From PA Turnpike – West on PA Turnpike to Fort Littleton (Exit 13), North on 522 to Orbisonia – West on 994. Just prior to Shady Maple Campground turn left onto Shady Maple road. The Bitter Goose Lodge is down the road 1.3 miles, on the right.
From areas of Eastern PA – West on PA Turnpike to Fort Littleton (Exit 13), North on 522 to Orbisonia – West on 994. Just prior to Shady Maple Campground turn left onto Shady Maple road. The Bitter Goose Lodge is down the road 1.3 miles, on the right.


The BIS PTA Healthy Eating Committee would like to know how best to support healthy eating among your children at school and in general.
In order to understand what is important to you as parents, we kindly ask you to visit the following links to complete two short surveys by Thursday, May 4th.
Your responses will also help us tailor our upcoming Healthy Eating Workshop 'coffee' morning.
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This high quality facial cleansing pad is a flexible pad that gently massages the face using tiny bristles to exfoliate and clean pores! It helps reveal a brighter and more radiant complexion. Scrubby can be used on all skin types, start by using once or twice a week and slowly build up and can be used daily.
1. Wet face and apply your choice of facial cleanser all over face.
2. Use the scrubby in gently circular motions to cleanse and exfoliate skin.
3. Rinse face throughly and dry. Apply moisturizer.
4. Clean and air dry your scrubby before next use!


The word 'offshore' has gained a distorted image in much of the mainstream press and the minds of many individuals. The impression given is of wealthy individuals hiding money from the taxman and other people, while laundering assets through offshore companies and trusts.
Money laundering and tax evasion have been features of offshore centres in the past, as they have been of London, New York and other major international financial centres. Regulations, however, have been significantly extended in recent years to require the collection and exchange of information across borders to prevent money laundering and tax evasion, while governments have simultaneously been reducing the opportunities for legitimate tax planning as well.
Nevertheless, offshore planning has always been an important feature of legitimate wealth management strategies. In the simplest definition from a UK perspective, offshore planning means holding assets outside the UK. This may be for tax planning, investment, asset protection or succession planning reasons. In appropriate circumstances, this strategy can complement onshore financial planning.
For UK residents, there are more opportunities for offshore planning open to non-UK domiciled individuals.


This battered Beetle is a former Sun Bug, one of the myriad special editions Volkswagen rolled out throughout its production cycle. Unfortunately wearing a bad repaint over its original gold paint, this Beetle will need lots of love to return to its Sun Bug past. As far as special editions go, these were pretty neat cars – can this example here on eBay be resurrected to shine once more?
Unfortunately, you'd have to really want to own a Sun Bug to bring this one back. Rust is prevalent, even in places you wouldn't expect to find it. The floors are gone and the seller has performed some level of deconstruction. Claiming to have owned the car for many years as a daily driver, he's already purchased German-made floorpans to replace the rotted out floors, but no other spare parts are mentioned as part of the sale.
Sun Bugs were special for their gold paint (seen here in the door jambs) along with a leather-wrapped steering wheel, sport seats, and Lemmerz GT wheels. Super Beetle examples came with rosewood inserts on the dash, but no mention is made as to whether this is a Super Beetle car (the inserts appear long-gone regardless). Other options, like a Sun Bug custom stripe kit along the bottom of the doors, were added by selling dealers.
It's a shame this Sun Bug is so rusty, and we're certain there's more hiding beyond what's already been exposed in the photos. The seller has set the opening bid at $650 with no reserve, which seems fair if you're the only bidder! The period Ron Jon surf shop sticker and this Beetle's Florida location make it seem likely this was once a shaggin' surfer ride; now, it's a heartbeat away from the scrap heap unless a passionate Sun Bug aficionado comes along.
The bull-nose hood makes it a super beetle.
Thank you. Pretty surprised to to even see that questioned.
This is a bug that'll best be parted out and squashed.
Also, the curved windshield is a feature of super beetles, whereas the straight windshield is for beetles only.
First batch of Super Beetles. These had the big Front end with struts and a flat windscreen.
1972 Also. The elephant's foot tail lights, curved dash, and curved windshield were introduced on the Supers for 1973. 1973 Standard Beetles also got the huge tail lights but not the windscreen and dash treatment.
Knowing that Chip Foos would never take this on for one of his free makeover, it is worth absolutely nothing. Were it the other kind of Bug (Bugatti), maybe, but not a cancered Super Beetle.
I think it's too far gone, even at that price.
Yep, Super Beetles had curved windshields and Strut front suspension, was a real disappointment to real VW people. Seemed like the beginning of the end to me.
And ironically, the Super Beetle made it a decent car to drive.
The rust in the C-pillars makes this a total deal killer. Later Super Beetles aren't nearly as desirable as the earlier models (unless the top goes down) and there are still quite a few of them around.
Floor rot and rusty heater channels are common and not that tough to repair, but this car has rust-thru in uncommon places and the repair of this is prohibitive when you consider that cleaner examples are still available.
I was going to post that as well. Rot in the c-pillars is the kiss of death for a Bug. Get some parts off it and scrap it. Unfortunate since the SunBug is a desirable special edition.
Let me start out my comments with "SLUG BUG".
There I feel better now, my 8 and 10 year old Grandson's have picked up on that old road game.
Having owned and rebuilt a few of these Bugs, I would say that this one is not that far gone, yes the floor and heater tubes are gone, but a easy repair with a good replacement, which are easy to get even these days. Not 150 miles from my home is a grave yard of Bugs, and I have bought panel sections from them before, and the ones they didn't have there is a group of VW salvage yards and they keep in touch with each other.
Even though I have not owned one for about 10 years, I bet in the hands of the right person this little bug could be back on the road.
I have attached a picture of my 73 Super Beetle, sometime wish I have never sold it, it was a cool little ride.
The day I found it was sitting in a shed that had a tree fall on it, we had to take the shed apart to get it out, of course after we removed the tree, I had to replace the front hood and left fender, but other than that it was in ok shape. I drove that crazy car for well over 2 years before I ever painted it, I called it my tri color bug, because the hood and fender that I replaced were not the same color, so it looked funky for a bit.
In my area of Missouri, there is St Joe State Park, which has a huge ORV area, and you can still find a couple of Baja Bugs running around up there.
Big Mike, that looks like a SportsBug, truly the coolest of Super Beetles. Always liked the yellow with black and red stripes.
Love all Volkswagen Beetles. Including this one.
Nov 20. eBay expired. No bids at all. Kinda like a restaurant with no cars in the parking lot. Tell us something?


text:
You Are Here: Maps & Charts > The Middle States > A chart of Delaware Bay with soundings and nautical observations
Map/Chart > The Middle States
A chart of Delaware Bay with soundings and nautical observations
A striking chart which presents detailed nautical information including observations, soundings, sand banks and creeks of the Bay of Delaware between 1776 and 1779
Date 1st June 1779
Hydrographer/Surveyor/Artist: J.F.W Des Barres & Capt.Andrew Snape Hammond.
Size Of Original: w 26.5" x h 35.5"
Paper Type Hahnemuhle German Etching 310gsm
This print is available framed. Framed delivery to USA & Canada only.
Chart ID
w26.5" x h35.5"
3" frame
w19" x h25"
1.5" frame
Frames available in either black or brown wood with UV protective acrylic glazing. Please go to the drop down menu to select your choice.
Read the full Chart History here:
This detailed chart contains 'soundings and nautical observations taken by Captain Sir Andrew Snape Hammond of the Navy, and others'. It was composed and published for the use of pilotage by J.F.W. Des Barres Esq. June 1st 1779. The image is very strong with the land strongly hachured and the river features clearly marked. The three main shipping channels are shown up as far as Bombay Hook, as are other details such as oyster beds, sand flats, marshes and 'barrs'.
From the outset of the Revolutionary War, the British had recognized the importance of the major rivers, estuaries, harbours and ports of the southern middle states of the colonies, and had in many cases already started surveying them for navigation. These rivers posed a genuine, economic, and military threat to the British. The Delaware River split New Jersey and Maryland, and was the arterial link to Philadelphia; the Chesapeake River and all of the rivers therein provided links to all of the major towns and cities of Virginia; and the rivers and inlets of the Carolinas provided links to the slave and spice trade.
Standard Print Sizes: A302 Original size print (+$184) A302 Framed black (+$385) A302 Framed brown (+$385) A302x Half size print (+$93) A302x Framed black (+$236) A302x Framed brown (+$236)
The coast, rivers and inlets of the Province of Georgia
The Harbour of Charles Town in South Carolina with a view of the town from the south shore of Ashley River.
Ref: A303v
A view of the town of Charleston from James Island
A plan of the Siege of Savannah
A chart of Delaware River from Bombay Hook to Ridley Creek and A plan of the Delaware River from Chester to Philadelphia
Port Royal in South Carolina taken from the Surveys deposited at the Plantation Office
A Plan of the Attack of Fort Sullivan near Charles Town in South Carolina.
A sketch of the operations before Charlestown, South Carolina
Plan of the River Delaware from Chester to Philadelphia with the situation of His Majesty's Ships on the 15th Novr. 1777
The First Actual Survey of The State of North Carolina
An Accurate Map of North and South Carolina with their Indian Frontiers
A map of the most inhabited part of Virginia containing the whole province of Maryland with part of Pennsylvania, New Jersey and North Carolina.
New York, New Jersey, 'Pensilvania', Maryland and North Carolina & co.
A New map of the Western Parts of Virginia, Pennsylvania, Maryland and North Carolina showing Lake Erie, Part of the Lakes Huron, Michigan &c.

