collagen production. Skin cells are covered by a fatty layer made from omega-3 fatty acids and other fats. For this reason, the more your omega-3 consumption, the stronger that layer is, and the plumper your skin cells are. Thereby, your lines and wrinkles will be less visible thanks to omega 3 fatty acids.
They are very important for our health but our body can't produce it. For this reason, the only source of omega-3 is our food. Cold water fish such as salmon and tuna are excellent sources of omega fatty acids. Also, nuts such as cashews, pecans, almonds, walnuts and Brazil nuts contain large amounts of omega-3 as well. Another amazing source of omega 3 fatty acids is flaxseeds. One cup of walnuts contains about 10.8 grams and one cup of flaxseeds has about 25.2 grams of omega 3 fatty acids.
Avocado oil is rich in plant steroids which help reduce aging effects. It is a great source of Vitamin E and omega-3 fatty acids which protect our skin from damage caused by free radicals and protects skin cells from oxidizing. It also boosts collagen production and decreases the risk of skin cancer. Moreover, it is very suitable for dry and damaged skin because damaged skin cells will be regenerated and rejuvenated by this oil. It also hydrates deeply and highly complies with the natural oils in your skin.
Avocado oil is scientifically proven to increase collagen production and to improve the proportion of soluble collagen in the dermis of your skin. For this reason, if you use face masks or creams that contain avocado oil, you will encourage your skin to naturally produce collagen. Don't forget to add fresh avocados in your favorite salad.
When you are sleeping, your body repairs, rebuilds, refreshes and restores damage that happens every day. If you do not sleep at least 7-8 hours every night, you prevent this restorative process and diminish your body's ability to produce collagen. Lack of sleep is also linked to increased stress hormones, which causes inflammation in the body. This can aggravate existing skin problems, even the breakdown of both collagen and hyaluronic acid, both of which are responsible for a glowing, healthy skin.
It's crucial to remember that collagen preservation is just as important as collagen production. Collagen production is not a cycle that is out of your control. Taking care of your skin is the best way to make sure that age and other uncontrollable issues do not stand in the way of healthy skin.


Vanuatu is an island archipelago consisting of approximately 82 relatively small islands, 65 of which are inhabited. The islands of Vanuatu are widely spread out, with a distance of 1,300 km between the outermost islands.
Vanuatu has a tropical climate and over 80% of the population lives in rural, isolated villages with access to their own gardens and food supplies. These geographically isolated communities have minimal access to basic health and education services.
The economy consists mainly of agriculture, tourism, offshore financial services, and raising cattle. There is also a substantial fishing industry, although this does not bring in foreign income as the fish are traded locally.


Vancouver, British Columbia--(Newsfile Corp. - November 9, 2018) - Batero Gold Corp. (TSXV: BAT) ("the Company") is pleased to report the Company's updated National Instrument 43-101 Measured, Indicated and Inferred mineral resource estimate for the La Cumbre Deposit within the Batero-Quinchia project located in Risaralda, Colombia (the "Project"). LINAMEC S.A.C. of Lima, Peru has prepared and authorized the release of this resource estimate.
"We are very pleased that we were able to establish a significant measured, indicated and inferred mineral resource estimate within the prolific Mid Cauca belt of Colombia as we have focused on the near surface oxide mineralization at the La Cumbre Deposit," stated Gonzalo de Losada President and CEO Batero Gold Corporation. "Batero continues to work on the Environmental Impact Study (EIA) with Servicios Ambientales y Geográficos - SAG and has advanced the abiotic, biotic and socio-economic characterization of the La Cumbre - Oxide Zone project."
Batero Gold Corp. will be presenting at the Colombia Gold Symposium, Medellin, Colombia November 13-14.
Batero Gold Corp. is a precious and base metals exploration and development Company focused on two primary objectives. The first of these objectives is the advancement of the La Cumbre oxide deposit. La Cumbre is located within the Company's 100% owned Batero-Quinchia Gold Project, which sits within Colombia's emerging and prolific Mid Cauca gold and copper belt. Batero is moving the La Cumbre oxide deposit towards the goal of making a production decision, once the appropriate level of study has been completed, and intends to first target the near and at surface higher grade oxidized gold mineralization at the deposit. Batero's second objective is to pursue opportunities to acquire prospective high-grade, production focused mineral properties in Colombia and Latin America. In pursuing both these objectives, Batero plans to leverage its secure treasury position, strong regional relationships, experienced management team, and long- term financial partners. Shares of the Vancouver-based company trade on the TSX-Venture Exchange under the symbol "BAT".


