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Bezaubernd schön?
Posted in Reviews, tagged August Everding, Christof Fischesser, Hanno Müller-Brachmann, Mozart's Die Zauberflöte, Staatsoper unter den Linden on April 25, 2009| Leave a Comment »
I have to confess I was eager to see August Everding's 15-year old production of Mozart's Die Zauberflöte for the Staatsoper unter den Linden because of the attempt to reproduce sets and costumes from the famous 1816 Karl Friedrich Schnikel production for the Königlichen Schauspiele, as seen below.
In the booklet, Everding and his creative team explain what sort of adaptations had to be made to transform these set designs into three-dimension sceneries, but the truth is, unless you have an orchestral seat right in the middle of the auditorium, the experience is seriously impaired by the fact that the production seems depressingly two-dimensional: you can always see the end of backdrops and the wood-structures that keep everything in place, not to mention that nothing seems really symmetric. I have a serious problem with directors who disregard that opera houses have seats on the right and left sides and also on the other levels. We all know that XIXth century-sceneries tended to be flat, but once you're adapting, this problem could have been seen to. I also dislike the shining black surface added to the stage floor – the sets do not seem to take advantage of the reflex and, otherwise, its modernity does not go with the cardboard scenic elements and painted backdrops. It might be only a detail, but it makes the whole thing look like the Epcot-center version of the Magic Flute.
To make things even less atmospheric, conductor Julien Salemkour seemed to be really concerned about not being late for dinner. He tried to make things fast, but without any hint of animation or the energetic accents that would make phrases actually alive. To say the truth, the performance seemed underrehearsed – there was very little clarity in the orchestral playing, mismatches with soloists abounded and, at some moments, there seemed to be a struggle between singers and the conductor to set the pace, as in Bei Männer or, more seriously in Seid uns zum zweiten Mal willkommen.
In the cast, the low voices stand out – Christof Fischesser has a natural and spacious low register and, although his voice could be a bit nobler, he compensated that by sober, elegant phrasing. On the other hand, Hanno Müller-Brachmann's dark-toned Papageno was always vivacious and keenly sung. Stephan Rügamer's Mozartian singing still needs some work. The basic tonal quality is extremely pleasant, he is musicianly and stylish, but whenever he has to ascend through the passaggio in full voice, the tone acquires an intense nasality that robs his tenor of all pleasantness. As for Sylvia Schwartz, this is a technically accomplished singer with no hint of effort or discomfort, but the voice has a grainy quality that prevents it from sounding really lovely, young-sounding and ultimately seductive as a singer in her Fach should. If you can go beyond this minor drawback, hers was an exemplary account of the part of Pamina. Ana Durlovski has a strange voice for the Queen of the Night – the sound has the right impact… in the lower reaches. Her high register lacks cutting edge and she slides a bit in order to keep in tempo with her fioriture, but her high staccato notes are truly accurate.
Die Zeit, die ist ein sonderbar Ding
Posted in Reviews, tagged Andreas Homoki, Brigitte Geller, Elisabeth Starzinger, Friedemann Layer, Jens Larsen, Komische Oper Berlin, R. Strauss's Der Rosenkavalier, Solveig Kringelborn on April 24, 2009| Leave a Comment »
If we bear in mind that the Komische Oper is something like the temple of Regietheater, Andreas Homoki's 2006 production of Richard Strauss's Der Rosenkavalier would be something like Otto Schenk's compared to the other stagings shown in that adventurous opera house. Although the director does interfere with the libretto, I would say that the layman could still follow the plot. As it is, Homoki considers that the story's main element is the passing of time in the sense of transition of epochs. Thus, both the Feldmarschallin and the Baron Ochs would represent the old generation and its relationship with making way for a new generation represented by Octavian and Sophie – a situation Richard Strauss and Hugo von Hofmannsthal would themselves experience as late Romantics in the eve of a world profoundly transformed by WWI and WWII. In act I, the rococo atmosphere shows the Marschallin in wig, corset, panniers etc, but Octavian's clothes makes us think rather of the early XXth century, a hint of what is going to happen on act II – Faninal's house is shown in what seems to be the 30's. Act III's Wirthaus is replaced by the upside-down version of act I and act II's sets and the tricks played on Ochs become air raids. In the meanwhile, the Marschallin and Ochs retain their XVIIIth century-style outfit to the end. Homoki's ideas are generally sensible and proper to a small stage such as the Komische Oper's, what makes it more upsetting when silliness creeps in – Sophie strips to her underwear in act II and presents herself at the Wirthaus in act III in her robe-de-chambre. Why?
Although I can remember more flawless Marschallins than Solveig Kringelborn, her performance is still extraordinarily touching. To start with, she has something like the voix-du-rôle. Her lyric soprano is still attractive in its creamy floating mezza voce, but it does no longer sound "young" and, whether it is art or nature I don't know, but her not entirely ingratiating break into chest voice always go with the situations when the Marschallin should sound less charming. It is also refreshing to hear a singer who has evidently tried not to copy some success formulas and is very much trying to be herself in this role. Her Marie-Thérèse is more "carnal" than most, evidently an experienced woman who has seen it all and her appeal has a touch of lecherousness behind the chic. Brigitte Geller's Sophie comes close to fulfill all the requirements – her voice is extremely pretty and, as with almost all the great exponents of this role, tends more to the lyric than to the soubrettish. However, there is still something missing – she has been in this production for so long that a great deal of the enthusiasm that lies in the core of what Sophie is about is long gone. Also, her voice is sometimes off focus, too often in the key moments for comfort. That is a problem not shared by Elisabeth Starzinger, whose tightly focused high mezzo is otherwise too light for Octavian. It seems she still has to mature in the role – sometimes I had the impression she was a last-minute replacement. No offense to her personal charm, but she looks convincingly boyish and is a supple, congenial actress. Last but not least, Jens Larsen was a most satisfying Ochs – he has the right voice for the role and is also a naturally funny fellow who does not need to overdo anything in order to extract laughs from the audience.
Although the house orchestra is perfectly acceptable, it is not truly world-class. Nonetheless, Friedemann Layer proved that a gifted conductor proves his talents when he is not conducting the Wiener Philharmoniker. The maestro knows the art of finding the right tempo in which the minimal level of polish is achieved with no sacrifice to forward movement and theatrical expression, took profit of the less than exuberant string section to produce an entirely transparent sound picture in which the complex polyphonic writing could be understood without effort and never let anyone down in key moments. As a matter of fact, his final trio was exquisitely built, with fine contributions from every singer.
A Straussian evening with the Wunderharfe
Posted in Reviews, tagged Anne Schwanewilms, Fabio Luisi, Staatskapelle Dresden on April 19, 2009| Leave a Comment »
Although it was Richard Wagner who supposedly nicknamed the Staatskapelle Dresden the Wunderharfe, nobody profited of the orchestra's miraculous sound as Richard Strauss, who premièred some of his masterpieces, such as Salome and Elektra, in the Semperoper. This would be enough to make Dresden a peregrination place for Straussians. Unfortunately I could visit the Semperoper only once – but a whole Strauss program with the house orchestra was tempting enough for a second visit. And there I went.
I am not a great fan of Fabio Luisi and, if I had to single out a positive quality, that would be the fact that he has not interfered with the orchestra's legendary deluxe sound. As a die-hard Karl-Böhm-fan, I have a problem with Luisi's fondness for Karajanesque beautiful-at-the-expense-of-clarity sound. Maybe because of that his Till Eulenspiegel lacked lightness and sense of humor, exquisite as the orchestral sound was. Things would change with the Vier letzte Lieder, in which the conductor and the orchestra could produce the right contemplative quality without making things too ponderous, especially in Frühling, which tends to suffer from overkilling.
The concert's soloist was soprano Anne Schwanewilms, who floated her instrumental soprano without any hint of effort (although some of her notes acquired a strange buzz above the actual sound) through Strauss's fearsomely difficult phrases. Although she is still not the best friend of legato, her performance deserves the highest praise for its unaffectedness, accuracy, sense of style, beauty of tone and crisp delivery of the text. To this evening, I thought nobody would ever sing the last words of Beim Schlafgehen (…zu le-e-eben) as magically as Gundula Janowitz did in Karajan's studio recording, but here it is: these notes alone, as sung by Schwanewilms, were worth the ticket's price (and the expenses with hotel and train). Most deservedly, she received a warm ovation.
The second part of the program consisted of Strauss's most famous tone poem, Also sprach Zarathustra, in which Luisi's inclination for large, refulgent orchestral sounds found good use. Some complex passages still needed more structural transparence, but… what sounds have I heard there! Bathed in oceans of warm orchestral sound and caressed by shimmering floating violin pianissimi, one felt transported to another dimension. All I can say is that the Staatskapelle Dresden is one of the wonders of the world – especially in the ideal acoustics of the Semperoper. If you have the opportunity to make this peregrination, I guarantee that the miracle will happen right around your ears.
Colourful, but worn out
Posted in Reviews, tagged Christof Fischesser, Staatsoper unter den Linden, Sylvie Valayre, Verdi's Macbeth, Vladimir Stoyanov on April 15, 2009| Leave a Comment »
Peter Mussbach's production of Verdi's Macbeth for the Staatsoper unter den Linden is almost 10 years old – and one can see that. It looks decidedly worn out, frumpy and quite depressing today. I wonder if it had looked really well in the past. It is a very geometrical/basic-colours production with a (very distant) flavour of Japanese theatre and a (self-defeating) touch of Wieland Wagner (I mean self-defeating, because W.W's productions had no unnecessary gestures and features, as this one has in plenty). More frustratingly, some attempts of creating an eerie atmosphere look just childishly funny. Is it time for a new production?
In any case, the shortcomings of the theatrical aspects of this staging are more than compensated by the superb playing of the Staatskapelle Berlin, which offered absolute clarity, accuracy and richness of sound. Conductor Julien Salemkour's approach was a bit kapellmeisterlich and you felt that tempi sagged a bit, but the beauty of the orchestral sound did not make you impatient about the conductor's lazy pace. By its final contribution, the Staatsoper's chorus offered a solid performance, but – as often – the witches' choirs seemed well-behaved and unidiomatic*.
The famous Verdian quote about Lady Macbeth needing a rasp, dark voice has been used as excuse for many inadequate performance. It is obvious that a pretty voice does not work for this role, but an ugly voice is no excuse for poor technique. Sylvie Valayre is all-right an intelligent singer, but her manipulations to produce a "dramatic" voice robs her phrasing of all spontaneity: her diction is very unclear, her gear changes are quite clumsy, her sense of pitch is not always reliable (although she generally hits her high notes correctly)… I was going to say that the sound is the opposite of pretty, but that could be intentional. She cunningly lightened her tone for the brindisi and, for the first time, her coloratura was more or less a tempo. What is beyond doubt is that she is a good actress. It is a pity that her long experience with the production had a perverse effect – the spirit behind the flash is gone and a great deal of the gestures blocked in rehearsals held loooong time ago seem pointless, especially in her opening aria. On the other hand, Vladimir Stoyanov has a truly full-toned Verdian baritone. Although the higher end of his range is not as forceful as the rest of his voice, his phrasing is so musicianly, spontaneous and pleasant that he cannot help sounding convincing in this repertoire. Christof Fischesser's rich and dark bass is tailor-made for the role of Banquo – I hope to hear him again in the future. Stephan Rügamer's tenor, unfortunately, is not Italianate or flowing enough for La paterna mano – it was a reliable if not ingratiating performance nonetheless.
