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Will Bayreuth's 2016 Parsifal Director Now Have To...
Jonas Kaufmann To Sing Siegfried
The Ring Saga: A New Ring Cycle In Copenhagen - Au...
Anthony Negus To Take Over Melbourne Ring Cycle?
Special Performance of Siegfried Idyll In London -...
Sofia Opera's Ring Cycle at risk from Antisemitic,...
"Music of the Future, Music of the Past: Tannhäuse...
Aidan Lang Appointed As Seattle Opera's General Di...
Richard Wagner: The Musical, The Trailer?
Mini Review: P. Craig Russell's The Ring of the Ni...
Trailer: The National Theater Mannheim Ring Cycle...
20 Wagner Related Desert Island Discs.
Listen Complete: Lotte Lehmann on Desert Island Di...
New CD: Pape, Hampson, Skelton, Domingo and more s...
WNO, Wagner Dream: Review Summary
Tannhauser: Melchior Flagstad Janssen Thorborg Lei...
Opera Australia Remain Confident Of "Ringing" Succ...
Editorial: Why Greek Opera Should Not Be Alone In ...
Annette Dasch To Perform Wesendonck Lieder. Middle...
Opera Australia's Ring in Melbourne loses its cond...
"Wagner and the Jews". By Daniel Barenboim
Bank Of Latvia Release Richard Wagner Silver Coin
Lecture: Wagner 200. Dr Paul Coones. The Bodleian,...
Why No Love For Wagner In The USA? Alex Ross Ponde...
British Library Puts Wagner's Early Original Manus...
Audio: WNO Lohengrin's creative team in conversati...
Will Bayreuth's 2016 Parsifal Director Now Have To Withdraw From The Festival?
Written By The Wagnerian on Friday, 28 June 2013 | 5:11:00 pm
"A swastika is a no-go, not only in Bayreuth. " Christian Thielemann talking about Yevgeny Nikitin's disputed tattoo last year.
Last year, Yevgeny Nikitin withdrew from Bayreuth's Dutchman due to media accusations that he had had a swastika tattoo, now tattooed over, when he was a child (there is some dispute as to whether the 16 year old Nikitin ever had this tattoo but let us stick with this version for now). When he withdrew from the performances it was after speaking to the Bayreuth management, who in interviews since have said they "understood his reasons and supported them". Indeed, as we have seen Christian Thielemann went further saying, "A swastika is a no-go, not only in Bayreuth". (Ed: Which of course is incorrect. The swastika has appeared at Bayreuth on many occasions both during and after the fall of the Third Reich. Although only on the stage after the Third Reich and relatively recently) But noted that Nikitin could return once he had the tattoo covered (although, as we have already noted, it was covered at the time of the incident - if indeed it ever existed). With that in mind, what are Bayreuth to make of the latest "antics" of its chosen 2016 Parsifal director: Jonathan Meese? Behaviour which will see him making a court appearance in Kassel in July for similar previous offences? We shall not bore you with an overview of the "controversial" German artist's career but will suggest anyone unaware might like to read this brief summary here and here
Written By The Wagnerian on Thursday, 27 June 2013 | 7:23:00 pm
...And Tristan, and all of the other major Wagner Heldentenor roles it would seem.
If anyone was concerned that Kaufmann's first CD for his new record label Sony Classical - a collection of Verdi arie - meant he might be leaving the Wagner roles in which he is so welcome - and needed - they need not worry. It seems not only does he have no intention of in someway "abandoning" Wagner, but in the future he intends to perform all of Wagner's major tenor roles.
"Currently I'm concentrating on Verdi" he told DPA, "But I am determined to someday sing all the great Wagner tenor roles. But I do not want to be pushed too early into the Heldentenor role. My vocal development will lead me there naturally someday.
And the difference between Wagner and Verdi?
"Wagner has written out everything down to the smallest detail. This leaves nothing to chance. Verdi, on the other hand, gave singers more freedom. It offers an arena in which you can indulge. What more could you want? "
The Ring Saga: A New Ring Cycle In Copenhagen - August 2013
Written By The Wagnerian on Sunday, 23 June 2013 | 12:19:00 am
The Ring Saga
Celebrating the 200th birthday of Richard Wagner 2013
Consisting entirely of Scandinavian singers
Der Ring des Nibelungen in Jonathan Dove & Graham Vick's adaptation from 1990
Experience The Ring Saga in Christian's Church (Christians kirke), Strandgade 1, Copenhagen K, Denmark (Google Maps).
Friday 16/8, 23/8, 30/8 at 19:00: Das Rheingold
Saturday 17/8, 24/8, 31/8 at 16:00: Die Walküre and at 20:00: Siegfried
Sunday 18/8, 25/8, 01/9 at 18:00: Götterdämmerung
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Posted by The Wagnerian at 12:19:00 am
Written By The Wagnerian on Friday, 21 June 2013 | 10:49:00 pm
It seems that "strong" rumours are being whispered in Australia that LFO and WNO's Anthony Negus may take the presently, and so suddenly made, vacant podium to conduct the Melbourne Ring cycle.
Given that Opera Australia are very unlikely to get the other realistic option - Simone Young - Negus' undisputed long experience of conducting Wagner and that he will have concluded LFO's Ring cycle on July 12, mean these rumours may not be as far fetched as they may seem - even to an international circuit perhaps not that familiar with his Wagner.
It should also be noted, that as someone that worked with Goodall at WNO, has conducted Tristan, Das Rheingold, Siegfried, and Götterdämmerung with the same house, and a complete Ring cycle with LFO, he maybe one of the few conductors with enough experience of Wagner's work to step in at such a late stage. It might also be noted that he has conducted concert performances of Parsifal already in Australia - Wellington with the New Zealand Symphony Orchestra. He thus has some "local" experience.
OA have neither confirmed nor denied the rumours
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Special Performance of Siegfried Idyll In London - 25% Off Tickets For Readers
Some-time ago, we brought to your attention a special performance of the Siegfried Idyll at Kings Place, London, on Friday 28 June at 8pm by Aurora Orchestra - part of Wagner 200
Titled "The Gift", it provides a dramatized re-creation - written by Barry Millington - of the events surrounding the first performance of the Siegfried Idyll, together with performances of the Idyll and the Beethoven Septet (also played on that day at Haus Tribschen).
Henry Goodman plays Richard Wagner next to Harriet Walter's Cosima.
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Sofia Opera's Ring Cycle at risk from Antisemitic, anti-Romany Nationalists?
