I've been pretty excited for most of the decades featured in Squarehue's 2015 subscription. The exception to that was the 1970s. See, I was born in 1979, which would make you think I avoided most of the ugliness of it, but alas I was stuck with my sister's hand me downs, so I wore things like little baby bell bottoms. My living room had a red shag rug, a bright yellow couch (encased in plastic for extra freshness) and these weird floor lamps with balls that looked like flowers in blue, green and yellow. My kitchen featured avocado green appliances. My mom only got rid of that couch a few years ago, so let's say that I spent way more time in the 1970s than I ever wanted.
My open box pics are to show you exactly how things come packaged.
Take note of how the bottles came in the cardboard. It took all my strength not to take one out and make it so all the labels faced the same, but I quieted my inner OCD tyrant in reverence to authenticity.
I guess they are going with the color of water for Watergate? I'm not complaining because I love this polish. It's sparkly and fun although I'm not sure it's seasonally appropriate. This would probably have been a better pick for earlier in the summer.
I don't really get the name, but the white totally makes me think of John Travolta's leisure suit in Saturday Night Fever. It's a classy take on the 70s and I find it thematically appropriate. In regards to the formula, many white polishes are a nightmare to apply. They are super thick or very streaky. I swatched with one coat and I think it looks great. A second coat and this will be perfect. I think it's my favorite white in my entire polish collection.
Personally, I would have called the white polish "Night Fever" and just gone with Disco or Disco ball on this one. This one obviously suits the theme perfectly and I think it's a lot of fun. This will be a great shade for New Year's or to use in jelly sandwich manicures. I love that we got a Holographic polish in this box.
Shockingly, this is one of my favorite collections from SquareHue. I had feared avocado green, burnt umber, baby poop brown and mustard yellow, but SquareHue definitely did a classy take on the 1970s, and included a new finish (the holographic glitter). I'll use all of three of these polishes, so the 19.99 I paid is well worth it.
What colors would you expect in a 1970s themed Polish Box?
SquareHue has introduced a new subscription option called Box. No. 2. For 10.99 a month (per shipping) you can opt for a 2 polish box (instead of the regular 3). The regular 3 polish sub is now Box No. 3.
Box No. 3: $14.99 plus shipping for 3 polishes.
New Option! Box No. 2: $10.99 plus shipping for 2 polishes.
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I love the 1970s colors which I use all 3 or as individuals! Great review and cause!
The colors definitely work well together and would make a great New Year's manicure!


Learn to make sugar cookies from scratch with My Food and Family! This simple recipe for a family favorite is the only recipe you'll ever need for making sugar cookies from scratch. These buttery and crisp sugar cookies are a classic dessert the whole family will love!
Mix flour, baking powder and salt; set aside. Beat butter in large bowl with electric mixer on medium speed until creamy. Gradually add granulated sugar, beating until well blended. Add eggs, 1 at a time, beating well after each addition. Blend in milk and vanilla. Gradually add flour mixture, beating well after each addition. Refrigerate at least 4 hours or overnight.
Preheat oven to 400°F. Roll out dough to 1/8-inch-thickness on lightly floured surface. Cut into desired shapes with floured 3-inch cookie cutters. Sprinkle with colored sugar, if desired. Place, 2 inches apart, on ungreased baking sheets.
Bake 5 to 8 minutes or until lightly browned. Cool completely on wire racks. Decorate as desired.
Cookies can be decorated with JELL-O Gelatin instead of sugar. Bake cookies as directed. While cookies are still warm, brush lightly with light corn syrup or honey. Sprinkle with any flavor dry gelatin.
Prepare and roll out cookie dough as directed. Cut 6-inch patterns (i.e. angel, tree, star, bell) from cardboard; place on cookie dough. Cut dough with sharp knife; transfer to baking sheets with large spatula. Bake at 350°F for 10 to 12 minutes or until lightly browned. Makes 15 large cookies.
Prepare and roll out cookie dough as directed; cut into shamrock, pipe or hat shapes. Bake as directed. Decorate with tinted glaze, green colored sprinkles and/or decorating icing/gel.


text:
Vennesla és un municipi situat al comtat d'Agder, Noruega. Té 14.308 habitants (2016) i té una superfície de 384,48 km². El centre administratiu del municipi és el poble homònim. Vennesla es va separar de Øvrebø en 1861. Øvrebø i Hægeland es van fusionar novament amb Vennesla l'1 de gener de 1964. Es troba a uns 17 km al nord de Kristiansand i per les seves dimensions és el tercer municipi més gran del comtat.

Informació general

Nom
El municipi (originalment la parròquia) es va denominar d'aquesta manera per l'antiga granja Vennesla (Nòrdic antic Vendilslá), atès que la primera església es va construir allà. El primer element del nom és el genitiu de vendill que significa "branqueta" (potser utilitzat com el nom d'un braç del Venneslafjorden) i l'últim element és lá que significa "pantà".

Escut d'armes
L'escut d'armes és modern, el mateix va ser aprovat el 1971. La banda ondulada simbolitza al riu Otra, que travessa el municipi. Els arbres simbolitzen els repoblaments i els engranatges simbolitzen la indústria.

Geografia
Vennesla limita per l'oest amb els municipis de Marnardal i Songdalen, per l'est amb Birkenes i Iveland. Al nord-est amb Evje og Hornnes, i al sud amb Kristiansand.

Economia
Vennesla ha estat per molt temps un petit poble industrial, amb la fàbrica de paper Hunsfos Fabrikker AS com el principal referent de la comunitat. No obstant això en dècades recents, el nombre d'empleats ha disminuït dràsticament des d'uns 1,200 en la dècada de 1970, a 200 el 2005 i només uns 120 el 2007. El 2010 la fàbrica de paper emprava 135 persones. El 2011 Hunsfos Fabrikker AS va celebrar 125 anys d'operació. www.hunsfos.com

Vikeland hovedgård
Hi ha una mansió a Vennesla anomenada Vikeland hovedgård, que es diu que està habitada per un fantasma anomenat "la dama blava" (den Blå Dama). Mary, la dama blava era una treballadora de la granja que existia allà, i es va enamorar del fill de l'amo de la granja. Però no se'ls va permetre que es casessin, per la qual cosa s'explica que Mary es va suïcidar penjant-se en el "quart blau", d'allí el seu nom. En l'actualitat, quan es realitzen casaments a la mansió, els amos de la propietat permeten que el fantasma de la dama blava participi de les celebracions del casament col·locant un lloc addicional a la taula per a ella.