* I'll be writing soon about the witches' chorus in Macbeth.
Verdi's Macbeth, Opéra de Paris, 15.04.2009
Posted in Reviews, tagged Ferruccio Furlanetto, Opéra de Paris, Stefano Secco, Verdi's Macbeth, Violeta Urmana on April 15, 2009| Leave a Comment »
Director Dmitri Cherniakov has written that, for a long while, he had understood nothing in Verdi's Macbeth. Judging from his staging for the Opéra de Paris, I wonder how much progress he has made. It seems that the Opéra Bastille has a tradition of mixing opera and internet – always for dismal results. This time the stage is covered by a screen on which we can see something like Google Earth showing a contemporary suburban neighborhood where Macbeth seems to be some sort of mayor. Why does he wear an uniform or why would he have an army at his disposal – those are questions left for our imagination. In any case, we are shown the same The Sims-like images of Macbeth's house and of a square where poor people apparently live in what looks like dog houses.
It seems that the Macbeth plot has been reduced to a burgeoisie vs. proletariat (yes, I know – so last-century…), but setting the action in a bainlieu does not make any sense. First of all, high politics are rarely done in bainlieues. And Macbeth involves state ceremonies and a coup d'état. Second, proletarians and bourgeois rarely live at the same neighborhood. In any case, low-income families in European urban areas tend to live in crowded apartment complexes and not in dog houses. Third, why would the Macbeths kill people for… nothing? After Duncan's death, they live at the same shabbily decorated house (they are not even allowed a dining room for their dinner-parties), wear the same frumpy clothes and have the same old and tacky guests. To make things worse, the supernatural elements of the plot are altogether deleted from the story – apparently the proletarians have a collective power of foreseeing things, for anytime Macbeth appears at their dog-house square, the chorus have always new forecasts to give. Ah, I leave the worst for last – since the Macbeths' living room is too small, there is no space left for choristers. But you can still hear their voices from… the beyond? I was waiting for the moments when Macduff would say Ihr Unsichtbaren saget mir, lebt denn Duncano noch? Also, when the presence of a soloist on stage does not go with the director's designs, he or she is heard from backstage through a microphone… It is said that, when a staging is really bad, we say good thing about the costumes and sets. But not here – Mr. Cherniakov has also created them and, if I were Lady Macbeth, I would kill him for making me look like a hag.
All in all, Violeta Urmana must be a very gracious person. She tried to hold her dignity together while doing magic tricks (this seems to be a new cliché in Regietheater) or singing her Sleepwalking Scene in untidy white pijamas. Although she has dealt quite commendably with Lady Macbeth's tricky fioriture, trills and dramatic high notes, the role is so distant to her personality that she cannot help sounding unconvincing. Her best moment would be a high d-flat-less Sleepwalking Scene, sung without any hint of craziness but abounding in rich warm velvety phrasing. Stepping in for Carlos Álvarez, Greek baritone Dimitris Tiliakos has a plausible voice for Macbeth, with a hint of Renato Bruson but too often off-focus in its high register for comfort. As he had little leeway, his performance tended to the monochrome. Unfortunately, Ferruccio Furlanetto was not in his best voice – but that did not prevent him from offering the most spontaneous rendition of the text (in his native language, an advantage not shared by the soprano and the baritone). The audience's favorite was, however, Stefano Secco, whose bright tenor and ardent delivery made for a young-sounding Macduff.
It seems that conductor Teodor Currentzis has in Paris the reputation (or rather the notoriety) of being the poorman's Sinopoli. Although his tempi are always faster than the ones adopted by the late controversial Italian maestro, both do share the fondness for highlighting hidden niceties in the score at the expense of general coherence. I found his beat often whimsical but I tend to view Macbeth as a conductor's score and it is always refreshing to have someone with ideas rather than a traffic cop on the podium. Nevertheless, all his curiosity did not help him to produce true excitement in the opera's great ensembles if we are not speaking of sheer loudness.
A Messiah from the continent
Posted in Reviews, tagged Cornelia Horak, Florian Bösch, Handel's The Messiah, Jean-Cristophe Spinosi, Jennifer Larmore, Topi Lehtipuu on April 10, 2009| Leave a Comment »
Performances of Handel's most famous oratorio, The Messiah, pop up in England and in the USA like mushrooms – professional performances, amateur performances, Messiah sing-ins (you just have to bring your own score and try your for he shall purify-y-y-y-y-y…) – but they are becoming increasingly more popular in places usually not associated with choral oratorio traditions. If a Messiah performance should be called pan-Europan, the one held this evening at the Théâtre des Champs-Elysées should be it – the soprano, the bass and the chorus were Austrian, the tenor was Finnish, the orchestra and the conductor were French – and Jennifer Larmore were the only native English speaker on stage.
I have an unhealthy curiosity for non-English Messiah recordings, which tend to file Handel oratorios and operas in the same case, bringing the theatrical aspects to the fore without any idea of the reverence sometimes found in performances supposed to be immerse in tradition (a tradition that is younger that those followed by Handel himself, it must be said). Although Jean-Cristophe Spinosi brought an unusual Vivaldian perfume to his Messiah, with some sensuous and passionate playing from his strings, dramatic accents and a vivid sense of narration, my first impression was that this was the poorman's Les Musiciens du Louvre and Marc Minkowski (whose iconoclastic recording is always compelling in spite of the flaws): I don't have the best set of ears around but I had the impression that pitch was too often treated in a cavalier manner especially by the upper strings, which could also develop a rasping sound. However, around the middle of part II, Spinosi's palpable animation seemed to start to infect his musicians and the performance would eventually gain in stature and by Why do the nations, the experience could be counted as truly uplifting. At the end, the audience responded enthusiastically and, most unexpectedly, the hallelujah chorus was offered as an encore after an excited speech by the conductor about his love for it.
Soprano Cornelia Horak's fleece-toned soprano floats beautifully in moments such as He shall feed his flock, but her lower register is not always 100% focused. Her coloratura is extremely accurate and she has an engaging personality and really means her text. Rarely has Rejoice greatly sounded so exhilarating as here, while she seemed almost transfigured in religious feeling in I know that my redeemer. Slimmer than last time I saw her, Jennifer Larmore similarly seemed eager to communicate and addressed the audience as if she was speaking to the congregation. It is a pity, though, that she was not really in good voice. The tone was often veiled, her low notes a bit recessed and the coloratura not truly impressive as usual. Although his singing was stylish, sensitive and accomplished, everytime Topi Lehtipuu opened his mouth, there came a different voice from him. When the tone was relaxed as in Behold and see, the results were warm and caressing, but most of the time the sound was a bit nasal and overbright in a Claes Ahnsjö-way. This is the first time I have ever heard Florian Bösch and all I can say that Ruthilde Bösch (Edita Gruberová's teacher) has taught her grandson everything a singer should learn. If I say he stole the show, there is no exaggeration in that – his voice is extremely beautiful, flexible, firm in both top and low notes, perfectly focused throughout his range and, to make things better, he is not afraid to colour his text and tackles fast passagework with breathtaking precision. The Austrian contribution to the performance was crowned by the exquisite singing of the Arnold Schönberg Chor, the smooth sound of which is a joy to the ears. I was particularly impressed by the sweet-toned quality of their sopranos.
SIE wird zu Stein
Posted in Uncategorized, tagged Christiane Libor, Marc Minkowski, Wagner's Die Feen on April 9, 2009| 1 Comment »
No mistake here – I am not talking about Richard Strauss's Die Frau ohne Schatten, but a forgotten work Strauss himself championed, which is Richard Wagner's first opera, Die Feen, staged by the first time in France in the Theatre du Châtelet.
The curious Wagnerian has probably got acquainted with the work in Wolfgang Sawallisch's recording made live in Munich by Orfeo luxuriously cast with Linda Esther Gray, June Anderson, Cheryl Studer, John Alexander, Jan-Henrik Rootering et al. So has Marc Minkowski, who has dared not only to use his own Les Musiciens du Louvre but also to offer a far less excised edition. The immediately first instance of comparison between these conductors is that Minkowski's orchestra cannot, for the obvious reasons, compete with the Bavarian State Orchestra's lushness of sound. In order to create the necessary impact with a leaner orchestral sound, the French conductor proved to have the energy and pulse of very few conductors in order to keep his musicians playing as if their lives depended on that for more than three hours – his beat never failed, the orchestra's attack was always strong, phrasing was always the leading element of the story telling. Even when one could rightly miss an orchestra like Sawallisch's, Minkowski proved to be more coherent, more structured – every one of the three acts built inevitably to their powerful finali.
As a side comment, it is impossible not to notice that the score's shining features are its ensembles with full chorus and soloists, something the composer would use more economically in his mature works. Even if the work is decidedly uneven, long stretches of music are irresistibly powerful, especially in act II, when one has a feeling that Bellini's Norma, Weber's Freischütz and Beethoven's Fidelio have been mixed in a blender together with the house's secret ingredient. I wonder what would have happened to the history of music if this work had been staged when it was composed. More seriously, what would have happened if Wagner had actually succeeded in the mainstream department? Would there be place for Tristan und Isolde if he had indeed reformed the genre of grand opéra? The truth is that no-other composer has a first stage work so brilliant as Wagner.
As in many early works by operatic composers, Die Feen suffers from its impossibly difficult casting. These roles are so difficult that you feel you owe these singers the cost of an extra ticket! In the Isolde-meets-Agathe role of Ada, Christiane Libor does not feature the show-stopping dramatic soprano of Linda Esther Gray (in her sadly short career), but the gentler sound of Minkowski's orchestra allows her to exude far more vocal allure. She is the kind of singer who never ever produces an ugly sound even when things get really difficult. To say the truth, Ms. Libor has instantly made me a fan of hers. There has to be some problem in the world of opera if a singer of her outstanding level is not more famous. Her warm sizeable lyric soprano has something of the sexiness of the young pre-wobble Eva Marton blended with the coolness, elegance and poise of Margaret Price. I know this is not a good description – but that is the best way I can describe her. She also has a regal presence and, even if she is not really an electrifying actress, she is never less than convincing.
In spite of the performance's seconda donna's talents, the role of Lora was, in my opinion, miscast. It requires a Bellinian voice with a bright and spontaneous high register. Lina Tetruashvili is a reliable, velvety-toned soprano, but there is nothing Italianate about her voice – she was fazed about fast and high passages, her diction is not very clear and her German is not really convincing. It was no coincidence that Sawallisch invited June Anderson for his Munich performances.
William Joyner got the ingrateful task of singing the role of Arindal, a part that requires both heroic heft and Mozartian grace. He has no problem with offering dulcet head tones when required from him, but is tested by exposed dramatic high-lying passages. Considering the difficulties of the role, he proved to be unusually accurate and musicianly, but the cracked notes at the end of the evening only proved that this run of performances maybe was really demanding for him. Laurent Naouri not only is an excellent actor, but sang Gernot's act 1 romanze in the grand manner. It is a pity that his bass was a bit off focus for the comic duet with Drolla in act 2. As Farzana and Zemina, both Salomé Haller and the beautiful Eduarda Melo left absolutely nothing to be desired. Minor roles were strongly cast.
