text:
After two failed pilots, Karen Valentine finally got the chance to star in her own sitcom on ABC. It ran for just 13 episodes during the 1974-1975 season.
Karen Valentine won an Emmy in 1970 for her portrayal of teacher Alice Johnson on Room 222 and was nominated again in 1971. The ABC sitcom ran from September 1969 to January 1974, ending midway through its fifth season. Three attempts were made to create a sitcom for Valentine to star in, including one while Room 222 was still on the air.
The first pilot was titled "The Karen Valentine Show" and was under consideration for ABC's 1973-1974 schedule. In it, Valentine worked as the assistant to the wacky head of a public relations firm. It didn't sell and Valentine remained with Room 222. The second pilot, "The Karen Valentine Program," was intended for the 1974-1975 season but also failed to sell. Valentine played a recently divorced woman working at a law firm and trying to move on with her life.
For Valentine, the third time was indeed the charm. In early October 1974, only a few weeks into the 1974-1975 season, The Chicago Tribune reported that a sitcom called Karen (then known as The Karen Valentine Show) was "definite" for mid-season 1975 [1]. Sure enough, when ABC announced its mid-season overhaul on November 13th, Karen was given the Thursday 8:30-9PM time slot [2]. It was set to premiere on January 16th, 1975 following another new sitcom, Hot L Baltimore.
Promotional Photograph for Karen
In Karen, Valentine would star as Karen Angelo, a young woman who moves from Sebastopol, California (Valentine's actual hometown) to Washington, D.C. and finds a job with Open America, a consumer advocacy/lobbyist organization. Rounding out the cast were Denver Pyle as Dale Busch, Karen's boss at Open Arms; Dena Dietrich as Dena Madison, one of Karen's co-workers; Aldine King as Cissy Peterson, an FBI agent; and Will Seltzer as Adam Cooperman, an office boy.
Gene Reynolds and Larry Gelbart, the duo responsible for M*A*S*H, created the show with Carl Kleinschmitt. In a December 1974 article in The Los Angeles Times (which gave the start date of the series as January 24th, 1975) the Reynolds and Gelbart explained how the series came to be. Said Gelbart: "It seems quite astonishing that we have series set in Los Angeles, New York, San Francisco, Honolulu, Chicago, even Minneapolis–but none in Washington, which is the center of the whole Western world" [3].
After deciding to set the series in Washington, D.C., Reynolds called Laurence Laurent, television critic for The Washington Post "and asked him what a single girl would be doing in Washington. He said she'd probably be working for one of the government agencies or as a lobbyist" [4]. So, Karen became a lobbyist. Open America was, in the words of Reynolds, "advocating the opening up of government operations for public inspections, no more secret deals, that sort of thing" [5].
On January 8th, 1975, The Chicago Tribune's Aaron Gold reported there were problems behind the scenes, with two of the first three scripts being scrapped [6]. He also revealed that Valentine's Room 222 contract required ABC to broadcast at least thirteen weeks of another show in which she starred. On January 23rd, Gold reported even more problems: Denver Pyle had been replaced by Charles Lane, requiring segments of the five filmed episodes to be reshot, and the premiere had been pushed back to January 30th [7]. According to Gold, "it's also obvious that ABC brass doesn't care what happens to Karen because they put it up against the Waltons and the Mac Davis Show" [8].
"In real life," Valentine told TV Guide, "I've always stayed out of politics. I've never been oriented in that direction. But in the series, there is a lot of fighting for the little guy by Open America against big bureaucracies. I like that David-and-Goliath aspect of the show, and I think that this format gives me a chance to be dramatic as well as comic" [9].
According to Reynolds, Karen "develops different facets of Karen's acting ability and has much more range than the Alice Johnson part in Room 222." He also insisted "we won't reflect the daily news, but we'll try to keep the show topical in relation to events in Washington" [10].
When Karen finally premiered on January 30th, critics focused on Karen Valentine's cuteness. Mary Murphy of The Los Angeles Times called the show "one of the most likable and well assembled series to debut this year" while noting that "whether Valentine can be kept from becoming too cute, which has prevented her from being taken seriously in the past, remains to be seen" [11].
Gary Deeb opened his review by stating that "the sight of Karen Valentine battling nasty politicians is about as believable as the thought of John Davidson engaged in heavy philosophical debate with William Buckley" [12]. After noting that "television hasn't seen such an absurdity since CBS decided to transform Sandy Duncan into a liberated woman," Deeb returned to the issue of Valentine's looks: "Like John Davidson, Karen Valentine's strongest asset — her cuteness — also is her heaviest liability. She's perky, wide-eyed, and innocent. And she probably cleans out her dimples with Q-tips. Trouble is, a pretty face can only take you so far, and with Valentine, once she finishes the 8-by-10 there's nothing left" [13].
The New York Times reviewed Karen in mid-February and called it "really quite witty. A good idea, good writers and a good director got together and had fun. The political humor […] scores consistently. The portrait of the congressman for whom Karen once worked, a sort of John Tunney under three coats of shellac, is marvelous. The problem I'm afraid, is Miss Valentine" [14]. He suggested that "an actress of Diana Rigg's steely intelligence would be more appropriate in these circumstances" [15].
In April, Burt Prelutsky shared Larry Gelbart's thoughts on Karen: "We did Karen because the network was anxious to get Karen Valentine on in something, and they asked us to do it. What can I say? We shouldn't have done it" [16]. Karen was officially cancelled on May 2nd, 1975 when ABC issued its 1975-1976 schedule [17]. A total of 13 episodes were broadcast, the last of which was seen on May 8th. Repeats continued for several weeks.
Later that month Cecil Smith lamented that many of the best shows weren't going to be returning. He included Karen: "Karen, it seems to me, has the sharpest and brightest dialog on television, but maybe it's a loser because its sophistication doesn't really jibe with the Little-Bo-Beep image of Karen Valentine" [18].
1 Deeb, Gary. "A razor-sharp wit may get ax." Chicago Tribune. 10 Oct. 1974: B15.
2 "ABC Shakes Up Schedule." Los Angeles Times. 14 Nov. 1974: H28.
3 Smith, Cecil. "Karen Valentine to Washington." Los Angeles Times. 20 Dec. 1974: H33.
4 Ibid.
6 Gold, Aaron. "Tower Ticker." Chicago Tribune. 8 Jan. 1975: B2.
7 Gold, Aaron. "Tower Ticker." Chicago Tribune. 23 Jan. 1975: B2.
9 Diehl, Digby. "Gosh! Golly! Darn!" TV Guide. 15 Mar. 1975: 21.
11 Murphy, Mary. "TV Review: ABC's Funny Valentine." Los Angeles Times. 30 Jan. 1975: G14.
12 Deeb, Gary. "Karen's too cute for words." Chicago Tribune. 30 Jan. 1975: B8.
14 Cyclops. "TV View: Thursday's New Entries Promote Non-Thinking." New York Times. 16 Feb. 1975: D27.
16 Prelutsky, Burt. "Gelbart for President." Los Angeles Times. 20 Apr. 1975: 71.
17 Brown, Les. "ABC-TV Lists Robin Hood Spoof, Live Variety Show." New York Times. 3 May 1975: 45.
18 Smith, Cecil. "Best Series Losers Again." Los Angeles Times. 13 May 1975: F12.
Originally Published July 2nd, 2009
Last updated May 17th, 2018
5 Replies to "Karen (1975)"
Reynolds and Gelbart really shouldn't have tackled this series because their time was already well spent fashioning "M*A*S*H" every week (Reynolds made a similar mistake with 20th Century-Fox's "ROLL OUT!" in the fall of 1973, for CBS). "KAREN" was merely an extension of the deal ABC had with the Fox studio for "ROOM 222". In fact, there was an earlier version of a Karen Valentine pilot proposal, from the same studio, that was rejected by the network (read Lee Goldberg's "Unsold Television Pilots: 1955 through 1988" for further details). The problem with the series, in my opinion, was Karen. She just couldn't "carry" a sitcom, as Mary Tyler Moore did. Valentine was best utilized as a "supporting player", as she was on "ROOM 222". And she was too damned cute to play a leading role….
Troy Turner says:
October 9, 2012 at 12:07AM
Having been most familiar with Karen as a semi-regular on Hollywood Squares (222 was slightly before my time)-I had SUCH a crush on her when I was little, I can verify her cuteness. I remember ABC hyping this show BIG TIME. I can't argue anything you've said here, but IF they had had a chance to keep her at a familiar Friday spot, perhaps things would have worked much better-because Reynolds/Gelbart had the anti-establishment vibe down (MASH). But, up against the Walton's Mountain juggernaut, and the laid-back, good ol' boy appeal of Mac Davis siphoning off viewers-the little darlin' never had a chance
July 4, 2009 at 3:24PM
Okay, since most of you will probably never get to read Lee Goldberg's book, here's the dope on the first pilot:
In early 1974, as "ROOM 222" was winding up production, 20th Century-Fox asked David Davis & Lorenzo Music, who originally produced "THE MARY TYLER MOORE SHOW" (later creating and producing "THE BOB NEWHART SHOW") to come up with a pilot for Karen Valentine to sell to ABC for the fall. They wrote and produced "THE KAREN VALENTINE SHOW", in which Our Heroine, emerging from a bitter divorce {oh no, not OUR Karen!}, finds employment as a law clerk in a small firm, while trying to restablish herself an a single woman {"let's see if we can't mould her into another Mary Tyler Moore"}. But, Karen has problems on the side: she has a somewhat immature boyfriend [Archie Hahn] who can't understand that she wants nothing more to do with him; an amorous next-door neighbor [Vern Rowe] who's also a minor-league baseball player; and her parents [Garry Walberg & Dena Dietrich], who still treat her as though she's their "little girl". Well, after seeing that, ABC rejected the idea, insisting another pilot be produced for a mid-season replacement. That's when Fox turned to Gene Reynolds and Larry Gelbart (because they were SO good at producing "M*A*S*H") and said, "We need another Karen Valentine pilot- DO IT!". They did, retaining only Dena Dietrich from the original version…and the rest soon became forgotten.
Beg pardon, Archie Hahn played Karen's ex-HUSBAND, not her boyfriend. Sorry if I misled you!
Justin Boggan says:
All but the pilot, popped up on YouTube a short while ago. The end credits aren't complete on all the episodes.
All kinds of of obscure stuff has been popping up lately: The "Nero Wolf" failed series with William Shatner, "Box 13" pilot, the entire "The Feather and Father Gang" series, the entire 1976 "City of Angels" series, the pilot "Knight Rider" spin-off "Code of Vengeance", the 1975 "Crossfire" pilot, the entire first season (Sans the pilot) to the Pat Morita-starring "Ohara" (as well as many episodes from the second season) and more. Good times!