Fills il·lustres
 Børre Knudsen (1937—2014), sacerdot i activista contra l'avortament.

Ciutats agermanades
Vennesla manté una relació d'agermanament amb les següents localitats:Odder Katrineholm Salo

Referències

Enllaços externs

Municipis d'Agder

redpajama_set_name: RedPajamaWikipedia


As with its larger cousin, the Miniature Pinscher originates from Germany, however, it is much smaller in size. The Miniature Pinscher has a solid build and a streamlined body making it relatively quick. It is noted for its "hackney" gait which resembles high-stepping usually associated with horses. The Min Pin has a short coat that ranges in color from red to chocolate and rust, and black and tan.
This breed is a loving family dog that enjoys spending time with their owners. They can be a bit stubborn, especially when it comes to training. They also need a lot of daily exercise, making them ideal for an active family.
Their ears are large and remain erect, with a small tail that is usually cut, but this is not recommended due to its cruelty. The eyes are brown with a black or brown nose. Their coat is short, dense, straight and soft to the touch. Coat colors include black, red, blue, brown, light brown, isabelline and cream colored.
This breed's origin is unknown, but many believe they go as far as 2,000 years back. However, records of this breed are only found as far back as the 19th century. It is believed to be descendant of the German Pinscher family, Italian Greyhound and Dachshund. Their original purpose was to be a rat hunter, however, it is now better known as a companion dog. The red coat type was nicknamed "Reh Pinscher" due to its similar appearance to the red deer that reside in Germany. In the 1800s, the Pinscher Klub was created in Germany, and their name was later changed into Pinscher-Schnauzer Klub. In 1900, the breed was shown in the Stuttgart Dog Show in Germany. 19 years later, it was brought into the United States, where its popularity skyrocketed and, in 1929, the Miniature Pinscher Club of America was created. That same year, the breed was recognized by the American Kennel Club.
This breed is often known as the "King of Toys" due to its strong personality and leadership characteristics. Training is vital for this reason, or they might attempt to manipulate you. They enjoy spending time with their family and are extremely loving with children. They are best suited for older children that know how to play with dogs. They do not get along well with other household pets and are wary with strangers. However, they might get along well with other dogs if they are introduced properly and from a young age.
Their hair must be brushed weekly, with their nails trimmed regularly, as well as their teeth brushed and ears checked for any dirt to prevent infections. They are relatively active and need plenty of daily exercise in the form of multiple daily walks. Training can be difficult given that they are stubborn and too smart for their own good, meaning they will attempt to drive their owners to their limit. Obedience training and early socialization are a must for this breed.


text:
Same old war on women fought on a new theater
WASHINGTON – — With the New York Times' sudden dismissal of Executive Editor Jill Abramson and Karl Rove's suggestion that Hillary Clinton might have brain damage, the curtain opened on a new theater in an old war.
The targeting of these two powerful, accomplished women, albeit under different circumstances, may prove more predictive of the presidential election (assuming Clinton runs) than any other single factor. This is because women, who vote in greater numbers than men, have been reminded of how their sex is treated in a world that still favors men.
This is rare currency for me. I wrote a book called "Save the Males," after all. But my argument in the book and elsewhere wasn't about favoring men. It was a case for fairness toward boys and young men lest they grow up to become lesser men.
Fairness doesn't always mean absolute equality, nor can it be measured only by numbers.
Certainly, leadership is not the exclusive domain of men. Nevertheless, Abramson, the first woman to lead the masthead of the nation's most prominent newspaper, was ousted amid stories of her "brusque" leadership style and, horrors, her gall in pursuing equal pay to her male predecessor.
We are left to infer two lessons: Women at the top should be sweet and nurturing at all times; and a woman who faints and falls, hitting her head, as Clinton did, can't be trusted to lead the nation. This would be because she is … a woman and, cut to the chase, she probably has something wrong with her brain.
As for Rove, well, he's Bush's brain. (Kidding guys.) But Rove is ruthless and never without intent. When he protested that he was merely pointing out that Clinton's concussion might have caused brain damage, he might as well have said, "I didn't mean she's demented and this is probably why she can't remember what she did the night four Americans died in Benghazi, including our ambassador. Just sayin' it's possible."
Everyone knows what's up. A woman's "brain damage" is a man's "accused rape." Though cleared of illness or crime, there's always lingering doubt. He might have raped her. She might be … damaged goods.
A plethora of other connotations and associations attach to the brain-injured woman. Emotionally unstable, mentally incompetent, the fainting woman who can't unscramble her busy little head. Not long ago, women were "put away" for a "nervous breakdown." It's all there but the straitjacket.
Even if one thinks the country doesn't need another Clinton White House, a sentiment shared by many Democrats — or if you're of the BenghaziBenghaziBenghazi persuasion — the overarching impression is that Clinton was attacked unfairly. Ditto Abramson, who was fired effective immediately, which usually means shown the door without so much as a pit stop.
Fairness, in other words, is the whole kit and caboodle, and women are especially sensitive to its applications. Is it fair to suggest that one man's attack on one woman somehow reflects poorly on all men? No, it's not fair, but we're talking politics, where perception is reality.
These were already tricky times for male candidates running against women. But this latest confluence of events just made them trickier. An impression of unfairness has made an imprint on the collective female brain and, well, you know how women can be.
Kathleen Parker's email address is kathleenparker@washpost.com.

