Driven by passion and calling for music, Renato Palumbo devoted himself soon to the study of singing, orchestra and chorus conducting, piano and composition, together with a passionate interest in all the aspects of opera theatre till his debut on the podium with Il Trovatore when he was only 19.
From that moment on, Renato Palumbo embarked on a great career- interpreter of a huge repertoire, guest of the most important international theatres, such as Teatro alla Scala in Milan, Opéra Bastille in Paris, Covent Garden in London, Liceu de Barcelona, Washington National Opera, Chicago Lyric Opera, Berlin Deutsche Oper, Tokio, Bilbao,Carlo Felice in Genoa, Teatro Lirico in Cagliari, Teatro Regio in Turin and in Parma, Maggio Musicale in Florence, La Fenice in Venice, San Carlo in Naples, Martina Franca Festival, Rossini Opera Festival and the Arena in Verona. In 2009, conducting Turandot, he also inaugurated the new Teatro Petruzzelli in Bari.
Renato Palumbo's vocation concerns in a non-dogmatic but strict attitude of absolute respect for the score and focuses its attention to the aspect of the dramaturgy of melodrama and to its evolution in the whole European panorama, from Rossini to Marschner, from Donizetti and Bellini to Verdi, Meyerbeer, Puccini and Giordano. With the same spirit he devotes himself to the symphonic music, from Viennese classicism to Mahler and Hindemith, passing through the big romantic and pre-romantic German repertoire, Dvoràk, Grieg and Tchaikovsky.
Another remarkable peculiarity of Renato Palumbo as a conductor is the interest in Melodrama.
He has been decorated Cavaliere della Repubblica Italiana for his artistic merits.
Acclaimed for his spectacular scenery sets as well as for his special way to use the lights, Hugo de Ana is a regular guest at world's most prestigious opera houses. His career started as Technical Director and Executive Producer at the Teatro Colón in Buenos Aires, staging operas such as Turandot, Werther, Don Carlo, Cavalleria Rusticana, Pagliacci, Medea and The Rake's Progress. Then he moved to Santiago de Chile where he staged Roméo et Juliette, Lucrezia Borgia, Don Carlos and Les contes d'Hoffmann receiving for three consecutive years the critics' price as the best director.
Soon he started his collaboration with Teatro de la Zarzuela, in Madrid, and the Liceu Opera Theatre in Barcelona, where he signed works such as Armida, Andrea Chénier, Die Walküre, La Bohème, Ermione, and Otello. He made his Italian debut in 1990 staging Mosè in Egitto in Bologna. Since that moment he started to collaborate with the most important Italian theatres: Teatro La Scala in Milan (Lucrezia Borgia, Samson et Dalila, La forza del destino and Il Trovatore), Teatro Regio in Turin (Manon Lescaut), Teatro San Carlo in Naples (Mosè in Egitto), Teatro dell'Opera in Rome (Ermione, Werther, Respighi's Marie Victoire, La Fiamma, Il Barbiere di Siviglia, Mascagni's Iris), Arena di Verona (Nabucco, Les contes d'Hoffman), Rossini Opera Festival (Semiramide), Teatro la Fenice in Venice (Carmen), as well as the theatres of Genoa, Catania and Parma. Hugo de Ana staged La Sonnambula at Santander's International Festival during the summer 2007.
He worked also with the Deutsche Opera Berlin (Don Carlos), the Covent Garden in London (Lucrezia Borgia, Don Carlos), Seville Opera House (Aida), and Tel Aviv Opera house (Tosca). He signed also, amongst the others, productions as Le Cid in Seville and Washington, Simon Boccanegra in Parma, Turandot, L′elisir d′amore and Norma in Tokyo. completing the Faust opera cycle also including Berlioz's La damnation de Faust and Schumann's Szenen aus Goethes Faust. During 2008 and 2009, he made a number of new productions: La Favorita in Chile, Medea in Turin, Aida in Padua, Traviata in Maribor. His latest work has been Lehár's La Vedova Allegra in Padua. He gained great success directing Senso for the opening night season 2011 at the Teatro Massimo in Palermo.
In 1997, he was awarded the Abbiati Prize, for his stage direction of Iris, Turandot and Les contes d'Hoffman as well as in 2001 thanks his stage direction of Don Carlo at the Teatro Real in Madrid as the best stage direction, scenography and costume design. In 2002 he won the Opera Award for La forza del destino and two years later for Gounod's Faust.
From 1974 to 1979, Vinicio Cheli worked at the "Maggio Musicale Fiorentino" . Since 1979, he joined the "Piccolo Teatro" of Milan and became the lighting collaborator of Giorgio Strehler, making the entire production of Piccolo until 1989. Since 1987, for four years, he worked with the "Rossini Opera Festival" to produce shows with several directors. Since 1989, he has worked at the Salzburg Festival, Theatre Champs-Elysees, Chalet Theatre in Paris, then responded to the La Scala in Milan. Re-collaborated for some years with the Teatro La Fenice in Venice.
The 90s of the last century saw him work in The Opera Bastille, National Theatre of Prague, Festival of Aix En Provance, Ravenna Festival, the Opera of Monte Carlo, Opera of Geneva, Maggio Musicale Fiorentino, Festival Baroque de Versailles, Opera Garnier in Paris, Easter Festival in Salzburg, Teatro Liceu in Barcelona, Atticus Theater in Athens, Ginza Saison Theater in Tokyo, Arena di Verona, Venice Biennale Theatre section, Theater of the axes of Brussels, Amsterdam Opera, Teatro Comunale di Bologna, Teatro dell'Opera in Rome, National Theatre of Catalunya in Barcelona, Opera of Toulouse, Teatro Real Madrid, Metropolitan in New York. He has collaborated with P. L. Pizzi, Ezio Frigerio, Hugo de Ana, KM Gruber, Henning Brockaus, Claudio Abbado, Riccardo Muti, to name just a few.
In the new millennium, Vinicio Cheli continued to expand his collaboration with Ezio Frigerio, Hugo de Ana, F. Zeffirelli, V. Gergiev, Claudio Abbado, Nicola Joel, Quirino Conti, Mario Gas, in productions covering a vast realm of the opera repertoire. He set up La donna del lago of Rossini directed by Luis Pasqual with scenes by Ezio Frigerio and costumes by Franca Squarciapino; Boris Godunov of Teatro Regio di Torinon directed by Andrei Konchalovsky. At the beginning of 2011, he worked in Senso, a new opera of Teatro Massimo di Palermo directed, scenes and costumes by Hugo de Ana. Vinicio Cheli also taught theatrical lighting at the New Academy of Fine Arts in Milan and at the Professional School of La Scala.
In thirty years of successful career, Sergio Metalli has realized more than 450 productions and worked in the greatest theatres throughout the world.
The collaboration with NCPA began four years ago, with artistic international successes: Der Fliegende Holländer, Un Ballo in Maschera, Lohengrin, Otello, Nabucco, VIVA VERDI: Giuseppe Verdi Bicentennial Celebration Gala, Il Trovatore, Norma, William Tell, Visitors on the Snow Mountain, Aida, Simon Boccanegra, Samson et Dalila, The Beautiful Blue Danube - The Story of Johann Strauss' 1872 U.S. Tour, Rusalka and Macbeth.
Marco Pelle was born and raised in Italy. He started his training in Vicenza, Italy, under the direction of Maria Berica Dalla Vecchia before entering the "Academie de Danse Classique Grace Kellly", in Montecarlo, Monaco, under the direction of famous Maitre de Ballet, Marika Besobrasova. He moved to New York in 1997, where he trained, among the others, with Merce Cunningham, François Perron and Diana Byer.
Awarded with the prestigious "City of Venice Award" in 2010, Marco Pelle has worked extensively in the opera field, choreographing such productions as Aida for the Baalbeck Festival, Lebanon, Carmen for Teatro Regio in Parma, Macbeth for the Teatro Pergolesi in Jesi, Italy, among the others.
As both Choreographer and Assistant Director, Marco Pelle has worked in Mario Corradi's productions of Rigoletto, Un Ballo in Maschera, Faust and Renata Scotto's production of Sonnambula (2009-2010 and 2012).
Marco Pelle has also extensively collaborated with Italian Cultural Institutes around the world, including Chile, Argentina, the U.S. and Canada, among the others.
His first play Princes and Principles was sponsored by the Italian Cultural Institute of Washington and performed for three weeks in Washington before touring throughout Italy.
In 2010, The Italian Cultural Institute of New York promoted a three-night event/retrospective of his work, called "Random Movements", with an exhibition of his costume sketches and three sold-out performances by New York Theatre Ballet.
As resident choreographer of the prestigious New York Theatre Ballet, Marco Pelle has created several works for the company, many of which have become regulars of the company's repertoire. His choreography Solitude (music by his brother, Federico Pelle), was premiered in April 2003 at Florence Gould Hall in New York and was performed in Italy at the famous Teatro Olimpico in Vicenza.
As a guest choreographer, Marco Pelle has created several works for important theatres. In 2010 he had the honour to choreograph a new piece,"Allegro.Moderato", for Letizia Giuliani, Prima Ballerina at Maggio Fiorentino.
In 2011 he created "L'Uno di Due" exclusively for Beatrice Carbone, Prima Ballerina of La Scala Theatre, Milan, and, in 2012, he choreographed "The 5 elements" for Ballet Metropolitano of Buenos Aires, Argentina, which opened the Mozarteum Festival.
Having studied classic and modern dance in the famous Teatro alla Scala in Milan, Alessandra Panzavolta continued her study in and graduated from Royal Academy of Dance in London under the artistic direction of Ms. Margot Fonteyn. While studying music, she also obtained the Bachlor's Degree in foreign language and the humanities. She became a solo dancer when she was 15, and debuted in Tavolo Verde of Joss in Teatro Filarmonico. She has performed in many events and toured in foreign countries in three years mainly including theatres in Italy and other European countries. In 1990, she was recommended by the Ministry of Cultural Heritage and Activities of Italy to perform as the dance representative of Italy in tours from Milan, Rome to Morocco, New York, Moscow and Tokyo. She started her career as a choreographer in Rome Opera House where she cooperated with such artists as Pistoni, North, Kokkos, Pieralli, Pizzi and Laganá. In 1995, she co-authored El Retablo di Maese Pedro and Il Cordovano in Reggio Emilia with Sagi, and re-staged Massenet's opera Werther in the same place. From 1996 to 1997, she was invited to attend the Rossini Opera Festival in Pesaro and Wexford Opera Festival, and directed Carmen for tour performance. In 1998, she participated in Macbeth directed by Riccardo Muti to celebrate the 220 years' inauguration of Teatro alla Scala. In 1999, she re-staged I Capuleti e i Montecchi for Politeama Theatre in Lecce and Il Barbiere di Siviglia and Le Nozze di Figaro under the cooperation with José Luis Castro and Maestranza Theatre in Siviglia. Between 1995 and 1999, she worked as the Artistic Director of Italy Professional Dance School and a sign language teacher in the mime and drama department of Universitá Cattolica in Milan. Since 2001, she has been the production director of Maestranza Theatre in Siviglia, and involved in direction and choreography. She recently worked in Teatro Olimpico in Vicenza, Teatro Real in Madrid, Teatro Comunale in Modena and Teatro La Fenice in Venice.
Working at the NCPA, SHANG Junrui has participated in the producing process of a series of operas such as Turandot, Carmen, La Traviata, Die Fledermaus, Un Ballo in Maschera, Les Contes d'Hoffmann, Samson et Dalila, Norma, Le Nozze di Figaro, Aida, Eugene Onegin, Andrea Chénier, Xi Shi, Visitors on the Snow Mountain, The Ballad of Canal, dramas A Doll's House, Returning Home on a Snowy Night, Peking Opera Red Cliff, music drama The Beautiful Blue Danube - The Story of Johann Strauss' 1872 U.S. Tour, etc.