redpajama_set_name: RedPajamaCommonCrawl


text:
Elisabeth van Laar & Henricus Pelger | Amsterdam, The Netherlands
Tailor/Designers, Owners of Pelger & van Laar Bv.
To go with the * vibration and live by it, try to see the world as visual as it can be.
As in the first answer…We live by the * vibration and not by what the world likes us to see.
We like to use a metaphor for the first part: it's like watching a heart monitor, normally it goes like .•.•.•.•.•.•.•.•.•.•.•.•, but now it's like ............•..............•...........•...............•.......•.......•. It's almost like being in a coma. But it's getting better. The last part of the question is: the creativity has kept us alive.
Creativity is life for us, without it there's no point, we would become like most, robots or zombies.
* vibration = put your hands to the ground and feel it.
In the mid-80's both Els and Henk finished their studies at the Academy of Arts in Amsterdam. After which Els started working as a knitwear designer, and Henk went to Italy, working as a prognosis designer. At the end of the 80's Els and Henk met and didn't want to work alone anymore, deciding they wanted to work together, as well as with other people.
They started their company at the beginning of the 90's, mostly making clothing and costumes for major operas and ballets, including productions at the world-renowned La Scala, Milan, as well as for movies. Today they undertake a mix of making and designing clothing and helping fellow designers to get the most out of the moment.


We've been having a great time working with Lily and Grow Stonehouse this year; running monthly sessions at Union Corner, a fantastic space with great facilities, to provide an introduction into preserving, as well as creating plenty of tasty and nutritious dishes using some of the produce grown in several of the community spaces around Stonehouse. We have a mix of older local residents, young adults and families with young children. There's nothing more rewarding than seeing the pleasure on the face of someone trying dishes that they have made for the first time. But it's more than just a cooking session – it's a social experience and a chance to bring the community of Stonehouse together through food. Monthly sessions will be running up until Christmas, so if you know anyone who lives in the area who could benefit, please direct them to the Grow Stonehouse Facebook page to find out more details.


text:
Q: AngularFire Get users list I'm trying to get list of users from my firebase, but my getUsers method returns undefined. Why this happens and what is correct way to get users array from "Authentificated" section?

What I tried to do:
provider-
export class FirebaseProvider {

  constructor(private afdatabase: AngularFireDatabase) {}

  getUsers() {
    return this.afdatabase.list('/users');
  }
}

users.ts -
export class UsersPage {

  usersList: FirebaseListObservable<any[]>

  constructor(private firebaseProvider: FirebaseProvider) {

    this.usersList = this.firebaseProvider.getUsers()

  }
}

A: It seems like you need to create users in database section, cuz firebase won't let you to fetch users list from "authentificated" section for security reasons.
See:
How do I return a list of users if I use the Firebase simple username & password authentication

redpajama_set_name: RedPajamaStackExchange


SVT is one of 226 federally recognized tribes in Alaska. It provides governmental services to it's native members in both Seldovia and Homer. SVT administers the Federal funds that provide services such as health care to its members. SVT currently has 389 members and employs 60 people.
SNA is a village corporation created by Congress under the Alaska Native Claims Settlement Act. It is a business involved in land leasing, timber sales, gravel & armor rock sales. SNA also ownes the Main Street Market and Apartments and is venturing into tourism enterprises.
Alaska Tribal Cache brand of wild berry jams, jellies and syrups available through online ordering or by telephone. These products are cooked and packaged in their local kitchen. Available in single jars or beautiful gift boxes. Credit cards accepted, shipping by Priority US Mail.