According to the Sofia Globe, Sofia National Opera, has complained in an open letter to the media that the ultra-nationalist Ataka Party, is putting at risk their performance of the first full Ring cycle to be performed in the Balkans.,
Sofia Opera shares a building with the ultra-nationalist party Ataka and in the letter state that the Party's supporters have and continue to severely disrupt rehearsal:
""Every day, Ataka's political supporters siege the building, urinate in front of it, are extremely noisy and interfere with singers' rehearsals,"
It goes on, "Our artists cannot reach their workplace and cannot make their way home afterward. The Opera is under siege and it is difficult for a regular person to enter."
Sofia Opera's first Ring Cycle will however continue to go ahead beginning on 22 June.
More about Sofia Opera here
"Music of the Future, Music of the Past: Tannhäuser and Alceste at the Paris Opéra,"
Written By The Wagnerian on Thursday, 20 June 2013 | 2:48:00 am
Bayreuther Festspielen 1930.
Excerpt from William Gibbons, "Music of the Future, Music of the Past: Tannhäuser and Alceste at the Paris Opéra," 19th Century Music 33 (2010): 228–42. Reprinted by kind permission of the author. Images added here by "The Wagnerian"
"The last revival of Alceste, still quite recent, took place on 21 October 1861, the memorable year that began with the resounding failure of Tannhäuser. The music of the future and that of the past confronted one another as if in a dueling arena, and the Past readily triumphed over the future, which it well and truly buried.i
–Paul Smith, La Revue et Gazette musicale de Paris, 14 October 1866
Aidan Lang Appointed As Seattle Opera's General Director
Aiden Lang
Aidan Lang will take over from Speight Jenkins as Seattle Opera's General Director in September 2014. Prior to that he will join the company in March 2014 to work together with Jenkins during the transition period.
Beginning immediately, Lang will be included in planning for the 2015/16 season, working towards his first fully programmed season in 2016/17.
Speight Jenkins will continue to oversee this years Seattle Ring cycle right through to 2014's International Wagner Competition, the 50th Anniversary Concert and Speight Celebration in August of that year
British born Lang, who has studied the clarinet since the age of 8, has 25 years experience in opera leadership, which has included 9 years as Principal Associate Director at Glyndebourne Festival Opera, Director of Productions for Glyndebourne Touring Opera, leadership roles at Buxton Festival and Opera Zuid. He has been general director of NBR NZ Opera since 2006.
It was as student at Birmingham University, reading Music and Drama, that he decided upon opera as a career, having studied the work of Welsh National Opera - with whom he then went on to work.
Lang was selected for the position of General Director out of 42 candidates from seven countries. He will relocate to Seattle with his wife of 23 years, the former soprano Linda Kitchen, and their 16-year-old daughter, Eleanor
Discussing his appointment at a company with a long association with Wagner's works (As does Lang. Perhaps most famously producing the first Ring cycle in Brazil.), Lang noted "Seattle is an international city known for both its leading edge technology and world-class arts institutions,. Seattle Opera is one of the world's most respected opera companies and Speight Jenkins is, quite simply, a legend in our business. I am honored, energized, excited, and definitely humbled by the opportunity to lead the company in this next chapter. I want to thank John Nesholm and Bill Weyerhaeuser and the entire search committee, whose dedication to Seattle Opera was very inspiring to me as I considered this move. In the limited time I have already spent with the company, I sense already a lovely spirit of cooperation and collaboration amongst the staff, artists, chorus, musicians, and Board. I look forward very much to joining the Seattle Opera family."
Announcing the appointment, John Nesholm, Chairman of the Board of Trustees, said, "On behalf of the Board of Trustees and the search committee, I want to welcome Aidan Lang to Seattle Opera. All of us are extremely confident that Aidan is the right choice to lead the Company into a new era, building on the incredible artistic successes of predecessors Speight Jenkins and Glynn Ross. Aidan's exciting combination of artistic, theatrical and business experience, matched with the enormous potential of our company and its people, suggest a very exciting future for Seattle Opera."
Welcoming his successor Speight Jenkins said, "Seattle Opera has been my life for the last thirty years. As we head into the 50th Anniversary season, my focus will be on the future – working closely with Aidan to transfer leadership of Seattle Opera in a seamless manner. I commend the search committee on their hard work and excellent decision. I embrace and celebrate their choice. I know that Aidan's breadth and depth of experience, from the artistic to the business side of leadership, will be an unbeatable combination and an invaluable asset to Seattle Opera going forward."
Photo: Rick Dahms
Written By The Wagnerian on Tuesday, 18 June 2013 | 7:53:00 pm
It's either this or Frank Castorf's new Ring cycle. You decide.
The Berlin choreographer, award-winning dancer and artistic director of the Berlin State School of Ballet Gregor Seyffert is staging a cross-genre "spectacle" with a combination of dance, artistry, object theatre, audiovisual media and a live concert that will "...enable audiences to experience the oeuvre of Richard Wagner". The focus is not on individual works or dramas but on visual presentation of the unique life and work of Richard Wagner, presented on stage in this form for the very first time.
To stage the theme and Wagner's biography in a contemporary way,Gregor Seyffert wants to create new musical highlights by bringing today's popular rock music together with compositions by Richard Wagner. A contemporary equivalent is created by the compositions of the Finnish cello-rock band APOCALYPTICA, which with its unmistakable sound provides a bridge to modern popular music Both the influence of Wagner's musical legacy as well as the exemplary innovativeness "...which links Richard Wagner and APOCALYPTICA today will be made tangible".
A magical universe of mythical figures and acoustic worlds is created, which with the help of today's visual genres of circus, dance and media technology symbolize Wagner's pioneering role and the boundlessness of his creative work. Mobile and moveable objects give the performance the same visual dimensions and force as the standards that Wagner's music itself set.
The world premiere of "Wagner Reloaded - Apocalyptica Meets Wagner" will take place on July 5 at the Arena in Leipzig, Germany.