JIAO Miao graduated from the Conducting Department at China Conservatory of Music where she studied under Professor WU Lingfen, a renowned Chinese conductor. Currently, she serves as the Assistant Conductor of NCPA Chorus and the Conductor of NCPA Youth Chamber Chorus conductor.
While at college, JIAO Miao participated in many master classes launched by Chinese and foreign experts and performed in France, Austria, Italy and other countries and regions multiple times. In addition, she also fully participated in the establishment of NCPA Chorus and Youth Chamber Chorus and attended the chorus rehearsals of such performances as Xi Shi, Carmen, La Traviata, and L'Elisir d'Amore in NCPA Opera Festival, NCPA August Chorus Festival, and large Music & Dance Epic Road to Revival. She has held a series of choral lectures in the Centre, which won her high comment from experts and audience.
Josif Gjipali, in arts Giuseppe Gipali, was born in Valona in Albania. He completed his musical education at the Academy in Tirana in Albania.
In 2003 he won a price at Placido Domingo's Operalia. In the same year he started his International career, performing at renowned opera stages.
He has performed several roles including Duca in Rigoletto in Bologna, Toronto, Milan (Teatro alla Scala), Marseille, San Francisco, San Diego, Munich (Bayerische Staatsoper, under the baton of Zubin Mehta), Vienna, Zurich; Riccardo in Un ballo in Maschera in Ferrara, Marseille, Opera Bastille Paris, Convent Garden London, Oviedo, Colon di Buenos Aires, Palermo, Berlin (Deutsche Oper), Tel-Aviv, Bologna; Alfredo in La traviata in Bologna, at the Arena di Verona, Teatro alla Scala Milan, Teatro di San Carlo Napoli; Foresto in Attila at the Teatro di San Carlo Napoli, La Scala Milan, Teatro dell'Opera Roma (conducted by Ricardo Muti), Marseille, Hamburg, Las Palmas; Manrico in Il trovatore at the Ravenna Festival, Lausanne, Marseille, Avignon, Liceu de Barcelona, Koeln; Adorno in Simon Boccanegra in Trieste, Bologna, Oviedo, Carlo Felice Genova; Rodolfo in Luisa Miller in Palermo, Lausanne, Carlo Felice Genova; Don Carlo at the Teatro dell'Opera in Rome, Bayerische Staatsoper Munich, Zurich, Deutsche Oper in Berlin, Torino, Vienna Staatsoper; I Masnadieri in Bologna; Cavaradossi in Tosca in Marseille, Teatro dell'Opera Roma, Palermo, Montecarlo, Torre del Lago; Edgardo in Lucia di Lammermoor in Palermo, Marseille; La Rondine in Toulouse, Monte Carlo.
Recent engagements include Madama Butterfly in Florence, Don Carlos in Bilbao, I due Foscari in Marseille, and Il trovatore in Tenerife. Among 2016 engagements, he has took part in Attila in Bologna, Lucia di Lammermoor in Parma, Piacenza, Reggio Emilia and Modena,and Macbeth in Avignone.
His past engagements include Il corsaro in Budapest, Nabucco at the NCPA in Beijing, and Madama Butterfly in Athens and Canada. His partecipation in the production Attila, for the opening night of the New Astana Theatre under the baton of Valery Gergiev, was such a great success that maestro wanted him for the same title at Mariinsky Theatre in St. Petersburg.
Barbara Haveman, born in Groningen, the Netherlands, passed her degree at the Maastricht School of Music in 1994. She took classes by Carlo Bergonzi, Renata Scotto and works actually with Catherine Green in New York. She is winner of the following international singing competitions: 1997 - Belvedere Competition in Vienna (third prize) and Concours International de Chant de Verviers (first prize), 1998 - Voci Verdiane in Busseto (first prize).
She has sung roles in La Vida Breve, La Traviata, A Streetcar Named Desire, Don Giovanni, Die Verkaufte Braut, LeNozze di Figaro, Un Ballo in Maschera, Tannhauser, Simon Boccanegra, King Kandaules, Jenufa, The Queen of Spades, Rusalka, Les Contes d'Hoffmann, Katia Kabanova, Eine Florentinische Tragodie, Ernani, Salomé, Cosi fan Tutte, Moise et Pharaon, Mefistofele, Hérodiade, Die Meistersinger von Nürnberg, La Bohème in Oldenburgische Staatstheater, De Vlaamse Opera, ROH Covent Garden, Volksoper Wien, Hamburg State Opera, Semperoper Dresden, Theater und Philharmonie Essen, Oper Frankfurt, Oper Koln, Deutsche Oper am Rhein Düsseldorf, Deutsche Oper Berlin, Netherlands Opera Amsterdam, Concertgebouw Amsterdam, Gran Teatre del Liceu Barcelona, Budapest National Opera, Israeli Opera Tel Aviv, etc.
Her recordings include L.v.Beethoven's 9th Symphony (Altus, Orchestre National de Lyon, conductor J. Markl), C. Nielsen's Maskerade (production of the Bregenz Festival, stage direction D. Pountney), R. Wagner's Die Meistersinger von Nürnberg (QuattroLive, Radio Filharmonisch Orkest Hilversum, conductor J. v. Zweden), and G. Verdi's Les Vêpres Siciliennes (Opus Arte, production of the Netherlands Opera Amsterdam, stage direction C. Loy, conductor P. Carignani).
She has performed in NCPA productions of Turandot, Tosca, Der Fliegende Hollaender, Nabucco, Un Ballo in Maschera, Pagliacci, Norma, Andrea Chenier, Tannhäuser and NCPA opera commission Rickshaw Boy.
Soprano SUN Xiuwei is Professor of Academy of Opera, Peking Univrsity. She studied with Professor GAO Zhilan and famous soprano Rita Orlandi-Malaspina in Milan, Italy. From 1994 to 1995, she won first prizes in six world class singing contests around the world within less than two years. In 1994, she began her opera career with her first singing engagement of G. Verdi's La Traviata at the Tokyo Opera House. She then sang in Norma, La Traviata, La Forza del Destino, Il Trovatore, Attila, Suor Angelica, Andrea Chenier, Il Corsaro, Macbeth, Turandot, Pagliacci, Requiem, Nabucco and so on. She also sang in Madama Butterfly by G. Puccini, and she has played more than three hundred performances of this opera around the world. She performed in opera houses in Roma, Bologna, Palermo, Trieste, Genova, Venice, Torre Di Lago, Catania in Italy, Berlin, Bonn and Carlsruhe in Germany, Nice in France; Zurich in Switzerland, Bilbao, Spain, Serbia, Washington, Los Angeles, Detroit, and Philadelphia in the United States. She worked with famous artists like Domingo, Gatti, and Nagano.
Ms. SUN has participated in the performance of NCPA opera films Nabucco with maestro Placido Domingo and Turandot with conductor Daniel Oren.
Since 1991, he has been the soloist of the Bolshoi Theatre in Moscow and a permanent guest of the Mariinsky Theatre in St. Petersburg.
Ernesto Petti, born 1986 in Salerno, started his studies under the guidance of Otello Visconti. After graduating from the "Accademia di Alto Perfezionamento Torre del Lago Puccini" , he continued his studies within the "Centre perfeccionamento Placido Domingo" in Valencia.
He did his very first operatic debut in 2009 as Eagro in Gluck's Orfeo ed Euridice at the Festival Valle d'Itria' in Martina Franca, followed by Dancairo in Carmen at the San Carlo Naples and did his first steps on opera stages in some other small parts, before making his debut as Giorgio Germont in La Traviata in Lecce in 2015.
During season 2015/2016, he debuted David il Rabbino in Mascagni's L'Amico Fritz in Piacenza staged by Leo Nucci and conducted by Donato Renzetti, in concerts sang excerpts of Nabucco and Macbeth, and in summer 2016 debuted at the Teatro Lirico Cagliari as Giorgio Germont.
In autumn 2016, he debuted with great success Renato in Un Ballo in Maschera (coproduction Piacenza, Ravenna, Ferrara), again staged by Leo Nucci and conducted by Donato Renzetti, as well as Orlando in Notte per me luminosa, Marco Betta's opera, presented in world premiere at the Teatro Comunale in Modena. And again sings Renato in Un Balloin Maschera at the Teatro Lirico in Sassari. In 2017, he is again busy with Notte per me luminosa, and will make his debuts as Enrico in Lucia di Lammermoor at the Teatro Petruzzelli in Bari, as well as Paolo in Simon Boccanegra in Piacenza. In 2018, his debut as Conte di Luna in Verdi's Il Trovatore is on schedule, furthermore La Traviata at the Opéra in Avignon/France, as well as a new production of Lucia di Lammermoor at the Theatre in Basel/Switzerland.
As a mezzo-soprano, her colourful voice and charismatic presence have given vigour to the Verdi roles of Amneris, Azucena, Fenena, Preziosilla, Mrs. Quickly, Ulrica, and Eboli, to the Wagner roles of Ortrud and Fricka, and to the Strauss roles of Klytämnestra and Herodias. She has also performed as Adalgisa in Norma, Santuzza in Cavalleria rusticana, Frugola, Zia Principessa and Zita in Puccini's Trittico, Princess of Bouillon in Adriana Lecouvreur, Blind Old Woman and Laura in Carmen, Dalila in Samson et Dadila, Donna Elvira in Don Giovanni, Gnecchi's Cassandra Queen in Weinberger's Svanda Dudak appearing on Italian and world's stages, including Teatro alla Scala in Milan, Maggio Musicale Fiorentino, Accademia Santa Cecilia in Rome, Teatro Massimo in Palermo, Teatro Regio in Turin, Teatro di San Carlo in Naples, Gran Teatro La Fenice in Venice, Opera Festival in Avenches, Wexford Opera Festival, Grand Théâtre de Genève, Opéra Royal de Wallonie in Liège, Oper Leipzig, Opernhaus Zürich, New York City Opera, and more recently Stresa Festival, Edimburgh Festival, Palau de la Musica in Bercelona, Metropolitan Opera, Carnegie Hall, Mostly Mozart Festival New York, Harris Theater in Chigago, Roy Thomson Hall in Toronto and Ann Arbor Hill Auditorium. She has worked with some of the foremost conductors and directors of today, which include Campori, Chailly, De Bernart, Fournillier, Gandolfi, Kuhn, Mariotti, Mehta, Morandi, Muti, Noseda, Palumbo, Panni, Ranzani, Renzetti, Santi, Solti, Zanetti and Abbado, Bussotti, Cobelli, Deflo, Lavia, Mariani, Miller, Pizzi, Ronconi, Schweigkofler, Vick and Van Hoecke. In concert she has performed in Mozart's Requiem, Beethoven's 9th Symphony, Verdi's Messa da Requiem, Bruckner's Te Deum, Mendelssohn's Ein Sommernachtstraum, Wagner's Wesendonck Lieder, Mahler's Das Lied von der Erde, Kindertotenlieder, Lieder eines fahrenden Gesellen, Rückertlieder and 2nd Symphony, Rimsky Korsakov's Alexander Nevsky, Berlioz' Les Troyens. Future projects include Mahler's 4th Symphony with Teatro Municipale di Piacenza and Teatro Coccia di Novara, Adalgida in Norma with Teatro Filarmonico di Verona.
Born in Alto Adige, she graduated from the Boito Conservatory in Parma and went on to perfect her technique with Franco Corelli. She was the winner of several competitions such as Cascinalirica, Del Monaco, Basiola, Tosti, Masini and the International Tchaikovsky Competition in Moscow.
As a National First-class Performer, NIU Shasha won the "Best Singing Performance Award" at the French "Boulanger Songs" in 2007, first prize at the 4th Maldini International Vocal Competition held in Mantova, Italy in 2008, and the Splendor Award at the 9th National Vocal Competition organized by the Ministry of Culture in 2010, and was named among the "Outstanding Young Actors in the National Art Troupes Festival" by the Ministry of Culture in 2013.
She has successfully played vivid roles in many operas including Azucena at the Chinese premiere of Verdi's opera Il Trovatore directed by Teatro alla Scala director Marto Diaz; YU Shu in the original Chinese opera Farewell, My Concubine of the China National Opera House (CNOH); Azucena in Verdi's opera Il Trovatore in Rome, Italy, accompanying the CNOH; Magdalena in the opera Rigoletto along with the world's first jester, famous Italian baritone Leo Nucci; Elda in Siegfried, Siegrune in Die Walküre and Waltraute in Götterdämmerung, which are all operas in Wagner's masterwork Der Ring Des Nibelungen of the CNOH; fake Qu'redam in the original Chinese opera Visitors on the Snow Mountain; Laura Adorno in the Ponchielli opera La Gioconda directed by leading Italian opera master Pier Luigi Pizzi; and Miss BAI in Lan Hui from Beichuan, a large-scale original opera of the CNOH. She has also successfully played the leading mezzo-soprano in the Rossini opera Il Barbiere di Siviglia, TAN Dun's opera Tea, Wagner's opera Der Fliegende Holländer, Mozart's opera Le Nozze di Figaro and Strauss' opera Salome. As will as performing as a major soloist and leading singer in symphony concerts, she has also cooperated many times with famous conductors at home and abroad on such pieces as Beethoven's Symphony No. 9, Mahler's Symphony No. 2, Mahler's Symphony No. 3 and Verdi's Messa da Requiem.