text:
Preferred Customers
Sponsor a CD
The Complete Francisco Viñas
53006-2 (3 CDs) | $ 54.00
Viñas possessed a powerful, heroic-tenor voice that was beautifully focused with great warmth, which made him well suited for a wide range of roles including Wagner in Italian. Viñas (1863–1933) began his studies at the Conservatory in Barcelona, where he made his debut in 1888. He quickly rose to great success in Italy and soon was engaged at opera houses around the world. He was especially loved at La Scala and was a popular member of the Metropolitan Opera from 1893–1897. This three-CD set is the first complete Viñas edition ever assembled including some extremely rare Fonotipia titles. This set reveals a beautiful voice and consummate musician who was often referred to as the successor to the great Spanish tenor Julien Gayarré.
CD1 (79:47)
GRAMOPHONE AND TYPEWRITER LIMITED
Milan, October 1903
1. GERMANIA: Studenti, udite (Franchetti) 2:05
(Con 133R) 52735
2. AIDA: Celeste Aida (Verdi) 3:41
(Con 520R) 052007
3. MEISTERSINGER: Dall'alba tinto1 (Morgenlich leuchtend) (Wagner) 3:35
4. DIE WALKÜRE: Cede il verno ai rai (Winterstürme) (Wagner) 3:26
5. LOHENGRIN: Ben altra prova (Höchstes Vertrau'n) (Wagner) 3:49
6. LOHENGRIN: Da voi lontan (In fernem Land) (Wagner) 3:00
7. LOHENGRIN: S'ei torna alfin (Mein lieber Schwan!) 3:05
{Second part only} (Wagner) (Con 527R) 052005
8. L'AFRICAINE: O paradiso (Meyerbeer) 3:32
FONOTIPIA 1905-1913
ca. 20 February 1905; (XPh 161) 39136
10. Donna Clara (Gastaldon) 3:20
11. Mi niña (Guetary) 3:07
12. La partida (Álvarez) 3:35
13. L'AFRICAINE: O paradiso (Meyerbeer) 3:33
14. Se ti dicessi (Amadei) 2:19
15. LORENZA: Ecco mia giovinezza2 (Mascheroni) 2:38
16. LOHENGRIN: Di', non t'incantan (Atmest du nicht mit mir) (Wagner) 2:42
28 September 1906; (XPh 2080) 39853
17. LOHENGRIN: Da voi lontan (In fernem Land) (Wagner) 4:32
29 September 1906; (XXPh 2093)3 74019
18. LOHENGRIN: Cigno fedel (Mein lieber Schwan!){First half only} (Wagner) 2:32
2 October 1906; (XPh 2104) 39806
19. LUCREZIA BORGIA: Di pescator ignobile (Donizetti) 2:33
13 May 1907; (XPh 2643) 39854
20. A Granada (Álvarez) 3:18
21. Un pleito (Gaztambide) 2:40
22. Maria (Guetary) 3:07
25. LE PROPHÈTE: Sopra Berta (Pour Bertha) (Meyerbeer) 2:00
CD 2 (78:01)
1. LUCREZIA BORGIA: Di pescator ignobile (Donizetti) 2:33
2. UN BALLO IN MASCHERA: Ma se m'è forza perderti (Verdi) 2:53
3. OTELLO: Ora e per sempre (Verdi) 2:27
4. Lily (Guetary) 2:07
5. CARMEN: Il fior che avevi a me tu dato (La fleur que tu m'avais jetée) (Bizet) 3:11
6. MEISTERSINGER: Nel verno al piè (Am stillen Herd in Winterszeit) (Wagner) 2:34
10 November 1908; (XPh 3616) 92338
7. MEISTERSINGER: Dall'alba tinto1 (Morgenlich leuchtend){Abridged} (Wagner) 2:38
8. LOHENGRIN: Di', non t'incantan (Atmest du nicht mit mir) (Wagner) 2:45
11 November 1908; (XXPh 3620) 74124
11. LOHENGRIN: Cigno fedel (Mein lieber Schwan!) (Wagner) 5:51
11 November 1908; (XPh 3622, XPh 3623) 92342, 92343
12. AIDA: Celeste Aida (Verdi) 3:42
14. DIE WALKÜRE: Cede il verno ai rai (Winterstürme) (Wagner) 2:52
16. LA GIOCONDA: Cielo e mar (Ponchielli) 2:43
17. GERMANIA: Studenti, udite (Franchetti) 2:23
18. AIDA: Pur ti riveggo…Fuggiam gli ardori (Verdi) 7:57
with Esther Mazzoleni, soprano
14 November 1908; (XXPh 3637, XXPh 3638) 74117, 74118
19. OTELLO: Ora e per sempre (Verdi) 2:29
20. CARMEN: Il fior che avevi a me tu dato (La fleur que tu m'avais jetée) (Bizet) 3:17
21. GERMANIA: No non chiuder gli occhi vaghi (Franchetti) 2:10
22. MEISTERSINGER: Dall'alba tinto1 (Morgenlich leuchtend) (Wagner) 3:43
23. MEFISTOFELE: Dai campi, dai prati (Boito) 2:37
ca. September 1911, Barcelona; (XPh 4765) 92877
24. MEFISTOFELE: Giunto sul passo estremo (Boito) 3:18
1. LA GIOCONDA: Cielo e mar (Ponchielli) 2:47
2. TANNHÄUSER: Inno a Venere…Te vò lodar (Dir töne Lob!) (Wagner) 1:57
3. TANNHÄUSER: Col cor contrito (Inbrunst im Herzen) [Romerzählung] (Wagner) 9:22
ca. September 1911, Barcelona; (XPh 4767, XPh 4768, XPh 4769) 92898, 92899, 92900
4. In riva al mare (Filiasi) "dedicated to the celebrated artist by the composer" 3:02
5. O primavera (Tirindelli) 2:53
6. RIENZI: O Padre Santo (Allmächt'ger Vater) (Wagner) 6:22
3 October 1912; (XPh 4902, XPh 4903) 69093, 69094
7. TANNHÄUSER: Lodar tu devi il Dio (Den Gott der Liebe sollst du preisen) (Wagner) 2:36
with Maria Alessandrovich, soprano
8. TANNHÄUSER: Preghiera (Auch ich darf ... Zum Heil den Sündigen zu führen) (Wagner) 3:13
9. TRISTAN UND ISOLDE: Su noi discendi (O sink' hernieder) (Wagner) 5:06
3 October 1912; (XPh 4911, XPh 4912 ) 69097, 69098
10. PARSIFAL: Amfortas! La piaga! (Amfortas! Die Wunde!) (Wagner) 8:44
3 October 1912; (XPh 4909, XPh 4904, XPh 4905) 69087, 69088, 69089
11. PARSIFAL: Sii salvo, assolto (Sei heil, entsündigt und entsühnt) (Wagner) 3:06
13. El lucero del Alba (F. Caballero) 3:10
14. Ensayo de Lios (Cotò) 3:26
15. Los ojos negros (Álverez) 3:08
16. El milagro de la Virgen (Chapí) 3:11
17. Serenata (Mascagni) 3:23
18. DER FREISCHÜTZ: No, più soffrir… La finestra s'apre (Nein, länger trag' ich nicht die Qualen… Jetzt ist wohl ihr Fenster offen) (Weber) 6:12
Accompaniment: All tracks accompanied by piano
Languages: Italian [1-10, 13-19, 25]; Spanish [11-12, 20-24]
Accompaniment: Tracks 1-5 accompanied by piano; Tracks 6-24 accompanied by orchestra
Languages: Italian [1-3, 5-24]; Spanish [4]
Accompaniment: Tracks 1-18 accompanied by orchestra; Track 19 accompanied by piano Languages: Italian [1-12, 17-19]; Spanish [13-16]
Producer: Ward Marston
Audio Conservation: Ward Marston / Audio Assistance: J. Richard Harris
Photographs: Girvice Archer and Charles Mintzer
Booklet Design: Takeshi Takahashi
Marston would like to thank Stephen R. Clarke, David Contini, Ramona Fasio, J. Neil Forster, Norbeck, Peters and Ford, The Estate of John Stratton, and Robert Tuggle for their help in the production of this CD release.
The following selections are re-recorded from copies in the collection of Marco Contini:
CD 1: Track [19]; CD 3: Track [19]
The following selections are re-recorded from copies in the collection of the Estate of Sir Paul Getty:
CD 1: Tracks [2-4]; CD 2: Tracks [19-20]; CD 3: Track [1]
The following selections are re-recorded from copies in the collection of Lawrence Holdridge:
CD 2: Tracks [23-24]; CD 3: Tracks [2-3, 7-8, 13-16]
The following selections are re-recorded from copies in the collection of Mr. and Mrs. Laurence C. Witten II in the Yale Collection of Historical Sound Recordings, Yale University Library:
CD 1: Tracks [1, 5-8, 11-12, 16-17, 18, 20-21]; CD 2: Tracks [1, 3, 8-9, 11]; CD 3: Tracks [4, 17]
The following selection is re-recorded from a copy in the collection of Robert Ziering:
CD 3: Track [18]
Discographic material was provided by:
"The Recordings of Francisco Viñas" from the Record Collector, Vol. 34, Nos. 5,6,7, by Larry Lustig and Clifford Williams, July 1989, pgs. 133-138
The Fontipia Catalogue 1904-1939, CD ROM, published by Historic Masters, Ltd.
Fonotipia Recordings—A Centennial Survey, by Michael E. Henstock, published by author, pg. 374
1	The labels for all of Viñas's recordings of this aria read "Dall'alba tinto" but Viñas actually sings "Dell'alba tinta"
2	The opening words as given in the score are "E tu, mia giovinezza" and yet, it sounds as if Viñas is singing "Ecco mia giovinezza" as printed on the record label.
3	An alternative take of matrix XXPh 2093 was discovered just prior to production; neither record bears a take number.
Francisco Viñas
The career
As far as I know, all the records of Francisco Viñas were made in Italy and so we are used to seeing his name as it appears on their labels, spelled Francesco Vignas, which seems to be the way he wrote his name everywhere he sang outside Spain and perhaps Portugal.
This great Catalan tenor was born Francesc Viñas in Moiá, near Barcelona, on 27 March 1863, and died there on 14 July 1933. Just as the healthy influence of singers like Adelina Patti and Emma Albani, trained in the old Italian school of singing, influenced taste in London and New York until the First World War, keeping before critics and singers the virtues of a steady, radiant tone and graceful phrasing, so the popularity in Spain and Russia of such highly esteemed and paid Italian singers as the tenors Masini and Marconi or the baritone Battistini preserved a respect for certain old-fashioned styles and mannerisms that local singers were quick to imitate. Emulation of role models played an important part in the education of singers lucky enough to be able to attend opera performances or, after the issue of Caruso's first discs in 1902, wealthy enough to own a gramophone. Fernando De Lucia studied the personal traits of the three great tenors–Gayarre, Masini and Stagno–active at the San Carlo in his student days, about 1880-1885, and reproduced them in his own singing, so that his recordings are a sort of living museum of already antiquated stylistic quirks. In the records of Viñas we hear a bright, open, silvery tone similar to that of other "Spanish" tenors such as Valero and Constantino and, we believe, also typical of the way Italian lyric tenors sang before the age of Caruso–Marconi is somewhat similar in his more lyrical moments, while Signoretti has something of the declamatory brilliance of Viñas.
Viñas began to study, apparently with Gonçal Tintorer, at the Conservatory in Barcelona when he was 23. Juan Goula, a principal conductor in Madrid and Barcelona, heard the young man in the Conservatory concerts and invited him to study the role of Lohengrin. On 9 February 1888 Viñas made his debut in Lohengrin at the Teatro del Liceu, Barcelona, singing with the famous soprano Medea Borelli (who had failed in London but was a big star in Latin countries). Gayarre, the great tenor whose place he was in part destined to take, was so impressed with this first performance that he gave the young Viñas his own Lohengrin costume.
The steady progress of his career has been meticulously plotted out by Larry Lustig and Clifford Williams in the Record Collector, Vol. 34, nos 5-6-7, July 1989. After more performances of Lohengrin in Barcelona and Mefistofele in Valencia, Viñas was already invited to la Scala, Milan, where he sang Lohengrin in 1889 and again in 1891; he was also heard there in Cavalleria rusticana (1891), Carmen (1896), and Germania (1904). Over the years he also sang in Brescia, Treviso, Turin, Genoa, Catania, Palermo, Modena, Florence, Rome, Cremona, Venice, Perugia, Pistoia, Padova, appearing in most of these cities at least once in his famous interpretation of Lohengrin, and closing his Italian career with performances of Lohengrin in Bologna (1913) and Parsifal in Pisa (1914). (He was announced to sing Tristano at the Teatro Adriano, Rome, late in 1914, but these performances seem to have been cancelled by the outbreak of war.) The theater in which he was most loved was the San Carlo, Naples, where he returned again and again. He first sang there in 1893, inevitably as Lohengrin, which he repeated in 1896, 1901, and 1910. Naples also heard him in Mefistofele, Lorenza (Mascheroni) with Gemma Bellincioni (world premiere), Germania, Aida, Manon Lescaut, Andrea Chénier, La Gioconda, L'Africana (with Ruffo, Bonini, Amato, and Caronna sharing the baritone role in eight performances), La Perugina (Mascheroni), and, in 1910, his last season in Naples, Don Carlo, Il Profeta, and Lohengrin all with the great American mezzo-soprano Eleonora De Cisneros. Naples also heard him in concert performances of Massenet's Marie Magdeleine (1902), Lorenzo Perosi's Mosè (1903, with Salomea Kruschelnytska and Giuseppe De Luca, conducted by the composer), and Rossini's Stabat Mater. Throughout his distinguished but perhaps less than spectacular career he was constantly to be heard in Madrid and Barcelona, and did not neglect the other theaters of Spain: a frequent visitor to the Teatro Principal, Valencia, after 1905 he was also heard in Seville, Malaga, Córdoba, La Coruña, Vigo, Santander, Oviedo, Gijon, and Palma de Mallorca. The Teatro São Carlos of Lisbon first heard him–need one say, in Lohengrin–in the 1904—1905 season; he returned in 1905—1906, 1907, and 1908, also appearing in Tannhäuser, Mefistofele, Aida, Tosca, La Gioconda, L'Africana, Pagliacci, Carmen, Fedora, Il Profeta, his first performances of Tristano e Isotta (with the ill-fated Cecilia Gagliardi), Amor De Perdiçao (Joao Arroyo), and Sansone e Dalila.
The pure quality of Viñas's voice and his classical, even rather severe style of singing made him the perfect partner for such artists as Melba, Albani, Calvé, Nordica, Eames, Litvinne, Tetrazzini, Plançon, Edouard de Reszke, Ancona, Lassalle, and Maurel, with whom he sang in London and in the United States. His popularity in London does not seem to have been affected by the frequent observation by critics that he was by no means a good or convincing actor. (One wonders how plausible he can have been in verismo roles, for his vocal style was remarkably chaste and free from any cheap effects–what a perfect partner for Melba!) He made an instant hit with his singing of Turiddu in the first performance in London of Cavalleria rusticana in the adventurous Signor Lago's season at the Shaftesbury Theatre on 19 October 1891: "Signor Francisco Viñas, who uses a tenor voice of remarkably good quality with skill and intelligence, received still further favours from the audience, as the 'brindisi' of the final scene, being the one very conventional number in the work, was doubly encored" (the Times). Cavalleria rusticana was performed at Windsor Castle by command of the Queen, and Viñas also appeared in a concert there, accompanied at the piano by Tosti. As generally happened to the best artists "discovered" by Lago, he was snatched up by Augustus Harris who engaged him for Covent Garden. For some reason he was not able to return in 1892 but made his Covent Garden debut as Lohengrin with Nellie Melba on 15 May 1893: "The Lohengrin of Signor Viñas, an impersonation not yet seen in London, though expected for some time, proved entirely successful. If the artist is hardly an ideal representative of the character, his vigorous style, manly bearing and artistic singing, exhibited in the first and third acts, make up for what he lacks in romantic charm" (the Times). Photographs of Viñas in costume underline this lack of "romantic charm," but in those days any tenor who sang certain roles in London or New York was inevitably compared with the elegance and charisma of the aristocratic Jean de Reszke. The same critic later wrote: "Signor Viñas was a very satisfactory Tannhäuser and the part must rank as one of his very best, even though he has scarcely exhausted its possibilities." Emma Albani was his Elisabeth in Tannhäuser, and he sang with Emma Calvé in Cavalleria rusticana and L'Amico Fritz, and with Lillian Nordica in Stanford's Il Profeta velato. On 15 July he sang with Calvé and Ancona, with Mascagni conducting, a Royal Command Performance of Cavalleria rusticana and Act Two of L'Amico Fritz for Queen Victoria at Windsor Castle.
As was practically inevitable in those days, his success at Covent Garden was followed by an invitation to the Metropolitan (Maurice Grau would be artistic director of both theaters from 1897 to 1900, thereby strengthening the bond). He made his debut on 29 November 1893 as Turiddu; it was rather unfortunate that on the same evening the dynamic Emma Calvé was making her American debut as Santuzza, and that Pol Plançon, the greatest bass of his day, was also making his debut in the other half of the double bill, Gounod's Philémon et Baucis, so poor Viñas, although favorably noticed by the press, was hardly the center of attention that most tenors would expect to be. Even worse was to come, for when he essayed Edgardo on 4 December, his Lucia was Melba, making her New York debut! Fortunately, between these historic events he had managed to sing a performance of Lohengrin on 1 December, with Nordica. As Irving Kolodin says in his The Story of the Metropolitan Opera, 1883—1950 (Alfred A. Knopf, New York, 1953, p.123): "As of the mid-nineties there was a problem common to both London and New York: how to admit the immense push of the Wagnerian literature to the common repertory without making it, as it had been in New York during the 1880s, an exclusively German enterprise, or as it had been in London–and still was–an exclusively non-German enterprise." Performances such as Lohengrin sung in Italian by such sopranos as Melba, Nordica, and Eames and such tenors as Viñas and Jean de Reszke (with whom Viñas had to share the title role both in London and New York) were a satisfactory compromise until the Polish tenor and the Australian and American sopranos were ready to embark on their Wagnerian roles in German. Viñas continued to sing them only in Italian.
At the Metropolitan and on tour with the company in Philadelphia, Brooklyn, Boston, Chicago, and St. Louis, Viñas sang further performances of Lohengrin and Cavalleria rusticana and Lucia di Lammermoor, in Tannhäuser with Melba, Nordica, Ancona, and Plançon and in Aida with Nordica and Lassalle. Fortunate those Met subscribers who, on 22 December 1893, heard a double bill of Pagliacci with Melba, Fernando De Lucia, and Mario Ancona and Cavalleria rusticana with Calvé and Viñas.
To some extent Viñas may have shared the fate of Pertile at the Metropolitan, appearing beside stars of extraordinary charisma who eclipsed him; however, such an excellent singer would certainly have been invited to return, for after all he was welcomed back to Covent Garden in 1895, 1904, and 1907. The problem seems to have been that he was struck by a severe kidney illness after the close of the Metropolitan season, preventing him from singing for nearly a year, and furthermore he had the same dread of the Atlantic Ocean that kept Battistini from ever singing in the United States. (Gaps in the chronology of his career may indicate other periods of ill health.)
After tentatively resuming his career with a few performances in Turin and Genoa, Viñas finally made his debut in Madrid as Lohengrin on 6 March 1895; he would return in 1898, 1899, 1901, 1904, 1905, 1906, 1907, 1911, 1912, 1913, 1914, and finally in 1916, when he made his last stage appearances there, as Tannhäuser. Barcelona, the city of his debut, heard him as Lohengrin again in 1889 then had to wait until 1903 for his return–not only in Lohengrin again but also in Aida, Lorenza, and L'Africana. He returned in 1907—1908 (when he sang L'Africana with Hariclea Darclée and Tannhäuser with Battistini), 1908—1909, 1909, 1910, 1911, 1912, 1913—1914, 1914—1915, and 1915—1916. His last official public appearances were at the beautiful Palau de la Musica Catalana in Barcelona in February 1918, singing in excerpts from the opera Acté by Joan Manén.
In 1910 his old mentor Juan Goula persuaded Viñas to overcome his fear of ocean crossing one more time and accept an engagement to sing Lohengrin in Spanish at the Teatro Colon, Buenos Aires; he also appeared with the company in Bretón's Los Amantes de Teruel in which the fifteen-year old Conchita Supervia was making her debut.
The list of operas in Viñas's repertory is not particularly long for such an excellent and famous tenor–about 35 works–and it includes several that he sang only once, such as Gli Ugonotti, Der Freischütz, Don Carlo, Sansone e Dalila, Fedora, Andrea Chénier, and Un ballo in maschera. In Valencia in 1901 he sang in two operas by the local composer Salvador Giner, Sagunto and El soñador (world premiere) and in Madrid in 1913 he sang in the first performances of Tabaré by Tomás Bretón. With the passage of time his Tristan became as famous in Spain as his Lohengrin, and his Parsifal, a fitting conclusion to his career, was considered a distinguished interpretation: he first sang it in Barcelona on 31 December 1913, but earlier in the year he had already sung portions of the opera (perhaps in Catalan) in concert.
Viñas married Giulia Novelli, a mezzo-soprano with whom he had sung Carmen in Palermo in 1892 (the Micaela was Olimpia Boronat, and how one would have liked to hear them in the duet!). He died of cancer of the lung in his hometown.
The voice and the records
Perhaps no better example of ideal voice production could be found for a young singer to emulate than Francisco Viñas; the voice we hear on the records is of a purity rivaled–but not surpassed–only by Caruso. The voice is perfectly free of the throat, easy and natural in emission, and, like Caruso or Gigli, does not have any very obvious vibrato: an example of how a voice should be firm and steady without being "fixed" in the way Latin ears find so detestable. It is a voice of silver, perhaps, rather than of gold, with the clarion ring of a Bach trumpet on the high notes. His range, on records, is from the low D (a weak note) to the high B natural. It is not surprising that a tenor born in Spain in the 1860s should have embodied so many virtues of the old Italian school, nor should we then wonder if we find that his major triumphs in Italy (where Tetrazzini and Battistini were considered rather old-fashioned) should have been in the older operas, Meyerbeer and Wagner, rather than in the new works of the verismo school.
The distinguishing technical features of the old Italian school are the correct method of breathing (described in the Vocal Method of the Conservatoire de Paris, 1803, and the Treatises of Garcia and Lablache), the pose of the voice on the breath, and the mastery of the registers, including the correct method of ascending to the high notes through adroit handling of the passaggio di registro. Antonio Cotogni, the great baritone and teacher of the Roman school, used to say that tenors and baritones should appear to be singing with an open tone at the top whilst correctly "covering" the notes: this is how Viñas sings. His voice has the most appealing, boyish, open timbre (even at the age of 50). When he ascends the scale he passes from "chest" to "head" voice on E flat or E natural, fourth space, but the difference in quality is only evident to the practiced ear. Many tenors would prefer to prepare the passaggio on C sharp or D, but Viñas always sings these notes with a fearlessly open sound, except in descending passages, when often we can clearly hear the darker and "dreamy" sound of the mixed voice brought down to D or D flat. The effect is of a seamless, homogeneous scale. The F, fifth line, is always a perfect mixed note whether he takes it loudly or softly. He is capable of very accurate singing in florid passages (an inheritance from his Catalan background, perhaps) and when he wants to effect a diminuendo or a crescendo (not, perhaps, as often as we should like) his voice floats easily and smoothly through the desired modulation. He never–or hardly ever–forces his voice, even on the highest notes or in the most taxing dramatic outbursts. He can linger dreamily on a sustained piano phrase, like the opening of "O paradiso," or sweep majestically through ringing, fortissimo outpourings, as in the Germania apostrophe.
Like all the greatest names in singing, Viñas has an individual timbre and style that stamp him as a distinctive and recognizable musical personality. His wonderfully clear and pellucid diction, with limpid consonants and rounded, equalized vowels (the "i", as so often happens, not quite so mellow as the other vowels, but helping him at times to get brilliant high notes) is an important feature of this distinctive style.
There are not many singers whose entire recorded output I long to hear, but Viñas is one of them: after at long last having had the opportunity to hear all his records, I find that they are all good, and quite a lot of them I shall want to hear again and again. Apart from the beauty of tone and the flawless legato, his singing is distinguished by a high sense of artistic endeavor.
There are not many joyous outbursts among his recorded repertoire, which seems to concentrate on rather serious pieces, but some of the songs feature a charming smile in the voice. His style is noble, and if the solemnity and measured tempi, as well as the brilliant high notes, remind me of Tamagno, I feel that his recorded excerpts from Lohengrin, his most famous role, must have something of the solemnly mystical aura of Jean de Reszke (as distantly suggested by the Mapleson cylinders).
All his records from Lohengrin are particularly lovely and explain why his performance was so famous; I cannot think of any other tenor on records who sings this music so affectionately. He has re-thought and modified Salvatore Marchesi's Italian translation. His style is thoroughly Italian: in his first record (on G & T) of Lohengrin's narration "Da voi lontan" (In fernem Land) he even inserts appoggiaturas on the penultimate syllables of "Monsalvato" and "ornato!" This record comes to a gloriously ringing conclusion. In "Ben altra prova" ("Prova maggior" in the score) his marvelously grand and yet affectionate phrasing of "della tua bocca la voluttà" is so faithful to Italian ideals of the shape of phrases that it practically constitutes re-composing! One of his greatest records, even better than the later Fonotipia, is the G & T "S'ei torna alfin," in which he makes a lovely contrast between the fortissimo of "l'acciar gli accorderà" and the haunting piano of the succeeding phrase, "Ma se all'anello volgerà il suo sguardo." He sings particularly slowly in this record, which might serve as a model for the execution of upward and downward portamento. There are some very long phrases but the voice floats on the breath with ineffable serenity throughout this profoundly eloquent performance. The grand style, indeed.
Wagner hoped for singers who could sing his works in the Italian style, and Viñas, whose Lohengrin and Tannhäuser were welcomed in London and New York, fitted in perfectly with such partners as Nordica, Melba, Lassalle, and Ancona. We should not, therefore, be scandalized to hear Wagner's music sung in Italian nor disconcerted by hearing it sung with such loving reverence.
Viñas is a master of the legato style, tends to sing deliberately with grandly sweeping portamento, savoring the melody and the words and, especially at the fermate and at significant closes, he likes to introduce long-held and gracefully diminished notes; he also embellishes the vocal line occasionally with affectionate mordents. The extraordinary beauty and eloquence of his singing must surely make his records among the most important, stylistically and historically, among all documents of 19th-century Wagnerian performance practice.
The earlier, piano-accompanied Fonotipia recordings of 1905—1907 capture the beauty of the voice better than the slightly primitive G & Ts recorded in 1903. However, as happened with many other singers on the Fonotipia label, Viñas is further from the recording horn in the orchestrally-accompanied records made from 1908 and many of these do not capture the bloom on the tone so well. The earliest G & T matrices, the arias from Aida and I maestri cantori di Norimberga and La Walchiria, two operas he never sang in the theater, are rather dimly recorded but still very beautiful performances. It is worth noting that he sings Siegmund's love song much more slowly than we are accustomed to hearing it, with lovely sustained legato, and so the speeding up at the climax is all the more effective–I do not find the "concert ending" in the Fonotipia recording at all inappropriate. (A simple concert ending, involving the cut of just one bar, is also used in his version of the Love Duet from Tristano e Isotta.) In the score the aria goes down to C below the stave, a note not really possessed by Viñas, but he solves the problem by transposing the Cs (and at least one of the Ds) an octave higher–an obvious solution indeed to an "Italian" singer of his generation. He sings Walther's prize song with boyish enthusiasm and enviable ease. The "Studenti, udite" from Germania is a fine, forward recording; now that we are sitting in the front row, we can hear clearly how he blends the registers.
The Viñas voice is especially forward and present in the brilliant Fonotipia records of February 1905, allowing us to appreciate the full beauty and charm of the tone in his salon songs. Copies of these records are easy to find in Spanish junk shops, but alas! their inevitably worn-out condition is a testament to their having been enjoyed all too often. Viñas has left us several versions of his interpretations of the Aida and Africana arias, but these are the best, sung with insolent ease. He tries to observe the composers' pianissimo markings (as in the opening of "O paradiso") wherever artistic refinement might not upset those fans who clamor for loud high notes. His "Celeste Aida" is one of the very best, once we have accepted the fact that it is all going to be rather loud. His legato is exemplary, as is his use of portamento, though Verdi's score calls for even more. His technical mastery is evident in the descending phrase on "vicino al sol," five bars before the end, which he begins on a beautiful and quite soft F and continues to diminish in volume as he descends. The short excerpt from Mascheroni's Lorenza, a most interesting work in which he and Gemma Bellincioni had really long and trying roles to get their teeth into, is one of the great records in the Fonotipia catalogue, a marvelous example of tenor declamation with a superbly ringing tone throughout. The culminating phrase, rising to the high C flat, is thrillingly sung and reproduced. In contrast the lyrical shadings of the stornello "Se ti dicessi" are enchanting.
A group of Wagner "chunks" recorded in September 1906 finds him in very fine voice, and in "Di', non t'incantan" ("Atmest du nicht") his singing is particularly charming, the legato style ravishingly persuasive. The first half of "Lohengrin's Farewell," "Cigno fedel," is so poetically sung that it is a great pity that the second part ("S'ei torna alfin") recorded the same day could not be published, because it could not stand the factory test of 50 playings with a steel needle! Viñas recorded the complete scene again on two sides in 1908, with orchestra, but the recording is not so vivid.
The pastorale "Sopra Berta, l'amor mio" from Meyerbeer's Le Prophète is one of Viñas's best-known records, and he sings it very well in his most boyish, radiantly open tones. Tamagno, despite his 53 years, gives more of a virtuoso performance in this aria, still having a command of soft singing on the high B flat, but Viñas has more breath at his disposal and can include the downward scale at the end that the older tenor is forced to cut out. There were other dramatic tenors who, in the first 20 years of the last century, were recording arias from the old-fashioned repertory requiring the effortless delivery of brilliant high notes, but in Viñas, a 19th century singer of the old school, these notes are integrated into a perfectly produced and solidly supported scale in which all the notes are beautiful.
A small group of very good records is brought to us in 1907. The aria from Lucrezia Borgia, an inevitable number in any Spanish tenor's repertory then, although Viñas never sang the role in the theater, suggests perhaps that his days of sustained, high singing in the voce mista may have been over. Both the Verdi arias are models, the tone saddened and thoughtful in "Ma se m'è forza perderti," with a brilliant B natural in the cadenza; I wonder whether Viñas sang the aria onstage, for in those days it was usually omitted.
Sadly, the very first orchestrally accompanied records of 1908 occasionally hint at decline: in "O paradiso" and "Sopra Berta" the voice is not so steady as before, and the performances are rather effortful. "Celeste Aida" fares better, with graceful phrasing and a few diminuendi; the final high B flat is the only forced note. The Wagner pieces do not show any falling off in the singing, but neither does the recording reveal the full beauty of the timbre. "Nel verno al piè" from the Meistersinger is a charming performance. Viñas is back in fine fettle for the duet from Act Three of Aida, with very grand phrasing of the opening bars and a typical Viñas touch in the diminuendo on "Odimi, Aida." Although all Mazzoleni's records from this opera show that she has thoughtfully prepared the role, she is not a suitable partner for the mellow-toned Viñas: her voice is too open in emission and her rapid vibrato too obtrusive, so for all her care in phrasing her singing lacks nobility. There is no doubt of her effect in the theater, but she is not a "gramophone singer."
Even less satisfactory is the little-known Maria Alessandrovich who joins Viñas in some Wagnerian duets; no adequate substitute for Melba, she is certainly not helped by being placed further away from the horn than her tenor, making her sound weak, but she seems at least to be singing accurately and in the same portamento style as Viñas. This style, harking back to the great days of opera, makes Wagner's music sound even more languorous and erotic. In the central, duet proper section of the Tristan duet, an ambitious choice for Fonotipia (though the opera was very popular at the time in Italy), Viñas sings lyrically and caressingly with admirable steadiness, displaying the bright, manly and noble tone that sounds so unusual today in this music. The excerpts from Parsifal were recorded before he had ever sung the role in the theater, explaining perhaps the lack of variety in his otherwise splendid singing of the long scene from Act Two beginning "Amfortas! La piaga!" His voice, with its appealing, adolescent timbre, is perfectly suited to the character. I do not suppose that Bayreuth would ever have approved the high A flat which he interpolates to end Parsifal's final scene, "Si salvo, assolto alfin!" It was a great coup for Fonotipia to get these celebrity recordings from Parsifal into their catalogue before the opera came into the public domain on 3l December 1913.
In 1911 in Barcelona Viñas made a series of records for Fonotipia whose engineers had, in previous years, traveled to London, Paris, and Berlin to make "out of house" recordings of their celebrities. Typically for a Spanish tenor trained in the old traditions, Viñas is careful to invest the two arias from Mefistofele with a wealth of shading and expressive detail that he does not always lavish on his pieces. A very ambitious diminuendo on the words "sacro mister" near the beginning of "Dai campi, dai prati" gives him no trouble, but in these arias we notice for the first time that he is uncomfortable on the F, top line, if the vowel is an "a", which has suddenly become too open and wooden sounding. In later records he has corrected this fault. The vulgar "alternative" ending to "Giunto sul passo estremo" was, unfortunately, a variant hallowed by tradition (McCormack sings it much better.)
We listen to him in Tannhäuser with the greatest interest, as this was probably his most successful role after Lohengrin. In the "Hymn to Venus" he sings rather fast but brilliantly, with near-perfect accuracy in the difficult intervals. How beautifully he sings the "Rome Narration," often a wearisome trudge through tuneless pages in the hands of less musical and imaginative tenors. With Viñas the music seems perfectly written for the voice. He employs a hauntingly beautiful dark and doleful tone for the remorseful passages, brightening when he sings of Elisabeth. The Narration comes to a thrilling climax with the Pope's sentence.
Viñas may have been invited specially to Milan in 1912 to make his last series of recordings; now in his 50th year, the great singer is still in magnificent voice and Fonotipia are recording him nearer again, so the tones pour out with splendor. The prayer "O Padre santo" from Rienzi can surely never have been sung better than in this triumphant recording, showing off the instrumental perfection of Viñas's line and his warm, pleading tone rising easily to high notes that are incorporated into the line and never unduly stressed. The high tessitura of Chapí's "Flores purisimas" is surmounted with elegant ease. It is a pity that he opts for an unwritten high-note ending in Mascagni's lovely "Serenata" for this rather spoils the stornello character of the piece. Viñas is at his brilliant best in Tirindelli's "O Primavera" and Lorenzo Filiasi's "In riva al mare." In emulation of G & T, Fonotipia had–apparently in 1907–embarked on a music-publishing venture, publishing the sheet music of songs by Leoncavallo, Giordano, Filiasi, Paul Vidal, and Ernest Reyer, together with some piano compositions by Waldteufel and the enticing march "Alabama" by Elsa Gregori. The idea may have been for all the songs then to be recorded by some Fonotipia star, but this did not always come about (though Amedeo Bassi recorded Giordano's "Canzone guerresca" just as Caruso had recorded Leoncavallo's "Mattinata" for G & T). Two of the Neapolitan-composer Lorenzo Filiasi's earlier songs had been dedicated to Bonci and Zenatello: he had more luck with Viñas, who recorded "In riva al mare," dedicated to him, a pleasant enough song sung rather well with a ringing high B flat in the last phrase. I can find no evidence that the sheet music of this song was ever published by Fonotipia.
In conclusion, the main importance of Viñas's recorded legacy lies in the records from Lohengrin, in which he was always highly regarded. These lovely and thrilling records will repay close study with the score in hand, and I do hope that young singers will be able to hear them. However, all the other Wagnerian excerpts, even from the operas that he never sang on the stage, also illustrate how the beauty of the music is fully realized only by the kind of elegant, aristocratic, Italianate style of singing that Viñas brings to it. Later tenors such as Pertile, whose most beautiful records are also from Lohengrin, tried for this style but did not boast the flawless technique and radiant tones of Viñas. During my lifetime of opera-going we have lost the habit of performing Wagner's operas in translation, but this seems to me a symptom of decadence: we no longer listen to the words. Another custom to have disappeared from our opera houses is that of encores: Lustig and Williams quote a Madrid newspaper, ABC, revealing that in Lohengrin in 1911, after Lohengrin's Narration "... there was so much applause that he had to repeat it." No doubt this happened elsewhere, too. The Mapleson cylinders have demonstrated that as late as 1903 at the Metropolitan, New York, audiences would interrupt the music by applauding after the "arias" in Wagner's operas, even in Siegfried. This particular custom is, perhaps, better not revived.
©Michael Aspinall, 2006
This essay could not have been written without reference to the definitive article "Francisco Viñas" by Larry Lustig and Clifford Williams, which includes a complete chronology and discography, in the Record Collector, Vol. 34 Nos. 5,6,7, July 1989.
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Damage to your property or equipment can result in big losses like ruined supplies or lost income. The cost to your business can be more than the expense of repairs. We offer plans that protect you.
Contact Lydia Umlandt at Nationwide for your free quote. Call her at 301-474-4111 x 2134 or send her an email.
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The Unlawful Internet Gambling Enforcement Act ("UIGEA" or "Act") prohibits anyone in the business of betting or wagering (as defined by the Act) from knowingly accepting payments in connection with unlawful Internet gambling, including payments made through credit cards, electronic funds transfers, and checks. "Unlawful Internet gambling" means placing, receiving, or otherwise knowingly transmitting a bet or wager by any means which involves the use, at least in part, of Internet gambling where such bet or wager is initiated, received, or otherwise made. A "restriction transaction" is any transaction in which a person accepts credit, funds, instruments or other proceeds from another person in connection with unlawful Internet gambling. Designated payment systems covered by the Act are (i) automated clearing house (ACH) systems, (ii) card systems, (iii) check collection systems, (iv) money transmitting businesses, and (v) wire transfer systems.
The Department of Treasury and the Federal Reserve Board have issued a joint final rule, Regulation GG, to implement the Act. Regulation GG requires certain participants in payment systems that could be used for unlawful Internet gambling to have policies and procedures reasonably designed to identify and block or otherwise prevent or prohibit the processing of restricted transactions.
The Department of Treasury and the Federal Reserve Board require all banks to notify our business customers of this regulation. In accordance with the requirements of the Unlawful Internet Gambling Enforcement Act of 2006 and Regulation GG, we are required to inform you that restricted transactions as described above are prohibited from being processed through any DC Credit Union account or relationship.
Please contact us at 877-784-5551 regarding any questions about this requirement.