text:
BET documentary educates students on Darfur
Ashley Balogh and Jacqueline R
When Black Entertaiment Television's documentary "Life and Death in Darfur" premiered in the School of Communications Nov. 13, the film's executive producer, Greg Branch, informed students that the Darfurian conflict is one that "as Americans, we can't afford to ignore."
"Darfur for Dummies," as Branch deemed the film, examines the lives of Darfurians who have been victims of violence, rape and terror during this crisis that has been recognized internationally as a genocide, though the Sudanese government denies such allegations.
Many Darfurians have been driven into camps and the wilderness, as both rebel groups and government troops wreak havoc in villages all over the country.
The 22-minute film featured journalist Jeff Johnson, an activist and social commentator. Johnson, who lectured on "Sexism and Hip-Hop" later that day, was scheduled to appear at a "Q & A" session alongside Branch. However, flight delays postponed his arrival on campus. Still, Branch discussed the film and its goals with Dean David Donnelly, Professor Margarita Diaz and just 14 students for more than 45 minutes in the dark, cold and cramped Mac editing lab.
The project was a unique opportunity for BET, as Branch said that he and his team were actually "invited by the government of Sudan, which is the only way to get into Sudan."
He said that he was immediately "very skeptical" and "thought it was propaganda" until the ambassador said "they would give [the journalists] a certain amount of freedom. one-on-one time with the president of Sudan," which Branch promised to include in the film.
Although Omar Al-Bashir, the president, spoke for more than an hour and a half, they could only "touch on a bit of it" in the documentary. The BET journalists' ultimate goal really was "to be able to talk to Darfurians that were still there," since most Darfurians have been pushed out to Chad.
Branch said that although humanitarian groups like Doctors without Borders have "a presence" in Darfur, "the situation changing over the next five to 10 years really depends on international interest."
He pointed out that the conflict in Darfur is one Americans must pay attention to, despite his opinion that "the American media does not care." He said that it will have an impact on an international scale, and although "wars in Africa don't tend to be wars we're used to fighting. it could be as important."
The conflict is not well-covered because "it is not a sexy issue. not an issue that we can sell well," Branch said. Still, Branch is hopeful that more news-based outlets will follow BET's lead. "I did show this to CBS news, so hopefully they pick up on it," he told students.
"I think little movies like this can start people to get wound up," Branch said. "It's a long way away.people don't feel connected right away. there isn't a reason to seek it out and find it." Branch declared that "it is our job [as journalists] to make it plain and available."
Throughout the semester, journalism students in Assistant Dean Rick Hancock's Reporting for the Web class have been creating interactive news packages exploring the conflict in Darfur on an international, domestic, and collegiate level.
Kanye West's discography ranked
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Why Fetterman is the better man
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PHOTOS: Quinnipiac celebrates Rec Center progress, Hartford HealthCare partnership
All The Quinnipiac Chronicle Picks Reader Picks Sort: Newest

redpajama_set_name: RedPajamaCommonCrawl


I goofed yesterday, as many of your pointed out. The numbers were OK, but I incorrectly said that if the Supreme Court invalidated the Colorado referendum in the scenario I was discussing, then Bush would win. Not true. In that scenario, invalidating it would give a Kerry a bigger victory. Sorry about that. To get the update on the Web by my goal of 7 a.m. EDT, I have to get up early and sometimes it takes a while for the coffee to kick in.
But the idea is clear. There are plenty of scenarios in which the election hangs on whether or not Colorado's 9 votes in the electoral college are split. If the referendum passes, it is probably going to end up in the Supreme Court, even if the election does not hang on it because opponents do not want it go to unchallenged and thus form a precedent.
One thing I did not mention yesterday but many of you mentioned is the wild swing in Wisconsin. That is indeed very fishy. But there are wild swings today too. Florida went from Kerry by 1 to Bush by 8. Even more unlikely is the change in Oregon, which went from a 12% Kerry lead yesterday to a 1% Bush lead today. Such wide swings are just not believable in the absence of major news. The only variable being changed is which pollster is doing the reporting. If you haven't checked out the pollster page, you might want to do it to see how the map is affected by who is doing the polling.
I am going to be away Saturday and Sunday. I hope to make updates both days, but I can't promise anything. In any event, I will be back Sunday and will make an update then, probably later than usual.


To the extent there's a poster child for patent abuse, it's MPHJ, the infamous "scanner troll." This week's revelations show us for the first time just how much damage the patent troll has caused. Hint: it's a lot.
MPHJ owns a handful of patents, which it claims covers the basic technology for scanning documents to email. You read that right—simply scanning documents to email.
On Monday, MPHJ sued the Federal Trade Commission (FTC) in federal court in Texas. Apparently, the FTC has been investigating MPHJ since this summer, using its subpoena power, which allows it to get information that ordinary citizens cannot. In December, it presented MPHJ with a draft complaint and, according to MPHJ, threatened to file suit if MPHJ would not enter into a consent judgment (a kind of settlement agreement).
MPHJ has sent letters to approximately 16,465 small businesses nationwide.
MPHJ sent more than 9,000 letters claiming that "most businesses, upon being informed that they are infringing someone's patent rights, are interested in operating lawfully and taking a license promptly" and that "[m]any companies have responded to this licensing program in such a manner." The letters also claimed that the price for a license—either $1,000 or $1,200 per employee—was reached through the responses of "many companies." However, when the first 7,366 of those letters were sent, MPHJ hadn't sold a single license though its "licensing program."
Of the 16,465 letters that MPHJ sent, it only received 17 (yes, 17!) licenses. Yet the price of these 17 licenses was thousands of small businesses going through the stress and expense of facing a threat of patent litigation.
MPHJ began sending letters in September 2012. It did not file an infringement suit until November 18, 2013—after it had been sued by the states of Nebraska and Vermont.
In other words, this is run-of-the-mill extortion, or an attempt to get a quick buck out of small businesses. And not just some small businesses—essentially every small business. MPHJ believes that as long as a business has at least 20 employees and works in certain fields, such as the vaguely defined "professional services," it "very likely" infringes. And if a business has at least 100 employees, no matter what kind of industry it's in? Then, according to MPHJ, it, too, "very likely" infringes. You read that right. Every. Business. In. America.
So what's going on here isn't just about MPHJ and its desire to squeeze money from wherever it can (there are some unsurprising and troubling hints that MPHJ is using the letters to pressure the scanner manufacturers to pay them to lay off their consumers—just another layer of mob-like behavior). Think, for a second, about the proposition that one party can claim that its patents (in this case five—four of which come from the same family) tie up every American business that uses basic scanning technology. Clearly, the patent system isn't working. The patents are too broad and vague, and there is no evidence that they somehow advanced scanning technology. And when these patents end up in the hands of parties like MPHJ, they become tools for abuse.
Congress is close to passing good legislation that would help curb the patent troll disaster, but would largely fail to address the underlying problem of patent quality. The good news is that the Supreme Court has at least two cases on its calendar this term that will get at the heart of the patent quality issue. We'll be filing briefs in those cases asking the Court to set the patent system back to its original moorings—one that is supposed to promote innovation and progress instead of squelching it.


I'm a freelance web developer & web designer. I love to create new things and really love to follow the new trends. I'm already working on my personal projects but in here I want to design for patreon community and waiting your supports.
1 mobile and 1 web design will be available for each month. Until I reach my goals these designs will have limited pages and they will be only inspirational. After I reach my goals my designs will be fully fledged designs.
I'm trying to create inspirational works for all of you. Even if you don't pledge my works, you can still follow and watch my works.
You can watch my works for inspiration.
You can get high quality pictures & screenshots "with" watermark.
You can get high quality pictures & screenshots "without" watermark.
You can get high quality pictures, screenshots and .psd or .ai files.
I'll follow you on twitter and I'll tweet a thank you message for you.
I'll design 3 different logos for every 2 weeks. Reward system is similar except there will be no web app in here. You can think this as a gift from me.