Mini Review: P. Craig Russell's The Ring of the Nibelung
Written By The Wagnerian on Sunday, 16 June 2013 | 4:53:00 am
"The comic-book artist P. Craig Russell sees the "Ring" as a crucial evolutionary step in the development of superheroes as we know them today. "I think it's a continuum -- from Ulysses to Wotan to Superman," LA Times: 2011
"Russell, whose recent credits include "Hellboy" and "Coraline," penned his own comic-book version of the "Ring," a two-volume series published in 2002 by Dark Horse Comics that he considers the most personal project of his career. An opera fan, he has even spoken to gatherings of so-called Ring Nuts, extreme fans of the "Ring" cycle. "It's almost like going to a comic book convention -- you see the same faces," LA Times: 2011
Comic books (arguably a poor term anyway, but familiar to most) are a part of the narrative - or otherwise - arts sadly much maligned outside of the odd "intellectual" who may whisper quietly about their presence among their collections, but keep them well out of sight of prying eyes. Perhaps hidden behind rather attractive editions of Kant, Voltaire, Shelley, Shakespeare, or Goethe but most likely read as much - if not more. Now, why this is is another matter and one I have never been able to find adequately answered. In the UK, especially for a certain generation, it seems in part, to be because the word "comic book", is closely associated with publications such as "The Dandy" or "Beano". And indeed, the most hardened "fan" would struggle to find intellectual depth in either (although the odd sociologist or anthropologist might find much about "class status", "economic power relationships" and the subversion there of) . In the USA things are a tad different but hardly much. Superman, Batman, JLA, Spider-man, etc reign supreme. These are often comic books that seem to contain little more than the most basic narratives of "good over evil", semi pornographic "super heroes" (Poor old Red Sonja. No matter the feeble justification for her "bikini") and simplified heroic journeys (although again, there seems to be little narrative fiction that contains much else - despite how much some would like to hid it.). And again there is some truth in this "stereotype" with the number of artists and writers writing in the mainstream genre who are willing or indeed able to subvert it being small (Grant Morrison, Frank Miller, Alan Moore, Pat Mills, Garth Ennis, Dwayne McDuffie etc being a few of the exceptions).
Trailer: The National Theater Mannheim Ring Cycle or: A Ring In 2 Minutes
One assumes your reaction to this will depend on how much, or not, you liked Achim Freyer's LA Ring cycle
More Details At: The National Theater Mannheim
Written By The Wagnerian on Wednesday, 12 June 2013 | 2:57:00 am
Chosen either because of their direct connection to Wagner or because they somehow interest us and included Wagner in their Desert Island Discs. In all cases, the full show is available with the music included. Average running time, 45 minutes. Clicking any of the links or the play icon will start that show. For our readers that subscribe via RSS or email, the links may or may not work. If they do not, visiting the site here directly should resolve the matter. Enjoy.
The BBC Radio 4 programme Desert Island Discs was first broadcast on 29 January 1942 and continues to broadcast. It invites "castaways" to choose eight pieces of music, a book (in addition to the Bible - or a religious text appropriate to that person's beliefs - and the Complete Works of Shakespeare) and a luxury item that they would take to an imaginary desert island, where they will be marooned indefinitely. The rules state that the chosen luxury item must not be anything animate or indeed anything that enables the castaway to escape from the island, for instance a radio set, sailing yacht or aeroplane.
Colin Dexter. Feb 1998
Linda Esther Gray. 1983
Norman Bailey. October 1976
Joanna Lumley. May 2007
Sir Charles Mackerras. March 1999
Sir Clifford Curzon. June 1978
Claudio Abbado Feb 1980.
Reginald Goodall. Jan 1980
Colin Wilson. Oct 1978
Robert Tear.. May 1980 (28 minute clip only)
Kiri Te Kanawa. march 1980
Renata Scotto. Aug 1980
John Tomlinson. Jan 1988
Christopher Lee. 1995
Klaus Tennstedt. 1991
Stephen Fry 1988
Rosalind Plowright, May 1984
Gwyneth Jones.. Jan 1983
Sir Thomas Allen.. June 2001
Claudio Abbado. Feb 1980
The Full BBC Desert Island Archive Can Searched By Clicking Here
Listen Complete: Lotte Lehmann on Desert Island Discs - 1959
On Monday, 22 Jun 1959 Lotte Lehmann was the "castaway. Unfortunately the music was not archived but this still is fascinating - really fascinating. If you can't wait to hear what she chose you can find a full list below. And if you have Spotify we have attempted to find as many of the exact pieces she selected and put them in the playlist at the bottom of the page.
To listen now click here: Lotte Lehmann on Desert Island Discs - 1959
To download and keep click here
Richard Wagner Die Meistersinger von Nürnberg Overture
Orchestra: NBC Symphony Orchestra Conductor: Arturo Toscanini
Gustav Mahler Um Mitternacht (from Rückert-Lieder)
Soloist: Kathleen Ferrier Orchestra: Vienna Philharmonic Orchestra Conductor: Bruno Walter
Richard Strauss Freundliche Vision, Op. 48/1
Soloist: Elisabeth Schumann, Ivor Newton
Hugo Wolf Sterb' ich, so hüllt in Blumen (frm Italian Songbook)
Soloist: Dietrich Fischer-Dieskau, Hertha Klust
Henri Duparc Sérénade florentine
Soloist: Gerard Souzay, Jacqueline Bonneau
Ludwig van Beethoven Symphony No. 5 in C minor
Orchestra: Vienna Philharmonic Orchestra Conductor: Franz Schalk
Lotte Lehmann Wien, du Stadt Meinen Träume
Richard Strauss Marie Theres'! Hab' mir's gelobt (Act 3 Trio) (from Der Rosenkavalier)
Soloist: Lotte Lehmann, Elisabeth Schumann, Maria Olszewska Orchestra: Vienna Philharmonic Orchestra Conductor: Robert Heger
New CD: Pape, Hampson, Skelton, Domingo and more sing - John Denver?
Written By The Wagnerian on Tuesday, 11 June 2013 | 11:06:00 pm
Bet you thought you'd never see a John Denver CD here? Well, frankly neither did we but it shows the sort of horrors we go to to provide as much Wagner related news as possible. And look at it this way, Birgit Nilsson selected her own rendition of I Could Have Danced All Night on Desert Island Discs (By, the way, only 8 minutes of her appearance on Desert Island Discs in 1963 exist. If you would like to hear it click here)
Music producer, Milt Okun along with composer Lee Holdridge are bringing some of the most famous names in opera to John Denver's famous hit songs on the new album "Great Voices Sing John Denver". In stores today, the album features: Placido Domingo,Placido Domingo Jr., Rod Gilfry, Daniel Montenegro, Shenyang, Danielle de Niese, Rene Pape, Patricia Racette, Thomas Hampson, Denyce Graves, Dolora Zajick, Stuart Skelton, Barbara Padilla, Matthew Polenzani and Nathan Gunn.
About Milt Okun:
Milt Okun has worked with world-renowned Placido Domingo, was the conductor for Harry Belafonte, and was the man who brought John Denver to stardom and produced his most loved hits. Okun is also known for transforming three unknown singers who had never worked together into one of the most successful musical acts of their generation, Peter, Paul and Mary. He also founded Cherry Lane Music, the music publishing company for Elvis and DreamWorks among many other household names.