All male Singapore citizens and Permanent Residents (PRs) are liable for National Service (NS) once they turn 13 years of age, even if they are not residing in Singapore at that point in time. They will be enlisted at the earliest opportunity on reaching 18 years old. If you are residing overseas with your son, kindly take note of the below obligations and processes required of your son before enlistment into full-time NS.
If you are an overseas Singaporean and you have a son who is 13 years old and above residing overseas with you, an Exit Permit and a bond may be required.
All male Singapore citizens and PRs have to register for NS on reaching 16.5 years old. This requirement also applies to male children who are granted PR status under their parents' sponsorship.
Those who are residing or studying overseas will be sent registration notices from us to register online.
Failure to register is an offence under the Enlistment Act. Offenders shall be liable on conviction to a fine not exceeding $10,000 or to imprisonment for a term not exceeding three years or to both.
If your son is studying and wishes to complete his studies before enlistment, he can apply for deferment during the NS registration process. In general, deferment is granted to pre-enlistees to attain their highest education qualification possible after 12 years of formal schooling (excluding pre-school and kindergarten) and before entry into university.
You can use our deferment calculator to determine your son's eligibility for deferment. For more information on deferment, please refer to our page on deferment for studies.
Find out if you are eligible for deferment for studies.
Deferment is only granted for full-time studies leading to the GCE 'A' Level, International Baccalaureate Diploma, polytechnic or Institute of Technical Education (ITE) diploma, National ITE Certificate (Nitec), Higher Nitec, or equivalent qualification. Deferment is not granted for university studies.
Please note that this serves as a guide for you to know whether you may be eligible for deferment. This does not constitute a formal request or approval of any form.
Please click on the 'submit enquiry' button below or call 1800-367-6767 if you wish to find out how the deferment guidelines apply specifically to your circumstances or if you are seeking an extension of deferment to repeat your studies.
Have you already attained a first education bar (i.e. GCE 'A' Level, polytechnic diploma, or equivalent pre-university qualification)?
You will not be allowed deferment to pursue another first education bar qualification (i.e. GCE 'A' Level, polytechnic diploma, or equivalent pre-university qualification) if you have already attained a first education bar qualification.
Please click on the 'submit enquiry' button below or call 1800-367-6767 for clarification.
Have you just returned from an overseas course of study?
Please click on the 'submit enquiry' button below or call 1800-367-6767 to make arrangements to submit documentation of your overseas education. We will advise you on your eligibility for deferment from full-time National Service for further studies.
Select the intended or current full-time course that you are seeking deferment for.
If you are not pursuing any one of the above courses, please return to the previous page to select a different course option.
For e.g. if you are pursuing a GCE 'A' Level preparatory course at a private education institution or if you are pursing the International Baccalaureate Diploma at other local international schools or private education institutions, please return to the previous page and select 'Course at private education institutions registered with the Committee for Private Education'.
You will be eligible for deferment from full-time National Service (NS) to pursue the GCE 'N' or 'O' Level course as long as you are accepted by a government school. Please click on the 'submit enquiry' button below or call 1800-367-6767 to start your application. You may also apply for deferment when you are called to register for NS.
Deferment for courses will be considered on a stage-by-stage basis (i.e. a Certificate course and a diploma course, if packaged together, will be treated as separate courses for the purpose of granting deferment). You must submit a new application for deferment to us before you commence a new stage of studies.
Deferment for courses overseas will be considered on a stage-by-stage basis (i.e. a Certificate course and a diploma course, if packaged together, will be treated as separate courses for the purpose of granting deferment). You must submit a new application for deferment to us before you commence a new stage of studies.
If you are applying for deferment to pursue overseas studies, you must submit to us a letter from your school certifying your enrolment, course of study as well as course commencement and completion dates.
In addition, if you are above 16.5 years old, you will be required to apply for an Exit Permit for overseas trips of three months and longer. You must submit your parents' Income Tax Notices of Assessment (both local and overseas) for the preceding year. A bond of $75,000 or an amount equivalent to 50% of the combined annual gross income of both parents for the preceding year, whichever is higher, will be required.
MINDEF does not grant deferment for degree courses. Please click on the 'submit enquiry' button below or call 1800-367-6767 for clarification.
What is the highest qualification that you have attained or will attain before proceeding for the course that you are seeking deferment for?
For example, if you are currently pursuing a Higher Nitec course, and expect to complete it before proceeding for your polytechnic diploma course, which you require deferment for, please choose 'Higher Nitec'.
If the highest qualification that you have attained or will attain is not in the above list, please click on the 'submit enquiry' button below or call 1800-367-6767.
*Please check with us on your deferment eligibility when you are nearer the enlistment age.
Enter the year of commencement for the course that you are seeking deferment for.
You will be eligible for deferment from full-time National Service (NS) to pursue the course. Please click on the 'submit enquiry' button below or call 1800-367-6767 to start your application. You may also apply for deferment when you are called to register for NS.
You may require an Exit Permit and/or bond if you remain overseas exceeding a stipulated duration, depending on your age.
You do not meet the criteria for deferment from full-time National Service to pursue the course. Please click on the 'submit enquiry' button below or call 1800-367-6767 if you require clarification.
Your request for deferment will be considered on a case-by-case basis. Please click on the 'submit enquiry' button below or call 1800-367-6767 if you require clarification.
Your son will be required to go through medical screening to determine his medical fitness. It will affect the type and duration of basic training that he will have to go through. He will be scheduled to report to the Medical Classification Centre (MCC) for medical screening about nine to twelve months before he completes his studies. You can refer to our page on medical screening for more information.
Depending on the nature and complexity of your son's medical condition(s), he may be required to attend further medical reviews at MCC or at hospitals. The duration of the medical assessment will be dependent on the waiting time for appointments at MCC and hospitals. If he is unable to attend these medical reviews, he may reschedule the appointments to a suitable time. However, do note that it may lead to a delay in his enlistment. Alternatively, your son can also choose to complete these medical reviews overseas and submit the medical report to MCC for review. Please note that we will not cover the expenses for medical reviews completed overseas.
If your son has dual citizenship, he will still be liable for NS once he turns 13 years old and it is still mandatory for him to register for NS when he reaches 16.5 years old. On turning 18 years old, he will be enlisted to serve full-time NS at the earliest possible opportunity.
Singapore does not recognise dual citizenship. If your son decides to retain his Singapore citizenship on reaching 21 years of age, he is required to renounce his foreign citizenship.