Saturdays | March 16 & 23 at 7:30 p.m.
Sundays | March 17 & 24 at 2:00 p.m.
Thursday | March 21 at 7:30 p.m.
In a small town, not too long ago, a school teacher is arrested for teaching his students Darwin's theory of evolution. The fierce trial quickly gains national attention and is fueled with more intensity when a former presidential candidate and famous evangelist takes the prosecutor position. With betrayal and treachery at every turn, the case takes on a life of its own.
The show originated from the events of the famous Scopes Monkey trial of 1925 in rural Tennessee, though the playwright intended to present a story of a trial that could be happening anytime, anywhere, and to anyone.
*To schedule a school performance please contact the box office.
The White Theatre at The J is an accessible facility - we make every effort to provide an enjoyable experience for all of our patrons. Assisted Listening devices will be available for all performances. Open Captioning will be available at the March 23rd & 24th performances of Inherit the Wind. Should you need any assistance, please do not hesitate to speak to a staff member or a volunteer.
The White Theatre has received special permission from the estates of Jerome Lawrence and Robert E. Lee to present this classic and relevant play about the freedom of thought, the right to knowledge, the fight for moral superiority, and vanquishing bigotry with a gender-, race-, and disability-neutral cast. Actors and audiences alike will be challenged to see past race and gender to the basic humanity within each of these characters. We look forward to a thoughtful and dialogue-provoking production that reflects our diverse community.