Undisputedly lauded as the man who ensured that John Denver became a household name with such hits as "Rocky Mountain High" and "Sunshine on My Shoulders," Okun also produced and arranged Denver's "Christmas" album and collaborated with Denver on two albums with the Muppets. "Christmas Together" went PLATINUM and GOLD. Okun also served as executive producer for "Rocky Mountain Holiday." It was after this collaboration that a critic famously wrote, "Of all major producers, Okun has the widest range – from Placido Domingo to the Muppets (Ed: Ok...)."
Producers: Milt Okun, Rosemary Okun, Elisa Justice
Executive Producers: Peter Primont, Mark Shimmel
Arranged and Conducted by Lee Holdridge
Orchestra Contractor: Frank Capp
Orchestra Recorded at Capitol Studios Los Angeles
It must be said that when Jonathan Harvey's Wagner Dream was premiered in 2007, a more than interesting soundscape, and dramatic idea, together with a wonderful production was somewhat marred by what might be kindly described as an "naive" libretto. Not the overall narrative but the dialogue - if that is not too oxymoronic a thought. More than occasionally the dialogue - it is both sung and spoken - simply jars in its banality. I always thought that if one could surmount this fact the work overall would do Harvey's musical and narrative ideas much more justice. So, when, WNO announced that it was to have the libretto rewritten - German for the German characters and in Pali for the Buddhist ones - it seemed like more than a wise and intriguing idea. This is especially so when the Pali is not just a direct translation (probably impossible given the age and disuse of the language) but a direct re-write in places that removed its "idiosyncrasies". But does this "work" or indeed improve the production overall? Sadly, as is often the case for "modern works" performed anywhere but London, there are fewer reviews than we would like to have chosen from. However, given how uniform their thoughts are perhaps this makes them more representative of the production over all?.
Libretto:
According to John Allison in the Telegraph the new translation more than works. As he notes: "Now, with Welsh National Opera giving the work its first British staging, those "Would you like a bowl of tea" lines are disguised by the decision to translate the Buddhist part of the drama into Pali – the almost-lost language of the Buddha himself – and to render the Wagner household conversations into German. Like the seemingly perverse but ultimately poetic use of Sanskrit in Glass's Satyagraha, this move is very effective in the context of a piece imaginatively exploring what Wagner's projected opera on a Buddhist legend might have been like".
Not noting it as improvement (indeed he does no comment on the original) Stephen Walsh at The "Arts Desk" found: "...the Sieger drama is sung in Pali, the language of the Buddha himself. The sense of distance, of unworldly remoteness, is total. The vocal setting of this almost-lost language kept reminding me of Stravinsky's Abraham and Isaac, with its text in Hebrew, a language of which Stravinsky knew not one syllable but which he set with a haunting sense of its ritual significance."
Rian Evans at the Guardian, while again not commenting on the original English libretto noted less enthusiasm for the new translation saying that it is "...intended to heighten the sense of cultural dialogue, but is a costly gesture and effectively lost in the translation."
Having looked than at the new translation what of Harvey's score? John Alison notes "...a score that takes us into visionary realms, mixing orchestra and live electronics to summon up both shadowy hints of Wagner's sound world and something more exotic", summarising Wagner Dream as "...Jonathan Harvey's hauntingly beautiful opera.
At the Arts Desk Stephen Walsh goes on, "To describe in detail the many levels of Harvey's score would take a much longer review than this. Both musically and dramaturgically the opera is a palimpsest: layer on layer, from Harvey's own culminating work and death, down through Wagner's, and on into the virtual world of the Buddha and the hidden reality of Schopenhauer's noumenon... To achieve this "travel", Harvey worked in the studios at IRCAM in Paris, and for once the electronics have a delicacy and a magically spaced-out quality (in both senses) that fully justify what has often in the past been little more than an arid concession to the god technology. But Harvey's scoring for conventional instruments is no less exquisite, and only occasionally lapses into telly-ad tinkly orientalism. He applies different styles to the dramatic levels: a kind of frenzied modernism for the real-life elements, a more placid, lucid, but none the less angular manner for the human drama of the Sieger play, and an altogether simpler, more serene quasi-tonal line and harmony for the Buddha and his followers.
At Bachtrack Paul Kilbey, is no less admiring for Harvey's sound-scape, " Not that the Buddhist opera sounds anything like Wagner – it's an irony of Harvey's music, presumably very deliberate, that the scenes in the Wagner household have a more Wagnerian harmonic soundscape than the opera he is meant to imagine. The Buddhist scenes are a vision of transcendence, something maybe just beyond Wagner's reach.
But Harvey's score is an astonishing, transcendent thing. The electronics meld assuredly with the live orchestra and are often made to function as evocations of the beyond; the sounds produced live, though, are no less compelling.
The scoring during the spoken scenes is a marvel of subtlety – too much so at the opening, in fact, where the actors' booming tones overpower the soft musical backing – and the Buddhist music is beautiful, with one foot in pentatonicism and the other in brilliant, Stockhausen-esque mysticism."
The praise for Pierre Audi's production remain uniform. A selection would include John Allison who said, " In designs by Jean Kalman, Pierre Audi's production is simplicity itself, mixing austerity with the colours of India yet clearly delineating the two worlds that meet here: a visually seductive framework for this important modern opera"
This is reiterated by Stephen Walsh, "Audi's production (first seen in Luxembourg in 2007) is simple but multi-planed, subtly stage-managed, beautifully lit (by Jean Kalman): it matches and clarifies the music's virtues to perfection."
Rian Evans goes even further, "Visually stunning and beautifully lit, the brilliant jewel colours of India mingle with the yellow and gold of the Buddhists, as seductive to the eye as Harvey's exquisite sounds are to the ear, the ring of fire a decidedly Wagnerian touch. Yet director Pierre Audi brings a clarity that has the two narrative strands unfold on different levels and periodically merge; a black Corbusier-curved chaise longue permits the silken-robed Wagner, even in his agony, to be the reclining Buddha of western music."
And finally, Phil Kilbey who find appropriately, "...director Pierre Audi's sensitive but conceptually bold production, and the essential impression is of a dramatic multimedia artwork, which happens to crucially involve music – something of a Gesamtkunstwerk, perhaps."