Dendritic spines are small protrusions that correspond to the post-synaptic compartments of excitatory synapses in the central nervous system. They are distributed along the dendrites. Their morphology is largely dependent on neuronal activity, and they are dynamic. Dendritic spines express glutamatergic receptors (AMPA and NMDA receptors) on their surface and at the levels of postsynaptic densities. Each spine allows the neuron to control its state and local activity independently. Spine morphologies have been extensively studied in glutamatergic pyramidal cells of the brain cortex, using both in vivo approaches and neuronal cultures obtained from rodent tissues. Neuropathological conditions can be associated to altered spine induction and maturation, as shown in rodent cultured neurons and one-dimensional quantitative analysis (1). The present study describes a protocol for the 3D quantitative analysis of spine morphologies using human cortical neurons derived from neural stem cells (late cortical progenitors). These cells were initially obtained from induced pluripotent stem cells. This protocol allows the analysis of spine morphologies at different culture periods, and with possible comparison between induced pluripotent stem cells obtained from control individuals with those obtained from patients with psychiatric diseases.


text:
Et cetera, een Latijnse uitdrukking voor "enzovoorts"
 Etcetera, een tijdschrift voor podiumkunsten
 Etcetera-Worldofbike, een Griekse wielerploeg
 Etcetera Records, een Nederlands platenlabel voor klassieke muziek

redpajama_set_name: RedPajamaWikipedia


text:
Q: How can I pass a double or any other random type from Java to C++ via socket? I'm developing a client-server app where the server is C++ and the client is Java.
To communicate them, I use sockets. Now, I can transfer sucessfully Strings via the socket with this:
Client side:
public void serializeAndSendMessage(String msg) {
    try {
        os.write( msg.getBytes() );
        os.flush();
    }
    catch ( Exception e ) {
        e.printStackTrace();
    }
}

Server side:
char recvbuf[DEFAULT_BUFLEN];
int iResult = recv(ClientSocket, recvbuf, recvbuflen, 0);
    if (iResult > 0) {
        printf("Bytes received: %d\n", iResult);
        recvbuf[iResult] = 0; //set the end of the msg

How can I pass other data, like a Double or an Int? Is it possible to get a Double into a String, and then convert it back in the C++ server from char to Double?
Thanx.

A: You really want something like Google ProtocolBuffers which takes care of the serialization and deserialization of arbitrary data structures in a cross-platform and cross-language manner.
There are other libraries providing an alternative to ProtoBuf such as Apache thrift (and some of which add the networking which ProtoBuf is missing).   That said, ProtoBuf is a fine choice as it is mature, used by Google themselves and has Java and C++ as core languages with first-tier support.

A: On the Java side, do something like this to get your bytes:
public static byte[] toByteArray(double value) {
    byte[] bytes = new byte[8];
    ByteBuffer.wrap(bytes).putDouble(value);
    return bytes;
}

...

os.write(toByteArray(1.234));
os.flush()

Then, on the C++ side, you can get it back out like this:
double received;
memcpy(&received, recvbuf, sizeof(double))

redpajama_set_name: RedPajamaStackExchange


One year ago Zangersheide Studfarm added Cornado II Z to there collection. The cataloge still smelled new when the grey demonstrated in Mechelen why we had so warmly recommended him. In the Flanders Christmas Jumping he performed extremelywell and impressed with double clears in the Zangersheide Sires of the World and in the World Cup.
Cornado II Z has had great test results at the very highest level. In the World Cup in Helsinki he also jumped a double clear, getting seventh place. In 2015 his breeding duties prevented him from competing abroad but after the season he already was fourth in the Global Champions Tour of Paris and Estoril, and in Stuttgart he finished third in the Winning Round. Christian Ahlmann is back at the top due to not only Taloubet Z, Codex One and Colorit, but also to Cornado II Z who is the son of Cornet Obolensky, also the youngest brother of Marcus Ehning's current championships horse Cornado NRW.


text:
Systems for Interactive Control of Computer Generated Music Performance
Fabiani, Marco
KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.
Friberg, Anders
KTH, School of Computer Science and Communication (CSC), Speech, Music and Hearing, TMH, Music Acoustics.ORCID iD: 0000-0003-2926-6518
Bresin, Roberto
2013 (English)In: Guide to Computing for Expressive Music Performance / [ed] Kirke, A., & Miranda, E., Springer Berlin/Heidelberg, 2013, p. 49-73Chapter in book (Refereed)
This chapter is a literature survey of systems for real-time interactive control of automatic expressive music performance. A classification is proposed based on two initial design choices: the music material to interact with (i.e., MIDI or audio recordings) and the type of control (i.e., direct control of the low-level parameters such as tempo, intensity, and instrument balance or mapping from high-level parameters, such as emotions, to low-level parameters). Their pros and cons are briefly discussed. Then, a generic approach to interactive control is presented, comprising four steps: control data collection and analysis, mapping from control data to performance parameters, modification of the music material, and audiovisual feedback synthesis. Several systems are then described, focusing on different technical and expressive aspects. For many of the surveyed systems, a formal evaluation is missing. Possible methods for the evaluation of such systems are finally discussed.
Springer Berlin/Heidelberg, 2013. p. 49-73
Computer Sciences Human Computer Interaction Music
URN: urn:nbn:se:kth:diva-34088DOI: 10.1007/978-1-4471-4123-5_2ISBN: 978-1-4471-4123-5 (print)OAI: oai:DiVA.org:kth-34088DiVA, id: diva2:419083
Updated from In Press to Published
1. Interactive computer-aided expressive music performance: Analysis, control, modification and synthesis
Open this publication in new window or tab >>Interactive computer-aided expressive music performance: Analysis, control, modification and synthesis
This thesis describes the design and implementation process of two applications (PerMORFer and MoodifierLive) for the interactive manipulation of music performance. Such applications aim at closing the gap between the musicians, who play the music, and the listeners, who passively listen to it. The goal was to create computer programs that allow the user to actively control how the music is performed. This is achieved by modifying such parameters as tempo, dynamics, and articulation, much like a musician does when playing an instrument. An overview of similar systems and the problems related to their development is given in the first of the included papers.
Four requirements were defined for the applications: (1) to produce a natural, high quality sound; (2) to allow for realistic modifications of the performance parameters; (3) to be easy to control, even for non-musicians; (4) to be portable. Although there are many similarities between PerMORFer and MoodifierLive, the two applications fulfill different requirements. The first two were addressed in PerMORFer, with which the user can manipulate pre-recorded audio performance. The last two were addressed in MoodifierLive, a mobile phone application for gesture-based control of a MIDI score file. The tone-by tone modifications in both applications are based on the KTH rule system for music performance. The included papers describe studies, methods, and algorithms used in the development of the two applications.
Audio recordings of real performance have been used in PerMORFer toachieve a natural sound. The tone-by-tone manipulations defined by the KTH rules first require an analysis of the original performance to separate the tones and estimate their parameters (IOI, duration, dynamics). Available methods were combined with novel solutions, such as an approach to the separation of two overlapping sinusoidal components. On the topic of performance analysis, ad-hoc algorithms were also developed to analyze DJ scratching recordings.
A particularly complex problem is the estimation of a tone's dynamic level. A study was conducted to identify the perceptual cues that listeners use to determinethe dynamics of a tone. The results showed that timbre is as important as loudness. These findings were applied in a partly unsuccessful attempt to estimate dynamics from spectral features.
The manipulation of tempo is a relatively simple problem, as is that of articulation (i.e. legato-staccato) as long as the tone can be separated. The modification of dynamics on the other hand is more difficult, as was its estimation. Following the findings of the previously mentioned perceptual study, a method to modify both loudness and timbre using a database of spectral models was implemented.
MoodifierLive was used to experiment with performance control interfaces. In particular, the mobile phone's built-in accelerometer was used to track, analyze, and interpret the movements of the user. Expressive gestures were then mapped to corresponding expressive music performances. Evaluation showed that modes based on natural gestures were easier to use than those created witha top-down approach.
2011-06-15, F3, Lindstedtsvägen 26, KTH, Stockholm, 10:00 (English)
Toiviainen, Petri
University of Jyväskylä, Finland.
Friberg, AndersBresin, Roberto
Fabiani, MarcoFriberg, AndersBresin, Roberto
Music Acoustics
Computer SciencesHuman Computer InteractionMusic


text:
Округ  Тріпп () — округ (графство) у штаті  Південна Дакота, США. Ідентифікатор округу 46123.

Історія
Округ утворений 1873 року.

Демографія

За даними перепису 2000 року загальне населення округу становило 6430 осіб, зокрема міського населення було 3156, а сільського — 3274. Серед мешканців округу чоловіків було 3173, а жінок — 3257. В окрузі було 2550 домогосподарств, 1720 родин, які мешкали в 3036 будинках. Середній розмір родини становив 3,08.

Віковий розподіл населення поданий у таблиці:

Суміжні округи
 Лайман — північ
 Ґреґорі — схід
 Кі-Пего, Небраска — південь
 Черрі, Небраска — південний захід
 Тодд — захід
 Меллетт — північний захід