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Long-Term Impact of Coronary Artery Bypass Graft Surgery (CABG) Report Cards on CABG Mortality and Provider Market Share and Volume
by Shukla, Mahesh, Dr.P.H. The George Washington University. 2013: 187 pages; 3592997.
Factors Influencing Health-Related Quality of Life Following Coronary Artery Bypass
by Boyd, Janet Schoene, Ph.D. George Mason University. 2011: 128 pages; 3455381.
Coronary artery bypass grafting, complications, and cognitive function change
by Bai, Yan, M.S.N. California State University, Long Beach. 2012: 89 pages; 1520890.
Women and Coronary Artery Disease
by Stancell-Smith, Gwendolyn Y., D.N.P. Walden University. 2017: 80 pages; 10257830.
Association of Critical Oxygen Delivery During Moderate, Mild and Normothermic Cardiopulmonary Bypass and Neurologic Outcomes in Aortic Arch Surgery with Deep Hypothermia Circulatory Arrest
by Garrison, Lawrence, Ph.D. Grand Canyon University. 2020: 142 pages; 27833094.
Fatalism and its role in post cardiac surgery depression
by Trainor-O'Malley, Peggy Anne, Ed.D. Teachers College, Columbia University. 2015: 121 pages; 3706540.
Risk perception, psychological well-being and health-promoting behaviors in persons informed of a coronary artery calcium score
by Johnson, Jennie E., Ph.D. Loyola University Chicago. 2012: 246 pages; 3509526.
Mechanism of dopamine-mediated activation of BK channels in human coronary artery smooth muscle cells
by Natarajan, Aruna Ramachandran, Ph.D. Georgetown University. 2008: 198 pages; 3339340.
The immunological role of recombinant humanized cobra venom factor in mediating myocardial ischemia-reperfusion injuries
by Gorsuch, William Brian, M.S. University of Nebraska at Kearney. 2008: 70 pages; 1461056.
Full Text - PDF (13.7 MB)
The role of B cells and alloantibody in chronic cardiac allograft rejection
by Wehner, Jennifer Rose, Ph.D. The Johns Hopkins University. 2010: 139 pages; 3410191.
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Cardiac Rehabilitation and Readmission Rates
by Duggan, AnneMarie, D.N.P. Carlow University. 2020: 52 pages; 28022989.
Depression and coronary heart disease: Improving patient outcomes in outpatient cardiology practice
by Lochner, Mary Beth, D.N.P. The University of Arizona. 2011: 169 pages; 3457288.
Biopsychosocial-spiritual factors impacting African American patients' cardiac rehabilitation referral and participation
by Koehler, Aubry Nelson, Ph.D. East Carolina University. 2015: 267 pages; 3705611.
Postoperatives Outcome nach offener Herzoperation mit begleitender Amputation des linken Vorhofohres zur Thrombembolieprophylaxe bei Patienten mit Vorhofflimmern: Eine retrospektive Studie
by Haller, Elisabeth, Ph.D. Bayerische Julius-Maximilians-Universitaet Wuerzburg (Germany). 2017: 94 pages; 10990335.
Exercise Prescription for Cardiac Rehabilitation: A Guide for Clinicians
by Rocha, Kara L., M.S. California State University, Long Beach. 2018: 58 pages; 10974777.
The best practice guideline for early detection and treatment of heart disease in asymptomatic adults with a family history of premature coronary artery disease
by Huston, Stephanie Brooke, D.N.P. University of South Carolina. 2012: 184 pages; 3523118.
Spontaneous Coronary Artery Dissection (SCAD): Utility of Echocardiography
by Tweet, Marysia Susan, M.S. College of Medicine - Mayo Clinic. 2020: 41 pages; 28027192.
The normal range of the leukocyte count: Implications for surveillance of occupational and environmental exposure and the practice of preventive medicine
by Cropper, Charles Austin, M.P.H. The University of Texas School of Public Health. 2008: 55 pages; 1450272.
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Three-dimensional finite element modeling of blood flow in the coronary arteries
by Kim, Hyun Jin, Ph.D. Stanford University. 2009: 231 pages; 3364503.
Effects of music -assisted relaxation and imagery (MARI) on health -related outcomes in cardiac rehabilitation: Follow-up study
by Mandel, Susan E., Ph.D. Union Institute and University. 2007: 212 pages; 3280283.
Simulating heart valve mechanical behavior for planning surgical repair
by Hammer, Peter E., Ph.D. Tufts University. 2011: 123 pages; 3443985.
Fast physics-based simulation of vascular surgery
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Initiation of Restrictive Red Blood Cell Transfusion Protocol in Postoperative Adult Cardiac Surgery Patients
by Rhone, Rebecca Eileen, D.N.P. Grand Canyon University. 2020: 103 pages; 28089793.
A Nano-composite for Cardiovascular Tissue Engineering
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by Puglisi, Janis Panzenhagen, Ph.D. The University of North Carolina at Greensboro. 2014: 229 pages; 3624222.
Quality Improvement Project: Cardiac Risk Stratification Prior to Non-Cardiac Surgery
by Drexler, Samona Smith, D.N.P. University of Louisiana at Lafayette. 2016: 68 pages; 10163292.
3D Modeling and Stress Analyses for Coronary Arteries with Multiple Plaque Types
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Sarma is in Somerville; a sleepy suburban area of Boston and you could quite easily walk past it and never know it is there. Once you have been however, you'll never forget the evocative and complex tastes and smells, which whisk you straight back to a spice market in the Mediterranean.
The menu at Sarma is one of small plates, so you get to taste lots of different dishes. There are also dishes brought round during dinner (soft shell crab and fried chicken, two exemplary examples brought round during our meal and these seem to change with the season).
We ordered eight dishes to start between four, and that finished us off. Dare I say it, but Brussels Sprout Bravas with chorizo was a highlight, as was black orzo paella with squid and octopus. The Greek yogurt biscuits with jalapeno-whipped feta, smoked ham and honey was a cacophony of taste but a little unbalanced on the spice side for me. Likewise the sweet potato latke with jalapeno labne, rhubarb, lime and scallion (spring onion), which could have done with a touch more spice.
The cocktails were a great addition to the meal, with it being difficult to pair a wine to such a mix of different flavour profiles. Mr. B had an Oaxacan Divorce with Mezcal, Citrus, Tea and Vermouth and I took favour to the Illyrian King's Cocktail, which contained grilled lemon vodka, Greek mountain tea and salers.
All in all a great variety of tastes and an explosion of flavour from this hidden gem.
Located in central Boston and hidden in a side street, Erbaluce is as understated outside as it is inside. It's almost like walking into someone's living room and in fact the service feels just as warm. The focus of the restaurant is Northern Italian food using local produce, high quality ingredients and a distinct lack of butter and cream. You might think this is an odd thing to mention as butter and cream is more characteristically French, however in America, Italian food is generally swimming in it.
We started our meal with some amazing homemade breadsticks, sourdough bread and white bean dip. The dip tasted so creamy and luxurious that we assumed it had butter or cream but it was just white beans and olive oil. This sounds simple but the dish was delicious and I asked for the recipe so will be trying it out in a few days.
For starters we shared some San Daniele Prosciutto, which was complimented with black cherries. My Italian husband said he preferred this to the usual melon, for me, whilst I liked the idea, the cherries where not as sweet and I would have preferred more of a sweet salt contrast.
For main, Mr. B had one of the specials as his Primi, which was Tagliatelle with Rabbit. He loved the fresh pasta and the rabbit, although would have preferred a more sauce-based ragu. I had an original carbonara, which is a no cream dish. Real carbonara is a mix of egg yolk, Parmesan, Pecorino and Pancetta. This one had a special twist of a duck yolk and boar pancetta and was absolutely lip smacking delicious.
For main we had the wild boar chop, which was expensive and not well done, i.e. the fat hadn't been rendered properly. At $45 for that one dish, it was a disappointing end to a great and authentic meal. The lavender meringue and chocolate truffles as part of the house free desert made up for it however.
All in all, a great restaurant, especially by Boston Italian American standards.
This is a bar/lounge, with a beautiful open space and some really interesting artwork on the wall (all for sale of course). There are two menus available for brunch, a small plates menu with eclectic dishes from around the world (including momo's and gyoza's) and a brunch menu with more typical dishes like French toast and eggs benedict. The best dishes by far where in the small tasters, although there was a large variation in quality from one to the other. The Chinese sausage bun and egg yolk ravioli were the most interesting and well executed but the food in general wasn't overwhelming. The cocktails were great, personal favourite was the yuzu Bellini, and so I suspect that I will be frequenting this more for the bar than brunch.
All in all, great space and bar, if you get really hungry the go for the small bites.
This is one of the best meals I have had in the USA and I would actually put it in my top 10 globally, so I thought it was a good review to start off with.
This was for a meal at which my family and my better halves would meet for the first time and so needed to be special, thus needless to say; I did a lot of research into the restaurant style, chef's and customer reviews before booking. The restaurant did not fail at any level. Service, food taste and execution, wine list (if a little heady) and atmosphere were all exemplary, with some outstanding and all time favourite dishes to add to my foodie repertoire.
We were a group of nine and thus had to opt for a tasting menu. We opted for the 5-course menu, within this the diner picks an antipasto, a main course and a desert and the table shares two pasta dishes.
Pre the antipasto dish arriving the waiter bought over some tasters from the chef, three each to be precise. The best was a chickpea fritter with truffle, known as a Panelle in Italian and originally from Sicily. It sounds like a simple dish, but the execution was outstanding given how difficult it is to create a fried product and still retain the delicate hint of truffle. This dish was so good; a request was put in immediately for me to attempt this at home.
Next was the individually selected antipasto, which for me was the Truffled Beef Tartare with crunchy Salsify Crisps. (See photo). Again a delicious dish, which was perfectly, executed, with meat, which melted in the mouth, a delicate hand with the truffle and a nice textural addition with the salsify crisps. I could have eaten this dish twice over and certainly had food envy from those that had chosen the sashimi platter, which whilst also beautiful (see photo), didn't quite have the same impact.
Next were the two pastas, which for the table we choose lobster Pansoti (ravioli) and Orecchiette with Lamb Neck Ragu. I thought this would be a really filling part of the meal, but it was portioned well, with first 3 ravioli each and then a spoonful of the ragu. I love lobster and so for me this was the star pasta dish, but for the other side of the family who are Italian, the ragu was said to be better than their mothers (shhhhhhhh…). We asked the chef for the recipe, so I could be a good Italian wife and cook it when I go home, but they wouldn't part with it and suggested we wait for the recipe book to come out in a few months (the only disappointing part of the meal), the ragu we were told had been cooked for seven hours, it was succulent and juicy, with a depth beyond any ragu I have ever tasted.
For my secondi I choose the Poached Lobster, as I wanted to keep some room for desert. The lobster was a small light dish, combined with artichoke, hazelnut, basil and tangerine. It was a beautifully light main, delicately put together.
For desert we were treated to the butterscotch semi freddo, the brown butter panna cotta and the melanzane e cioccolato, all amazing. Who would have known that sheep's milk cheese and chocolate, eggplant, chocolate and balsamic vinegar all on crispy pastry would go together. Sounds crazy but it works. The best however was yet to come. The petit fours were amazing, including champagne vinegar caramels in an edible wrapper, a decadent extra virgin olive oil gelato lollipop topped with chocolate and toasted breadcrumbs and a classic bomboloni, a light Italian doughnut filled with vanilla cream.
All in all, this restaurant is the ultimate expression of Italian indulgence and refinement. Buonissimo!