redpajama_set_name: RedPajamaCommonCrawl


text:
SAATCHI GALLERY.
Young Americans 2: New American Art at the Saatchi Gallery.
London: Saatchi Gallery, 1998. Illustrated in color throughout. Unpaginated. 4to, pictorial wrappers. London: Saatchi Gallery, (1998). A very good(+) copy--light bend to upper corners. More
SAFDIE, Moshe.
With Intention to Build: The Unrealized Concepts, Ideas, and Dreams of Moshe Safdie
Melbourne: Images, 2020. Profusely illustrated in b/w and color. 284 pages. Oblong 4to, pictorial boards. (Melbourne): Images, (2020). Inscribed by Safdie on front endpaper. A fine copy. More
SANDBERG, W. and JAFFE, J.L.C.
Kunst Van Heden in Het Stedelijk
Amsterdam: Stedelijk Museum, 1961. Profusely illustrated in both color and black & white. 4to, white cloth, d.w. Amsterdam: Stedelijk Museum, (1961). A near fine copy in a very good dust wrapper. More
SANTINI, Pier Carlo
Modern Landscape Painting
London: Phaidon, 1972. 245 plates, 52 in color. Square 4to, gray pictorial cloth, d.w. (London): Phaidon Press, (1972). Fine in ve4ry good(+) dust wrapper. More
SCHAEFER, Herwin.
Nineteenth Century Modern: The Functional Tradition in Victorian Design.
New York: Praeger, 1970. With 289 b/w illustrations. 211 pages. Short square 4to, orange cloth, d.w. (d.w. quite soiled and edgeworn). New York: Praeger, (1970). First edition. A near fine copy in a poor dust wrapper. More
SCHAPIRO, Meyer.
Impressionism: Reflections and Perceptions.
New York: Braziller, 1997. Profusely illustrated in color and in black and white. 359 pages. Small 4to, gold cloth, d.w. New York: George Braziller, (1997). First edition. First several pages with irregular creasing from binder's error, else a near fine copy in a very good(+) dust wrapper. Gift inscription from unknown person to Shirley & Francis (the authors Shirley Hazard and Francis Steegmuller). More
SCHMECKEBIER, Laurence E.
Modern Mexican Art
Minneapolis: University of Minnesota Press, 1939. 216 black-and-white plates, several in color. 190 pages, 4to, red and blue decorative cloth, a bit soft at ends. Minneapolis: University of Minnesota Press, (1939). A very good(+) copy. Most of the text is a study of the art of Diego Rivera and Jose Clemente Orozco. Many of the plates are paintings by either of those artists. More
SCHOR, Gabriele
The Prints of Barnett Newman 1961 - 1969
Ostfildern: Hatje Cantz, 1996. With many illustrations in full color. 127 pages. Slim 4to, white pictorial boards, d.w. Ostfildern: Hatje Cantz, (1996). First American edition. A fine copy in a fine dust wrapper. Inscribed by the author, to Nan Rosenthal, the curator of modern art the Metropolitan Museum and National Gallery. Published on the occasion of the exhibition from the Staatsgalerie Stuttgart 29 June-8 September 1996, Camden Arts Centre, London 20 September-10 November 1996, Kunstmuseum Bern 3 December 1996-26 January..... More
SCHUG, Albert.
Art of the Twentieth Century.
New York: Abrams, 1969. Profusely illustrated, including many color plates. 264 pages. Square 8vo, red cloth, d.w. (intact but quite yellowed) New York: Abrams, (1969). First edition. A near fine copy in a very good(-) dust wrapper. Panorama of World Art series. More
SDUK (Society for the Diffusion of Useful Knowledge)
Modern Plan of Rome
London: SDUK, 1830. Map. Engraving with original hand color. 13.5 x 16.25". Clear and simple town plan of Modern Rome. Text on the left lists the districts and important institutions in those districts. Pink, yellow, and green coloring outline different areas. Includes elevations of notable buildings along bottom edge. The Society for the Diffusion of Useful Knowledge was formed in 1826 and published low cost maps with the goal of reaching a large market, while still maintaining high quality and..... More
SEIDNER. David.
Artists at Work: Inside the Studios of Today's Most Celebrated Artists
New York: Rizzoli, 1999. Illustrated primarily in color photos. 213 pages. 4to, navy cloth, d.w. New York: Rizzoli, (1999). A very good solid copy--light foxing to endpapers; in a very good wrapper, tearing to head of spine. More
SEMIN, Didier & GARB, Tamar & KUSPIT, Donald & PEREC, Georges & BOLTANSKI, Christian.
Christian Boltanski.
London: Phaidon, 1997. Profusely illustrated both in color and b/w. 160pp. 4to, pictorial wrappers. London: Phaidon, (1997). A very good(+) copy. More
SHANNON, Thomas.
Thomas Shannon: A Selection of Works, 1966-1991.