John Allison, "His own Buddhist preoccupations inspired a score that takes us into visionary realms, mixing orchestra and live electronics to summon up both shadowy hints of Wagner's sound world and something more exotic, and at WNO Nicholas Collon mixes them with a fluid baton to produce pure Harvey. Harvey's singer-friendly lines encourage a number of subtle characterisations, not least from Claire Booth on her journey to enlightenment as Pakati. Richard Wiegold sings with compassionate warmth as Vairochana, who becomes Wagner's spiritual guide. Gerhard Brössner's tortured Wagner heads the non-singing cast"
Stephen Walsh, "The cast could hardly be bettered. Claire Booth is superb as the young untouchable Pakati, who through her love for the monk Ananda (Robin Tritschler) persuades the Buddha (David Stout) to admit her to his order, previously closed to women. There is an obvious parallel here with The Magic Flute, and the same vocal contrast in the male roles, beautifully presented by these two singers. Richard Angas is impressive as the crotchety Old Brahmin, who naturally opposes this outrage against nature and tradition. Richard Wiegold is excellent as the stately Vairochana, Rebecca De Pont Davies no less so as Pakati's vibrant, perhaps too youthful Mother, who is herself received along with her daughter."
Paul Kilbey, "The cast – both casts – excel. Actors Gerhard Brössner and Karin Giegerich are an appropriately unlovable Richard and Cosima, Richard unreasonable, capricious and pained; Cosima severe and hurt, but dutiful. Their very different counterparts Ananda (Robin Tritschler) and Pakati (Claire Booth) convince, with Booth relishing the opera's most attractive, colourful vocal writing. Richard Wiegold brings grace and calmness to the role of Variochana, Wagner's personal Buddha who guides him through his final moments; the Buddha himself, David Stout, radiates strength and warmth, both vocal and spiritual. Richard Angas as the old Brahmin sings well, but the character is weak:"
Rian Evans, "The singing is uniformly good: Claire Booth's gorgeous-toned Pakati is exceptional, with David Stout's Buddha full of compassion, and Nicholas Collon conducts the blue-clad musicians with authority"
One further performance of Wagner Dream at Birmingham Hippodrome (12 June)
The full reviews can be read by clicking the following links (recommended):
Jonathan Harvey's late opera rewrites the Bayreuth master's death as a Buddhist allegory
A miraculous Wagner Dream from Welsh National Opera
Wagner Dream – review
John Allison is delighted by a visionary production of Jonathan Harvey's most self-defining opera.
Tannhauser: Melchior Flagstad Janssen Thorborg Leinsdorf
Our editor makes a lucky find on youtube and feels like sharing. We promise you will not hear more from him for sometime.
Presently reading volume 2 of Paul Dawson-Bowling's The Wagner Experience (An unusual book. Expect a review shortly). His chapter on Tannhauser has rekindled a long fascination with this work once more. So much so, that I have been listening and watching a number of performances - including the 1942 Melchior, Flagstad, Janssen, Thorborg. Imagine my surprise to find the entire recording just a moment ago on youtube. As far as I are aware this should no longer be in copyright in much, if not all of the world.
If so, it should be available to listen to in your country via youtube by clicking the link below. If not, being out of copyright, means that many different recording companies have released versions of it in various different "remasters". You should be able to find one relatively cheaply. Indeed, it is recommended that you do should you get the chance.
Opera Australia Remain Confident Of "Ringing" Success
Written By The Wagnerian on Sunday, 9 June 2013 | 3:17:00 am
Lyndon Terracini.finds a use for spam emails?
Talking this week about recent events, Opera Australia's Artistic Director Lyndon Terracini has said the he has received about 50 emails from conductors and agents touting their availability and readiness to replace conductor Richard Mills to lead the Melbourne Ring cycle. While perhaps rightly not responding to all of these emails, it appears he is now in discussion with two or three and an announcement will be made in the next few weeks. Indeed, so confident is he that he firmly declares he is "Not worried at all".
However, while you wait, according to Terracini you can rule out one name from a list of possible candidates for it seems that Asher Fisch (who could theoretically be available), has, for some reason, not made the shortlist. He has however, not ruled out one other conductor who might just be able to pull this off (and one whom we would be happy to see at the helm): Simone Young. But as outsiders, it is difficult to see how she might fit it in with her existing schedule. And whether she would want to return to a company who so surprisingly decided not to renew her contract 10 years ago is another factor.
Editorial: Why Greek Opera Should Not Be Alone In Giving Wagner To The Unemployed
Written By The Wagnerian on Saturday, 8 June 2013 | 8:18:00 pm
Warrant for the arrest of Richard Wagner.16 May 1849
"The Wagnerian" "does not do politics". In part because of the variety of our readers political persuasions, in part because so many others seem to do little else, and in part because few people would understand the editorial staffs own such thoughts - if indeed they do themselves. However, the recent decision by Greek National Opera to open up the ancient Atticus Theatre to a free performance of Wagner's Dutchman to 1500 unemployed people has re-ignited our editors thoughts about similar matters. We suggest that regular readers, with no such interest in these things, ignore it all completely and pass quickly on
For a variety of reasons, I live between a number of different and diverse locals. Yesterday, while walking through one (it was after all, a nowadays rare British sunny day) , I noticed a long queue of people waiting outside of a local community hall. If you are unfamiliar: these litter the UK's "inner-cities" and "council estates". Always at the verge of being closed down, (as local councils, of all political persuasions, attempt to divert money to far more important things - such as "fact finding" missions to the USA to help decide the design of the latest insanely funded , morally corrupt, fiscally restraining and illogical PFI ) these centres provide amenities to some of the poorest members of society. The "old", the sick, the unemployed, children - need I go on? Looking across, I noted that this not in substantive queue was for an ever growing area of need for these centres: a foodbank. Again, for the unfamiliar, foodbanks are run by charitable organisations and provide free, donated, food to the poor and unemployed. That such things are needed in what is still a relatively "wealthy" country (no matter how under or over manipulated that wealth perception might be in these strange times) is perhaps a salient reminder of how far many societies have fallen. That such foodbanks need to exist at all is perhaps bad enough, that in many cases they are so overwhelmed with visitors that they are having to "ration" the food they provide even more so.
Anyway, given this, it might seem a trivial or unimportant matter that we, or the Greeks, should concentrate on providing a free performance of a nearly 200 year old opera. And indeed, food, shelter, safety, etc is of paramount importance. However, the fact that the performance was filled would suggest this is far from the case. And indeed, why should the arts, especially the most expensive of all, not be made available to the unemployed or the very poor?
As Greece's National Opera's Artistic Director, explained "We decided that during these hard times, we cannot shy away from the real problems our society is facing. So through a series of artistic events held in various spaces, we are bringing opera to a wider audience because we believe that it is a type of entertainment people appreciate. And that is why we are holding this event today."