She has held visiting performances in Italy, America, Singapore, Thailand, Indonesia, Malaysia and so on as a Chinese artist.
Maria Mudryak began her musical studies in piano and singing in her hometown, Pavlodar (Russia), then she attended the Giuseppe Verdi Conservatory in Milan, where she graduated with honours at the age of 18.
She has already participated in numerous international concerts in Russia, Kazakhstan, Germany, Poland, Ukraine and Italy.
She sang the role of Musetta in La Bohème at the Rosetum Theatre Milan and in Crema.
Recently she was Norina in Don Pasquale in Bergamo, Como, Cremona, Pavia and Jesi, and Mimi in La Bohème in Ravenna and Vilnius, she also sang in Le Nozze di Figaro at Petruzzelli Theatre in Bari and La scala di seta in Liege.
Especially invited soprano from China National Opera House, LI played Flaskuita in Carmen, Adele in Die Fledermaus and Clorinda in Cinderella and studied at Central Conservatory of Music as a disciple of Professor GUO Shuzhen, a celebrated vocal educator. Subsequently, she studied at Universitat für Musik und darstellende Kunst Wien as a disciple of famous vocal professor C.Visca, obtained dual Master's degree in opera and operetta, and lieder and oratorio, and won the Outstanding Achievement Award by virtue of excellent academic performance. Since she received instructions from world famous singers such as M. Freni, F. Araiza and A. Murry and won recognition from maestros, LI has won awards in a number of opera, operetta and lieder contests such as the Forderungspreis in the 11th Internationaler Gesangswettbewerb "Ferruccio Tagliavini" in Deutschlandsberg /Steiermark /Austria, the first prize in the 22nd Operette- Nachwuchssanger- Wettbewerb "Internationale Kunstforderung Nico Dostal" in Hagenbrunn/ Wien, the Swedish Modern Songs Best Singer Award in the 2nd Swedish International Vocal Competition and the second prize in the 1st Bulgaria International Lieder Vocal Competition. LI starred Mussetta in La Bohème composed by G. Puccini, Helen in Hin und Zurück composed by Hindemith and Servilia in La Clemenza di Tito composed by Mozart. It is worth mentioning that LI succeeded in holding the solo concert "What a Beautiful Jasmine" in Vienna.
WANG Hexiang, graduating from the Voice and Opera Department of Central Conservatory of Music, is a resident youth baritone opera singer of NCPA. He is a student of famous bass-baritone singer Professor ZHAO Dengying of the Voice and Opera Department of Central Conservatory of Music. He starred in operas in Gianni Schicchi Carmen, The Marriage of Figaro, Daughter of the Party, Un Ballo is Maschera, The Ballad of Canal, L'Eliser D'Amoure, Andrea Chenier, Rickshaw Boy, Mingfeng, L'Italiana in Algeri Cinderella, Xi Shi, and Visitor on the Snow Mountain.
WANG Meng, a bass-baritone, once performed in NCPA productions of Samson et Dalila (Abimelech), and La Gioconda (Zuane).
Graduating from the Tianjin Normal University, he studies from Russian bass professor Vladimir Kryuchkov and afterwards works at Tianjin Opera House. He won the golden metal in the 16th "BELLA VOCE" International Vocal Competition and engaged in the first China Opera Festival, performing in opera The Savage Land (CHANG Wuye). Then, he took part in the second China Opera Festival and acted as young XIAO Weiming in opera Sons and Daughters of the Chinese Nation, original operas Coming for You and The Song of Youth by Peking University, opera in Tianjin version of The White-Haired Girl (Dasuo), La Traviata (Doctor Grenvil) and The Spring River and so on.
He has performed in NCPA operas Visitors on the Snow Mountain, Le Nozze di Figaro,Simon Boccanegra, etc.
As a tenor, he entered in the China NCPA Chorus in 2009.
He entered in the China NCPA Chorus in 2010 and has performed in over 30 operas such as Der Rosenkavalier and Un Ballo in Maschera produced by NCPA.
During the process of its growth in the past seven years, names of many most outstanding artistic masters in today's world have been observed, including famous directors Francesca Zambello, Giancarlo del Monaco, Hugo de Ana, CHEN Xinyi, CAO Qijing, LIAO Xianghong, YI Liming and LI Liuyi; famous conductors Lorin Maazel, Zubin Mehta, Daniel Oren, Myung-whun Chung, Jaap van Zweden, YAN Liangkun, YANG Hongnian, LÜ Jia, ZHANG Guoyong, LI Xincao, ZHENG Jian and YANG Li; famous singers Placido Domingo, Leo Nucci, Inva Mula, Juan Pons, Brandon Jovanovich, Francesco Meli, YAN Weiwen, DAI Yuqiang, WEI Song, Warren Mok, YUAN Chenye, LIAO Changyong, ZHANG Yalun, ZHANG Liping, Dilbèr, SUN Xiuwei, HE Hui, YANG Guang and LI Xiaoliang. These masters have given high appraisals to the Chorus. The world-famous tenor Domingo once said, "I am honored to cooperate with these gifted young artists"; the late conductor Lorin Maazel said, "It is a Chorus of passion"; conductor Daniel Oren, who was excited after rehearsal, said, "This is the chorus that has the best sound I have ever seen. Young as they are, they are better than many of the choruses in Europe".
As one of China's leading choruses both in the orchestra pit and concert hall, the NCPA Chorus brings to life fresh and vivid operatic characters one after another with their lavishly expressive singing and passionate theatrical performance, playing an active role in pushing forward the artistic production of National Centre for the Performing Arts. Since its establishment, it has participated in more than 50 operas produced by NCPA, such as opera commissions Xi Shi, A Village Teacher, The Chinese Orphan, The Beautiful Blue Danube, The Ballad of Canal, Rickshaw Boy, Visitors on the Snow Mountain, Sunrise, The Dawns Here Are Quiet, FANG Zhimin, The Long March and Effendi, and Chinese and foreign classic operas such as The White-Haired Girl, The Red Guards on Honghu Lake, Turandot, Carmen, La Traviata, L'Elisir d'Amore, Tosca, Die Fledermaus, Der Fliegende Hollander, Un Ballo in Maschera, Lohengrin, Les Contes d'Hoffmann, Otello, Nabucco, Le Nozze di Figaro, L'Italiana in Algeri, Il Trovatore, Cavalleria Rusticana & I Pagliacci, Norma, Don Pasquale, Aida, Rigoletto, Il Barbiere di Siviglia, Eugene Onegin, Andrea Chenier, Der Rosenkavalier, Simon Boccanegra, Samson et Dalila, La Gioconda, Tannhäuser, Macbeth and Rusalka. Its artistic attainments have won favorable comments from the insiders and audiences.
As the singing envoy of zeitgeist, the Chorus has always been paying attention to fostering audiences, supporting and participating in the artistic education and outreach activities of NCPA. It actively plans and participates in NCPA's Weekend Concerts, Classic Art Lectures, and appears in schools and communities to help promote high arts, improving people's aesthetic taste. Meanwhile, the Chorus commits itself to introducing NCPA's artistic productions and outstanding classic works to audiences at home and abroad. It participated in the tour of NCPA's opera Visitors on the Snow Mountain in seven provinces and municipalities across China, opera commission Fang Zhimin's tour in Jiangxi Province, the concert version of opera The Red Guards on Honghu Lake in Qingdao and has visited Singapore, South Korea, Japan, Hong Kong, Macao and other countries and regions for exchanges. The Chorus's performances have received critical acclaim from the audiences and local counterparts. Especially in 2015, the Chorus went for a 17-day tour of the opera Rickshaw Boy with NCPA to Italy, which was a great success, demonstrating the rich musical expression of the Chorus.
The NCPA Orchestra demonstrates an abiding commitment to the highest level of artistic excellence and takes pride in its long-term collaborations with the finest musicians of our time. Artists associated with the Orchestra in the past few years have included Zubin Mehta, Valery Gergiev, Myung-Whun Chung, Christoph Eschenbach, Vladimir Ashkenazy, Yan Pascal Tortelier, Gunter Herbig, Leif Segerstam, Shao-Chia Lü, TANG Muhai, ZHANG Xian, Gilbert Varga, Lang Lang, Rudolf Buchbinder, Stephen Kovacevich, Yuja Wang, Khatia Buniatishvili, Kyung-Wha Chung, Vadim Repin, WANG Jian, Gautier Capucon, Han-Na Chang, Alison Balsom, Leo Nucci, Placido Domingo and HE Hui, among many others. Maestro Lorin Maazel worked closely with the Orchestra before his passing and praised the musicians for their "amazing professionalism and great passion in music". After working with the Orchestra in a series of concerts and the NCPA's new production of La Traviata in June 2010, maestro Christoph Eschenbach also declared it "one of the finest orchestras in Asia".
In the first few years since its establishment, China NCPA Orchestra has become one of the leading ensembles in the country both on stage and in the pit, gaining critical acclaim for its performances in NCPA's many opera productions. To date they have played for over 30 new productions, including not only classical repertoire works such as Tosca, Il Barbiere di Siviglia, Die Fledermaus, Lohengrin, Aida, Otello, and Nabucco, but also newly commissioned works The Chinese Orphan, Rickshaw Boy and Visitors on the Snow Mountain. In its own orchestral concert season, the Orchestra has consistently presented creative and diverse programmes, including a remarkable Beethoven Project in 2013 under the baton of LÜ Jia. Their performance of the mammoth Ring without Words with its conductor, Lorin Maazel, was released on SONY Classics worldwide, the only recording the great maestro ever made with a Chinese orchestra.
The NCPA Orchestra has flexed its wings on the international stage with high-profile touring work, receiving widespread international praise for its performances. From 2012 to 2015, the Orchestra was invited by Kissingen Summer Music Festival and Schleswig-Holstein Musik Festival, and continued its German tour with concerts in Nürnberg, Hamburg and Berlin. It also gave performances in Sydney, Singapore, Seoul, Daegu, Taipei and Macao. During the 2014/15 season, the Orchestra undertook its first North American tour, where it performed in seven major cities in the US and Canada, under the baton of LÜ Jia. This was not only a milestone for this young ensemble, but also a breakthrough for any Chinese orchestra performing abroad. Musical America praised its "joyful confidence and youthful strength". Concerto Net described it "a polished, first rate ensemble".
The forthcoming 17/18 season will have "Ode to Friends" as its central theme, featuring concerts conducted by LÜ Jia, ZHANG Xian, ZHENG Xiaoying, Fabio Luisi, Christopher Eschenbach, Zubin Mehta, Alexandre Bloch, ZHANG Guoyong, Rainer Honeck, YUAN Ding, with soloists Rene Fleming, Maureen McKay, Kristin Lewis, LI Liang, Alexei Volodin, ZHANG Haochen, Behzod Abduraimov, SUN Yingdi, LÜ Siqing, ZHU Dan, Clara Jumi Kang, Hsin-Yun Huang, Gabriel Schwabe, WANG Liang, LI Biao, and many others. Renowned composer CHEN Qigang and pianist Lang Lang, both as this season's Artist-in-Residence, will lead a number of concerts as well as educational projects. The Orchestra will also perform in fifteen NCPA opera productions including, Tristan und Isolde and Falstaff. In this season, the Orchestra will initiate its very second tour to the US under the baton of LÜ Jia, and will give performances in Carnergie Hall, Chicago Symphony Centre, Kimmel Centre, Davies Symphony Hall and other two prestigious venues, in collaboration with Lang Lang, Gautier Capucon, WU Man and NING Feng.