I do not know if the pun was intended, but Emilio Sagi decided to stage the world of fairies with glittery colours, lots of pink tones and male choristers dressed in female clothes. To say the truth, mortals had also its share of glossy scenic elements, but, maybe because there is a war going on, there seems to be a limited share of spangle going on in Arindal's kingdom. Sagi claims to find inspiration in Jeffrey Koons for his settings – a gigantic rose, a gigantic doll and a gigantic chandelier seemed to be it and, if the effect could be dramatic blank, it never failed to have an aesthetic impact. Justice be made, actors were extremely well directed and scenes never sag, keeping continuous interest, but a heroic opera needs a bit more craft. For instance, act III describes Arindal's fighting earth spirits and bronze men, but this is all reduced to a curtain of blue strings and colourful boxes. One could thing that the budget was not enough for the three acts…!
Wagner's Lohengrin, Staatsoper Unter den Linden, 08.04.2009
Posted in Reviews, tagged Daniel Barenboim, Dorothea Röschmann, Gerd Grochowski, Klaus Florian Vogt, Kwangchul Youn, Michaela Schuster, Staatsoper unter den Linden, Wagner's Lohengrin on April 8, 2009| Leave a Comment »
Stefan Herheim must be the most irritating among living stage directors working for an opera house in the whole world. His production of Wagner's Lohengrin for the Staatsoper unter den Linden has an ambitious agenda – to discuss the relationship between religion, myth and politics through the idea of Lohengrin as a messianic leader who would restore purity inside everyone of us before we are confronted with the fact that an imperfect world cannot be redeemed by perfect solutions. Here Lohengrin does not bring back the Duke of Brabant before he flies away in his giant white feather (apparently, the swann itself does not stop at Bebelplatz): he actually collapses on the ground a few moments later – he was nothing but a fantasy, a human-sized marionette. Accordingly, the "creator" itself, Richard Wagner is shown as a bouncing marionette during the overture.
Although there is plenty of intelligent ideas going on here (I do not know if I could say the same of Herheim's Entführung aus dem Serail for the Salzburg Festival), there are way too many of them to start with. Herheim's staging begins as the cheapest example of Regietheater with soloists and chorus members in casual clothes, carrying string puppets and posters with the words "State", "Comic", "German", "Opera" etc, then develops to something like a mix of Broadway shows Hair and Spamalot until it finally takes off on Act III in a sensitively staged bridal chamber scene, with fine acting from the cast's Lohengrin and Elsa. I was determined to close my eyes and let myself enjoy the music, but the truth is that – in spite of the high levels of sheer silliness – it does set one's mind going once you start to consider the many perceptive points about the interrelation of private and public affairs in the libretto. But that's a virtue of such an acknowledgedly masterly libretto, which not deserves to be made fun of.
If I really had decided to close my eyes and enjoy the music, the balance would definitely be positive. The first chords in the overture revealed such crystalline pianissimo string playing that one could legitimately felt transported to paradise. However, while Daniel Barenboim could extract the last ounce of beauty in lyric passages in grand yet clear orchestra sounds with an expert's ear for tempi that let musical effects work in the right way, more complex scenes brought about an unsubtle brassy orchestral sound, as in the introduction to act III, for example.While the chorus was unusually accurate in Lohengrin's arrival and particularly smooth-toned in Gesegnet soll sie schreiten, the orchestra failed to produce either the kaleidoscopic impression in the former or the increasing tension in the later. My memory may betray me, but I have the impression that Barenboim was more substantial and less bombastic when I saw him conduct this work in the Lindenoper back in 1999.
In what I believe to be her debut in the role of Elsa von Brabant, Dorothea Röschmann not only dispelled my doubts about her venture in jugendlich dramatisch repertoire, but indeed impressed me with her continuous flow of creamy, rich tone and her intelligent and emotional interpretation. Although the voice is still light for the role, her technical control steered her through the perilous exposed moments in ensembles and especialy in the act III duet with Lohengrin. She has mastered the art of projecting Spitzentöne in the hall without forcing her lyric voice, and her ability to produce strong chest notes is of great help in declamatory passages. All I can say is that, although I have immensely enjoyed her Mozart performances, this is the definitely the best I have seen from this very special singer.
Michaela Schuster fulfils the basic vocal requirement for Ortrud, but small miscalculations around the passaggio spoiled some key moments. She relishes the Cruella DeVille approach and handles the text in an unusual yet refreshing sort of evil-and-loving-it manner. Gerd Grochowski's light but forceful bass-baritone is often drowned by the orchestra, and his very clear articulation of the text helped he out in the last minute. I guess no-one really missed René Pape, who was unable to sing the role of King Henry, since Kwangchul Youn, his replacement, offered an exemplary performance. He was at his most Karl Ridderbusch-ish while offering his own kind of sensitive verbal nuance.
I leave Klaus Florian Vogt's Lohengrin for last. It is difficult to descibe such an extraordinary voice. His high-placed, straight-toned voice is so devoid of the corsé quality which is the hallmark of a tenor that it almost has an almost infantile colour. His ability to produce effortless floating mezza voce is impressive and, at the same time, he can pierce through dense orchestration with very little strain. I could not help thinking that it almost resembled a pop singing style. I say "almost" because a) he did not need a microphone to achieve that and b) sometimes his phrasing could be more flowing and have less of that sensation of one-note-after-the-other, especially when he had to plunge to the lower end of his range. In any case, if Lohengrin should have an unearthy, angelic feeling about him, Klaus Florian Vogt is hors concours. He is almost like the tenor answer to Gundula Janowitz's Elsa – the sound of his voice says everything you need to know about the role and you tend to part with the demand for a collection of interpretative gestures that would only imitate what nature itself has somehow produced.
Freudian sleepwalking
Posted in Reviews, tagged Bellini's La Sonnambula, Juan Diego Flórez, Mary Zimmerman, Metropolitan Opera House, Michele Pertusi, Natalie Dessay on April 6, 2009| Leave a Comment »
I had so many things to say about Mary Zimmerman's production of Bellini's La Sonnambula before ever seeing it that I have finally decided that I ought to see it – at the movie theatre.
My first problem with the Met's new Sonnambula was its selling feature. In the words of Peter Gelb himself, Bellini's comédie larmoyante would have a helplessly flimsy libretto and ergo it needs help from the likes of Mary Zimmerman and Natalie Dessay. The idea that such a well-loved masterpiece should be fixed by a clueless stage director and a soi-disante intellectualized diva is simply disgusting and put me immediately in a negative disposition.
To start with, there is nothing wrong or stupid or undramatic about La Sonnambula's plot – it is an insightful study on the theme of innocence, more precisely its "ideal type", the ingénue. In a backwards Swiss village, the beautiful Amina, an orphan raised by an adoptive mother, is engaged to the local prospective good catch, Elvino. Everybody is radiant about the upcoming wedding but Lisa, the village's resident bitch and Elvino's former girlfriend. While Lisa has a sexy thing about her, Amina is the sort of angelic beauty with modest manners. Apart from Lisa, everybody is exultant about what promises to be a marriage made in Heaven. However, there is always a little hell hidden in every heaven – and the arrival of Count Rodolfo adds a little spice to the proceedings.
As soon as the gentleman sees Amina, he is immeditaly smitten by the girl's artless charm. Surprisingly, the girl unconsciously responds the Count's gallantry, what triggers a jealous fit for Elvino, who proves to be increasingly charmless, whiny and ultimately unseductive. But the girl is an angel, the boy is a decent fellow and they make peace.
Because of a ghost that haunts the place, the villagers return to their homes early in the evening – and the Count takes a room in Lisa's hostel (ah, Lisa has a job too). Lisa tries to seduce the Count, but they hear some noise nearby and she goes away before someone sees her alone with a man in his room. The noise proves to be Amina in her nightgown. She is a sleepwalker and by sheer accident, of all rooms in the village, she shows up at the Count's room. Although the girl is innocent, the events that took place that afternoon spurred thoughts in her mind about her wedding night and she is presently fantasising about that. She embraces the Count while calling Elvino – and the way she calls him reveal hidden sparks. The whole event is too much for the Count's steadfastness and he decides to leave the room before things get out of control. But Lisa sees everything and , in the next morning, invents a pretext to have the whole village witness that Amina had slept in the Count's room. The engagement is broken to the bewildered girl's dismay.
Obviously, on a conscious level, Amina is innocent – but the sleepwalking theme is used to put things on an unconscious level. The encounter with the Count revealed the kind of arousal she obviously never had with Elvino and her repressed instincts led her to the events that caused her rejection by her fiancé.
After an attempted rebound wedding with Lisa, Elvino witnesses one of Amina's episodes of somnambulism during which the girl almost dies while lamenting the loss of Elvino's love. Regretful, he wakes her up and, in jubilant coloratura, she says she is in a "heaven of love". Curiously, the librettist leaves to our imagination what she is going to do with the fact that Elvino won't make her toes curl.
If we remember all that was written before the days of psychology, I would say that the plot is even quite clever. But Zimmerman and Dessay's Marie-Claire-reading-worldweariness doesn't do coyness – and they decided that the audience wants more. But the problem remains that Dessay is still a soprano leggiero and Zimmerman won't ever be invited to direct Die Frau ohne Schatten. But that's no problem if you transform the Swiss village into a rehearsal room, if Amina becomes an opera diva, Elvino her co-star and boyfriend, Lisa a stage director, the Count is probably an impresario, Lisa´s inn… Lisa's inn is still the rehearsal room… and the rich impresario has to sleep in a hospital bed in the rehearsal room… and Amina also has to sleep there… actually she sleepwalks through the Met's audience… and then she gets to the rehearsal room… and the choristers are so horrified to discover that the diva probably had, omygod, sex with the impresario that they tear all their sheet music away… As you see, this actually makes more sense than La Sonnambula's libretto as written…
In any case, if I hadn't read anything before I got to the movie theatre, I would say that there is still something to cherish. The sets are beautiful, the chorus members are extremely well directed with clearly defined personalities and, if Zimmerman really tried to solve the (many) loose ends in her concept, the whole idea of a show in the show could have worked. Maybe if Amina were not an opera diva, but the star of a high-school musical, maybe if Rodolfo were a handsome school teacher and if their scene happened in the house of Lisa, a rival teenager – maybe it could have worked in a Splendor-in-the-grass way. But if you take the naïveté out of the equation, the whole thing looks really silly.
Curiously, in spite of the present unfocused and colourless quality of Natalie Dessay's high register, her Amina seemed to me far more convincing than her Lucia. She made more of the words and could conjure a girly and sweet tone when necessary. An ideal Amina would need more artlessness, more directness – this is a role that must go straight to the heart and eschew any braininess. Dessay falls more than once in the trap of coquettishness – and that is a no go. As for Juan Diego Flórez, although the tone is not attractive and does not ideally float in the tender moments of his duets with Amina, his phrasing is clean and accurate, his acuti are firm and exciting and he is truly engaged. I would say that both pale before Michele Pertusi's elegant Rodolfo. This was one of the best performances I have seen from this singer. It is a pity, though, that Jennifer Black's soprano is foreign to bel canto. Evelino Pidò's expert conducting should be mentioned. At least as caught by the microphone, he could produce rich sounds without drowning his singers and always found tempi that made it comfortable for them to deal with their difficult florid lines.