Or as an unemployed school-teacher at the performance noted: "I think this is a great idea not only because so many people wanted to see this production, but also because the economic situation in the country means many would never have been able to. It is a good opportunity for people to forget their troubles."
It would nevertheless seem surprising (if fitting given the influence that Greek art had on Wagner) that it is in Greece, a European country struggling more than many in repaying their private banks debts, that an arts institute has managed to put on performances of Wagner's work for free for its poorest members (an action, it is without doubt, of which Wagner would have approved - and indeed encouraged) but not elsewhere. Few other arts institutions are undergoing the sort of cuts in public and private funding that those in Greece are and yet those that are the biggest recipients of public and private money stay specially quiet about the matter - a few "cheap seats" with limited views, weak acoustic properties and the need for those using them to not suffer acrophobia aside (The Ring and Wagner concerts at the Proms are a very different matter and should be applauded. Although in these times of ever increasing cuts in welfare benefits even £5 pound spent on a ticket can be the difference between eating for a day or not.).
Yet not one, that I can recall, either publicly, or otherwise, funded opera house across Europe has taken such a measure. And that Bayreuth has not seems a very obvious fact. Strangely, this might be less to do, in some circumstances, with money or funding then you might think. For example, recently somewhere in the world, one, none publicly funded house, noted that it had rejected a substantial public grant because it did not have the "resources" to attract the unemployed to its Wagner performances.Which suggests that in some instances that while the money may be available the will is not.
In times such as this, art, especially art intended to be as transformative as Wagner's clearly is, maybe even more important then is normally the case. As on unemployed Greek attendee at Greek National Opera's free Dutchman put it: "In this crisis, at the very least, cultural events must be made available to the people. It is only through culture that the people will be able to rise again."
Annette Dasch To Perform Wesendonck Lieder. Middle Temple Hall. London. September
Written By The Wagnerian on Thursday, 6 June 2013 | 9:41:00 pm
On September 23rd, Annette Dasch is coming to Middle Temple Hall to give a Temple Song recital. The highlight of this recital will be Wagner's Wesendonck Lieder.
Annette Dasch has sung Elsa in Wagner's Lohengrin at the Bayreuth Festival and in June 2013 she will make her debut performance as Eva in Meistersinger von Nürenberg at the Budapest Festival before returning to the Bayreuth Festival as Elsa once again.
More by clicking here: The Temple Music
Full Program:
Robert Schumann (1810- 1856)
12 Lieder op 35 nach Gedichten von Justinus Kerner (1786- 1862)
Lust der Sturmnacht
Stirb, Lieb und Freud
Wanderlied
Erstes Grün
Sehnsucht nach der Waldgegend
Auf das Trinkglas eines verstorbenen Freundes
Stille Liebe
Wer machte dich so krank?
Alte Laute
Felix Mendelssohn Bartholdy (1809-1847)
Heinrich Heine (1797- 1856)
Auf Flügeln des Gesanges op 34 Nr 2
Gruß op 19 Nr 5
Morgengruß op 47 Nr 2
Reiselied op 34 Nr 6
Allnächtlich im Traume op 86 Nr 4
Neue Liebe op 19 Nr 4
Richard Wagner (1813- 1883)
Mathilde Wesendonck (1828-1902)
Stehe still
Im Treibhaus
Opera Australia's Ring in Melbourne loses its conductor. Nessun dorma?
Written By The Wagnerian on Wednesday, 5 June 2013 | 6:35:00 pm
Richard Mills, taking a backseat?
In a very odd turn of events , Richard Mills has decided to quit as conductor of Opera Australia's high profile, and sold out, Ring cycle in Melbourne - due to premiere in just five months time.
And why has he decided to leave the $15 million, Neil Armfield production of the Ring - to be broadcast live and internationally on Australian radio's Classic FM? According to Mills, who has only ever conducted one other large scale Wagner work (a concert performance of Tristan und Isolde in 2005) it was due to lack of "vibrancy and character." in " the chemistry between cast and conductor". He went on, "Unfortunately the necessary unity of vision for this piece on this occasion was not achieved".
"Therefore in the interests of an outstanding cast and production, and after a great deal of thought, I have decided to withdraw. I have been completely supported by the team at Opera Australia at all times and this decision is mine alone. I wish the project the great success I am sure it will achieve as a landmark event in the history of opera in Australia."
No new conductor has yet to be announced and given the short time spans involved and the fact that most, if not all, of the leading Wagner conductors will be engaged elsewhere, we would suspect that things are rather "hectic" at Opera Australia even as we type. Indeed, given the time difference, perhaps a Puccini aria might be appropriate about now:
"Another taboo that continues to be maintained in Israel is the performance of Wagner's works within the country. To this I must say that the rumor that my performance in 2001 with the Staatskapelle Berlin of the Prelude and Liebestod from Tristan und Isolde caused a sensation is a myth that has now, more than ten years later, become established in many people's minds. The pieces were played as an encore following a forty-minute discussion with the audience. I suggested to the people who wanted to leave that they do so. Only twenty to thirty people who did not want to hear Wagner's music left the hall. The remainder applauded the orchestra so enthusiastically that I had the feeling we had done something positive."
"Whoever wants to see a repulsive attack on Jews in Wagner's operas can of course do so. But is it really justified? Beckmesser in Die Meistersinger, for example, who might be suspected of being a Jewish parody, was a state scribe in the year 1500, a position that was unavailable to Jews. As far as I am concerned, if Beckmesser's awkward melodies resemble synagogue chant, then this is a parody of Jewish song and not a racist attack. One can of course also raise the question of taste in this matter. "
"When one continues to uphold the Wagner taboo today in Israel, it means, in a certain respect, that we are giving Hitler the last word, that we are acknowledging that Wagner was indeed a prophet and predecessor of Nazi anti-Semitism, and that he can be held accountable, even if only indirectly, for the final solution."
Perhaps no other composer in history sought to combine such obviously incompatible elements in his works. The qualities that make Richard Wagner's supporters so enthusiastic are often the same ones that repel his opponents, such as his tendency toward extremes in every aspect of composition. Although he stretched the limits of harmony and operatic form to the breaking point, the realization of his musical concepts always remained exceedingly economical. Paradoxically, this very economy defines the incomparable dimension of his structures. Perhaps he found it necessary to make especially frugal use of certain individual elements in order to make the effect of the Gesamtkunstwerk—the total work of art—even greater and more unexpected.
A good example of Wagner's economy can be found at the beginning of the first act of Die Walküre, in which a wild storm rages. Even Beethoven made use of all the orchestral instruments in the storm in his Sixth Symphony, and given the instrumentation available to Wagner, one could assume that his storm would take on even grander proportions.