text:
The main product of the MICROSYS, spol. s r.o. company is the PROMOTIC SCADA system for visualization and control of technological processes. The PROMOTIC system can be operated with a commercial licence that is distributed as a HW Key or SW Key, or as FREEWARE, i.e. without the need of using any licence key. All schools and universities can purchase the PROMOTIC system on-site multilicence for a symbolic price and use the software for educational purposes. We also offer development and delivery of specific applications designed according to the customer needs.
Basic features of the PROMOTIC system
The PROMOTIC SCADA system includes a wide choice of communication interfaces:
XML, ActiveX, ODBC, ADO, DLL, OPC, DDE, TCP/IP, HTTP, HTTPS, etc.
There is also a numerous selection of communication drivers for PLC devices:
Simatic, Allen-Bradley, Mitsubishi, SAIA, Omron, Koyo, ADAM, etc.
See: List of PLC devices, meters and regulators.
Among the supported communication protocols you can find:
Modbus, M-BUS, SNMP, SMS-GSM, IEC 60870-5, IEC 62056, BACnet, etc.
See: Communication protocols and services
The PROMOTIC system works with multiple types of databases:
Access, dBase, MS SQL, MySQL, MySQL, Oracle, etc.
See: Database potentials in the PROMOTIC system
The PROMOTIC system incorporates an integrated Web server and therefore allows remote viewing and control of applications. The system automatically generates the GUI of the application as dynamic HTML pages. All communication transmissions are based on HTTP/HTTPS protocols, using the XML and AJAX technologies.
See: Overview of the Web technology in the PROMOTIC system
The PROMOTIC system includes a rich library of Pmg objects, that can be complemented by user SVG, PNG, JPG, BMP graphic.
The PROMOTIC development environment is available in Czech, English and Polish language. The developed applications can be operated in multilanguage mode.
See: How to create an application using different national languages
The PROMOTIC system is available since 1991
The PROMOTIC system is popular and reliable SCADA software with the tradition since 1991. The quality of this software tool is proven by thousands of running applications and new licences being sold every day.
- PROMOTIC - Application references
The PROMOTIC SCADA system is now also available as FREEWARE and can be downloaded free of charge. In this freeware mode, all communication drivers and interfaces are fully functional (as in the commercial mode with purchased licence). The runtime period of the freeware applications is not limited. The only limitation of the freeware mode is the size of the application up to 30 variables.
- PmFree - Free development environment and a runtime licence of the PROMOTIC system
We support education
The MICROSYS company in the long term supports the education of scholars and students in the area of automation systems. The PROMOTIC SCADA system is used by many secondary schools and universities. The school version of the system, that is full functional as the commercial version is available to all educational institutions for a symbolic price.
- PROMOTIC SCADA system - SCHOOL VERSION
- Information to running PROMOTIC VERSION FOR SCHOOLS
We develop applications for you
Except for the PROMOTIC SCADA system itself we can deliver an application developed exactly according to the needs and specifications of the customer. The long term experience of our engineers and their close cooperation with the PROMOTIC system developers will guarantee their professionalism and the high quality of their work provided to all our customers.
- Do you need to control and monitor Your technology ?
The documentation is always available
The PROMOTIC SCADA system is accompanied by a very detailed and complex documentation. All functions and features of the system are described in detail on more than a tjousand pages of text. But do not feel intimidated, the documentation is well-arranged, contains an index and also a keyword search tool. The documentation is updated with each new version of the system, it is always available on our web and also in the PROMOTIC system in English, Czech and Polish language.
- PROMOTIC documentation contents
- What is PROMOTIC
- PROMOTIC News
- Documentation PROMOTIC
- Freeware PROMOTIC
- PROMOTIC school version
- Applications development
- Application references