redpajama_set_name: RedPajamaCommonCrawl


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Coach Mark Francis
Rock Chalk Park
Jayhawks360 Tour
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United Soccer Coaches Full List
⚽ Holland Earned Spot on All-Region Squad
KANSAS CITY, Mo. – Kansas senior Ceri Holland was named to the Midwest All-Region team by the United Soccer Coaches Tuesday. Holland earned a spot on the All-Region Second Team for the second time during her career.
Holland, a native from West Yorkshire, England, adds the All-Region honor to an already impressive senior campaign. The All-Big 12 Second Teamer concluded the 2020 fall season leading the Jayhawks with nine points off of three goals and three assists to earn Big 12 Offensive Player of the Week honors three times. She netted two game-winning goals to lead the Crimson and Blue through nine games. Her three assists recorded against Oklahoma on November 11 sits tied for second in KU's single-match records. On her career, Holland finished with 13 goals and 14 assists for 40 points.
Holland completed her playing career at KU last fall and graduated with a degree in exercise science in December 2020. Following her time in the Crimson and Blue, Holland joined the Wales National Soccer team's February training camp as the team prepares for the 2023 FIFA Women's World Cup qualifying campaign. In late January, Holland signed to play professionally for Liverpool FC Women. While with the team, she was named the FA Women's Championship Player of the Month in February after scoring three goals in four games.
Kansas finished the 2020 season in April with an overall record of 6-4-3. The Jayhawks completed the fall conference slate with a 5-3-1 record to finish fourth in the Big 12.