Див. також
 Список округів штату Південна Дакота

Виноски


http — HTTP client program.
The http utility uses the Appweb HTTP client library to retrieve documents from HTTP servers. It supports HTTP, SSL, authentication and form data and the GET, POST, PUT, DELETE, OPTIONS and TRACE HTTP methods. The http client was primarily designed to test the Appweb server.
--auth Type Set the authentication type to "app", "basic", "digest" or "form".
--benchmark Output timing results after retrieving URLs.
--ca file Define a bundle of root certificates to use when validating a server certificate.
--cert file Certificate CA file to validate server certificates.
--chunk size Request that web server use transfer encoding for the response and break the response data into chunks of the requested size. This is an Appweb web server custom header and will be ignored by other web servers.
--continue Continue on errors. Default is to stop on the first error.
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CD REVIEW: Giuseppe Verdi — AIDA (K. Lewis, A. Bocelli, V. Simeoni, A. Maestri, C. Colombara, G. Giuseppini, M. Katzarava, J. J. de León; DECCA 483 0075)
GIUSEPPE VERDI (1813 – 1901): Aida—Kristin Lewis (Aida), Andrea Bocelli (Radamès), Veronica Simeoni (Amneris), Ambrogio Maestri (Amonasro), Carlo Colombara (Ramfis), Giorgio Giuseppini (Il re d'Egitto), Maria Katzarava (Una sacerdotessa), Juan José de León (Un messaggero); Coro ed Orchestra del Maggio Musicale Fiorentino; Zubin Mehta, conductor [Recorded at the Opera di Firenze, Maggio Musicale Fiorentino, Florence, Italy, 11 – 15 April 2015; DECCA 483 0075; 2 CDs, 145:54 Available from Amazon (USA), iTunes, fnac (France), Presto Classical (UK), and major music retailers]
When delays spawned by the ill-timed start of the Franco-Prussian War were circumvented and Giuseppe Verdi's Aida finally received its première at Cairo's Khedivial Opera House on 24 December 1871, it was apparent that Italy had at last produced a grand opera to challenge the epic-scaled French scores of Giacomo Meyerbeer and Fromenthal Halévy. Combining extraordinarily demanding rôles for each of the common Fächer and tremendous choral tableaux with episodic dances and grandiose scenic effects, Aida gave the Italian repertory a wholly worthy companion to Meyerbeer's Les Huguenots and Robert le diable and Halévy's La Juive. Aida is indisputably grand opera at its grandest, but it is also representative of Verdi at his most Verdian: amidst the opera's spectacular tumult, emerging from the reeds along the banks of the Nile and the spoils of conquest there is the acute intimacy of human relationships. Though Aida is, like Les Huguenots, populated by exalted personages, the interactions among Aida, Amneris, Radamès, and Amonasro are the tribulations of ordinary people in extremis, not merely political collisions among states. Not even the greatest artist can fully transform Meyerbeer's Marguerite de Valois from an archetype into a woman like any other, but the soprano who heeds the dictates of Verdi's score can hardly fail to sense and project the humanity that makes Aida one of opera's most persuasive protagonists. There is no question that this new DECCA Aida owes its existence to its Radamès, but the recording, benefiting from Maggio Musicale Fiorentino's decades-long familiarity with the music of Verdi, offers a genuine ensemble in the principal rôles, making this an Aida not of impersonal exclamations but of earnest conversations. Especially with today's paucity of Verdi voices, a perfect Aida is as elusive as an ideal Così fan tutte or Parsifal, but even this Aida's imperfections often make valid points about the music and the characters who sing it.
As suggested, the playing and singing of the Coro ed Orchestra del Maggio Musicale Fiorentino are the solid foundations upon which this Aida rises. The choristers' singing is unfailingly energetic, too much so in a few passages of ragged ensemble, and mostly effective regardless of occasionally sounding artificially recessed. Problems of balance often intrude into the sonic landscapes of this recording, with singers often sounding as though they were recorded in separate acoustics. In the trio for Aida, Amneris, and Radamès in Act One, for instance, each voice seems to occupy a different sonic space, lessening the impact of this first confrontation between the two women whose actions instigate the opera's tragedy. Still, the choral singers acquit themselves admirably, and their work is supplemented by the orchestra's vibrant playing. Here, too, there are sporadic misadventures, accentuated by the recorded ambiance. In particular, there are strange sounds from the percussion, one of the most perplexing of which is an unnecessarily cacophonous clang at the end of the Act Four scene for Amneris and Radamès. The oboe and clarinet phrases in 'O patria mia' are lovingly rendered, and the wind playing is exemplary throughout the performance. The strings are thoroughly professional without being uniformly exceptional, their parts executed with easy proficiency that does not preclude a few instances of thinness on high, likely exacerbated by the recording. The choristers' and instrumentalists' efforts are marginally undermined, but the advantages of their acquaintance with Verdi's music is never impeded.
Mumbai-born maestro Zubin Mehta's history with Verdi's Aida is as extensive as any relationship between conductor and score in opera today. It was on the podium for a 1965 performance of Aida featuring Gabriella Tucci, Franco Corelli, Rita Gorr, and Anselmo Colzani that Mehta débuted at the Metropolitan Opera, and his MET Aidas in the seven subsequent performances in the 1965 – 1966 Season over which he presided were Martina Arroyo and Leontyne Price. Mehta's first studio recording of Aida, a product of the mid-1960s, had among its cast Birgit Nilsson as Aida and Corelli as Radamès. Perhaps the presence of these vocal titans accounts for some of the marked differences between that Aida and this DECCA recording. The bristling dramatic thrust of the earlier recording, lifting the performance out of the studio despite singing from Nilsson that is never entirely idiomatic, is notably missing from this new recording. Mehta's tempi are not exclusively slow, but many pages of the score here sound lethargic. Whether a conductor has at his disposal singers like Giulietta Simionato and Mario del Monaco or more earthbound vocalists, when a scene like that for Amneris and Radamès in Act Four—one of the most thrilling, tautly-constructed scenes in opera—fails to take flight something is wrong. Mehta's instincts in general and in this performance are too musical to permit absolute failure, but there are enough shortcomings here to question the preparation that preceded the making of this recording. Comparing this Aida to Mehta's HMV studio recording and broadcasts of other performances of the opera that he has conducted, it is difficult to believe that, as is stated in the liner notes, all of the musical forces were assembled in Florence under the conductor's supervision for five days in April 2015. With a conductor of Mehta's proven faculties in Verdi repertory at the helm, how can such a lifeless Aida have issued from circumstances conducive—if they were as they are asserted to have been—to fast-paced musical momentum?
Aside from its American Aida, only the Messaggero and Sacerdotessa in this Aida are not native-born Italians, yet theirs is some of the best singing heard on these discs. Texas native tenor Juan José de León brings bright, focused tone to the Messaggero's fateful news of the Ethiopians' advance towards Egyptian territory. Bel canto repertory is his usual habitat, but the verbal acuity that serves him so well in Donizetti rôles is no less valuable in Verdi's music. Mexican-born soprano Maria Katzarava, the unforgettable Leonore in Opera Carolina's 2015 production of Beethoven's Fidelio [reviewed here], voices the Sacerdotessa's exotically melodic 'Possente, possente Fthà' marvelously, the garnet timbre of her voice and her unaffected diction striking precisely the right chord of reverent mystery. Her muted repetition of 'Immenso, immenso Fthà' in the opera's final scene is equally ethereal. How many singers who have recorded the priestess's music can assuredly be said to equal Katzarava as a Sacerdotessa eminently qualified to sing Aida?
So prevalent has dry, wobbly singing of Aida's bass rôles become that it might be supposed that Verdi's score explicitly requests desiccated, unsteady vocalism. This Aida reaps the rewards of the participation of two basses who defy the trend by singing strongly and solidly. It was during an ill-fated 2010 performance of Don Carlos that Giorgio Giuseppini débuted at the Metropolitan Opera as another of Verdi's troubled kings, Filippo II, substituting for an indisposed Ferruccio Furlanetto. A well-travelled Ramfis, Giuseppini sings il re d'Egitto in this performance, making his best stab at igniting a dramatic conflagration with a flinty account of 'Su! del Nilo al sacro lido.' Giuseppini's vocalism is not opulent like Italo Tajo's and Plinio Clabassi's, but it is fantastic to encounter a Pharaoh who does not sound as old and weather-worn as the pyramids at Giza. Carlo Colombara is a veteran Ramfis whose experience lends his portrayal of the implacable character a slashing histrionic edge. Beginning with his firm articulation of 'Sì: corre voce che l'Etiope ardisca' in the opera's first scene, Colombara establishes Ramfis's significance in the drama. He declaims 'Gloria ai Numi! Ognun rammenti ch'essi reggono gli eventi' with authority, and his singing of 'Ascolta, o Re: tu pure, giovine eroe, saggio consiglio, ascolta' exudes ruthlessness. In both the scene with Amneris at the start of Act Three and the Judgment Scene in Act Four, Colombara's Ramfis is a towering presence, a man who delights in his ability to subjugate even the mightiest in his society with his dispensation of unanswerable moral superiority. Colombara's performance is not subtle, but neither is the character he depicts. Like Giuseppini, he impresses as much with what his singing lacks as with what it possesses.
Aida's father Amonasro is one of the most difficult of Verdi's baritone rôles. Lacking the opportunities for character development through vocal display that Verdi granted most of his baritone leads, an Amonasro must toil diligently within the relatively brief span of his part to expose the psychological depth with which the composer and his librettist, Antonio Ghislanzoni, infused the captive Ethiopian king. Much is revealed about Amonasro by his first utterance in the opera, 'Non mi tradir!': reunited with his daughter after a separation of unknown duration, his first words to her are not a tender paternal greeting but an exhortation to maintain the secrecy of his true rank. In this Aida, baritone Ambrogio Maestri is a scrupulously musical Amonasro who works hard to eschew the unseemly barking and bellowing that are too often substituted for singing the part. Best known outside of his native Italy for comic rôles, Maestri also has extensive credentials in dramatic parts. In this performance, he follows an impactful statement of his opening 'Non mi tradir!' with a reading of 'Suo padre... Anch'io pugnai... Vinti noi fummo e morte invan cercai' that radiates thwarted sovereignty. In the pivotal Act Three scene with his daughter, a gentler facet of Maestri's Amonasro is manifested in his voicing of 'A te grave cagione mi adduce, Aida,' but the stony-hearted monarch returns in 'Non fia che tardi — in armi ora si desta il popol nostro — tutto pronto è già.' Verdi's directive con impeto selvaggio in the passage beginning with 'Su, dunque! sorgete Egizie coorti, col fuoco struggete le nostre città' is meticulously observed, and the vengeful glee of Amonasro's interjection of 'Di Nápata le gole! Ivi saranno i miei...' after Aida cajoles the unwitting Radamès into betraying the Egyptians' battle plan explodes from the baritone's throat. Maestri consistently sings well, his command of the music's tessitura exposing no deficiencies in the voice's support. The baritone's Amonasro ultimately is not as imposing as Warren's, as frightening as Gobbi's, or as inherently noble as Taddei's, but his performance is assertive, bold, and legitimately Italianate. Most importantly, Maestri is the rare Amonasro who sings as well as he snarls—better, in fact.
If Amonasro's music frequently induces muscular shouting, Verdi's music for the Egyptian warrior Radamès no less frequently receives from tenors one-dimensional wailing and whining. Though he studied with Corelli, one of the Twentieth Century's most celebrated exponents of Radamès, the rôle is not a natural fit for Andrea Bocelli's lyric instrument, but many tenors with vocal endowments more modest than the part's spinto requirements have successfully sung Radamès. From the start of his stentorian recitative 'Se quel guerriero io fossi! se il mio sogno si avverasse!' in Act One, Bocelli's crystalline Italian diction is splendid, and he is punctilious in refraining from forcing his voice in the famous aria 'Celeste Aida.' Following Corelli's lead, he executes the arduous diminuendo on the aria's climactic top B♭, likely profiting from discreet electronic assistance. In the aria and the scene with Amneris and Aida that follows, his voice rings out heroically, the close recording of periodically highlighting slight breathiness. In the grand public scenes in Acts One and Two, Bocelli sings Radamès's lines in ensembles robustly. In his entrance in the passionate duet with Aida in Act Three, the tenor voices 'Pur ti riveggo, mia dolce Aida' with roiling ardor, and he phrases 'Sovra una terra estrania teco fuggir dovrei!' amorously. Like most tenors, Bocelli clearly relishes the exposed top As on 'Sacerdote, io resto a te' at the act's end, hurling the notes out with abandon. In the incredible scene with Amneris in Act Four, Bocelli sings 'Di mie discolpe i giudici mai non udran l'accento' perceptively, his Radamès's defiance of the arrogant princess stinging but not devoid of compassion. Facing his condemnation with resolve, this Radamès articulates 'La fatal pietra sovra me si chiuse... Ecco la tomba mia' with a stirring blend of courage and sorrow. His agitation as he realizes that Aida has concealed herself in the tomb with him is indicative of the enormity of his affection for her, and Bocelli and his Aida sing 'O terra, addio; addio valle di pianti' not as an elegy but as a paean to their liberating love. That Bocelli is a Radamès who would be overwhelmed by attempting to project the music into the vast spaces of the Arena di Verona, the Metropolitan Opera, or Teatro alla Scala is undeniable, but the seating capacity of the Khedivial Opera House in which Aida was first performed was approximately 850. In that setting, singing as he sings on this recording, he might have been unexpectedly convincing. There are moments of vocal discomfort in this performance, but Bocelli's painstaking commitments to both music and text are irreproachable.