Instead, however, he allows only the strings to unfurl the full force of the storm; the result is a far more direct, naked, and compact sound than a full Wagnerian orchestra with brass and timpani would have produced. It is the precision of Wagner's directions in the dynamic structuring of his scores that brings out the emotionality of the music. Wagner was the first composer to very consciously calculate and demand the speed of dynamic developments. When he wants to achieve a climax, he generally applies one of two techniques: either he lets a crescendo grow gradually and organically, or he lets the same musical material swell two or three times in order to let it explode the third or fourth time.
In Wagner's operas, there are frequent cases in which the musical material swells up and down in two bars the first time it appears. The second time Wagner allows the same material to grow for two bars with a subito piano—sudden quiet—immediately afterward. Only the third time is there a climax after four bars of crescendo. A mathematical equation therefore gives rise to sensuality and fervor. It is his skillful intellectual calculation that creates the impression of spontaneity and purely emotional sensation.
Another characteristic of Wagner's musical uniqueness can be observed in the Prelude to Tristan und Isolde, in the continuation of the famous "Tristan chord" at the beginning of the opera. A composer with less genius and with a poorer understanding of the mystery of music would assume that he must resolve the tension he has created. It is precisely the sensation caused by an only partial resolution, though, that allows Wagner to create more and more ambiguity and more and more tension as this process continues; each unresolved chord is a new beginning.
Wagner's music is often complex, sometimes simple, but never complicated. It is a subtle difference, but complication, in this sense, implies among other meanings the use of unnecessary mechanisms or techniques that could potentially obfuscate the meaning of the music. These are not present in Wagner's work. Complexity, on the other hand, is always represented in Wagner's music by multidimensionality. That is, the music is always made up of many layers that may be individually simple but that constitute a complex construction when taken together. When he transforms a theme or adds something to it, it is always in the sense of multidimensionality. The individual transformations are sometimes simple but never primitive. In other words, his complexity is always a means and never a goal in itself. It is also always paradoxical, since its effect can be intensely emotional, even staggeringly so. In his literary work Opera and Drama Wagner wrote:
In the Drama, we must become knowers through the Feeling. The Understanding tells us: "So is it,"—only when the Feeling has told us: "So must it be."
I find it all the more important to do away with certain misunderstandings and false claims about Wagner precisely because perceptions of him are often so confused and controversial. Here I also want to discuss extramusical sides of Wagner's personality, and among these are of course his notorious and unacceptable anti-Semitic statements.
Continue Reading at "The New York Review Of Books"
"The auditorium of the old Stadttheater ...was a pretty gloomy place. A native of Riga (who later) compared it to a "barn" (while in) conversation with Wagner asked him how he had been able to conduct there. Wagner replied there were three things about this "barn" (that) had stayed in his mind: First was the steeply rising stalls, rather like an amphitheatre; the second was the darkness of the auditorium; and the third was the surprisingly deep orchestra pit. If ever he succeded in building a theatre to his own designs, he added, he would keep these three features in mind" C.F. Glasenapp: Das Leben Richard Wagner (1894-1911)
Lecture: Wagner 200. Dr Paul Coones. The Bodleian, Oxford
Written By The Wagnerian on Tuesday, 4 June 2013 | 7:09:00 pm
A video lecture by lecturer and conductor Dr Paul Coones celebrating the 200th birthday of Richard Wagner. The talk is preceded by Siegried's Horn Call played by Sophie Dillon and includes the rarely performed Kinder-Katechismus zu Kosel's Geburtstag. To Listen simply click the play button here,Wagner 200: or click this link
Alternatively, download either the audio or video podcast here
Why No Love For Wagner In The USA? Alex Ross Ponders
Written By The Wagnerian on Monday, 3 June 2013 | 2:41:00 pm
As a writer who likes the work of Wagner in the USA, is Alex Ross on his own?
"One hundred years ago there was an enormous fad for Wagner in this country"
"We're not going to forget about the Nazi association, but I think we can have a richer and more nuanced sense of the enormous impact that Wagner had."
During a discussion on PRI radio, Alex Ross examines the curious lack of Wagner celebrations, events or performances during his 200 birthday in the USA.
This is probably of greater surprise when one compares it with the abundance of Wagner celebrations that are still far from complete in the UK - and will continue right through till the end of the year.
As Ross notes - an argument easily supported by a quick look through our recent publication "A Wagnerian Scrapbook" - for the first 100 years and beyond, the USA media and public seemed to concentrate on nothing but Wagner.
So what has happened? Considering that more than 60 percent of our total readership comes from the US we thought you might like to listen to Alex Ross for a possible answer: Alex Ross, Richard Wagner and the USA: Click the play button or here to listen
To view the full item visit: Richard Wagner's 200th birthday passes with little notice in the U.S.
British Library Puts Wagner's Early Original Manuscripts Online
From MS 119 – pencil doodlings on the name Wagner.
To mark Wagner 200, the British Library have made available online its entire collection of Wagner manuscripts, mostly from early on in his career. The earliest work included is Wagner's original draft of the piano score of the orchestral Overture in E minor, composed when Wagner was only 18 years old. Indeed, anyone with any interest in Wagner will find much to enjoy here. Including, for example, a draft of 'Das Liebesverbot' (click to listen) (1834) with, crossings out by Wagner in red ink. And the original MS of Wagner's " Rule Britannia Overture" (click to listen)
Apparently most of the MS's were originally collected by Leopold, Graf von Thun und Hohenstein, Austrian minister for culture. They were then bought by the collector Albert Cohn, in 1887 and in-turn by the Austrian writer Stefan Zweig in 1937. His entire collection of musical, literary and historical autographs was then presented to the British Library by his heirs in 1986. The present digital archiving of these works is the result of a project by the Derek Butler Trust to make all of the manuscripts freely available online.
All of them can be accessed freely online and without registration at the British Library archives. For more detailed information about what is available and their history please visit the British Libraries blog by clicking here.
Below, are a few interesting examples of what you might find:
From MS 119 – draft of 'Das Liebesverbot' (1834), crossings out by Wagner in red ink.
MS 100: 1832, Complete draft in short score
Audio: WNO Lohengrin's creative team in conversation with Tom Service
Recorded at the Hay Festival the day after WNO's new Lohengrin premiere: Director Antony McDonald, Associate Director Helen Cooper and Peter Wedd in discussion with Tom Service about Wagner's "last opera" Click To Listen Here
Running time 34 minutes. To listen or download the podcast at its source Click Here


The Brock Badgers men's soccer team entered play this past weekend with their playoff chances hanging by a thread. The last place Algoma Thunderbirds came to town and the Badgers had to take care of business.