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Call Today For Free Consultation | Available 24/7 (561) 926-9246 EN ESPAÑOL
Spine Injury
Darryl B. Kogan
Theodore L. DiSalvo
George M. Bakalar
Elissa M. Fitzmartin
Rachel R. Schrager
Has a Loved One Died Due to the Negligence of Another?
Role of a Boynton Beach Traumatic Brain Injury Lawyer
Personal injury attorneys build strong relationships with their clients in traumatic brain injury (TBI) cases. The significance of a strong relationship assists the lawyer in rebuilding the injured person's life. The role of a Boynton Beach traumatic brain injury lawyer entails answering a client's questions whenever they are asked and ensuring the client is always aware of what is happening with their case.
The lawyer's greatest responsibilities to the client throughout their case include advocacy of the client's rights and best interests with regard to the law and the ethics of morality, representing their client at hearings to the highest standard of integrity, honesty and transparency in communications throughout the legal process. If you or someone you love has sustained a traumatic injury in an accident, contact a capable personal injury attorney who can fight for the best result for you.
Qualities to Look For in a Lawyer
When seeking advice from a traumatic brain injury lawyer, one should look for a host of different qualities. First, that the attorney has handled these types of cases before, has attorney successfully settled and tried these types of cases, has a well-established reputation, a long-term presence in the community, positive peer and client reviews, awards and accolades, and has not received disciplinary action from the Florida Bar or whatever State Bar in which that individual is hiring them.
A Boynton Beach traumatic brain injury lawyer should have a working knowledge of different types of catastrophic injury, the treatments required to treat TBI, types of medical care professionals needed in the overall treatment plan, long-term prognoses and possibilities, potential setbacks in the recovery and healing process, and have a thorough understanding of the laws and how they apply in the case of catastrophic injury cases.
The lawyer should know both potential and negligent parties from whom recovery is legally possible; the statutes of limitations pertaining to claims, the financial minimums and maximums that may pertain to a particular catastrophic injury claim, the processes and procedures for filing such claims, and the proper courts with whom those claims are filed.
Actions an Attorney Takes
A traumatic brain injury lawyer is engaged in a myriad of behind-the-scenes activities as far as the client is concerned. As it is the injured person's primary objective to focus on their treatment and healing from a traumatic brain injury, the role of a Boynton Beach traumatic brain injury lawyer is to handle everything else.
Everything else includes requesting and procuring medical records, evidence, witness statements, insurance coverage of the at-fault party or parties; strategizing the case; assisting the injured person and their family through the complexities of potential long-term care, and other means of support as necessary in the case.
Benefits of Working With a Law Firm
A law firm will have additional access to expert witnesses and give extra attention to different matters that a private practitioner would have difficulty doing. At a personal injury law firm, traumatic brain injuries are viewed as life-altering events that require a committed, knowledgeable, and compassionate team of experienced advocates to bring forth the strongest claim for the injured person, provide ancillary support for their family, and work tirelessly for significant recovery to compensate the injured person for the traumatic brain injury they suffered due to someone else's negligence.
Commitment of a Lawyer
The role of a Boynton Beach traumatic brain injury lawyer is one that requires them to be diligent in their advocacy. People who have suffered traumatic brain injuries often have a much longer or more complex treatment protocol in healing and recovery which happens at inconsistent intervals. Preparation of these cases has the propensity to take a long time.
Additionally, results of such injuries are often times the difference between an active and employed member of society who is able to drive and take care of themselves who is now relegated to long-term hospital stays, the necessity of re-learning basic life skills such as language, motor skills, ambulating without the aid of devices or another person, et cetera.With so much at stake, it is vital to get in contact with a personal injury lawyer who will make your case their priority.
Role of an Attorney
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Questions, comments or concerns? Please contact the Client Service team at Kogan & DiSalvo Personal Injury Law at Hello@KoganInjuryLaw.com. The information on this site is intended for informational purposes only and is provided by Kogan & DiSalvo.
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The Cumberland River is one of Kentucky's scenic rivers. From high up Black mountain in Harlan County, the waters eventually flow through Cumberland Falls, then on to Nashville and into the Ohio River just upstream from Paducah. The state designates the sThe Cumberland River is one of Kentucky's scenic rivers. From high up Black mountain in Harlan County, the waters eventually flow through Cumberland Falls, then on to Nashville and into the Ohio River just upstream from Paducah. The state designates the stretch shown in these photos as a Kentucky Wild River. The hike from 208 to mile 192 (the mouth of the Laurel River) is perhaps the most scenic river hiking in the state. Mossy boulder stern river canyon, foggy morning light breaking on ridge, and moonlight twinkling on rippling water are all easily seen. What is heard is more enticing. With many shoals, rapids, and falls, the river and its tributaries offer an ambient, pleasing sound to pacify a weary backpacker. On the flip side, these can become profound water hazards. The person who named Dog Slaughter Falls undoubtedly experienced the lethal power of water. I would like to know who many people have perished in foaming cataract of Cumberland Falls. The state resort park there was established in the 1930's, and is among the 3 oldest state parks in Kentucky. The Sheltowee Trace goes straight through the visitor center and expect throngs of sightseers during pleasant weather.


MAISON QUARTIER RESIDENCIEL PROCHE CENTRE VILLE ET COLLEGE? SUR TERRAIN CLOT ET PLAT DE 1200 M2. COMPRENANT ENTREE, SEJOUR DE 28M2 AVEC BALCON EXPOSITION OUEST, CUISINE, 3 CHAMBRES, SALLE DE BAIN. REZ DE CHAUSSEE AVEC GARAGE TRIPLE, BUANDERIE, CAVE, AMENAGEMENT POSSIBLE. CONTACTEZ NOUS POUR UNE VISITE. GROS OEUVRE BON ETAT, TOITURE RECENTE, TRAVAUX MISE AUX NORMES ET ISOLATION A PREVOIR.


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Hidden Canyon Hike & Photo Tour of the East Side of the Park - Zion Canyon National Park - Utah
Today we did a hike that included narrow ledges and chains to hold onto attached to rock walls. Then we did a driving tour on the east side of the park which has it's own unique beauty that is different from the more popular Zion Canyon section.
Hidden Canyon Trail - Zion National Park - Utah
Today, we got a late start - I seem to say that a lot - and decided to do a short hike in Zion National Park.
It was close to 1:00 by the time we hopped on the shuttle at the Visitors Center. Eventually, we were dropped off at the Weeping Rock stop.
We didn't do the quarter-mile trail to Weeping Rock, but rather started up the Observation Point/Hidden Canyon trail. The Hidden Canyon hike is listed as 2 miles round-trip or 3 miles round-trip on some websites. Either way, we thought it would be a nice, "short" trail for this afternoon.
However, in the mile to the mouth of the canyon, the elevation gain is 850 feet. The trail is "paved" as it zigzags steeply up the mountain - it's paved in the sense that it's a hard surface, but it's not a smooth surface.
There were great views of the canyon floor and the Virgin River as we climbed.
The "paved" part ends shortly after the Hidden Canyon Trail branches off the right at this sign.
And there was still quite a bit of climbing to do. The sloping ramp trail turned into steps. We came to another sign pointing us to the left.
Soon we came upon the first section where the trail was on a ledge with chains to hold onto.
Some of the ledges had no chains, but the footing was better.
Even for me, who doesn't like ledges at all, it wasn't too bad. We climbed more steps and came upon more ledges with chains.
Linda went ahead to do a couple short videos.
Moving on, there were more narrow ledge sections. Yeah, that's the trail on the right hugging the gray wall.
Very shortly thereafter, we came to a sign that says "Mouth of Hidden Canyon - End of Maintained Trail". From there you can continue on into the mostly flat, narrow canyon.
There is some scrambling required to get around boulders blocking the sandy wash of the canyon floor, but it's not too bad.
Actually, the hike getting to Hidden Canyon is more interesting, in my opinion, than the canyon itself.
The one highlight was this small, free-standing natural arch.
Linda decided she wasn't going any farther, so she rested there while I went on to explore a little more. I had read that you could go as far into the canyon as you wanted or until you came to a place where the canyon was blocked. However, not far from the arch was a sign saying "Sensitive Species Habitat - Canyon is closed beyond this point".
So, I turned around and joined Linda for a short rest before we headed back down.
She did a two more videos on the ledges.
The descent on the hard, sloped ramps was a bit tough on the toes, but the views were nice and there were lots of wildflowers in bloom along the trail. The Hidden Canyon hike was just about right for this afternoon.
Back at the road, we waited for the next shuttle and took it back to the Visitors Center.
Rather than heading home, we took a right onto the main road through the park. I wanted to get some pictures on the east side of the park (east of the Zion - Mt. Carmel Tunnel) where the terrain is completely different.
In fact, Linda thinks that the often ignored east side is more interesting than the much more popular Zion Canyon.
Here are a few photos from the many pull-offs on the east side.
This is Checkerboard Mesa.
It wasn't quite in the right light, but it's still pretty interesting with its criss-crossing erosion lines.
I took this photo from the Checkerboard Mesas Viewpoint ....
and then we turned around and headed back. Just a few more shots.
On the east side, we always keep our eye out for Desert Bighorn Sheep. They are spotted quite frequently. And we just happened to catch a glimpse of three young ones scrambling up the side of a mountain.
I didn't have my zoom lens and the lighting wasn't very good, but I was able to crop this photo and bring them in closer.
We see mule deer, squirrels, and lizards daily. And we've seen turkeys and chipmunks as well. But it's always a treat to see the sheep nimbly negotiating the steep slopes.
We think that entering Zion from the east provides a much more impressive introduction to the park than entering from the south. Driving the entire park road provides diversity and a spectacular view as you exit the western end of the tunnel.
Back on the west side of the tunnel, I took a few more rock shots as Linda drove.
The South Campground has some pretty nice early evening views.
Well, that pretty much wraps up today's time in Zion. We're really enjoying the diversity of this wonderful park.


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What makes a nose ideal?
@666 , u know a lot about noses, right?
10 examples aren't enough for you to deduce the ideal nose?
(03-29-2018, 11:08 AM)TrickleDown Wrote: 10 examples aren't enough for you to deduce the ideal nose?
You thought I was attacking you?
There isn't one single ideal, it depends on the rest of your face. Ideal nose is one that is harmonious with the rest of your facial features.
(03-29-2018, 11:20 AM)PeppyAnus Wrote: There isn't one single ideal, it depends on the rest of your face. Ideal nose is one that is harmonious with the rest of your facial features.
What do you think about greek´s standard?
(03-29-2018, 11:32 AM)GandyNose Wrote: What do you think about greek´s standard?
Can I PM you pics?
all it took was a civilization that valued male beauty, phyiscal fitness, and engaged in a bit of pederasty.
See the busts of Alexander, Pericles, etc, as well.