Like Azucena in Il trovatore, Amneris is a rôle that demands almost superhuman reserves of vocal and dramatic stamina. Like Amonasro, she has no showpiece aria in which to refine her persona, but her music is the kaleidoscopic raw material from which the picturesque mosaic of Aida is assembled. Assuming her place in the lineage of Bruna Castagna, Ebe Stignani, Giulietta Simionato, Fedora Barbieri, and Fiorenza Cossotto, Roman mezzo-soprano Veronica Simeoni here depicts an emotional but curiously subdued Amneris whose edge of ferocity is blunted by the singer's cautious avoidance of chest register. The cumulative potency of Simeoni's singing in the Act One scene with Radamès and Aida, launched promisingly with an aptly haughty reading of 'Quale insolita fiamma nel tuo sguardo,' is compromised by an account of 'Trema, o rea schiava, ah! trema ch'io nel tuo cor discenda!' with a disfiguring dearth of venom. Like Bocelli, the mezzo-soprano performs her lines in the large ensembles with finely-judged tone and excellent diction. In the puzzling scene with her slaves at the beginning of Act Two, Simeoni is the rare Amneris who makes something provocatively sensual of the sinuous statements of 'Vieni, amor mio, mi inebria... Fammi beato il cor!' Joined by her rival for Radamès's love, this Amneris's furious irony in 'Fu la sorte dell'armi a' tuoi funesta, povera Aida!' is surprisingly innocuous, the singer's tones just uneven enough to impair her histrionic intentions. Finding Radamès inadvertently colluding with Amonasro in Act Three, Simeoni's cry of 'Traditor!' conveys the princess's shock and despair. As she ponders at the start of Act Four how to rescue Radamès from the wrath of Ramfis and his coven of priests, this Amneris caresses the melodic line of 'L'aborrita rivale a me sfuggia' as though she is aware on some level that this is as near as she will come to holding the remorseful but unapologetic object of her desire in her arms. Endeavoring one last time to bend him to her will in 'Già i Sacerdoti adunansi arbitri del tuo fato,' Simeoni's Amneris is vanquished by Radamès' determination to unfalteringly face his sentence but not before detonating a pair of spot-on top B♭s. In the formidable Scena del Giudizio, Simeoni sings 'Numi, pietà del mio straziato core' athletically, and she ends the scene with a sonorous top A. The firepower of the music that came before notwithstanding, this Amneris is most moving in the hushed, guilt-ridden pleas for absolution in the opera's final scene. Simeoni here clearly understands and reacts to Amneris's emotions, and her singing pulses with sincerity. Simeoni's voice has great potential, but in the performance on these discs she is not yet a fully-developed Amneris in the tradition of her Italian forebears. As her stage experience in the rôle grows, Amneris will likely come to more completely inhabit her voice and her heart.
Documenting a portrayal with which she has conquered many of Europe's most prestigious stages, including those of the Wiener Staatsoper, Milan's Teatro alla Scala and the Arena di Verona, where staging Verdi's Egyptian epic is as much a sport as an art, Arkansas-born, Vienna-based soprano Kristin Lewis is a conflicted, often beautifully-sung Aida who comes frustratingly close to unmitigated success in this mercilessly demanding rôle. The DECCA catalogue documents the Aidas of Renata Tebaldi, Leontyne Price, and the idiosyncratic but plausible Maria Chiara, in addition to excerpts featuring the Aida of Birgit Nilsson. Visually, Lewis is the equal of the most glamorous, fetchingly beautiful Aidas in the opera's history, but in the context of this recording she is not yet a totally satisfying Aida. When first heard in Act One, her 'Ohimè! di guerra fremere l'atroce grido io sento' sounds as though the voice emanates from a different, less-flattering acoustic than that in which her colleagues' voices are centered. Having weathered the indignities of the Egyptians' raucous readying for battle, Lewis's Aida begins 'Ritorna vincitor!… E dal mio labbro uscì l'empia parola!' with the bitter taste of her countrymen's blood flooding her senses, barely capable of repeating the hated words calling for her enemies' victory. With her entreaty of 'Numi, pietà — del mio soffrir,' the soprano's vocal demeanor softens markedly, and the text pours out on a stream of golden tone. Throughout the performance, Lewis's singing is most attractive when the voice is not under pressure, but Aida is not a rôle in which carefree moments prevail.
An illustrative example of what Lewis brings to the part is Aida's Act Two scene with Amneris. Meeting her adversary in a duel of wits, Aida struggles to retain her grasp on whatever upper hand decorum affords her. Mindful of this, Lewis delivers 'Ah! pietà!... che più mi resta? Un deserto è la mia vita' with touching simplicity, saving her cunning for answering Amneris's insinuations and veiled threats. Later, she handles the crests of the Scena trionfale with aplomb. Aida faces her greatest tests in Act Three, in which Verdi asks her to negotiate the very different vocal obstacles of a demanding aria—the aria by her performance of which many listeners unfairly assess an Aida—and duets with Amonasro and Radamès. Lewis uses the text of the recitative 'Qui Radamès verrà... Che vorrà dirmi?' as a springboard via which she rockets into 'O patria mia.' Her heartfelt, mezza voce performance of the aria, capped with a secure, superbly-sustained top C, grants the number the introspective core Verdi surely intended it to have. Aida's amazement at her father's intrusion into her reveries is meaningfully expressed, and Lewis then returns every volley lobbed at her by Maestri in the scene with Amonasro, furnishing some ecstatic top notes. The soprano's efforts at spotlighting the contrasts between 'Un giorno solo di si dolce incanto... Un'ora di tal gaudio... e poi morir!' and 'Padre, a costoro schiava io non sono' yield spellbinding results. Deceiving Radamès at her father's bidding, Lewis's Aida is appalled by her own duplicity as she sings 'Fuggiam gli ardori inospiti di queste lande ignude' to her paramour. The terror of their discovery by Amneris and Ramfis shudders through the soprano's enunciation of 'La mia rivale!' at the act's end.
Relieved of the necessity of battling for survival, Aida embraces the inner peace that has eluded her throughout the opera by pledging to meet death at Radamès's side in the subterranean crypt to which Ramfis's dogged justice dooms him. The sound of Lewis's voicing of 'Presago il core della tua condanna' is that of a spirit on the precipice between life and death, the tortures of the former dissolving into the blessed oblivion of the latter. The delicacy of Lewis's phrasing in 'O terra, addio; addio valle di pianti' offsets Bocelli's tendency to blare above the stave, her sparkling top B♭s soaring above the gossamer orchestral textures. Like Wagner's Senta and Isolde, this Aida seems more transfigured than overcome by death: it is a transition rather than a termination. Lewis is a young Aida, a relative novice—albeit already a practiced one—in a rôle in which some of the great singers of prior generations did not reach their primes until they were in their fifties. When Leontyne Price bade the Metropolitan Opera adieu with a performance of Aida in January 1985, five weeks before her fifty-eighth birthday, she remained capable of portraying Aida dazzlingly, musically and dramatically. With such an iron grasp on the part at this juncture in her career, Lewis has the skills necessary to blossom from this auspicious performance into the sort of Aida for which opera lovers long.
After declining the financially-lucrative offer to conduct the Cairo première of Aida, Verdi wrote to a friend, 'It seems to me that art looked at in this way is no longer art, but a trade, a party of pleasure, a hunt, anything that can be run after, to which it is desired to give, if not success, at least notoriety at any price.'1 How prescient he was! Much as opera as a commodity seems an invention of the last half-century, Verdi was conscious more than a century ago of the hazards that hype posed to opera. There are those among today's opera aficionados who will dismiss this DECCA Aida as a business venture rather than an artistic endeavor because of one member of its cast. It is regrettable that, almost 145 years after Aida was first performed, Verdi's wisdom will likely be reaffirmed by closed minds unwilling to acknowledge that even very popular 'crossover artists' are capable of enjoyable, thoughtfully-conceived 'serious' singing. Perhaps the target market for this Aida is not the ranks of connoisseurs who cling to their decades-old Aidas, but the listener who truly loves Verdi will find among definite weaknesses in this recording many virtues that expunge any suspicions of pursuit of 'notoriety at any price.'
1 Giuseppe Verdi to Milan-based critic Filippo Filippi (1830 – 1887), 9 December 1871
© by Joseph Newsome
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Cleveland Opera Theater (Cleveland, OH)
English National Opera (London)
Fort Worth Opera (Fort Worth, TX)
Gran Teatre del Liceu (Barcelona)
Greensboro Opera (Greensboro, NC)
Haymarket Opera Company (Chicago, IL)
Houston Grand Opera (Houston, TX)
Knoxville Opera (Knoxville, TN)
Lyric Opera of Chicago (Chicago, IL)
Michigan Opera Theatre (Detroit, MI)
Minnesota Opera (Minneapolis, MN)
Nashville Opera (Nashville, TN)
New Orleans Opera (New Orleans, LA)
North Carolina Opera (Raleigh, NC)
Opera Carolina (Charlotte, NC)
Opéra National de Paris (Bastille & Palais Garnier)
Opera Omaha (Omaha, NE)
Opera on the James (Lynchburg, VA)
Opera Philadelphia (Philadelphia, PA)
Opera Roanoke (Roanoke, VA)
Opera San Antonio (San Antonio, TX)
Opera Theatre of Saint Louis (St. Louis, MO)
Opernhaus Zürich
Palm Beach Opera (West Palm Beach, FL)
Piedmont Opera (Winston-Salem, NC)
Pittsburgh Opera (Pittsburgh, PA)
Royal Opera House, Covent Garden (London)
San Francisco Opera (San Francisco, CA)
Scottish Opera (Glasgow & Edinburgh)
Seattle Opera (Seattle, WA)
Semperoper (Dresden)
Teatro alla Scala (Milan)
Teatro Carlo Felice (Genoa)
Teatro Colón (Buenos Aires)
Teatro de la Zarzuela (Madrid)
Teatro di San Carlo (Naples)
Teatro La Fenice (Venice)
Teatro Nacional de São Carlos (Lisbon)
Teatro Real (Madrid)
Teatro San Carlo (Naples)
The Atlanta Opera (Atlanta, GA)
The Dallas Opera (Dallas, TX)
The Metropolitan Opera (New York)
Théâtre des Champs-Elysées (Paris)
Virginia Opera (Norfolk, Richmond, & Fairfax, VA)
Volksoper Wien (Vienna)
Washington Concert Opera (Washington, D.C.)
Washington National Opera (Washington, D.C.)
Wichita Grand Opera (Wichita, KS)
Wiener Staatsoper (Vienna)
NOTABLE RETAILERS OF OPERA AND CONCERT MUSIC RECORDINGS
Celestial Audio - the foremost source for recorded performances of all eras in state-of-the-art, best-in-the-business Audio DVD and CD editions featuring meticulous audio mastering and artfully-conceived cover art
Arkiv Music - a source for fully authorized CD-R copies of many out-of-print recordings (USA)
JPC - retailer with an extensive catalogue of CD recordings, as well as parent company of the cpo label (Germany)
Malibran Music - source for rare recordings of French operas, especially radio broadcasts featuring little-remembered French singers (France)
Norpete - Norbeck, Peters, & Ford; specialists in historical recordings (Vermont, USA)
Presto Classical (UK)
INFORMATIVE SITES ABOUT OPERA & CONCERT MUSIC
Canada Radio2 - streaming classical-music radio from Canada, with customization according to listeners' preferences available [in French]
Classical Voice of North Carolina
Metropolitan Opera Archives - the archives maintained by the Metropolitan Opera Association, documenting every performance by New York's Metropolitan Opera since its founding in 1883
Nederlands Radio4 - one of the world's most reliable broadcasters of concert music and opera, with several live streams available [site in Dutch]
NewOlde.com - a comprehensive resource for information and insightful analysis of new and reissued recordings of Early Music repertory, focusing on Historically-Informed practices [written by John Wall]
OPERADIS Operatic Discography - a simple-to-use and meticulously-maintained database containing complete discographies for a large array of operas
OperaBaroque.fr - an incomparable source of information regarding Baroque operas, composers, productions, and recordings [portions in French; no longer actively updated]
Opera Lively - a splendidly erudite and insightfully-written source for information about all aspects of operatic performances, including excellent interviews with singers and operatically-inclined personalities
Opera Today - a superb online resource for reviews, analysis, and in-depth information about operatic productions and performers
Thank you for reading Voix des Arts.
Questions or comments? Your feedback is always welcomed.
© 2008 - 2020 by Joseph Newsome. Please do not reproduce articles without permission. Simple theme. Powered by Blogger.