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Сола́но () — округ на северо-западе центральной части штата Калифорния, США. Население округа по данным переписи 2010 года составляет 413 344 человека. Административный центр — город Фэрфилд; крупнейший город — Вальехо.

География
Общая площадь округа равняется 2350 км², из которых 2130 км² составляет суша и 220 км² (9,3 %) — водные поверхности. Граничит с округом Контра-Коста (на юге), округами Сонома и Напа (на западе), округом Йоло (на севере) и округом Сакраменто (на востоке).

Население
По данным переписи 2000 года, население округа составляет 394 542 человека. Плотность населения равняется 168 чел/км². Расовый состав округа включает 56,4 % белых; 14,9 % чёрных или афроамериканцев; 0,8 % коренных американцев; 12,8 % азиатов; 0,8 % выходцев с тихоокеанских островов; 8,0 % представителей других рас и 6,4 % представителей двух и более рас. 17,64 % из всех рас — латиноамериканцы. Для 75,7 % населения родным языком является английский; для 12,1 % — испанский и для 6,6 % — тагальский.

Из 130 403 домохозяйств 39,9 % имеют детей в возрасте до 18 лет, 55,7 % являются супружескими парами, проживающими вместе, 13,8 % являются женщинами, проживающими без мужей, а 25,3 % не имеют семьи. 19,6 % всех домохозяйств состоят из отдельно проживающих лиц, в 6,5 % домохозяйств проживают одинокие люди в возрасте 65 лет и старше. Средний размер домохозяйства составил 2,90, а средний размер семьи — 3,33.

В округе проживает 28,3 % населения в возрасте до 18 лет; 9,2 % от 18 до 24 лет; 31,3 % от 25 до 44 лет; 21,7 % от 45 до 64 лет и 9,5 % в возрасте 65 лет и старше. Средний возраст населения — 34 года. На каждые 100 женщин приходится 101,5 мужчин. На каждые 100 женщин в возрасте 18 лет и старше приходится 100,2 мужчин.

Средний доход на домашнее хозяйство составил $54 099, а средний доход на семью $60 597. Доход на душу населения равен $21 731.

Динамика численности населения по годам:

Примечания

Ссылки

Округа Калифорнии


New products started appearing on shelves in April 2017.
Due to changes in its recipe and a significant reduction in glucose, Lucozade will not be as effective as a treatment for hypoglycemic patients.
Recipe changes to Lucozade Original Energy product line mean it will no longer be as effective at treating hypoglycemic patients – this is due to a 50% reduction in glucose-based carbohydrates. Healthcare Professionals should seek guidance from their local specialist team on alternative treatment protocols.
This change applies to all Lucozade Energy Flavours. New products started appearing on shelves in April 2017. However, for a short time, both the new and old recipe will be available.
Previously, 100ml of Lucozade Original contained 17g of carbohydrate; this was reduced to 8.9g in April 2017.
According to Diabietes.co.uk, patients who experience a hypoglycemic episode are advised to consume 15-20g of sugar when treating low blood sugar, but this will no longer be equivalent to 100ml of Lucozade and twice as much Lucozade would be required to have the same effect.
Lucozade Ribena Suntory, which also makes Ribena and Orangina, among other drinks, is lowering its sugar content by replacing these sugars with low-calorie sweeteners, such as aspartame.
You can also visit www.lrsuntory.com/health for more information on Lucozade's changing nutritional values or speak to your local diabetes specialist team.
Cough CPR – is there any truth behind it?