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Home Entertainment Music
Past Students Say Professor of Rock 'n' Roll Sexually Harassed Them
In fall 2017, after she had graduated, Ms. Brourman stated in courtroom papers that Mr. Conforth raped her at his condo in Ann Arbor. She didn't report it, she stated, as a result of she feared retaliation, however in February filed a grievance with the police.
The two girls whose complaints performed a task in Mr. Conforth's departure from Michigan approached the college after studying about one another's accounts. Shaina Mahler had been 22 in 2014 when she stated Mr. Conforth, her favourite instructor, started sending her messages on Facebook. She was flattered at first, however then the messages escalated into expressions of how attracted he was to her.
When Ms. Mahler advised him that she was beginning to really feel "confused and anxious" about his messages, Mr. Conforth apologized and stated they may very well be mates, writing, "Please please don't ruin my life here." But a number of days later, Mr. Conforth despatched her extra sexually charged messages, saying he wished to "kiss" and "touch" her, in keeping with courtroom papers.
Ms. Mahler let it slide till two years later, when she spoke with Ms. Brown, who recounted a virtually an identical expertise of being pursued by Mr. Conforth. Ms. Brown, then 21, advised him a number of instances his advances have been "inappropriate," in keeping with notes taken by a Title IX coordinator who interviewed her. But sooner or later in his workplace, when he insisted they hug, they ended up kissing too, she stated.
That semester, their interactions escalated right into a sexual encounter in his workplace, and Ms. Brown advised the coordinator that, at first, she believed it was consensual. She acknowledged having emotions for Mr. Conforth however advised the coordinator that she rapidly turned anxious and conflicted after their sexual encounter. She quickly acknowledged, she stated, that she had been manipulated, particularly after studying from a buddy — one other scholar in his class on the time — that Mr. Conforth had left a word for her saying that he discovered her engaging.
Ms. Brown and Ms. Mahler reported their interactions with Mr. Conforth to the college on the finish of 2016 and he retired shortly thereafter.
India's Covid-19 Situation Is 'Devastating Reminder Of What Virus Can Do', Says WHO Chief
Part Of Glacier Collapses Causing Avalanche In Uttarakhand's Chamoli, Govt Issues Alert
Part Of Glacier Collapses Causing Avalanche In Uttarakhand's Chamoli, Govt Issues Alert


7:00 pm to 8:00 pm followed by 1 x 25 minutes of meditation until 8.30pm. Times may vary depending on number of participants.
This program is designed for newcomers wishing to learn more about Zen practice. Refreshers are always welcome to attend.
The program consists of a series of lectures and practical applications that address the basic and foundational aspects of Zen. It is usually conducted over a period of between 4 to 6 evenings depending on participants and can also be incorporated during several zenkais. (day retreats) The introduction to Zen lectures have been adapted from the teachings of Dai'un Harada Rôshi. They have been used over many years and many Zendos all over the world. The lectures have been developed by Yasutani Rôshi and Yamada Rôshi for general use by Sanbo-Zen accredited teachers and groups.
Besides the foundational aspects of Zen, the Zen lectures also address the practical aspects of Zen and how the practice aligns with our daily activities.
Introduction to meditation; postures and practices.
Establishing a personal practice routine.
Zendo rituals and etiquette. Why and How?
The three aims of Zen.
How does Zen relate to a secular practice and Buddhism?
The five categories of Zen.
How to deal with illusory perceptions.
What are koans? method and practice.
The role of the teacher and the teacher student relationship.
The degrees of practitioner's aspirations.
The three pillars or essentials of Zen.
Where to from here, how does Pathway Zen function for its members, short overview.
Arrival: Please arrive 10 minutes prior to the start of the event.
Fees: $10.00 suggested donation per evening or as one can afford.
Please wear modest loose fitting clothing, neutral or dark in colour if possible. Chairs, meditation stools, meditation cushions and mats will be provided.
Anyone missing an evening is able to obtain the missing lectures as a one-on-one teaching on another day.
For concession, please contact our treasurer through our e-mail address.


If you plan to win on roulette table, then you need to know that there are some Things That You Need To Know, Before Playing Roulette. Come unprepared would give you a nice audience seat and loss of money. Unless you are satisfied enough with the offer, then make some efforts to learn the trick to win over the spinning wheel.
When you step in a land base casino or even in some trusted online casino site like the Onlinecasinoqq288.com The most trusted live casino website in Malaysia, you might have noticed that there are two kinds of wheels: European and American. The one with 38 alternating black and red slots and two zeros is the American one. This type is commonly found in States. If you notice the wheel with only 37 black and red slots with a single zero, then it is the European style. The difference might not be significant, but your chance of winning would increase with European wheel.
First of all, you could understand how the expected value works. There is small cut to your initial bet: -0.053 per dollar you bet on American table, and -0.027 dollars on European table. For example, placing one dollar bet will on American table will leave you with 0.947 dollars.
Next thing to learn is about "outside" and "inside" bet. Surely, there must be difference between these two terms. Placing the bet "outside" means that you only predict whether the ball will fall on the odd or even number, black or red spot. Taking this type of betting gives you bigger chance to win, but then less money to take home.
In the other side, betting on single number or being "inside" might give you enough money to fill your pocket, when luck favors you. One thing to avoid is that lowest "five spots" point. It must be betting on a row with 0, 00, 1, 2, and 3 numbers in it. These nominal will give you only the lowest money: your initial amount minus the cut per dollar.
Some professional gamblers has been playing Roulette more than a decade, so they might witness a glorious day where things were mechanical. In this era, there is a trick called wheel clocking. As long as you have good ears, you could bring a lot of money home. Sadly, casino management also learns about this flaw and now changes every wheel with the automatic ones.
Another fatal mistake is thinking that you might just have found the formula to calculate the spinning wheels rotation. This might be equal to dig your own graveyard. Every time the wheel spins, new probability begins. In this case, there is no correlation between the current and previous result.
Another useful advice is to know when to quit the game. You might experience negative progression, where you feel like you should bet on double value on what you are losing. It also happens when you win; you feel the pulse to bet even higher to bring home more money. This is the gate of addiction and total loss. This is how you should play: with fix budget and ready to quit when you already win.
For a gambling game that requires no skills and gives most of the favor to house side, Roulette is quite popular among gamblers. Winning over the spinning wheels would be easier back then, when the machine is mechanical and has noticeable flaws. Now that thing goes automatic, the only chance left is to learn Things That You Need To Know, Before Playing Roulette.


Claire and Riana –Cousins Rendezvous in NYC tonight!
Claire is on her way to Jerusalem for the semester! She had a 5 hour lay over in NYC this evening and (of course) she went to have an adventure. She met up with her cousin, Riana, who will soon birth a baby boy–the first of the next generation in our Laemmlen family.
Claire is a girl who lives life to the very fullest, every minute, every day. I'm so excited about her next Grand Adventure.
Foot update: pins are out of her toe. She'll be in a boot for about 2 more weeks.


Handlebar Accessory Mount Top Clamp. A clever and simple solution for mounting accessories such as Sat-Navs and cameras to a motorcycle. This replacement Top clamp features an extended arm with a thread mount to enable accessories to be bolted on. The top clamp will fit 22.2mm bars. Precision CNC machined alloy with anodised gunmetal finish.
Handlebar Accessory Mount Top Clamp. A clever and simple solution for mounting accessories such as Sat-Navs and cameras to a motorcycle. This replacement Top clamp features an extended arm with a thread mount to enable accessories to be bolted on. The top clamp will fit 22.2mm bars.Precision CNC machined alloy with anodised gunmetal finish.
Multi-Stage Handlebar Riser Kit. Aluminium handlebar riser kits. Precision quality CNC machined components. Premium polished finish. Features base mount, bar mount and three sizes of spacer. Includes three sets of M8 fitting bolts for various height options. 4 height options (+5mm, +10mm, +15mm, +30mm) Uses the original bar top clamp.
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The Office of Sustainability provides professional development opportunities to all Mason employees throughout the year. Staff and faculty can certify their office as a sustainable office through the Green Office Program. The program outlines sustainable actions and measures and trains employees how to become a Green Office.
George Mason University is a member of the Virginia chapter of APPA: Leadership in Educational Facilities. In June of 2017, Mason hosted the annual conference. Sessions included "Building a Resilient Campus Energy Infrastructure Network", Campus Greenhouse: Growing Greens for Campus Dining Halls at GMU", and "Create & Maintain High-Performing Campus Facilities.
Finally, throughout the academic year, the office of Human Resources and Payroll holds a physical well-being seminar series, covering a broad spectrum of topics. All staff members are encouraged to attend these sessions. Additionally, the office annually holds a Faculty-Staff Enrichment Day with breakout sessions and keynote speakers centered around a theme, usually current events in the Mason community. In years past, the theme was "Building a Culture of Appreciation", "Dive into your Strengths", and "Living the Mason Values".