text:
Tony Sparano passes away unexpectedly at the age of 56
Minnesota Vikings offensive line coach Tony Scarano passed away unexpectedly on Sunday morning, at the age of 56. Sparano began his football coaching career in the NCAA, and then later moved on to hold several assistant coaching positions at a handful of teams in the NFL - everything from tight ends coach, to offensive coordinator to head coach.
A number of people shared condolences and memories on Twitter (including one where he wore his sunglasses inside all the time, which I fully support):
You will truly be missed by your loved ones, the guys you coached and the ones you've impacted over the years coach Sparano. Calm, cool and always wearing your shades no matter how dark the room was. Thank you for caring about the us as individuals and not just athletes □□.
— Teddy Bridgewater (@teddyb_h2o) July 22, 2018
RIP to a great man who gave me an opportunity in National Football League and BELIEVED in me from day 1! Many great memories playing for Tony Sparano for 4 years! You'll be missed! Rest easy Coach! #riptonysparano
— Kendall Langford (@KendallLangford) July 22, 2018
At the risk of minimizing any of the other great coaches and people in the NFL, I don't think I've ever met someone who cared more about his players — truly cared about their well being — than Tony Sparano.
He was loyal. And passionate. And genuine. I'm so sad for his family.
— Jeff Darlington (@JeffDarlington) July 22, 2018
We lost a great man today in our football family. I was only around coach Tony Sparano for a year. But left a lasting impact on my life. Football meant a lot to him but family was everything. My prayers go out to his family. □
— Maurice Jones-Drew (@MJD) July 22, 2018
RIP Tony Sparano, the only NFL head coach in NFL history to lead a team to the playoffs the year following a one-win season. His 2008 Dolphins won the AFC East, the only season in the last 15 years that the Patriots didn't finish 1st place.
— Warren Sharp (@SharpFootball) July 22, 2018
My last interview at minicamp was with Tony Sparano. His gruff, no-nonsense exterior made him who he was, but behind that he was one of the nicest most gracious people I've had the privilege to interview. A real shock to the system. The NFL lost a good one.
— Courtney Cronin (@CourtneyRCronin) July 22, 2018
buzz-worthy:
This may not fit your narrative, but training camp is doing Baltimore Ravens starting QB Joe Flacco good. After missing last year's camp after a back injury, Flacco is looking like his old self again, while flashing some new things according to offensive coordinator Marty Mornhinweg (I still can't spell his name without looking at it): "It looks like he's moving and grooving better than he has in several years and I suppose that's because he's healthy. So he looks pretty good that way. Two years ago it was the knee and then the back and all these things. He really looks good."
In completely unsurprising news, Tennessee Titans (whatever position he plays) Michael Campanaro is hurt again and is starting training camp on the Non-Football Injury list. So I'm just going to assume he got hurt tying his shoes or something.
Chicago Bears QB Mitchell Trubisky is going ghost on social media to focus on the upcoming season. This is just like the time when he changed his name from Mitch to Mitchell, so no one would call him 'Mitch the Bitch.'
Awkward moment for all of those MAGA-ers who continuously ask, "Why don't they do anything other than kneel?" Tampa Bay Bucs WR Mike Evans donated $11K to the family of 30-year old Gregory Hill, who was shot by a police officer over a complaint about loud music. So yes, that is why they kneel - and also do things like this.
Jacksonville Jaguars DE Dante Fowler will sit out the first game of the season after violating the NFL's personal conduct policy. What did he do, you ask? It includes throwing someone's groceries in a lake.
Pittsburgh Steelers LB TJ Watt probably pisses so much. Watt's offseason diet included 8,000 calories and two gallons of water a day to prepare for his second season. That's a lot of peeing - like having to get up in the middle of the night peeing.
New England Patriots QB Tom Brady is planning to show up early for training camp BECAUSE OF COURSE HE IS. On the count of three everyone roll your eyes.... 1.....2......3.
Philadelphia Eagles C Jason Kelce will be playing the saxophone with the Philadelphia Orchestra on Tuesday. The event is to benefit the Eagles Autism Challenge.
I'm SO tired of national anthem bullshit, but this one is kind of important. New York Giants co-owner Steve Tisch says the team will not be punishing any players for protesting the anthem. He also mentioned (wow!) that he "supports our players."
CB Darrelle Revis announced his retirement last week, and he will sign a one-day contract with the New York Jets, allowing him to retire a Jet and be the best player on the roster for a day.
What I'm reading today:
Panthers' Thomas Davis approaches training camp as if it were his last (Charlotte Observer)
No longer burdened by self-doubt and insecurity, Alex Smith has found a sense of inner peace in Washington (Washington Post)
Concussions, elbow injury pushed ex-Cowboys DE Jeremy Mincey to pursue music (Star-Telegram)
Sean McVay's dad didn't have faith that he'd get an NFL job so soon (Pro Football Talk)
Former Chiefs Tony Richardson and Donnie Edwards to visit US Service Members in Japan (Chiefs.com)
Baby: "m...m..m..."
Mother: "Go on! Say it! Say mama!"
Baby: "m...my pleasure" https://t.co/Z09Cgap99n
— Chidden Nuddet (@Sir_Hurizzel) July 20, 2018
Sean Prior
He was a great football guy, he made the wildcat a REAL THING in the NFL