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Home / Movies / Breakthrough Cinematic Style In "WILD"
Breakthrough Cinematic Style In "WILD"
B&L Magazine January 25, 2015 Movies
With zero outdoors experience, a monstrously heavy backpack and fueled by little but her own ragged will, bestselling author Cheryl Strayed set out to hike the PCT, the longest, toughest and wildest through-trail in America, completely alone, for 94 days. From such journey comes one of the most inspirational books published, "Wild: From Lost to Found on the Pacific Crest Trail" – now translated to screen, produced and starred by one of the world's most influential women, Reese Witherspoon.
The New York Times Book Review called Strayes' work a "literary and human triumph" and The Boston Globe said Wild is "an addictive, gorgeous book that not only entertains, but leaves us the better for having read it."
"It was essential to us to maintain the purity of Cheryl's book," says Reese's producing partner Bruna Papandrea. "The book was so popular because whether you're from a broken family or you've lost someone close to you or you've struggled with hardships, this is a story that reminds us we can save ourselves. Cheryl gets her life back because she chooses to walk back into the world. We wanted to tell that story."
"Choosing a film to direct is choosing your lifestyle. When I get involved on a film, I want to wake up in the morning with a smile on my face and happy to do my job. The way to make that happen is to choose the right project. Funny enough, I don't think that I chose WILD. WILD chose me. That's how privileged I feel to be part of the WILD team and like everyone else, how lucky I felt to be at the service of an amazing story to tell the world: Cheryl Strayed's story that humbly reminds us, despite how tough and cruel life can be, we can always put ourselves in the way of the beauty. 'Yeah right', you're probably thinking. 'Double f*cking yeah right', I'm telling you!" says director Jean-Marc Vallée.
Director Vallée works again with "Dallas Buyers Club" cinematographer Yves Bélanger, the two brought their distinctively minimalist cinematic style – utilizing hand-held digital cameras and natural light – for the first time to a wilderness setting. These raw, unadorned visuals would later be woven into a tapestry of present-tense encounters – human and otherwise – with ghostly flashbacks and stream of consciousness to recreate a story that heads inward even as it explores the outdoors.
There was little doubt that the role would bring with it extreme athletic demands as Cheryl navigates across rock, river, ice and snow. "If I would have been a person who didn't love the outdoors, this role would have been impossible," says Reese. "As it was, it was extremely challenging on every level, and far more physically challenging than I ever anticipated. There was climbing up the side of a mountain and balancing in river crossings and marching through chest-deep snow and falling into a freezing river. I had no idea it was going to be as hard as it truly was. But it was also very, very rewarding."
The heart-stirring vistas rife throughout the shoot were a constant inspiration for Witherspoon, and a reminder of why the untouched spaces of wilderness called so strongly to Cheryl, even at rock bottom. "It fills you up," the actress says. "To see the incredible beauty of our world makes you believe everything might really be OK. I think that's how Cheryl came to feel."
The way Jean-Marc Vallée shoots, using hand-held digital cameras that move continuously through 360 degrees, was also a revelation for Witherspoon and sparked even more risk-taking in her performance. "I've never done anything like it before. It's very unorthodox," she comments. "As an actor, it helps frees you of old patterns. You feel like you're always in the moment and anything is possible. We could be in a wide shot one minute and a close-up the next, just as I might be sobbing one moment and ecstatic the next. It was a really exciting kind of process."
"The boots and backpack became a part of me," Witherspoon notes. "The backpack came to feel like it was my arm or leg. Sometimes I would forget between scenes it was even on my body. Sometimes the prop master would have to say 'you can take it off.' As Cheryl says in her book, there's something amazing about realizing that everything you really need in life you could carry on your back. It is so liberating. It's a beautiful idea."
Throughout production, Witherspoon's feet were chewed up, her body left aching and, much like Cheryl had, she passed through some dark and fearsome interior places but was constantly invigorated by the hard-won transformation she was projecting. "It was never easy, but it was the kind of thing where when you get to the end of the day, you just feel like you've accomplished something," she concludes. "I felt so lucky to be able to tell a story like Cheryl's."
Take a moment for one meaningful journey when "Wild" opens in cinemas nationwide on February 4 from 20th Century Fox to be distributed by Warner Bros.