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Hey Hey Hey, oh yes!! It's me the most genuine, dazzling, wonderful, fantastical, jovial and bikini loving Mr. Lance Man! I hope that your week has been as great as ours! My buddies Vinnie Lasagne, Tony Fish and Pauly Meathead are having the time of our lives at our new place which we call The Monster Bikini. It's because we host so many hot bikini babes. It never gets boring at our place. My only pet peeve is I like cougars and it's hard to find a good cougar these days..lol. Anyways, we had a cookout last week and it turned out really well. Unfortunately, no hook-ups on my part but I'm deeper than that. I'm a man of substance. (Yeah Right!) This week the boys and I are hosting a bikini party and inviting the local neighborhood to see what's around. So I'll let you know how that goes by this weeks' end.
Oh yes sir, let's get down to bikini business with these pictures of newbie to Celebrity Bikini Gossip, Alyssa Arce.
She's a good friend of pop star Justin Bieber and was seen hanging out on his yacht in Ibiza. It's easy to see why Justin Bieber shared some one-on-one time with 21-year-old model Alyssa Arce if these shots of her in a skimpy two-piece blue toned bikini are anything to go by.
The curvy brunette appears to be just Bieber's type, given that the crooner has developed quite a penchant for sultry models recently. Of course, he's a young man and is sure to have lots of bikini experiences and if they all happen to look like this in a bikini, we hope to get the chance to showcase them too.


text:
YES CHEF
Sophia Roe Gives Andy Baraghani Some Food for Thought
"I imagine it can be very frustrating to see people being able to make a lot more money in food without ever having worked in a restaurant."
"I cannot believe this is happening. We're going to the motherfucking motherland."
"I could go for a Greek salad right now."
Jason Lee of Hollywood Unlocked Isn't Going to Pay Your Rent
"I want to spend the day with Beyonce. I'm tired of not knowing what that girl is doing."
Beverly Hills, Who? Dorothy Wang is a New York City Girl
"It felt natural and normal that it would be documented. It's part of my public story."
"I'm a court jester, but I'm also a diva."
Life Lessons from RuPaul
"On a personal level, my goal is to extract the shame out of femininity and out of being yourself."
OWN IT
Dirty Work: Lisa Rinna Speaks Her Truth
"You don't put me on pause. I go bye-bye."
Novelist Kashana Cauley Is Sick of the Canon
"I'm a person who thinks newness is part of the joy of being alive."
The Girls of Forever Magazine Have No Editorial Standards
"I'll probably be drunk on the floor of the bathroom when I'm looking at submissions."
INKED
"It was a true honor to give you your first tattoo."
"I'm Not a Politician": Nicolas Winding Refn Aims to Polarize
"Either you embrace the future or you get lost in the past."
EOY
The 12 Most-Read Interview Stories of 2022
Our most popular subjects of 2022 included Donald Glover, Anne Hathaway, and Kim Kardashian, who bore her derriere in our September issue.
Chelsea Handler Calls Amy Schumer From the Slopes in Whistler
"Okay, this is for Interview Magazine. So I'm going to actually interview you, okay? And I did not get high today."
Chloé Cooper Jones Asks Julia May Jonas About Her Breakout Year
"I'm just always trying to be inside a state of becoming, as good old Bob Dylan says."
David Adjaye and Kwame Kwei-Armah Talk Basquiat and the "Black Gaze"
"As always, I feel like I'm at a lecture that I paid a lot of money for and I'm getting my value."
Charlotte Chesnais and Loro Piana Make "Jewelry for the Table"
Joyeuses fêtes à tous!
Kate Berlant, in Conversation with Nathan Fielder
"As a performer myself, I can say that my number one goal whenever I'm performing is to get sex."
Author Deepti Kapoor Explores the Excess and Extremity of Modern India
Her gripping new novel "Age of Vice" contends with the rise of the Mafia Raj, human trafficking, catastrophic urban development, violence, and obscene consumption in her home country.
LOVE INTEREST
Lucien Laviscount Is Turning Up the Heat on Emily in Paris
The British actor talks to his costar and Team Alfie member Jeremy O. Harris about season three, DM sliding, and his own private paradise.


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text:
Home > Sports > After earning top S. Korean pitching award, American right-hander eyes championship
After earning top S. Korean pitching award, American right-hander eyes championship
INCHEON, Nov. 9 (Yonhap) — American right-hander Josh Lindblom says it's "definitely a big honor" to be named the top pitcher in the South Korean league in 2018.
And now he has his sight on another major prize — a league championship.
Lindblom, No. 1 starter for the Doosan Bears in the Korea Baseball Organization (KBO), was announced on Tuesday as the recipient of the 2018 Choi Dong-won Award.
Josh Lindblom of the Doosan Bears walks off the mound during the top of the seventh innning of Game 1 of the Korean Series against the SK Wyverns at Jamsil Stadium in Seoul on Nov. 4, 2018. (Yonhap)
Named after the late former star pitcher for the KBO's Lotte Giants, the award was created in 2014 to recognize the best South Korean pitcher in the top professional league. Foreign pitchers were considered for the honor for the first time this year.
Lindblom, in his fourth KBO season and first with the Bears, led the league with a 2.88 ERA while going 15-4 in 26 starts. He also topped all pitchers with 21 quality starts and ranked seventh with 157 strikeouts. Behind Lindblom's strong season, the Bears posted the best regular season record and advanced directly to the Korean Series.
Choi was a major star in the 1980s for his dominance on the mound and his humility off the field. Lindblom spent his first three KBO seasons with the Giants, and the fan favorite even earned the nickname Lin Dong-won for his ability to eat up innings, much like Choi did. Lindblom led the KBO with 210 innings pitched in 2015. He was the first pitcher to throw more than 200 innings in 19 years.
"When somebody brings up the nickname, there's so much more to it than just going out and performing on the field," Lindblom said after Game 4 of the Korean Series was rained out Thursday at SK Happy Dream Park in Incheon, just west of Seoul. "You see what (Choi) meant to the country of Korea, what he meant to Korean baseball. It's not just about performance on the field. It's about the things off the field — being a good teammate, being a good person in the community."
Lindblom lost the opening game of the Korean Series against the SK Wyverns last Sunday. With the Bears trailing in the series 2-1, he will take another crack at SK later Friday in Game 5 at SK Happy Dream Park.
The ceremony for Choi Dong-won Award will be held at 11 a.m. on Sunday, Nov. 11, a nod to Choi's jersey number with the Giants, 11, in Choi's hometown of Busan, 450 kilometers southeast of Seoul.
Josh Lindblom of the Doosan Bears throws a pitch against the SK Wyverns in Game 1 of the Korean Series at Jamsil Stadium in Seoul on Nov. 4, 2018. (Yonhap)
That would have coincided with Game 6 of the Korean Series, but after Game 4 was postponed by a day due to rain, Sunday is now a travel day.
Depending on Friday's result, the Korean Series may be over by Saturday's Game 5. Lindblom said he'd rather be playing for the championship than attend the ceremony.
"It'd be great to go to receive the award in person, but I know that we made an arrangement for my father to go," Lindblom said. "Hopefully, I am still playing and can't go."
Even if the Bears rally to win their third title in four seasons, Lindblom may be hard pressed to match Choi's feats in the 1984 Korean Series.
That year, Choi made five appearances in the seven-game set over a 10-day span and went 4-1 to help the Giants beat the Samsung Lions. Choi threw four complete games and made one relief appearance.
Choi remains the only pitcher in the KBO history to win four games in the Korean Series.


Harper College encourages all employees to participate in professional development through a variety of resources.
For more information on specific events and programs, instructional support, resources, and Academy announcements, visit: http://harper-academy.net.
The William Rainey Harper Leadership Institute provides a year-long opportunity for faculty and staff to participate in a program designed to enhance professional effectiveness and provide a pathway to future leadership opportunities. The program is designed for those seeking a deeper understanding of Harper College within the context of the community college movement, for those desiring to improve professional efficacy, and for those who aspire to greater roles of leadership at the College and elsewhere. The Harper Leadership Institute is designed by a group of Harper colleagues and led by the President.
We are committed to making Harper College a compelling, enriching workplace. Our professional enrichment program is geared towards improving knowledge, skills and abilities for your everyday work life while also providing an engaging environment to collaborate with employees from other areas of the college; to share in successes and setbacks and expand our individual circle of contacts.


Andrew Roberts will be in conversation with General Sir Mike Jackson, former Chief of Staff of the British Army and the most widely respected British military leader of his generation, to uncover the full complexity of Winston Churchill.
Roberts' new biography in no way conceals Churchill's faults, and allows us to appreciate his virtues and character in full: his titanic capacity for work (and drink), his ability to see the big picture, his good humour even in the most desperate circumstances, the breadth and strength of his friendships and his extraordinary propensity to burst into tears at unexpected moments. Above all, Roberts shows us the wellsprings of his personality – his lifelong desire to please his father (even long after his father's death) but aristocratic disdain for the opinions of almost everyone else, his love of the British Empire, his sense of history and its connection to the present.
Join us for a night of revelations about the most extraordinary Briton of the twentieth century.