Geneva: Galerie Franck, 1991. Profusely illustrated in color. Large, oblong 8vo, pictorial wrappers. Geneva: Galerie Franck, (1991). A near fine copy--lightly sunned. Large inscription from Shannon on half-title page. More
SIDNEY JANIS GALLERY
Willem DeKooning March 5 - March 31, 1962
New York: Sidney Janis Gallery, 1962. Exhibition catalog. Illustrated (colo and b/w). Slim 4to, lightly worn paper wrappers. New York: Sidney Janis Gallery, 1962. A very good(+) copy. More
(SIDNEY JANIS GALLERY).
De Kooning.
New York: Sidney Janis, 1972. Illustrated with a few color and b/w images. Very thin 4to, paper wrappers (wrappers slightly rubbed and very slight creasing on spine). New York: Sidney Janis Gallery, 1972. A very good(+) copy. Catalogue for an exhibition introducing De Kooning's sculpture and new paintings, from October 4 through November 4, 1972. More
SOBY, James Thrall
Modern Art and the New Past
Norman: University of Oklahoma Press, 1957. 8vo, yellow cloth, d.w. Norman: University of Oklahoma Press, (1957). Very good. More
SOBY, James Thrallagc
Norman: University of Oklahoma Press, 1957. 8vo, yellow cloth, d.w. Norman: University of Oklahoma Press, (1957). First Edition. Very good (+). Inscribed by the author Francis Steegmuller. More
(SOTHEBY'S)
Impressionist & Modern Art Evening Sale: New York Monday 3 November 2008 7 p.m.
New York: Sotheby's, 2008. Illustrated in color. 275 pages, 4to, pictorial wrappers protected by additional pictorial 3 panel folder. New York: Sotheby's, 2008. A fine copy in a very good(+) folder. More
SOTHEBY'S.
The Beck Collection: German Expressionist & Modern Art. 5 volumes.
London: Sotheby's, 2002. 5 volumes. Many color illustrations, including folding plates. Tall, thin 4tos, stiff pictorial wrappers, slipcase. London: Sotheby's, 2002. A fine set. in a very good (+) slipcase. Sale number 2964, October 2002. More
Latin American Art.
New York: Sotheby's, 1999. Illustrated throughout in color. Slim 4to, glossy pictorial wrappers. New York: Sotheby's, (1999). A fine copy. Catalog for an auction held on Tuesday, November 23, 1999 and Wednesday, November 24, 1999. More
STANISLAWSKI, Ryszard (editor, et al.)
Constructivism in Poland 1923 - 1936 BLOK, Praesens, A. R.
Poland: Muzeum Sztuki, Lodz. Introduction text in English, Dutch, and German, rest in English. Illustrated in color and black and white. 208 pages, 4to, white pictorial wrappers (worn). Lodz: Muzeum Sztuki, no date. A very good copy. Previous owner's signature on title page. Some penciled notes. More
STAVITSKY, Gail and ROTHKOPF, Katherine
Cezanne and American Modernism
New Haven: Yale University Press, 2010. Extensively illustrated, including 190 in color. 374pp., thick square 4to, cloth, d.w. New Haven: Yale University Press, (2010). A fine copy in a near fine dust wrapper. Essays by Ellen Handy, Jill Anderson Kyle, Mary Tompkins Lewis, Jerry N. Smith, and Jayne S. Warman. More
STERN, Robert A.M.
Buildings and Projects 1965-1980. Toward a Modern Architecture after Modernism.
New York: Rizzoli, 1981. Edited by Peter Arnell and Ted Bickford. Profusely illustrated throughout, some in color. 255 pages. 4to, deep blue cloth, d.w. (New York: Rizzoli, 1981). First edition. Pages a bit yellowed at edges, otherwise a fine copy in a near fine dust wrapper with sunned spine. Inscribed by the architect on the half title. More
Sthapitanonda, Nithi; MERTENS, Brian.
Architecture of Thailand: A Guide to Traditional and Contemporary Forms
Singapore: Editions Didier Millet, 2005. Illustrated with over 800 color photos and 35 diagrams. 256 pages. 4to, brown cloth, d.w. (Singapore): Editions Didier Millet, (2005). A fine copy in a very good(+) wrapper--rear panel faintly scuffed. More
STICH, Sidra
Anxious Visions: Surrealist Art
Berkeley: University of California, 1990. With many color and b/w illustrations. 295 pages. Thick 4to, black cloth, d.w. Berkeley: University of California, (1990). A fine copy in a near fine dust wrapper. A very good(+) copy with minor spotting to fore-edge; in a very good(+) dust wrapper, light scuffing to both panels. More
The book arrived! I have been searching it for a long time and so I am very happy about it! Thank you very much!
Hubert E.
Dear Sir, I received two autographed letters yesterday, much faster than I expected! I'm a fan of Anne Morrow Lindbergh and I happened to find this item when I was browsing her books... The letters look great and I'm very happy to read her own writing in my hand. Thank you very much for your great business.
Toshihiko Hori