redpajama_set_name: RedPajamaCommonCrawl


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IGNOU: Indira Gandhi National Open University has been all set to ended January session admission 2019 today. According to the official website, 11 Febraury has been the last date for the submission of IGNOU January session admission form 2019. Interested and eligible candidates now have to wait for the next session admission for the year 2019.
Indira Gandhi National Open University has been ongoing with January session admission 2019 from last month and closes the same by Today. Although with all new admission session, IGNOU has also introduced numerous new courses. Check out more details regarding IGNOU January session admission 2019 below.
Indira Gandhi National Open University started the January session admission 2019 in the month of December only. Earlier it was supposed to end by 31 January 2019, but IGNOU extended the last date. With the new last date, IGNOU closed the admission process on 11th February 2019. Now the candidates will have await for July session admission for the year 2019.
Candidates have to first visit the official website i.e ignou.ac.in and then click on fresh admission. After clicking the same, one has to fill up the form for the selected course and then click on the submit button. Although from today onwards, no candidates will be able to fill up the admission form for any course for IGNOU January session admission 2019.
Indira Gandhi National Open University (IGNOU) use to conduct the admission process twice in a year. First admission session has been held in the starting of 2019 i.e January month and the next will be carried out in July month. Although as of now, IGNOU has not yet released any official dates regarding the same. Candidates willing to get admission in IGNOU will now have to wait for July 2019.
Indira Gandhi National Open University has been also ongoing with the registration of OPENMAT for July session 2019. Interested candidates can apply for the same online via the official website for the year 2019. Whereas for further more details, candidates must go through IGNOU's official website i.e ignou.ac.in on regular basis for instant updates.


text:
Inside the FBI's quiet 'ransomware summit'
The goal of the FBI's meeting was for corporate executives to "help...fill in some of the gaps in the intel" on ransomware threats. (Flickr/ Christiaan Cohen)
Sean Lyngaas
Nov 6, 2019 | CyberScoop
Written by Sean Lyngaas
In March, officials in sparsely populated Jackson County, Georgia, made a painful decision. Rather than rebuild their networks from scratch, they paid $400,000 to hackers to get the county's data back.
The six-figure amount — eclipsed by a nearly $600,000 payment made by a Florida city in June — is symptomatic of a much larger problem. Across the U.S., poorly secured businesses, local governments, and schools have lost millions of dollars to attackers who can cheaply buy access to ransomware-as-a-service kits on underground forums.
The problem is by some measures growing more acute: Over 100 public-sector ransomware attacks have been reported in 2019 alone, double the amount in 2018.
To help stem the tide of file-locking attacks, the FBI quietly convened the country's top ransomware experts in an unprecedented, closed-door conference in September. The briefings, which occurred over two days, were a recognition by law enforcement officials that their ability to better investigate and prosecute ransomware cases hinges on the private sector sharing more data with them.
The goal of the FBI's 2019 "Ransomware Summit" was for corporate executives to "help us fill in some of the gaps in the intel" on ransomware threats, said Herb Stapleton, section chief in the FBI's cyber division. Those gaps, he said, stem from the fact that "there are probably thousands of attacks every year that aren't reported to the FBI."
Who was there
The conference, held at Carnegie Mellon University in Pittsburgh, saw organizations from computing giant IBM to consulting firm Kroll share what they've learned from tracking attackers and helping victims recover from ransomware. Cyber insurance companies were in the room, and a Silicon Valley startup that specializes in tracing cryptocurrency even made an appearance. One attendee estimated that the companies represented at the conference were involved in responding to more than half of enterprise ransomware attacks.
The contents of the presentations were labeled "TLP Amber," a designation that restricts parties from sharing sensitive information beyond their organizations or clients.
Law enforcement officials asked the private executives to look for ways to anonymize victim data in order to share more of it with federal officials, according to Stapleton.
"Whatever data point that we can collect that can be used to round out that picture to lead us one step closer to attribution … so that we can impose some kind of consequence, that's important," he said.
Corporate executives asked the FBI for a list of types of information they could provide the bureau to aid future ransomware investigations, according to Stapleton. The executives, in turn, got an update from top federal officials on the front lines of the threat. A Justice Department attorney talked about prosecuting ransomware-related crimes, and an FBI special agent detailed the bureau's ransomware investigations, according to a conference agenda obtained by CyberScoop.
That latter briefing would have been different had it taken place before the 2016-18 SamSam ransomware outbreak, which prompted the FBI to change the way it handles ransomware investigations. Rather than probe every individual infection across the country, the FBI groups investigations by ransomware variants.
And yet even with that consolidation — and at an agency that spends hundreds of millions of dollars annually on combating cyberthreats (the bureau declined to give ransomware-specific figures) — resources get stretched thin.
"Some of these private-sector entities have a lot broader reach than the FBI does," Stapleton said. "They have clients who are already concerned with these types of things and there's an opportunity [via the conference] for a unified message about instituting proper back-up protocols for your data."
Ryuk, Texas attacks dissected
The conference was facilitated by the National Cyber-Forensics and Training Alliance, a nonprofit that describes its "sole purpose" as creating a "trusted environment" for law enforcement to trade information with the private sector to fight cybercrime.
Participants were able to view the fight against ransomware from different angles. For the FBI, which advises victims not to pay the ransom, that meant hearing from Coveware, a firm that negotiates with attackers.
When the victim has no other way of recovering their data, "our methods are the methods of last resort," said Coveware CEO Bill Siegel, who shared some negotiation techniques with conference attendees.
Siegel praised quiet forums like the one at Carnegie Mellon for fostering personal connections between federal officials and private ransomware specialists that can "greatly augment investigations [and] recovery."
Attendees also shared tips on defending against rampant strains of ransomware like Ryuk, which has netted criminals millions of dollars. They studied the spread of a ransomware infection that hit 23 local governments in Texas in August in order to prevent that from happening again.
The briefings, Stapleton said, were the start of a more thorough dialogue with the private sector on how to solve the most pressing challenges in ransomware.
There will be a simple way to measure progress.
"We're hoping to put fewer people, fewer businesses in that position where they have to make that difficult choice on whether or not to pay the ransom," Stapleton said.
Carnegie Mellon, Federal Bureau of Investigation (FBI), incident response, ransomware, Ryuk, SamSam
Secret Service to launch...
by Shannon Vavra • 3 hours ago
U.S. says accused Vault 7...
by Jeff Stone • 19 hours ago
Accused scammer Burkov to...


text:
Q: What is the difference in between adding "read" or "read -rn1" to the end of a bash script? I've written a simple bash script for running rsync in between two directories, and I wanted it to keep the terminal window open after it runs, so I can check if everything went fine.
So, I found two different solutions in this topic, that is adding either the command read or read -rn1 to the end of the script, and I'm wondering what would be the difference in between them, and if I should prefer using one over the other, since both seems to do the same.