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text:
ByMovienewz Last updated on January 5, 2015
Forest Whitaker, Angela Bassett, Jacob Latimore and Jennifer Hudson star in the holiday musical drama Black Nativity, based on the play by Langston Hughes. Watch the movie trailer and see the photos and movie poster for Black Nativity below. A street-wise teen (Latimore) from Baltimore who has been raised by a single mother (Hudson) travels to New York City to spend the Christmas holiday with his estranged relatives (Whitaker, Bassett), where he embarks on a surprising and inspirational journey.
Studio: Fox Searchlight Pictures
Genre: Drama, Musical, Adaptation
Director: Kasi Lemmons
Screenwriter: Kasi Lemmons
Official Website: BlackNativityMovie.com
Cast: Forest Whitaker, Angela Bassett, Tyrese Gibson, Jacob Latimore, Mary J. Blige, Nasir "Nas" Jones, Vondie Curtis-Hall, Jennifer Hudson
Running Time: 1 hr. 32 min.
MPAA Rating: (PG) for thematic material, language and a menacing situation.
In a contemporary adaptation of Langston Hughes' celebrated play, the holiday musical drama BLACK NATIVITY follows Langston(Jacob Latimore), a street-wise teen from Baltimore raised by a single mother, as he journeys to New York City to spend the Christmas holiday with his estranged relatives Reverend Cornell and Aretha Cobbs(Forest Whitaker and Angela Bassett). Unwilling to live by the imposing Reverend Cobbs' rules, a frustrated Langston is determined to return home to his mother, Naima(Jennifer Hudson). Langston embarks on a surprising and inspirational journey and along with his new friends, and a little divine intervention, he discovers the true meaning of faith, healing, and family.
Black Nativity – Movie Trailer (Flash)
[jwplayer config="myplayer" file="http://www.youtube.com/watch?v=yfhupIQ1JnE" image="http://www.movienewz.com/flv/black-nativity-trailer.jpg"]
Post Tags: #Angela Bassett#Black Nativity#Forest Whitaker#Jennifer Hudson#Mary J. Blige#Musical#Tyrese Gibson
Ghost in the Shell Live-Action Movie Trailer and Poster Debut
Watch the official movie trailer for the live-action thriller Ghost in the Shell, starring Scarlett Johansson.
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Unit I The unification of Nepal under Prithivi Narain Shah. The Administration of Rana Bahadur Shah, his relations with China Tibet and Treaty with the East India Company. The reign of Surendra Bikram Shah, Prithivi Bir Bikram Shah, Tribhuvan Bir Bikram Shah and first Great War.
Unit II The premierships of Jung Bahadur, his reforms and foreign armed revolution in Nepal, people's struggle in the valley, Delhi Agreement and Gorkha Dal. Restoration of Tribhuvan Bir Bikram Shah and Prime Minister ship of M.P. Koirala.
Unit III Accession of King Mahendra Bir Bikram Shah Dev and the new constituent event of 1960. Panchyat Democracy.
Unit IV The East India Company in Sri Lanka (1796-1802) and the fall of the Kandyan Dynasty. Sri Lanka under the British rule. Era of reform and reconstruction (1833- 1900). Rise of Nationalism in Sri Lanka and Ceylon National Congress 1904 The Donoghmoe Commission and its recommendations 1927-30. The first phase of the transfer of power 1931-1942 D.S. Senanayka and the communion States (1942-47) Art and Literature of Sri Lanka in the 19th and 20th century.
The unification of Nepal under Prithivi Narain Shah. The Administration of Rana Bahadur Shah, his relations with China Tibet and Treaty with the East India Company. The reign of Surendra Bikram Shah, Prithivi Bir Bikram Shah, Tribhuvan Bir Bikram Shah and first Great War.
The premierships of Jung Bahadur, his reforms and foreign armed revolution in Nepal, people's struggle in the valley, Delhi Agreement and Gorkha Dal. Restoration of Tribhuvan Bir Bikram Shah and Prime Minister ship of M.P. Koirala.
Accession of King Mahendra Bir Bikram Shah Dev and the new constituent event of 1960. Panchyat Democracy.
The East India Company in Sri Lanka (1796-1802) and the fall of the Kandyan Dynasty. Sri Lanka under the British rule. Era of reform and reconstruction (1833- 1900). Rise of Nationalism in Sri Lanka and Ceylon National Congress 1904 The Donoghmoe Commission and its recommendations 1927-30. The first phase of the transfer of power 1931-1942 D.S. Senanayka and the communion States (1942-47) Art and Literature of Sri Lanka in the 19th and 20th century.


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El Movimiento Republicanos Europeos (en italiano: Movimento Repubblicani Europei) es un partido político italiano de ideología social liberal.

Entre 2007 y 2010, el partido estuvo asociado con el Partido Democrático (PD). En 2011, el MRE se fusionó con el Partido Republicano Italiano, del cual se había escindido en 2001. Sin embargo, en 2020 fue refundado volviendo a formar parte de la coalición de centroizquierda.

Historia
En 2001, el Partido Republicano Italiano (PRI), después de cinco años dentro de la coalición de centro-izquierda El Olivo, decidió unirse a la centro-derecha la Casa de las Libertades. El MRE fue formado por un grupo que se opuso a dicha decisión y quiso permanecer en el entorno del centro-izquierda. El MRE participó en la consolidación El Olivo como una lista electoral conjunta, tanto en las eleccionesn al Parlamento Europeo de 2004 como en las elecciones generales de 2006, dentro de L'Unione junto con Demócratas de Izquierda y Democracia es Libertad-La Margarita. La lista obtuvo 220 de los 630 diputados, entre ellos dos del MRE.

En 2007, el MRE fue miembro fundador del Partido Democrático (PD), pero continuó existiendo como parte asociada y conservado casi en su totalidad su autonomía. En las elecciones generales de 2008 obtuvieron dos senadores, que con frecuencia tenían diferentes posiciones respecto al PD en muchas votaciones clave; cabe destacar que se opusieron a la reforma ley electoral para el Parlamento Europeo en 2009.

La lucha común contra la reforma electoral favoreció una reconciliación con el PRI. Durante el congreso de 2009 del MRE las dos partes firmaron una declaración conjunta, en virtud de la cual, a pesar de sus diferentes lealtades de coalición, se comprometieron a unir sus fuerzas en cuestiones fundamentales, especialmente en las libertades civiles y la libertad de investigación.

En abril de 2010 Sbarbati sacó al MRE del PD, y se unió a Unión de Centro (UdC) en el Senado. A partir de enero de 2011, el partido intentó una reconciliación con el PRI, que se alcanzó en marzo de 2011. Sin embargo, algunas secciones del partido, sobre todo en Emilia-Romaña y Véneto, no compartieron esta decisión y fundaron asociaciones en apoyo al centroizquierda.

En 2020, tras unos conflictos dentro del PRI, relativos principalmente al apoyo dado por este al candidato de Hermanos de Italia Francesco Acquaroli a las elecciones regionales de las Marcas, se relanzó el rinacimiento del MRE, que apoyó al candidato del centroizquierda Maurizio Mangialardi. El 28 de abril de 2021, el MRE llegó a un acuerdo de colaboración con el secretario general del PD, Enrico Letta.

De cara a las elecciones generales de 2022, el MRE se adhirió a la coalición de centroizquierda "Italia Democrática y Progresista".

Referencias

Enlaces externos
 Web oficial

Partidos políticos de la República Italiana
Partidos políticos de Italia de ámbito estatal
Partidos liberales de Italia
Partidos socioliberales
Partidos políticos fundados en 2001

redpajama_set_name: RedPajamaWikipedia


text:
Description:

This is a simulated chat window application that has ai users randomly selecting when they should post in the chat room. The design uses several different subviews to create the overall app making it easy to modify and change the look or layout. This application was developed using HTML, CSS, JS, and jQuery.

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Installation Instructions

There are two easy installation options for this application depending on how you would like to use it.

1. Clone the repository into a local directory, and click on the index.html file.

2. Clone the repository into a server that looks for index.html such as apache2 or node.

If you decide to modify any of the stylesheets you will need to run the sass compiler included in the repository in the tools folder. If you are running Windows simply navigate to the tools folder and double click on sass-dev.bat. If you are installing this system on a unix based system navigate to the tools folder in shell enter sudo sh sass-dev.sh

These tools will automatically watch all of the individual sass files and compile the css for you.

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Operating Instructions

Operating this application is easy. Click on index.html or navigate to it on your server, sit back, and watch.

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Contact Information

Ryan Smith
smithrk81@gmail.com

for any questions or suggestions related to this application feel free to send me a message.

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Known Bugs and/or Issues

1. In mobile platform when a user clicks into the form element to enter a message the screen zooms in too large.
2. In mobile platform when a user exits the form element after entering a message the screen does not resume its original size.
3. In mobile platform additional styling could be used to generate a more responsive UI.

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Credits and Acknowledgements

While creating this application I spent a fair amount of time consulting with "the internet". This source provided me with some good solutions and many solutions that didn't quite fit my need. Here are a fun of those solutions that helped me overcome minor obstacles.

1. Publish and Subscribe Plugin:
			link:	http://www.bennadel.com/blog/2037-simple-publication-and-subscription-functionality-pub-sub-with-			jquery.htm
			Author:	Ben Nadel
			Date:	10/18/10
			Tags:	Javascript / DHTML

2. Autoscroll:
			link:	http://stackoverflow.com/questions/24772491/auto-scroll-to-bottom-div
			Author: Manwal
			Date: 	07/16/14
			Tages:	Javascript

3. Shiv method for IE:
			link:	unknown
			Author: unknown

			*note: I appologize to Author number three. I lost the webpage where the information was displayed before capturing the author data and have been unable to find it again.

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redpajama_set_name: RedPajamaGithub


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