Renewable energy is one of the most vital resources of the 21st century. NMC offers professional certificates and an Associate of Applied Science degree in this exciting, growing field.
Renewable Energy Technology - Electrical focuses on how to harness wind and solar-generated electricity and its use by residential consumers and utilities.


In the new issue of the ENO Friends magazine there is an interview with John Berry (ENO Artistic Director) about the forthcoming new production of Lucia di Lammermoor. ENO are not renowned for doing bel canto repertoire, they have never had a significant amount of Bellini or Rossini in their catalogue and Donizetti has mainly been represented by his two comedies.
Rather oddly, Berry says that Lucia is not categorised as core repertoire. Which seems a strange comment as it is surely a piece that appears regularly (if not frequently) in most opera houses. Berry goes on to say comment that the reason why the bel canto repertoire has been neglected is the translation issue, that it is difficult to find good translations and the singers to sing them. This seems a fair point, but in other areas of the repertoire, ENO has had no trouble finding singers to learn new translations of the operas. Surely casting Donizetti is no harder than casting Handelian opera seria?
Berry's comments are interesting and relevant, up to a point. But I can't help feeling that there is an additional unspoken point which ought to have been made, that in the past there has perhaps been a lack of sympathy with the bel canto repertoire.
Franz Welser-Möst comments about the health of an opera house; the best indicator being, not the spectacular first nights but the revivals, if you have great Three Ladies in the Magic Flute or good Flower Maidens. And Mike Ashman unearths one of the original Flower Maidens, Carrie Pringle by name, who may even have been Wagner's mistress. One of those people who flit into history and then disappear.
Richard van Allen is one of those singers who seems to have disappeared from our stages. It turns out that he is suffering from cancer and undergoing chemotherapy. But his interview in Opera is interesting and illuminating. He trained as a teacher at Worcester Teacher Training College. Amazingly, the music tutor there was Harold Watkins Shaw, the Handel scholar. In his early days he sang with Opera for All. They took the scenery around with them and erected it themselves. Van Allen drove the scenery van because he happened to have a driving licence. Puts the current problems touring operas into perspective rather doesn't it?
Van Allen must be one of the last of the generation of singers who learned their craft without ever being able to read music, (Rita Hunter and Charles Craig were similar). In the early days Van Allen used to rely on a tape recorder weighing 45 pounds, hardly portable.
In Australia, the State Opera of Adelaide presented Un Ballo in Maschera conducted by Baroque specialist Graham Abbott. Sounds as if it might have been a fascinating evening, with the intimate preferred to the bombastic. This also happened at the Caramoor Festival in the USA where Il Trovatore was given in a fascinating Bel Canto version. There Conductor Will Crutchfield gave a very full edition of the score.
And in Sydney, Venus in Tannhäuser looked like Cruella de Vil and was a stern mistress of discipline, whatever turns you on I suppose. Cheryl Barker sang all 3 soprano roles in Il Trittico, quite a feat if you think about it. If she is singing the more dramatic Janacek and Strauss roles, it will be interesting to see whether she can keep her voice lithe enough for Suor Angelica and Lauretta.
John Allison went to Belgium to see the new Hans Werner Henze opera. Someone has described him as the Meyerbeer of our times - discuss! Still, Allison said that the final ecstatic dance sounded like Mahler on Prozac. Judging from the photo, the production itself was very stylish.
And in Canada, the Canadian Opera Company staged their first ever French Don Carlos, amazing as it seems. Though the reviewer then confuses this by saying that the 5-Act Italian version had been given in French in the past. So I'm not really sure what he meant, perhaps he means the original Paris version. Anyhow, the cast seem to have been pretty polyglot.
Marseille have premiered a new opera, Marius et Fanny by Vladimi Cosma based on the Marcel Pagnol tales. I wonder how it compares to Harold Rome's musical based on the same source, which provided Ezio Pinza's first Broadway role after South Pacific.
We saw Yannis Kokkos's production of Cherubini's Medea (Italian version) at the Chatelet in Paris with Anna Caterina Antonacci in the title role. The production has made its way to Greece where it was performed in the ancient theatre at Epidaurus, quite a venue. The same opera also showed up in Utrecht, also in the Italian version.
And Peter Maxwell Davies's The Lighthouse has made its way to Italy (to Montepulciano) for only its 2nd production in Italy (the last one was 20 years ago). The performers all had Anglophone names, so this was hardly full cultural assimilation. Over in Spoleto they did Handel's Ariodante with a production inspired by Princess Margaret in the 1950's.
In Boston it was the turn of Lully's Psyche, the operas first American outing. Rather bizarrely, the piece has its origins in a fete belliqueuse for some 30,000 soliders on the nearly built fortifications of Dunkirk. The mind boggles.
At the Met, theatre director Mary Zimmerman directed a new Lucia di Lammermoor and seems to have shown the same distrust of the operatic genre as some of the recent non-opera specialists over here.
Still in New York, Ethel Smyth's The Wreckers made its American debut. Unfortunately they performed it in the traditional English version - Martin Bernheimer comments on the prim Victorian verse and the clumsy libretto. I must confess that I was surprised at this latter comment as I have never found Brewster's libretto clumsy. Granted the English translation is cumbersome, but Smyth always admitted this and it was done in a hurry by a hack. Smyth and Brewster wrote the opera in French, though I don't think it has ever been performed in this version. Duchy Opera commissioned a new translation from Amanda Holden and it is a shame that this was not used.
Back in the UK, veteran composer Stephen Dodgson has had a new opera, Nancy, premiered by St. Albans Chamber Opera. Dodgson is now in his 80's, so there is hope for us all yet.
We hear that... notes that Patricia Bardon will be singing in ENO's new Riders to the Sea in the Autumn. Great news to hear that the opera will be returning to London at last.
There is a review of my new disc, "The Testament of Dr. Cranmer", on the Classical Source web site, here.
My review of a reconstruction of an 18th century mass from Peking is here, on MusicWeb International.
My review of a new organ recital is here, on MusicWeb International.
And a recital by a promising new lute player here.
In the early 19th century, England and Scotland were distant enough from operatic Italy to warrant them being seen as suitable locations for Romantic opera. Thanks to Scott's novels, historical Scotland was seen as a suitably exotic backdrop. Of course, these operas were no more historically accurate than any other location; Rossini's La Donna del Lago was no more Scottish than his Maometto secondo represents a real episode in Turkish/Venetian history.
last opera Guillaume Tell with its stunning re-creation of the historical Switzerland, the Alps and the lake.
Historical England also came in for re-incarnation: Rossini's Elizabetta Regina d'Inghilterra bears very little resemblance to her historical counterpart, but is notable because her opening aria is the pre-cursor for Rosina's opening aria - a fascinating example of Rossini's re-use of material.
But it is in the operas of Donizetti that we come across a large number of English and Scottish settings. Whilst we have difficulty taking the exotic location of Emilia di Liverpool seriously, we can be more sympathetic to the historicism in Rosamunda d'Inghilterra which concerns the antics of Henry II, Eleanor of Aquitaine and Henry's mistress the Fair Rosamund. But where Donizetti really seems to score is in his sequence of operas based on the Tudor dynasty.