A: read waits for a line ending with a newline, then ends. So only the enter key allows you to complete the command and, therefore in your case, to close the terminal window.
read -n1 waits for a single character, then ends. So a single press on any key terminates the command and, therefore in your case, closes the terminal window.
However, I don't see the usefulness of the -r option in your case
For more info on the bash builtin command read:

*

*man bash (see read in the SHELL BUILTIN COMMANDS section)

*help -m read

A: You can run read --help to see what -rn1 does.
Running read -rn1 is the same as read -r -n1

-r            do not allow backslashes to escape any characters
-n nchars return after reading NCHARS characters rather than waiting
            for a newline, but honor a delimiter if fewer than
            NCHARS characters are read before the delimiter

redpajama_set_name: RedPajamaStackExchange


text:
Q: usage of except and store error in a variable I need to catch all the errors,exceptions, and everything that stops the execution of a code and store it in a variable.
I want something like this:
try:
    Error generating code
except as err:
    print err

But this doesnt work. Is there any other way to do the same?

A: except as err: doesn't work because the correct syntax is:
except TypeOfError as somename:

To catch any type of error, use Exception as the type,
it is the common base class for all non-exit exceptions in Python:
try:
    # Error generating code
except Exception as err:
    print(err)

err will be an instance of the actual exception that was raised,
you can see its correct type with type(err),
and it's attributes and methods with dir(err).
Keep in mind that it's recommended to use the most specific type of exception that may be raised.
See more details in Python's tutorial on error handling.


SolarReserve is passionate about protecting our planet and providing a healthy and secure future for generations to come.
With construction and development activities worldwide, SolarReserve is providing renewable energy solutions that not only generate clean energy, but also cultivate economic growth for communities around the world. SolarReserve's goal is to have its global projects achieve high levels of local job creation and content through local supply chains. The company's Crescent Dunes project in the U.S. is a prime example, having created over 4,300 direct, indirect and induced jobs over the life of the project, with peak on-site employment of over 1,000 construction jobs.
From a corporate perspective, SolarReserve is committed to supporting the communities that are or could be home to its solar power projects. The SolarReserve team has positively impacted many communities around the world through career development, internships, corporate sponsorships, corporate donations and community outreach programs. Serving our communities is a core component of the SolarReserve corporate culture.
Electricity is taken for granted by the majority of us around the world but there are still a large number of people who don't have access to electricity in rural areas of Africa. Only 88% of South African households have access to electricity. Our solar PV housing project aims to connect as many homes within a 50km radius of our Jasper project site, as possible. This ongoing project has already resulted in over 55 homes connected to date, with many of the homeowners gaining access to electricity for the first time in their lives!
The SolarReserve Team were thrilled to be part of the NAIDOC Week celebrations in Port Augusta for 2018. NAIDOC Week celebrations are held across Australia each July to celebrate the history, culture and achievements of Aboriginal and Torres Strait Islander peoples. NAIDOC is celebrated not only in Indigenous communities, but by Australians from all walks of life in order to support their local Aboriginal and Torres Strait Islander community. The team loved immersing themselves in the wonderful Aboriginal culture in Port Augusta.
In addition to SolarReserve's positive impact on its project communities, SolarReserve is also a strong advocate for employee volunteerism and philanthropy and has overseen and participated in community outreach initiatives. SolarReserve's Santa Monica California office has hosted several team events that involve making improvements to Bright Star Charter Academy, a Title I school located in West Los Angeles. The aim of Title I is to meet the educational needs of children living in low-income households or local institutions for neglected or delinquent children. SolarReserve has also worked with Bright Star School's Rise Kohyang Middle School. SolarReserve has committed to a long-term relationship with Bright Star Schools - with the goal of making a lasting impact in the lives of the students through projects that positively impact their environment, along with providing role models and learning opportunities through internships and student mentoring.
Grid Alternatives, a non-profit organization and licensed solar installer exclusively for low-income families annually hosts. a "Solarthon" that brings together hundreds of individual, team, and corporate participants from their communities to install multiple solar energy systems alongside the homeowners. SolarReserve sponsored a home at this event, with its employees installing the photovoltaic panels on the roof of this home.


Any event you don't want to miss – Thomas Colla 'Heartcore' photo opening, Presented by S.M.A.S.H. at LOST WEEKEND NYC 45 Orchard st, NYC, April 11, 2013, 7-10pm. Showing til May 31.
For more information, check out tcollas page.


Again I just want to reiterate this, I could talk all day about politics I could talk all day long about the election unfortunately I don't have the capability to do that with the limited amount of time I get to talk to you every morning. So I will send you to our news partner for the official election results at NBC 15 and check their website to especially for the local alerts and the local results here in Wisconsin. I want to get to some other things you may have missed yesterday including what went on with the Packers they made some subtle changes. They placed their wide receiver Geronimo Allison on the injured reserve and released safety Jermaine Whitehead who you might remember was ejected from the game on Sunday night right away. Packers have zero tolerance, perhaps being implemented in the locker room. In addition to that former general manager Ted Thompson will be inducted into the Packers hall of fame this coming May. There is a recall alert for the company that makes Duncan Hines Deserts. They've recalled four types of their cake mixes. Yes, apparently salmonella is an issue in cake mix. This is on our Facebook page just search MIX 105.1 I have all the information readily available for you this morning. If you happen to watch the Voice on NBC well Chris will be moving on. The barren native back in show he's moving on in case you missed the Voice.


Standing Together coordinates the operational response to domestic violence. Based in Hammersmith and Fulham we work both nationally and locally to ensure that victims of domestic violence are supported effectively by the statutory and voluntary sector alike. We are known throughout the UK for our efforts and success.
Domestic violence is too often a hidden crime but when the victim finally seeks support and safety all the agencies responsible for an effective response must work together to make sure the victim and children are given the best opportunity to survive the experience and build a productive life once the abuse has stopped. As importantly we believe the perpetrator should be held to account. All this requires us to coordinate the activities of the caring agencies, particularly those within the criminal justice system.