This morning, the Duchess of Cambridge visited the Blessed Sacrament School in London to view the progress of their M-PACT Plus project. The M-PACT project (Moving Parents And Children Together) works with school children affected by parent's addiction or drug use. The program is a combination of the works of the Royal Foundation, Comic Relief, Place2Be, and Action on Addiction – the last two being patronages Kate has worked very closely with. Last year, the Duchess of Cambridge launched the program in Manchester.
Kate arrived at the Islington school early this morning to the cheers of many little ones. Upon arrival, the Duchess greeted the young students at the school and received a beautiful posy. From there, she met with project directors and school administrators to discuss the program.
At the Blessed Sacrament School, the Duchess of Cambridge viewed a private counselling session, met with the M-PACT Plus practitioners, supporters, and community members, before listening to speeches on the progress of the program. She toured the school's facilities and met with many teachers and staff members.
The Duchess of Cambridge looked perfectly cheery in a bright coral dress by GOAT. Called the "Scarlet" dress, it features a pencil skirt, pleated waistline and matching belt. The dress is most likely the style worn in Scotland earlier this year.
She accessorized with her new Jimmy Choo "Gilbert" pumps and her LK Bennett "Natalie" clutch. Kate wore her beloved Cartier Ballon de Bleu watch on her wrist. She also chose to wear what appear to be new pearl drop dangle earrings – we will keep you updated on those!
Kate chose to wear her hair in loose waves pinned half-up. Lately, this has become a favored look for the Duchess. What do you think – enough change from her glossy blowout, or should she get more creative?
The Duchess of Cambridge's patronages with Place2Be and Action on Addiction are very close to her heart. She clearly loves working with children and making a difference in their lives. The M-PACT Plus Program is a great example of the efforts of the Royal Foundation collaborating with Kate's patronages to make a bigger impact.