text:
namespace wn {
namespace file_system {
namespace internal {

class file_windows final : public file {
public:
  file_windows(
      memory::allocator* _allocator, utilities::internal::handle&& _file_handle)
    : file(_allocator),
      m_file_handle(core::move(_file_handle)),
      m_mapped_memory(NULL),
      m_size({0}) {}

  file_windows(memory::allocator* _allocator,
      utilities::internal::handle&& _file_handle,
      utilities::internal::handle&& _file_mapping_handle, LPVOID _mapped_memory,
      LARGE_INTEGER _size)
    : file(_allocator),
      m_file_handle(core::move(_file_handle)),
      m_file_mapping_handle(core::move(_file_mapping_handle)),
      m_mapped_memory(_mapped_memory),
      m_size(_size) {}

  virtual ~file_windows() override {
    close();
  }

  virtual pointer data() override {
    return static_cast<pointer>(m_mapped_memory);
  }

  virtual const_pointer data() const override {
    return static_cast<const_pointer>(m_mapped_memory);
  }

  virtual object_info info() const override {
    return object_info{
        object_type::file,                       // type
        static_cast<size_type>(m_size.QuadPart)  // size
    };
  }

  virtual bool is_open() const override {
    return m_file_handle.is_valid();
  }

  virtual bool flush() override {
    if (is_open()) {
      if (m_mapped_memory != NULL) {
        if (::FlushViewOfFile(m_mapped_memory, 0) != TRUE) {
          return false;
        }
      }

      return (::FlushFileBuffers(m_file_handle.value()) == TRUE);
    }

    return false;
  }

  virtual bool resize(const size_type _size) override;

  virtual void close() override {
    if (is_open()) {
      flush();
      unmap();

      m_file_handle.dispose();

      m_size.QuadPart = 0;
    }
  }

private:
  void unmap();
  bool remap();

  utilities::internal::handle m_file_handle;
  utilities::internal::handle m_file_mapping_handle;
  LPVOID m_mapped_memory;
  LARGE_INTEGER m_size;
};

}  // namespace internal
}  // namespace file_system
}  // namespace wn

#endif  // __WN_FILE_SYSTEM_WINDOWS_FILE_WINDOWS_H__

redpajama_set_name: RedPajamaGithub


A unique project to develop technology to drive fast and effective drug discovery was announced today by Business Secretary Greg Clark. Based at the Rosalind Franklin Institute in Harwell, Oxfordshire, this new project will pioneer fully-automated hands-free molecular discovery to produce new drugs up to ten times faster and transform the UK's pharmaceutical industry.
Business Secretary Greg Clark today launched the new Rosalind Franklin Institute (RFI) at the Harwell Campus in Oxfordshire and announced its first wave of major projects. "Closing the Loop on Drug Discovery" will develop an integrated suite of new technologies that will accelerate the discovery of high-quality lead molecules, dramatically reducing the cost of drug discovery.
This new project will carry out research and development of new technology to enable fully-automated hands-free molecular discovery for the first time. Based at the new Rosalind Franklin Institute, it will be developed through a collaboration between large companies, SMEs, several universities, and the Medicines Discovery Catapult.
The discovery of bioactive molecules – such as drugs – relies on the design, synthesis and testing of sets of molecules. These candidate molecules tend to be synthesised using a small and reliable toolkit of tried and tested reactions.
The heart of the new facility will be new instruments that will allow the direct observation of the interactions between drug candidates and target proteins.


We Specialize on Electronic Computer Control Engine, Transmission & Body Systems. We also offer Complete Automotive Repair & Service.
Our Technicians are ASE Certified, Three Master ASE Technicians.
1/2 Miles West of Bell Blvd. on Cypress Creek Road next to Shades fo Texas Window Tint.


text:
/*
	Ui
*/

// This is a class for any objects within the Scenograph that are part of the DOM such as form elements, menus, content panels, etc.

var ui = function() {
	return this;
}

ui.prototype._init = function() {
	L.scenograph.ui = new ui();
}

ui.prototype.new = function(details) {
	/*
		valid types:
		form, scenograph, menu, content, list, button
	*/

	this.['new_' + details.type](details);

}

ui.prototype.new_form = function(details){
	console.log("-\t Creating new form");
	console.log(details);
}

ui.prototype.new_scenograph = function(details){
	console.log("-\t Creating new scenograph");
	console.log(details);
}

ui.prototype.new_menu = function(details){
	console.log("-\t Creating new menu");
	console.log(details);
}

ui.prototype.new_content = function(details){
	console.log("-\t Creating new content");
	console.log(details);
}

ui.prototype.new_list = function(details){
	console.log("-\t Creating new list");
	console.log(details);
}

ui.prototype.new_button = function(details){
	console.log("-\t Creating new button");
	console.log(details);
}


CrypticImagesLatest Cardinals Vs 49ers news and image galleries.
49ers injury report: 7 players questionable vs. Cardinals.
49ers favored at home vs. winless Cardinals.
Arizona Cardinals vs. San Francisco 49ers NFL Week 5 picks, prediction. Cardinals (32): One key reason they're so bad?
How to watch 49ers vs. Cardinals.
49ers 5 keys to beating winless Arizona Cardinals. The Los Angeles Rams recover a .
How to Watch Cardinals vs. 49ers: Live Stream, TV Channel, Game Time.
Cardinals vs. 49ers | NFL Week 5 Game Highlights - YouTube.
How to Watch Cardinals vs 49ers Online Without Cable | Heavy.com. The Arizona Cardinals (0-4) allowed Josh Rosen's first career victory to slip through their hands last week in a loss to the Seattle Seahawks.
Arizona Cardinals vs. San Francisco 49ers Prediction and Preview.
Five most important match-ups in Cardinals vs. 49ers.
Arizona Cardinals at San Francisco 49ers: Scouting report and prediction.
Coming Soon: 49ers vs. Cardinals.
San Francisco 49ers vs. Arizona Cardinals, 10/7/18 NFL Predictions.
Joe Staley among three 49ers O-linemen questionable vs. Cardinals.
San Francisco 49ers vs. Arizona Cardinals expert picks roundup.
Week 10 San Francisco 49ers vs. Arizona Cardinals – Just The West.
San Francisco 49ers vs. Arizona Cardinals.
49ers 5 keys to beating winless Arizona Cardinals. Running back Matt Breida #22 of .
Arizona Cardinals vs San Francisco 49ers Predictions & Picks.
San Francisco 49ers lose to Arizona Cardinals in overtime: Score .... The 49ers are still winless after losing to the Los Angeles Rams in Week 3.
Cardinals vs. 49ers: Grading San Francisco's efforts.


New York – JAMS, the largest private provider of mediation and arbitration services worldwide, today announced the addition of Hon. George Bundy Smith, Sr. (Ret.) to its panel. Judge Smith will be based in the JAMS New York Resolution Center. He will specialize as an arbitrator, mediator and special master for disputes in a variety of areas including Appellate, Business/Commercial, Civil Rights, Environmental, Estates/Probates/Trusts, Insurance, Personal Injury/Torts, Real Property and Tribal (Native American).
Judge Smith served as an Associate Judge of the New York Court of Appeals, the state's highest court, for 14 years until his retirement in September 2006. Following his retirement from the bench, he joined Chadbourne & Park, LLP as a partner where he specializes in litigation and ADR. From 1987 until 1992, he was an Associate Justice of the Supreme Court, Appellate Division, First Department and from 1980 to 1986 was a Justice of the Supreme Court of the State of New York. He will continue to stay on as a partner at Chadbourne.
"I find ADR work incredibly rewarding and I'm excited to join the outstanding panel of New York neutrals and JAMS' superior case management team," said Judge Smith.
Judge Smith graduated with his B.A. and LL.B. from Yale University. He also has an M.A. and a Ph.D. from New York University and an LL.M. from the University of Virginia School of Law.


text:
var MultiComplete = {};
MultiComplete.Base = Class.create({

  // just takes a hash of configuration
  // this gets mixed into the instance so you can override anything
  initialize: function(config)
  {
    // the data we're searching through
    // can override 'search' to do something different
    this.data = [];

    // list of items matching the text entered
    this.current_matches = [];

    // index of the currently selected item (if any)
    this.current_index = false;

    // how many results to show
    this.num_results = 10;

    // the input field we're monitoring
    this.input = null;

    // this is where the suggestions will go
    this.suggestions_container = null;

    // anything passed in the config
    Object.extend(this, (config || {}));

    this.build();
    this.add_events();
  },

  // builds the suggestions container etc...
  // override to do other things too
  build: function()
  {
    this.suggestions_container = new Element('div', {'class': 'autocomplete', 'style':'display: none'});
    this.input.insert({after: this.suggestions_container});
  },

  add_events: function()
  {
    this.input.observe('keydown',  this.key_down.bindAsEventListener(this));
    this.input.observe('keypress', this.key_press.bindAsEventListener(this));
    this.input.observe('keyup',    this.key_up.bindAsEventListener(this));

    document.observe('click',      this.clicked_outside.bindAsEventListener(this));

    this.suggestions_container.observe('mouseover', this.over_selections.bindAsEventListener(this));
    this.suggestions_container.observe('click',     this.clicked_selection.bindAsEventListener(this));
  },

  show: function()
  {
    if (this.showing)
    {
      return;
    }

    this.showing = true;
    this.show_suggestions();
  },

  show_suggestions: function()
  {
    if(!this.suggestions_container.style.position || this.suggestions_container.style.position == 'absolute')
    {
      this.suggestions_container.style.position = 'absolute';
      Position.clone(this.input, this.suggestions_container, {
        setHeight: false,
        offsetTop: this.input.offsetHeight
      });
    }

    this.suggestions_container.show();
    this.fix_ie();
  },

  fix_ie: function()
  {
    if(!this.iefix && Prototype.Browser.IE && Element.getStyle(this.suggestions_container, 'position') == 'absolute')
    {
      new Insertion.After(this.suggestions_container,
       '');
      this.iefix = $(this.suggestions_container.id+'_iefix');
    }

    if(this.iefix)
    {
      setTimeout(this.fix_ie.bind(this), 50);
    }
  },

  // stolen from Scriptaculous autocomplete
  // fix overlapping issues with IE
  fix_ie_overlapping: function() {
    Position.clone(this.suggestions_container, this.iefix, {setTop:(!this.suggestions_container.style.height)});
    this.iefix.style.zIndex = 1;
    this.suggestions_container.style.zIndex = 2;
    Element.show(this.iefix);
  },

  hide: function()
  {
    this.showing = false;
    this.current_index = null;
    this.suggestions_container.hide();
  },