These start with Elisabetta al Castello di Kenilworth and continue with Anna Bolena, Donizetti's first big hit, then Roberto Devereux and Maria Stuarda. English Opera companies seem to have a fascination with Maria Stuarda above all the rest. It is, of course, a superb opera but not significantly better than some of Donizetti's other ones. Perhaps our fascination with the historical Mary Stuart has something to do with it, and Schiller's invented scene between the 2 queens is quite superb. But the role of Elizabeth is rather short, the original Elisabetta complained about the paucity of this role. Usually in UK performances this role is given to a soprano strong on Character (Pauline Tinsley, Rosalind Plowright) who can make much of the character's appearances in the opera.
Though ENO has done very little early Italian opera in recent years they have done 2 productions of Maria Stuarda, one for Janet Baker and one for Anne Murray. The opera was performed at Grange Park in recent years with Majella Cullagh in the title role and English Touring Opera toured it last year. So it was with some surprise that I learned that Chelsea Opera Group were planning the opera. But on reflection, the last ENO production was some years ago and the promised revivals have never come so apart from ETO in Hackney last year, Maria Stuarda has been pretty absent from the capital.
Chelsea Opera Group have a strong cast, headed by Majella Cullagh. This will be COG's last appearance at Cadogan Hall, for their next appearance in March 2008 they are back in the Queen Elizabeth Hall, when Nelly Miricioiu will be singing Lady Macbeth in the original version of Verdi's opera.
Next season's Vaughan Williams centenary seems to be persuading a number of companies to explore English opera. The Buxton Festival, currently on a roll having had a very successful 2007 season, will be performing RVW's opera Riders to the Sea along with Holst's Savitri and The Wandering Scholar. Savitri is a slightly severe 3-hander based on Indian mythology, in which a woman argues with death for the life of her husband. I remember seeing Dame Janet Baker in it, in performances with Scottish Opera in the 1980's. The Wandering Scholar is a very late work, Holst died before he could hear it, or correct the manuscript. Holst's operas are often curious works and I will be very interested to hear this one. RVW's Riders to the Sea of course needs no introduction.
Continuing in English vein, Buxton will also be doing a stage version of Handel's oratorio Samson with Tom Randle in the title role. More information here.
My review of Independent Opera's double bill of Elizabeth Maconchy operas is here, on Music and Vision.
To the Barbican last night for an LSO concert; Richard Hickox conducting Bernstein's Chichester Psalms, Barber's Knoxvill 1915 and Orff's Carmina Burana.
For the Bernstein and the Orff Hickox used a very large orchestra (16 first violins and a total personnel roster of nearly 100 people). The Barbican stage can barely contain these numbers and I still remain unconvinced that it is the best place for such large scale works. From our seat in the front stalls, the orchestra seemed to dominate the choir in both works. In the Orff particularly I would have liked a greater number of choral singers than could be accommodated on the Barbican stage.
For the Bernstein the choral contribution was polished but I found the singing lacked the energy and incision needed in the piece. The most moving moment was the treble solo in the 2nd movement, beautifully sung by Jesus Duque from the Tiffin Boys Choir.
Barber's Knoxville 1915 is one of those pieces that I am sure I have never heard in concert before, but which is familiar all the same. The programme did not include the words so we had to hang on Laura Claycomb's every note. By and large she succeeded in getting all the words across and floated a beautiful sound in the lyrical passages.
I have always thought that Carl Orff had a lot in common with Gustav Holst. Both produced one very popular work and then showed no interest in following this up, but explored other less popular veins. Though the other 2 works in Orff's Trionfi trilogy explore some of the same areas as Carmina Buran, they do so without this works intoxicating melodic flair.
I first sang Carmina Burana as a student under a pupil of Orff's. He conducted the rehearsals with great emphasis on rhythm and articulation. We quite often practised without any pitch at all. He laid great stress on the words and they way we projected them, almost spitting them out. This is something which can create a strong effect in the piece, but is too often neglected by choirs. The LSO chorus sang beautifully but in the passages like the quiet sections of the first movement, O Fortuna, their delivery lacked energy and vividness. As in the Bernstein, they somehow could not get energy across the orchestra and there was rather an over emphasis on beautiful singing. In the louder passages the balance rather favoured the orchestra, but there was some beautiful singing from the semi-chorus in the quieter moments.
The soloists were probably about the best you could get in this work. The Swan was, correctly, sung by a tenor, Barry Banks, rather than a counter-tenor. His theatrical delivery was matched by an assured vocal performance, this was the Swan as it should be with the tenor at the top of, or beyond, his comfortable range. The baritone soloist is similarly taken to the very top (and bottom) of his vocal comfort zone. This seemed to hold no fears for Christopher Maltman who turned in a beautifully sung but very dramatic account of the baritone solos. Laura Claycomb did exactly what the soprano solo is asked to do, floated high notes beautifully.
In many ways this was a fine performance. The soloists were superb and the orchestra were on top form, if only the performance had taken place in a venue which would have allowed the chorus to expand to match them.
To Sadlers Wells last night to see Independent Opera's impressive double bill of operas by Elizabeth Maconchy. It turns out that the atmospheric lighting was by Matthew Haskins who lit my opera Garrett when we premiered it in 2001 at Hoxton Hall, small world.
My review of a disc of excerpts from Handel's Serse is here, on MusicWeb International.
Tomorrow night we are off to see Independent Opera's enterprising double bill of Elizabeth Maconchy's operas at Sadlers Wells. This young opera company have constantly surprised me with their choices of opera. Designed to give young professionals opportunities and support (there is now a foundation which gives grants and help) they could have happily jogged along mining the small scale end of the standard operatic repertoire. But last year they mounted a very creditably production of Handel's Orlando and now the Maconchy double bill.
One thing, though, is nagging in my brain. I can remember reading an interview with Elizabeth Maconchy and her librettist, Ursula Vaughan Williams, at the time of a previous outing for their one act opera, The Sofa. Both were pretty elderly but very sprightly and lively to interview. Unfortunately I can find no trace of the interview. Frustrating.
My review of Midsummer Opera's performance of Turandot (with the complete Alfano ending) is here, on Music and Vision.
Off to Bristol on Sunday to the English Poetry and Song Society recital at Bristol Music Rooms - an attractive mix of the well known and the lesser known with songs by Gurney, Parry and Stanford, plus the winners from their most recent competition (including one of my own). This meant that we got 3 different settings of Gurney's most well known poem, 'Severn Meadows', which was fascinating. Bryan Blyth Daubney's song, I felt, shone out as the clear winner amongst the competition songs.
On the way home we managed to catch the BBC broadcast of the John Foulds World Requiem from the Albert Hall. It was a fascinating work, even over the car radio, and I look forward to hearing the recording though we did wish that we could have been present in the Albert Hall. It was interesting to hear the various moments in the work which seemed to almost approach Messiaen. Soprano Jean-Michelle Charbonnet had a rather too vibrato laden voice for my taste, but otherwise the performance seemed to be exemplary. May we hope for a repeat next year?
Jessica Duchen introduces Korngold's Wunder der Heliane which the LPO are doing on Nov 21st. This is one of these overblown symbolist laden plots where I sometimes think I'd be better off not knowing what's going on and just sit back and listen to the music.