Most Excellent Shore Diving Reviews of D & C Daughenbaugh!
This is an excellent site to dive! Entry at High Tide is highly recommended because it is a VERY rocky entry through the water out to at least 50-60 yards. Enter on the beach side of the pier. Use your snorkel as far as possible out to the end of the pier to help preserve your air and maximize your bottom time. Once you get out by the end of the pier, you will WANT to stay out there as long as you can because there is so much to see. We saw a small reef shark which was really neat. We '2nd' the other reviews listed! We will DEFINITELY dive this site again!
We really didn't enjoy this dive much at all. It was quite disappointing because the vis was horrible and we really just didn't see anything that interesting. It required a very long swim out to where there was any significant depth or life, and even then we really just didn't see anything that interesting. We would not recommend this site.
We REALLY enjoyed this dive! The entry is not nearly as difficult as we thought it might be. The most challenging part was FINDING the correct location. There are TWO different Makena Road entrances off of Wailea Alanui ... take the SECOND Makena Road. While on the dive, we saw 4-5 turtles that were very friendly & curious ... the last one we saw as we were swimming back into the narrow entry point. It was coming out of the cove. We also saw some beautiful fish and coral. This was a relatively easy and very rewarding dive. We recommend it!


Happy Green Robot is a retro story with a unique drawing game. Draw a way for Happy Green Robot, he must save the princess!
Do not know how to play Happy Green Robot game?
No walkthrough for the game Happy Green Robot, please advise.


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Chartered Accountants, Registered Auditors, Tax, Business Advisors
office@tyas.com
5 East Park, Crawley, West Sussex, RH10 6AN
Thursday, 19 September 2019 23:01
Loan charge review launched
The Treasury has announced that Sir Amyas Morse, the former Comptroller and Auditor General and Chief Executive of the National Audit Office (NAO), will lead an independent review of the loan charge. This announcement gives some hope to many people affected by the contentious loan charge. This review will consider concerns raised by MPs and campaigners lobbying for the withdrawal of the loan charge.
The review will examine whether the loan charge is an appropriate way of dealing with loans schemes (also known as disguised remuneration tax avoidance schemes) that have been used by a number of employers and individuals in order to avoid paying Income Tax and National Insurance contributions (NICs). HMRC has never approved these schemes and has always said they are ineffective.
HMRC has confirmed that whilst the review is under way, the Loan Charge remains in force. As part of this announcement, HMRC has confirmed that, if you are not settling your disguised remuneration scheme, you will still need to complete an additional information return by 30 September 2019. If you fail to do so HMRC reserves the right to charge penalties.
HM Treasury has asked Sir Amyas Morse to report back with his recommendations by mid-November. This will give taxpayers who are liable to the charge time to prepare ahead of the planned January 2020 deadline for making payment.
More in this category: « Correcting VAT liability errors Tax Diary October/November 2019 »
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Chartered Accountants in England and Wales
Email: office@tyas.com
A list of directors is available at the registered address. Sterling House, 27 Hatchlands Road, Redhill, Surrey, RH1 6RW.
©Tyas & Company Chartered Accountants 2018. Tyas & Company is a division of GBJ Financial Limited. . All Rights Reserved.
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