  // called when we select something
  // otherwise just calling hide leaves the data there so you can hit down
  // and the selection will stay in place
  reset: function()
  {
    this.current_matches = [];
    this.hide();
  },

  key_down: function(e)
  {
    switch (e.keyCode)
    {
      case Event.KEY_UP:
        this.up();
        e.stop();
        break;

      case Event.KEY_DOWN:
        this.down();
        e.stop();
        break;

      case Event.KEY_RETURN:
        e.stop();
        this.select_current();
        break;

      default:
        break;
    }
  },

  key_up: function(e)
  {
    switch (e.keyCode)
    {
      case Event.KEY_RETURN:
        this.enter_pressed(e);
        break;

      // ignore these and pass on through
      case Event.KEY_UP:
      case Event.KEY_DOWN:
        break;

      case Event.KEY_ESC:
        this.hide();
        break;

      // search if any of the above don't match
      default:
        this.search();
        break;
    }
  },

  // only stop enter from submitting if we're showing the form
  // override this if you want to never submit the form on enter
  enter_pressed: function(e)
  {
    if (this.showing)
    {
      e.stop();
    }
  },

  key_press: function(e)
  {
    if (e.keyCode == Event.KEY_RETURN)
    {
      this.enter_pressed(e);
    }
  },

  over_selections: function(e)
  {
    var element = e.element();
    if (element.nodeName != 'LI')
    {
      element = element.up('li');
    }

    if (!element)
    {
      return;
    }

    this.current_index = element.previousSiblings().length;

    this.highlight_selection();
  },

  clicked_selection: function(e)
  {
    var element = e.element();
    if (element.nodeName != 'LI')
    {
      element = element.up('li');
    }

    if (!element)
    {
      return;
    }

    this.current_index = element.previousSiblings().length;

    this.select_current();
  },

  clicked_outside: function(e)
  {
    var element = e.element();

    // did they click on the autocomplete suggestions?
    if (element.up('.autocomplete'))
    {
      return;
    }

    this.hide();
  },

  // by default just populate the text field with the value
  // override to do something more interesting
  select_current: function()
  {
    var value = this.current_value();
    if (!value)
    {
      return;
    }
    this.input.value = value;
    this.reset();
  },

  // get the data for the current selected item
  current_value: function()
  {
    if (this.current_index == null)
    {
      return false;
    }

    return this.current_matches[this.current_index];
  },

  // prepare to search for items matching the text in the field
  // does the actual search in find_items_matching so that it can be
  // easily overriden for ajax, just has to call "found_items" with any result
  search: function()
  {
    var text = this.input.value;
    if (text.strip() === '')
    {
      this.hide();
      return;
    }

    this.current_index = null;
    this.current_matches = [];
    this.find_items_matching(text);
  },

  found_items: function(items, search_text)
  {
    this.current_matches = items;

    if (this.current_matches.length === 0)
    {
      this.hide();
    }
    else
    {
      var html = this.html_for_items(search_text);
      this.suggestions_container.update(html);
      this.show();
    }
  },

  // return the HTML you want to use for your autocomplete list
  // by default we assume this will be a UL with an LI element per item
  html_for_items: function(search_text)
  {
    var html = "";
    this.current_matches.each(function(item){
      html += this.html_for_item(item, search_text);
    }.bind(this));

    return "
"+html+"
";
  },

  // return the HTML for one individual item in the list
  // assumes the item is a single string of text, but can just as easily
  // override and work with an object etc...
  html_for_item: function(item, search_text)
  {
    if (!this._html_for_item_template)
    {
      this._html_for_item_template = new Template([
        '
',
          '#{item}',
        '
'
      ].join(''));
    }
    return this._html_for_item_template.evaluate({item: item});
  },

  up: function()
  {
    if (!this.showing || this.current_index === null)
    {
      return;
    }

    this.current_index -= 1;

    if (this.current_index < 0)
    {
      this.current_index = null;
    }

    this.highlight_selection();
  },

  down: function()
  {
    if (this.current_matches.length == 0)
    {
      return;
    }

    if (this.current_index == null)
    {
      this.current_index = 0;
    }
    else
    {
      this.current_index += 1;
      if (this.current_index > (this.current_matches.length - 1))
      {
        this.current_index = this.current_matches.length - 1;
      }
    }

    this.highlight_selection();

    if (!this.showing)
    {
      this.show();
    }
  },

  // add the class "selected" to the current selected item
  // there can be only one selected item, so remove from any existing one first
  highlight_selection: function()
  {
    var current = this.suggestions_container.down(".selected");
    if (current)
    {
      current.removeClassName("selected");
    }
    var selected = this.suggestions_container.select("li")[this.current_index];
    if (selected)
    {
      selected.addClassName("selected");
    }
  },

  // by default this goes through the data array we have
  // you could override this to go off and load the data with ajax
  // or whatever takes your fancy so long as it passes any results to "found_items"
  find_items_matching: function(text)
  {
    text = this.escape_regex(text.toLowerCase());

    // return the first x who match the finder
    var items = this.data.findAll(this.finder.bind(this, text)).slice(0, this.num_results);
    this.found_items(items, text);
  },

  // assumes a simple array of items, override to do something different
  // just matches if it contains the entered text
  finder: function(value, item)
  {
    return item.toLowerCase().match(value);
  },

  // escape any symbols in the text which will mess up a regex
  // http://simonwillison.net/2006/Jan/20/escape/
  escape_regex: function(text)
  {
    if (!arguments.callee.sRE)
    {
      var specials = [
        '/', '.', '*', '+', '?', '|',
        '(', ')', '[', ']', '{', '}', '\\'
      ];
      arguments.callee.sRE = new RegExp(
        '(\\' + specials.join('|\\') + ')', 'g'
      );
    }
    return text.replace(arguments.callee.sRE, '\\$1');
  }
});


The conference will aim at enhancing the scholarly communication between research communities of Armenia and Turkey around issues of Armenia-Turkey normalization with a focus on civil society, social, economic, political, cultural, and mass media aspects of the issue.
The conference will host around 40 participants interested in the field of Armenia-Turkey relations including experts, scholars, NGO and media representatives. To solicit applications from qualified participants, CRRC and the members of the ATNP Consortium disseminated an open call available here. During the conference the participants will present their findings/papers that will touch upon the different aspects of the Armenia-Turkey normalization. CRRC will arrange for an online publication of the conference papers and presentations.


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Auckland Transport signs contract with CAF for 15 new electric trains
Staff Writer November 9, 2017, 1:42 pm November 9, 2017
Auckland Transport has announced that it is suspending its order of battery-powered trains, and will instead replace them with 15 new electric trains.
The operator had announced it September its decision to purchase 17 of the battery-powered Independently-Powered Electric Multiple Units (IPEMU) train models for $207, in response to the delays in the network electrification between Papakura and Pukekohe.
However, due to a decision to bring forward electrification of the Papakura-Pukekohe line, that plan has now been suspended by the New Zealand Transport Agency (NZTA).
Auckland Transport yesterday announced that it has instead signed a contract with the Spanish supplier Spain by Construcciones y Auxiliar de Ferrocarriles (CAF), which will now build 15 three-car electric trains and provide vehicle maintenance for an 8-year term.
CAF was the company responsible for building the 57 three-car electric units which currently service the Auckland network, which were commissioned in 2014 and have completed over 11 million kilometres in total mileage.
"We signed out first contract with Auckland Transport in 2011, we are proud of the on-going relationship and look forward to providing Aucklanders with 15 more great trains," CAF area director Inaki Mendizabal said.
Auckland Transport's chairman, Dr Lester Levy, said that the electric trains were required to meet the rise in public demand along the city's rail network, which has seen a 16 per cent increase in passengers over the past year.
"We need to put on bigger trains to meet the demand and we need to be ready for when the tracks are electrified between Papakura and Pukekohe," Levy said.
According to Auckland Transport chief executive David Warburton, the extra trains will allow more frequent services to run.
"With 15 more trains we will be able to operate six-car trains on most services on the Southern, Eastern and Western Lines. This will give passengers the confidence that they will have a comfortable trip and they won't have to worry about not getting a seat," Warburton said.
"We need to plan well in advance, we need to make sure that as more and more Aucklanders embrace trains, we have the infrastructure to give them the service they have become used to."
NZTA will contribute $65.2 million for the train order, with Auckland Council providing $65.2 million.
According to CAF, the 15 new trains will be similar to the models currently operating in Auckland, and will consist of three cars, two cabbed end motor cars and one intermediate trailer car, with a total capacity for 380 passengers. They will also feature a lower floor in the intermediate carriage to allow better access for those with reduced mobility and wheelchair users.
The contract also includes an extension option that will leave open the possibility for battery package installation on these trains if necessary.
Auckland Transport expects the first new trains to be up and running on the network in 2019.
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