And Nicola LeFanu introduces her mother, Elizabeth Maconchy's operatic output. Independent Opera are doing a double bill of Maconchy's works this week at Sadlers Wells. Rather poignantly, the libretto of The Sofa is by Ursula Vaughan Williams, who died recently.
In her article on Baylis, Elizabeth Schafer refers to Joan Cross's unpublished autobiography. From the bits quoted it sounds fascinating and I would hope we could have it published. Another source was the Old Vic/Sadlers Wells magazine; articles by Ethel Smyth on opera in England (was it a wash out), Edward Dent on Rossini and an introduction to the first English production of The Snow Maiden.
Rose Bampton has died. You might not know her name, but she was 99, a remarkably link with a bygone age. She sang alongside Ponselle and gave the New York premiere of Barber's Dover Beach.
In New York, Gerard Mortier has published news of his first season at NYCO (Rakes Progress, Francis of Assisi, Einstein on the Beach, Nixon in China and Death in Venice with Ian Bostridge. All very 20th century but nothing to really frighten the horses. Mortier has also said that he's not interested in taking NYCO into the Cinema (like the Met) but opera houses should be taking people out of the cinema and into the opera house. Quite So!
A 21st century opera, Margaret Garnier, made its way to New York. But Martin Bernheimer describes it as another let's pretend modern opera for people who hate modern opera.
In St. Louis, there was a gala for Colin Graham, including an old St. Louis discovery, Syliva McNair. She seems to be retired from opera which is a shame. One of those talented, where-did-they-go people. The new opera at St. Louis was another versio of Anna Karenina with a libretto by Graham. Graham emphasised less the social drama and more Levin's philosophical musings - probably not what people want when they think of Anna Karenina.
In Australia, Deborah Jones was less than convinced by Previn's A Street car Named Desire, commenting that it might have been better not to have set Blanche's famous phrase to music, leaving it spoken. Still, I'd have liked to have heard Yvonne Kenny in the role. Jones also felt that the word setting was 'uncongenial or the vocal line too high for comfortable apprehension'. Quite. Another plus seems to have been seeing Teddy Tahu Rhodes's washboard stomach!
In Vienna, a production of Le Nozze di Figaro centred round a football team, where do these ideas come from.
Over in Halle, the annual Handel Festival has finished. Again I've not been, though always mean to. The performances of Riccardo Primo with Lawrence Zazzo, Geraldine McGreevy and Nuria Rial sound as if they were well worth catching. Stephen Lawless's production of Ariodante was set on what seems to have been comic book Scotland. Still it did have Caitlin Hulcup in the title role and Gillian Keith as Ginevra. Bernd Hoppe and I seem to disagree over Christopher Robson in the old ENO production, so I'm not sure whether his approbation of Axel Köhler is good or bad.
Over in Potsdam they were enterprisingly doing Purcell's King Arthur and Lampe's The Dragon of Wantley. The productions sound as if they were promising, I think the Purcell was brought to England and played at the newly restored Theatre Royal in Bury St. Edmunds. The reviewer mentions another Lampe opera, Margery, or A Worse Plague than the Dragon, now I wonder what that's like?
Max Loppert's review of the Robert Carsen Ring is interesting. Hugh Canning loved it when it was in Cologne, but Loppert disliked the Venice incarnation. Always a fascinating problem, do the 2 of them simply disagree or was there a fault in translation from Cologne to Venice. Sharing and borrowing productions can often be a tricky business and in a new atmosphere, things which previously worked no longer seem to.
Back in London, We Hear That... holds forth the promise of lots of Handel in London; David Daniels as Jonathan in ENO's new Saul, Rosemary Joshua in ENO's new Partenope directed by Christopher Alden and Graham Vick doin Tamerlano with Chrisianne Stotijn at Covent Garden. Quite wonderful. Also in London, Jonathan Miller is doing a new La Boheme in 2009 for ENO. It doesn't seem that long since the present one was new.
Susan Graham is going to be doing her first Marschalling, in Houston, and Renee Fleming will be doing Rossini's Armida at the Met.
Tomorrow we should have been going to hear John Foulds's A World Requiem at the Royal Albert Hall. But instead we are winging our way to Bristol where one of my songs is being performed at a recital devoted to Ivor Gurney and his teachers at Bristol Music Club in Clifton. Its an afternoon recital and has a beautifully put together programme which mixes Gurney and his teachers with 5 contemporary Gurney settings from the most recent English Poetry and Song Society competition. So we'll have to hope we can catch the John Fould's on the Radio on the way home.
We've just booked tickets for Opera North's London visit in February 2008 when they are bringing Peter Grimes (with Jeffrey Lloyd Roberts in the title role) and Pinocchio, the new opera by Jonathan Dove and Alastair Middleton. Dove and Middleton were responsible for the wonderful not-quite-opera that was the Christmas show at the Young Vic last year and I look forward to Pinocchio enormously.
The performances take place at Sadlers Wells and also there in June are a pair of semi-staged performances of Vaughan Williams's opera The Pilgrims Progress. This is sad in some ways as the presence of the opera at Sadlers Wells in semi-staged version almost certainly means that no-one is doing a fully staged version in London for the anniversary year. I have not heard whether ENO are reviving their production of Sir John in Love, but it would seem criminal for them not to bring it back in the autumn.
For the June performances of The Pilgrims Progress, Richard Hickox will be conducting a very fine cast including Roderick Williams as the Pilgrim, Neal Davies as Bunyan with Sarah Tynan, Pamel Helen Stephen, Timothy Robinson, James Gilchrist, Robert Hayward and Graeme Danby in the cast.
Oh, that's of course another reason why people don't perform the opera, it requires a large cast plus a good chorus. In fact, the only time I have seen it staged was at the Royal Northern College of Music in 1992, directed by Joseph Ward (who sang Lord Lechery in the premiere. This performance had Stephen Wallace, in drag, as Madam Bubble (he went on to play the Fairy Queen, in drag, for Grange Park Opera); Jeffery Lloyd-Roberts in a number of tenor roles, Henry Waddington as Pontius Pilate and even Alice Coote as an Angel of the Lord.
My review of last Saturday's concert performance of Bellini's La Straniera is here, on Music and Vision.
The news of my new CD continues to find its way into the press and I continue to be tickled each time I come across a reference to it; most recently in Choir and Organ magazine.
After much logistical heartache, we have now managed to fix a date for our concert celebrating the launch of the CD. So on Saturday 26th January at St. Peter's Church, Eaton Square, the eight:fifteen vocal ensemble, organist Paul Ayres, and conductor Paul Brough will be giving a concert to celebrate the CD launch.
The choir will be performing Mundy's Vox Patris Coelestis complete; they sang part of the work at their first concert in 2005. My Evening Service will be premiered, in its version for 4-part choir and organ; the Magnificat from the Evening Service was recorded on the CD in the 3-part choir and organ version. They will also be performing my motet Lucis Creator Optime. Paul Ayres will also be giving some organ solos. The concert will be followed by a reception. More details to follow.
This means that we are giving a short, 2-concert season at St. Peter's because on Saturday 23rd February, FifteenB with Paul Ayres, this time conducting, and Malcolm Cottle on organ, will be giving a concert as well. They will be performing Haydn's Little Organ Mass, plus my Tagore setting Crossing, for choir and organ, and premiering the new version of the choruses from my 1998 Passion setting.
My review of a disc of Cesare Siepi's early recordings is here, on MusicWeb International.
My review of Thursday's concert by Londinium City Voices, conductor Nicholas Jenkins, is here on Music and Vision. The concert included Richard Strauss's rarely performed Die Göttin im Putzzimmer.
My review of English Touring Opera's production of Handel's Teseo is here, on Music and Vision.