text:
Goofy Challenge Race Recap
Highs and lows of Disney Marathon weekend and how I learned to embrace my new identity as a Disney princess
By Caitlin Giddings
I'll admit it—before this past weekend I never thought of myself as much of a Disney person. More accurately, it never even occurred to me that "Disney" or "non-Disney" were designations you could use to divide society into two distinct, opposing forces. I know, I know—it's hard to believe I was ever so young.
But after spending a mere four days with Mickey and associates—essentially trust-falling into the capable, oversized gloves of my new animated corporate overlords—I now see things more clearly. Disney World is amazing. Seriously, it cuts through all cynicism. Disney World—at least on marathon weekend when you're rolling crew-deep with the Runner's World web team—is a magical land where dreams come true, wishes spring from every heart, fireworks punctuate exciting moments, and access to goods and services relies on a baffling system of colored wristbands.
The whole place needs some kind of motto for grownups akin to "What happens in Disney, stays in Disney." Perhaps something as simple as "We don't talk about how dorky we acted at Disney." Seriously, what happened to us while we were down there? Take a group of semi-composed, reasonable adults and stick them on a "Magical Express" to the "Happiest Place on Earth," and apparently they'll start singing and dancing and buying up tiaras and clogging up pirate-themed waterslides. At least, that's the fate that befell our formerly respectable team. Things might have gotten a little out of hand. I went into Disney Marathon weekend in the spirit of embracing an open mind and childlike sense of wonder, but I never expected zaniness levels to get cranked up quite so high.
For the record, I was never one of those girls who identified with the whole princess aspect of the Disney canon. But look at these pictures of me during the Disney Marathon, eagerly prancing through the Cinderella castle like I'm the romantic lead in a fairy-princess montage. This is what Disney will do to you if you let your guard down. I'm telling you, they get in your head, and the next thing you know THERE IS JUST SO MUCH MAGIC AND STARPOWER AND FIREWORKS AND ANIMATRONIC FRIENDSHIP IN THE WORLD THAT IT'S HARD TO CLOSE YOUR EYES AT NIGHT WITHOUT WISHING THAT "A RAINBOW WILL COME SMILING THROUGH," WHATEVER THAT MEANS. Why would you leave a place with such a high probability of childlike wonder?
....I'm starting to realize this is the worst race report ever. I've basically outlined the first five steps to a Disney conversion program without giving any sense I participated in a race. Two races, in fact. Ahem. I took on the illustrious "Goofy Challenge," which means running the half-marathon on Saturday and the full marathon on Sunday—or in other words, 39.3 miles on very, very little sleep. We're talking 2:15 a.m. wake-up calls, 3 a.m. bus rides, and 5:45 a.m. race starts. Honestly, sleep deprivation was the hardest part of the whole weekend. There's nothing like running two days in a row on five hours combined snoozing (then spending the rest of the day on your feet) to make you CLAP YOUR HANDS WITH DELIGHT at the sight of a giant cartoon character leading a crowd of consenting adults into 100 rounds of the Electric Slide. I'm exhausted just thinking about it. Why did we do this to ourselves again?
Actually, there's a pretty good reason why we did this to ourselves—the , a training program that also grants participants a lot of sweet perks at races like food, private bathrooms, early corral placement and after-parties. Since I've only been working at RW for seven months now, this was my first Challenge event. At the risk of this race report sounding like a sales pitch, I'll refrain from gushing about the magic and wonder associated with Challenge participation but know this—going to a Challenge event is a whirlwind of inspiration and community and running love. I met Challengers from all over the country—some who were running their first half-marathon or marathon, others who wanted to improve their race times or just meet new running buddies.
I met Christopher, who ran the Goofy Challenge in a kilt and Vibram toe shoes, and Robert, a Stage 4 cancer survivor who dreamed of qualifying for the Boston Marathon. He only started running again this past spring after having throat surgery and had to start all over again from square one, slowly working up to one mile, two miles, three miles, and so on. After Sunday's race, when Robert had broken 4:00 and met his Boston-qualifying time, we all cried. You know, pixie dust in our eyes or whatnot. It was one of those genuinely inspirational moments that running is so good at creating, not some kind of Disney World prepackaged narrative. Maybe a dream really is a wish your heart makes. Ok, I'll stop now before the temptation to break into song overtakes me.
Anyway (sniff), in an effort to keep this from turning into a novel, I'll cut to the chase and give you the weekend's highlights and lowlights:
Best race I ran: Disney Half Marathon. I ran the whole race with my coworker Megan, and despite feverish excitement, we paced ourselves conservatively to save energy for the full.
Worst race I ran: Disney Marathon. (Technically, they were both great, but I struggled with asthma in the full because I've been sick lately.)
Best celebs spotted: Desi Davila, Frank Shorter, Janet Bawcom, Dick Beardsley, Bill Rodgers, Drew Carey, and Joan Benoit Samuelson.
Worst celeb spotted: Joey Fatone? He rose to power decidedly after my time. Seemed nice, though.
Best race powerjam: "Touch the Sky" from the Brave soundtrack
Worst race powerjam: An unnecessarily sanitized version of "Gangnam Style" with the word "sexy" removed, heard over and over from every speaker system on Disney property.
Best "cast member" I hugged mid-race: Wreck-it-Ralph!
Worst "cast member" I hugged mid-race: A bewildered volunteer handing out Vaseline
Best thing eaten: Free, bottomless scrambled eggs available everywhere like little golden pillows of magic and protein.
Worst thing eaten: Consecutive meals composed solely of mini-Clif bars
Best part of the course: Running through the Magic Kingdom, natch. You saw those castle pics!
Worst part of the course: Honestly, the flatness. It's hard not to cramp up when your muscles are going through the same exact motions for 39.3 miles without hills to shake things up, and the humidity is making your feet swell into little blistermobiles.
Best thing about the race: The general party vibe and odd tendency of even the fastest runners to sprint off the course for a photo op with Disney animated characters.
Worst thing about the race: Asthma problems around Mile 24 of the marathon. I won't elaborate, but thank God for inhalers, water stations, volunteers, and triumph of the human spirit.
Best thing I learned: Pack two different pairs of running shoes for back-to-back-race blister prevention
Worst thing I learned: When a blister is out on the town feeling sassy, it often decides to form another little blister to wear as a hat. Also, coffee doesn't always hold up its end of the pre-race intestinal bargain.
Best emotion I experienced: Joyous delirium
Worst emotion I experienced: Sensory overload
Best coworkers ever: the Runner's World web crew, AKA #RWGoofTroop
Worst coworkers ever: NA
All in all, it was one of the most bizarre, fun, exhausting weekends in recent memory, and I plan to do whatever it takes to come back in 2014. BECAUSE I'M A DISNEY PERSON NOW, and it might require some sort of Extreme Cynicism Intervention before I can reinhabit my former, less-magical persona. You know, the one who hasn't even seen the Lion King and has better things to do than brainstorm Disney-themed energy gel flavors on Twitter.
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EMB engages in several foresight activities by establishing working groups; producing strategic foresight papers; organizing forums and conferences and by participating in EU projects.
The European Marine Board (EMB) is the leading European think tank in marine science policy. It provides a platform to advance marine research and to bridge the gap between science and policy.
We identify emerging scientific and societal challenges and opportunities and articulate the research and capacities needed to address them. This results in a series of high quality peer-reviewed publications.
On 3 April 2019, EMB launched its new Future Science Brief no.5 at an event in the European Parliament, co-organized with the SEARICA Intergroup. The publication, on "Valuing Marine Ecosystem Services: Taking into account the value of ecosystem benefits in the Blue Economy" calls for a better incorporation of the values stemming from marine ecosystem services and natural capital in marine management and policy decisions. The launch event was attended by over 50 participants and speakers, and was hosted by MEP's Gesine Meissner and Ricardo Serrão Santos.
You can find out more about the publication here, and read the event report here.
Britt Alexander joined the EMB Secretariat on Monday 11 March 2019 as a Science Officer. Brittany Alexander (PhD 2015) holds a BSc in Biological Sciences from the University of Bristol, UK, a MSc in Biotechnology from McGill University, Canada, and a PhD in Marine Biology from the University of Amsterdam, the Netherlands. Her PhD work led to the characterisation of the cellular mechanisms underlying the Sponge Loop pathway by which sponges recycle nutrients in the ocean, and has applications in advancing sustainable sponge aquaculture. After her PhD Britt worked at the Swiss-based publisher Frontiers (2016-2019) contributing to the development and management of the open-access journal Frontiers in Marine Science. At EMB, she will take on the new activity on Big Data, as well as other activities within the Secretariat.
You can find her contact details here.
The European Marine Board is looking for two enthusiastic, engaged and creative young ambassadors that are willing to play an important role in advocating for EMB and promoting the role and relevance of marine science and the ocean in general.
promote and communicate specific marine science foresight activities amongst your peers, professional network and the wider community.
The European Marine Board Spring Plenary meeting will be hosted by Universities Marines (UM) in Paris, France on 13 June 2019.


Whittens Oysters is a family owned, multi generational oyster farming and distribution business located in New South Wales.
Whittens Oysters approached Next Marketing to complete a rebranding project with the launch into China in mind. As part of rebranding project, Next Marketing arranged a number of third party specialist supplier services such as letterpress printing and Chinese language translation.
We look forward to a long-term association with Whittens Oysters as the new branding is rolled into market.
Like to know more about our work for Whittens Oysters? Download the Next Marketing Design Folio.


text:
Q: How to redirect user to specific page after register in Magento 2 I'm having a hard time with my custom module, I used the event customer_register_success.
Here's the part of my observer code. It will just give me an error 500. Just correct me if I'm wrong. Thanks
use Magento\Framework\Event\ObserverInterface;
use Magento\Framework\Event\Observer;

/**
 * This is the extension to redirect into thank you page of account creation
 *
 */
class Register implements ObserverInterface
{
    protected $_responseFactory;
    protected $_redirect;
    protected $_url;

    public function __constrtuct(
        \Magento\Framework\App\ResponseFactory $responseFactory,
        \Magento\Framework\UrlInterface $url,
        \Magento\Framework\App\Response\Http $redirect,
    ) {
        $this->_responseFactory = $responseFactory;
        $this->_url = $url;
        $this->_redirect = $redirect;
    }

     public function execute(\Magento\Framework\Event\Observer $observer)
     {
        $event = $observer->getEvent();
        $CustomRedirectionUrl = $this->_url->getUrl('thank-you-account-creation');
        $this->_redirect->setRedirect($CustomRedirectionUrl);

    }
}

A: Create events.xml at

app/code/Vendor/Module/etc/frontend/events.xml

<?xml version="1.0"?>
<config xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:noNamespaceSchemaLocation="urn:magento:framework:Event/etc/events.xsd">
    <event name="customer_register_success">
        <observer name="registerAfter" instance="Vendor\Module\Observer\RegisterAfter" />
    </event>
</config>

Create RegisterAfter.php

app/code/Vendor/Module/Observer/RegisterAfter.php

<?php

namespace Vendor\Module\Observer;

use Magento\Framework\Event\ObserverInterface;

class RegisterAfter implements ObserverInterface
{
    protected $_responseFactory;

    protected $_redirect;

    protected $_url;

    public function __construct(
        \Magento\Framework\View\Element\BlockFactory $blockFactory,
        \Magento\Framework\App\ResponseFactory $responseFactory,
        \Magento\Framework\UrlInterface $url,
        \Magento\Framework\App\Response\Http $redirect
    ) {
        $this->_responseFactory = $responseFactory;
        $this->_url = $url;
        $this->_redirect = $redirect;
    }

    public function execute(\Magento\Framework\Event\Observer $observer)
    {
        $customRedirectionUrl = $this->_url->getUrl('thank-you-account-creation');
        $this->_responseFactory->create()->setRedirect($customRedirectionUrl)->sendResponse();
        die();
    }
}

Note: Remove var/ or flush cache after adding observer

A: you can use Magento\Framework\App\Response\Http\Interceptor for redirect from observer
public function __construct(
     ---------
    ResponseInterceptor $responseInterceptor
) {
    $this->responseInterceptor = $responseInterceptor;
}

public function execute(\Magento\Framework\Event\Observer $observer)
{
    //your code
     $this->responseInterceptor->setRedirect($url)->sendResponse();
}


Library based on TF Mini LiDAR(ToF) Laser Range Sensor.
To use the nodes in your project you should have the cesars/tfmini-lidar library installed. Use the "File → Add Library" menu item in XOD IDE if you don't have it yet. See Using libraries for more info.


text:
Pex Announces $57M in New Funding
LOS ANGELES, CA, Pex has secured $57M in new financing
TigerGraph Raises $105M in Series C Funding
REDWOOD CITY, CA, TigerGraph has raised $105 million in Series C funding led by Tiger Global.
vArmour Closes $58M Funding
LOS ALTOS, CA, vArmour has raised $58M in its latest round of funding led by AllegisCyber Capital and NightDragon.
Public.com Secures $15M in Series B
NEW YORk, NY, Public.com announced a $15 million Series B round of funding co-led by Accel and Greycroft.