text:
Q: Question with that-clause, meaning I came across a question called "question about that-clause" (M. Swan- Practical English Usage). What I wish to understand is what kind of meaning these questions express. For instance, what are the differences between

What did you say you wanted for Christmas.

and

What did you want for Christmas?

A:
What did you say you wanted for Christmas?

The primary focus here is on what you said. What you said may or may not be what you really meant.
However,

What did you want for Christmas?

is asking what you really wanted for Christmas.

redpajama_set_name: RedPajamaStackExchange


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text:
Carriera
Ha frequentato le giovanili del Salvesen Boys Club fino a quando nel 1999 divenne di proprietà del Hibernian successivamente venne mandato in prestito al Peterhead dopo fece ritorno al Hibernian dove ci rimase per 5 anni.

Esperienza in Russia e in Inghilterra
Nel 2006 la Lokomotiv Mosca decise di acquistarlo viste le sue doti mostrate al Hibernian, alla Lokomotiv farà bene tanto da segnare in finale di coppa di Russia contro l' FK mosca nel 2006 venne preso dal Birmingham dove ci rimase fino al 2010 per andare in prestito al Bransley fino al 2011

Ritorno in patria e ritorno in Russia
Nel 2011 ritornò al Hibernian e nel 2012 passò al Tom Tomsk società del centro della Russia

Ultime esperienze
Le sue ultime esperienze furono nel 2014 al Greenock Morton e il  Selkirk fino al 2016 quando decise di finire la sua carriera da calciatore.

Palmarès

Club

Competizioni nazionali

Lokomotiv Mosca: 2006-2007

Altri progetti

Collegamenti esterni

Calciatori scozzesi
Calciatori della Nazionale scozzese


Cyrène bounced her foot impatiently. The motion sent ripples across the hem of her dress. Cyrène felt a distinct hatred for the garment and its enforced, blatant femininity. She leaned back in her chair and folded her arms across her chest in direct defiance of the way a proper lady would be expected to sit in her situation. She wished she could be out in the courtyard in her trousers, sparring with Lathian with a sword. Instead she was stuck here, in her mother's office, sparring verbally instead.
"Cyrène," Corianne said sharply. Behind her desk, Corianne sat rigid and straight-backed. The tone brought a faint smile to Cyrène's lips. She considered herself a success if she could break her mother's smooth facade even for a moment.
"Yes, mother," Cyrène said. Her eyes sparkled. In answer to her mother's unspoken command, she put both feet on the floor and straightened her back, hands folded delicately in her lap. From a distance, they appeared smooth and ladylike; it was only upon touch that the rough calluses gained from wielding a sword became visible.
That's a first, Cyrène thought. It's not like your earned the money you're wasting. "I apologize, mother," Cyrène said without a trace of sincerity. Her mother had taught her, unintentionally, that "apologize" was a wonderful substitute for "sorry" when you wanted to make it obvious that you felt no regret.
"With all respect, mother, I believe he has overestimated my abilities," Cyrène said. The words of the First Tongue did not challenge Cyrène. After all, like most elves, she had grown up speaking elvish, which had been derived from the First Tongue long ago. However, she believed she would never be a great spellcaster, for she struggled with the complex syntax required when formulating spells, and, if she was quite frank, the First Tongue bored her.
Cyrène should have been glad for the opportunity to learn the First Tongue. It was generally a study reserved, past a certain age, for elvish men. Cyrène, like most girls, had received basic instruction in the language of spellcasting when she was young.It was only in the last year that her mother had hired a tutor specifically to train Cyrène in the deeper art of the First Tongue, a move which had surprised her, given Corianne's otherwise strict conformity to gender norms.
Cyrène looked away. She did not answer.
Cyrène shifted in her seat. She did not wish to give her mother the true answer. Cyrène pushed arcane music away for the same reasons she hated embroidery and calligraphy: her mother forced her to study all of them because she was a woman. It disgusted Cyrène that she was forced into this one small corner of education because of the way she had been born. Her mother wanted her to be a certain way just because of her gender, and Cyrène found that deeply frustrating.
Corianne knew this. Cyrène had said some things outright that had caused her mother to purse her lips and leave the room, punishing Cyrène with her absence as surely as she punished with her presence. What Corianne didn't know, and what Cyrène didn't like to admit even to herself, was that she quite liked the practice of arcane music. She enjoyed singing. The flute her father had bought her, with its rich, dark wood and silver inlays, was lovely. It felt right and good in her hands.
She could never admit that, because she felt like it tore up the ground on which she tried to make a stand.
"For all your wit, you never have any good answers, Cyrène." Corianne grabbed a letter from the basket the side of her desk. She ran her fingers along the edges.
"Law and politics are both important spheres of knowledge for all citizens," Cyrène said.
"I am, mother," Cyrène said. Disappointment yawned with in her. Getting Corianne to allow her to study men's disciplines, like law and politics, had felt like a personal victory. Apparently, that had been her mother's desire all along.
They did, of course. The richer humans in the city tried to imitate the lifestyle of the elvish nobility as well as they could, with varying degrees of success. They came the closest, out of all the races in Vanadram, to truly mingling with elvish society. Orcs were stuck in the slums or in the guard. Halflings were resigned to working as servants for the nobility. Those centaurs that came into the city proper usually wound up working for the police. Only the humans had the freedom to wind up almost anywhere.
In many ways, Cyrène thought, they had more freedom than the elves.
"My future husband?" Cyrène said. Her mother had spoken those words before, of course, and many times. Corianne and Cyrène's father both intended for Cyrène to marry as soon as she reached the proper age. As their only child, Cyrène's marriage held great import to them. Something about her mother's tone when she spoke the words this time sent a faint sense of unease down Cyrène's spine.
"I did," Cyrène said, just to see her mother frown. Cyrène knew Corianne hadn't intended the question to be answered.
"You… have?" A chill descended upon Cyrène. She had always known this was a possibility, and in fact, a likelihood, should she not stumble across a mate early enough in her life whom her parents deemed worthwhile.
"I see," Cyrène said quietly. She felt as though her parents had sculpted her whole life around her, a complex cage of marble in which they intended to keep her bound. The stone chafed her flesh and soul until it bled. Now she had lost one more freedom. The only thing she had left was her secret training at night under Lathian.
"Who is he?" Cyrène asked.
"Like politics," Cyrène said. She actually knew who Enorien was, from social events. He was, as his mother said, handsome; although perhaps he drifted more toward beautiful than that more manly descriptor. He had flowing blond hair and bright, violet eyes. In a way, Cyrène thought, he was more feminine than she was.
Cyrène blinked. Who had told her? Did it matter? She knew. Cyrène decided instantly that Corianne's knowledge changed nothing. She would continue to learn swordplay. She needed some way to stretch within, and hopefully out of, her marble cage.