In a highly cited article, New Scientist reports that 5 kilograms of broccoli in a pill slashes diabetics' blood sugar. It suggests that a concentrated broccoli extract, taken daily, helps people with type-2 diabetes reduce blood glucose by 10 per cent – lowering their risk of other complications.
Traditional medication for type-2 diabetes can have nasty side-effects.
In the absence of the magical broccoli pill, those at risk of type-2 diabetes must turn to tried and tested methods, namely low carbohydrate diet, weight loss and excercize.


text:
Sport / Football / Aberdeen FC / Latest Dons News
Aberdeen's teen pair McLennan and Campbell pick up knocks
by Sean Wallace
Connor McLennan.
Winger Connor McLennan is an injury doubt for today's Premiership clash with Kilmarnock, while fellow teen Dean Campbell is definitely out.
Both picked up knocks in the 2-1 extra-time League Cup win at Dundee on Sunday.
McLennan was recently called up to the Scotland U21 squad to face San Marino and Croatia in Euro qualifiers next month.
McInnes said: "Connor has a little thigh strain.
"We put some work into him this week and we hope he will still be part of the squad.
"Dean (Campbell) will unfortunately not travel to Kilmarnock as he picked up a knock.
"He took a bang on the hip and it has not responded to treatment, so he will miss out.
"Dean may miss out next weekend as well which is disappointing.
"Like all the substitutes against Dundee, Dean contributed and played his part"
Defender Ash Taylor is out injured as Aberdeen will today attempt to end a four-game winless streak.
The Dons had suffered three straight defeats before edging past Championship Dundee in extra time in the League Cup last weekend.
Kilmarnock beat Aberdeen to third spot last season under the management of Steve Clarke.
Following Clarke's exit to take on the Scotland management role, Kilmarnock appointed Angelo Alessio as his replacement, a former No.2 to Antonio Conte at Juventus, Chelsea and the Italian national side.
Alessio endured a nightmare start as Killie exited the Europa League to Welsh part-time minnows Connah's Quay Nomads.
Kilmarnock are the only side yet to register a point in the Premiership after two games.
However, Alessio did lead Kilmarnock to a 1-0 League Cup defeat of Hamilton last week.
McInnes said: "With the players they have there is no reason to suggest why Kilmarnock will not be up there again.
"A lot of the Kilmarnock players remain from last season and they were a very good side last year. They have a lot of respect from myself and my team as we go down there knowing we are going to be in a tough game."
Alessio has been tasked with replacing Clarke, who transformed Kilmarnock from perennial strugglers into a side that finished third in the Premiership.
McInnes said: "It is important a manager gets the time to implement his own style and bring his own players in.
"It is difficult for a manager to come in to a team that has a way of playing that works for them.
"In the last couple of games, certainly against Rangers, they were similar to how they were last season.
"There were tight lines, they let the opposition come on to them and also counter-attacked.
"While it is not a carbon copy, there are more similarities to last season's style than maybe there was in Kilmarnock's opening games."
Connor McLennan
Dean Campbell
Dr Dre 'looking good' after leaving hospital, Ice T says
Joe Harper column: Ban artificial pitches from Scottish Premiership


text:
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Still too early? Seriously? But it's December!
I LOVE Christmas and have been busy pinning Christmassy things. I've also been bothering my family with festive music for almost a month now (Isobel has already told me she's sick of them and we're only just entering Christmastime. Tough luck, lady).
Although I start getting giddy about Christmas as soon as we blow out the candle in our Halloween pumpkin, we don't put our decorations up until mid-December. I've already been to the Christmas shop nearby (pretty much as soon as it opened back in September. I'm not ashamed of this) so I have some new decorations to put on the tree, plus some new Yankee Candle melts. I also bought a few decorations from Florida in October, so that'll bring back some lovely, sunshiney memories. We also have decorations from our Christmas in New York back in 2011, so it's always nice to pull them out of the box and remember the brilliant time we had there.
Loki is our Elf On The Shelf, who visits from 1st December until Christmas Eve. This will be his third year with us and I'm looking forward to his fun and mischief. I'll be sharing our Loki photos over on Twitter and Instagram.
Confession: the Christmas TV guide is one of my favourite parts of the festive season. I like to take my time reading the magazine before circling what I want to watch, deciding what I'll record (and figuring out whether I'll have to catch up on a +1 channel if there are too many clashes). Some people covet presents - I'm happy with a TV guide and a pen!
This has become another family tradition for us over the past few years and it's something we all look forward. Rianne, Isobel and I put on our Christmas jumpers for the occasion too, which makes it even more fun. This year we'll be watching Sleeping Beauty, and I can't wait!
I love a good Christmassy film and even though the Crimbo decs aren't out yet, I do have my DVDs lined up the shelf ready. My favourites include Jingle All The Way, Home Alone (1 and 2) and Arthur Christmas.
Like Christmassy films, I love a good festive read (cheeky plug alert: I also have a couple of festive reads out myself: The Mince Pie Mix-Up and free festive short, A Beginner's Guide To Christmas). I've been meaning to read A Christmas Carol for the past few years. I love watching the films (and especially the musical versions) but I've never got round to reading the book. This year, however, that is going to change as I've finally bought myself a copy!
This is my favourite day of the season (yes, even more so than Christmas Day). I love the anticipation of the big day to come, but it's also far more relaxed than C-Day. It helps that I'm not stuck in the kitchen cooking for hours!


text:
Quavo References a Childhood Favorite in New Music Video for "How Bout That?"
Mar Maldonado November 29, 2018 Tagged Migos, Music Video, Quavo, Reviews
Migos' member Quavo recently his video for "How Bout That?" last week, and it's giving us some major Space Jam feels. This track is from his debut solo album Quavo Huncho. This is the second video produced off of Quavo's solo album, with the first being "Bubble Gum." This video, directed by Kid Studio and Quavo himself, took the rapper to the basketball court, as it seems to be inspired by the popular 90's movie, >Space Jam.
The opening scene is one of despair as the basketball team seems defeated in the locker room during half time. Quavo takes on the role of basketball coach as he raps a pep talk before they head into the second half of the game. That's when the magic happens. Literally. The players in the video can be seen drinking a special drink labeled "Quavo's Secret Stuff," as a basketball swirls with magic.
P R E S S C O N F E R E N C E #QuavoHuncho
A post shared by QuavoHuncho (@quavohuncho) on Nov 21, 2018 at 9:10am PST
These are almost direct references to the hit movie starring Michael Jordan and the Looney Tunes characters. Of course, unlike the movie, this game was on a street basketball court, and with the help of some "magic," the team defeats its opponents but not before Quavo dunks the ball so hard that the backboard of the hoop shatters.
After their victory, the video moves to a shot of the post-game press conference where Quavo is asked how he plans on celebrating the win. Quavo simply responds, "Champagne rosé." Immediately, the video moves on to its next scene, where Quavo and the team are seen celebrating their victory as they turn the court into one huge party. Of course, in true Migos fashion, Takeoff and Offset made multiple cameos throughout the visuals of the track!
Check out the music video below and let us know what you think in the comments or tweet us @soundigest!
Featured Image: Qualiity Control Music
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It is famous for being the birthplace of the Dominican heroines, the Mirabal sisters who gave their lives in the struggle against the dictator Rafael Trujillo. There is a museum in the town, Ojo de Agua (meaning Water Eye) commemorating three of sisters who were killed in the struggle against dictatorship. It is tended to by the remaining sister, Bélgica (Dedé) Mirabal.
The city is named after Francisco Antonio Salcedo who fought in the northwestern part of the country against the Haitian army during the Dominican-Haitian War after the Dominican independence from Haiti in 1844.
In the place where is now the city of Salcedo there was a very small town with the name of Juana Núñez. It was made a Puesto cantonal (an old category that now is called Municipal District) in 1880 as part of the old La Vega province.
With the creation of the Espaillat province in 1885, Juana Núñez was made part of this new province. In 1891, its name was changed from Juana Núñez to the present one, Salcedo.
Salcedo was made a municipality in 1905 and, when the Salcedo Province (now Hermanas Mirabal Province) was created in 1952, the city became the head municipality of the new province.


"BLACK BUTTERFLY" sees Minji as gothic muse of metamorphosis. Photographed by Christopher Parsons. Creative Director: Vannga Nguyen.
Minji, real last name, Money is that girl: a singular mix of striking features and fiery energy, carried with aplomb. "SHE'S SO MONEY" revels in the presence of a star on the rise. Photographed by Evan Duning. Creative Director: Vannga Nguyen.
In collaboration with Astonish Magazine. Featured in "PICTURE PERFECT" for Astonish Issue 5: The Art Issue, out now in print and digital.