"We said at the beginning of the season that no games were going to be easy. From game to game anything can happen," said head coach Lucio Ianiero.
The Badgers sure made things look easy on Saturday in the first of two games in back to back days against Algoma, as they throttled the Thunderbirds 6-0. It was by far the most lopsided result for the Badgers this season, as four first-half goals sealed things pretty quickly.
Arsen Platis led the team with two goals. While Jared Agyemang, Alexander Makubuya, Eric Serafino and Jordan Smalling all found the back of the net in a match that saw the Badgers outshoot Algoma 24-2.
After a result like Saturday's, the last thing you would expect was a competitive game between the same two teams on Sunday, but that's exactly what we received early on.
"Probably the worst thing that could happen was us beating them by that much because our guys came in maybe a little bit overconfident. You could see our intensity was a bit lower than yesterday, it could've been fatigue, but it could've been a bit mental", Ianiero said of his team's effort on Sunday.
The Badgers and Thunderbirds played scoreless until the 52nd minute when Agyemang finally broke through for Brock. Agyemang was taken down while pursuing the ball in the Algoma box and was awarded a penalty. He made no mistake on his opportunity, firing the ball in the bottom right corner and followed it up by placing a finger to his lips as if to "shush" the Algoma defenders that had been physical with him all game.
"He's like a bull in a China shop. If you get him the ball he makes a lot of things happen with his aggressive play. He's got that instinct to always go towards the net and because he does that he just attracts the defenders in and sometimes they foul him, as he did there for a penalty," Ianiero said.
The Badgers seemed to relax after finally seizing a lead, maintaining the majority of possession the rest of the way. They outshot Algoma 16-1 in the match, but Arsen Platis's goal from the penalty spot in the 83rd minute would be the only other offense from either side. The final score ended at 2-0, meaning Brock picked up the maximum six points from the weekend.
Brock now holds a record of 5-8-1 (16 points) in the seventh place in the OUA West Division. With just the top six teams in the division able to qualify for the playoffs, the final two games on their regular season schedule couldn't be more crucial. But as Ianiero says, he doesn't want his team to feel too much pressure.
"Because [the team] know we have our playoff hopes dangling before us, and we need a little bit of help from other teams, you don't want to put too much pressure on the guys," said Ianiero.
The Badgers are due to face the Waterloo Warriors on Oct. 20 on the road in what is a must-win game. They will then return home, with hopes of clinching a playoff spot, to face the Laurier Golden Hawks on Oct. 21 at 3:15 p.m. for their regular season and home finale. They begin preparing for their most important weekend of the season early this week.
"Business as usual. We just run through the things that we need to run through in training. Make sure everyone knows their assignments. We have to plug away at what we do best and tidy up on some things that need work and just hope for the best," said Ianiero.


A Toronto native, Julia Mirzoev started playing violin at the age of two and a half years with her father. She then studied with renowned pedagogue Jacob Lakirovich up until she began her undergraduate degree.
Julia is currently under the tutelage of Jonathan Crow, at the University of Toronto, where she plays principal positions as well as Concertmaster in the University of Toronto Symphony orchestra and the Opera orchestra. A winner of multiple first prizes across national and provincial competitions; including first and grand prizes at the Canadian Music Competition and the esteemed President's Trophy award at Toronto Kiwanis, Julia was granted both the Toronto Symphony Youth Orchestra concerto competition first prize, granting her a series of solo concerts with the Toronto Symphony Orchestra, as well as the University of Toronto Concerto Competition prize. Julia has also performed solo with the Scarborough Philarmonic, Sinfonia Toronto, and the Canadian Sinfonietta, and will perform solo with Orchestra Toronto later this year as the winner of the 2018 Marta Hidy Concerto Competition.
A participant in international music festivals, Julia has been a part of the Orford music festival, as well as the Aspen Summer Music Festival this past summer. She will be attending the Toronto Summer Music Festival this summer as a fellow, as well as the Sarasota Music Festival. A full scholarship student due to her musical and academic success, Julia will be graduating her Bachelor's Degree in Music this fall and will attend Yale University on a full scholarship to pursue her Master's Degree in Music with respected violinist and pedagogue and Ani Kavafian.
Julia also enjoys playing chamber music, as well as teaching.


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I should be doing something like watering plants, cleaning out cat litter, cleaning a bathroom, something. Instead I'm watching this Double Dream Hands video and a bunch of related videos.
Have you seen it? I hadn't seen it before, but apparently everyone else on the Internet has - or at least a lot of people, because there are all kinds of related videos. Videos of people doing the Double Dream Hands dance or setting it to different music. It's kind of fun to see something that gets people up and moving. Maybe the YouTube generation won't need to use the best diet pills after all.


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11 Masaka Ebola contacts test negative
in Featured, Health, News
Health authorities in Masaka City have breathed a sigh of relief after 11 contacts of the first Ebola victim tested negative for the deadly virus.
According to Mr Ronald Katende, the chairperson of Masaka City Task Force, the results from Uganda Virus Research Institute, Entebbe have given them hope that they can control the spread of the deadly virus in Masaka sub-region.
He said that they are pretty progressing in the contact tracing exercise, adding that they have so far gotten 47 per cent of the contacts they have been looking for.
"I'm optimistic that we will soon get all the contacts," he said in an interview on Friday, adding that his task force has kicked off community sensitisation campaigns about the dangers of hiding after being in contact with an Ebola victim.
Mr Peter Ayot, Masaka District health educator said they received some Information Education and Communication (IEC) materials which they have distributed to different parts of the district to teach residents the basics of how to control the spread of the virus.
"The IEC materials have already reached several communities including schools, police, and villages for the purposes of sensitising residents on how they can control the spread of the virus. We are also conducting sensitisation campaigns through radio talk shows and community engagements," he said.
Masaka Regional Referral Hospital Director, Dr James Elima said the situation is under control and asked members of the public to continue following the Standard Operating Procedures and report those that have Ebola-like symptoms so that they can be evacuated in time.
The only confirmed Ebola case in Masaka was a resident of Kabowa in Kampala, who went to Kimaanya A, Masaka City suburb at her parents' request after her health situation deteriorated and she was later found with symptoms of Ebola. She later succumbed to the deadly virus.
Suspected Ebola Patient collapses in Masaka
Another health worker succumbs to Ebola
Fifth Health worker succumbs to Ebola
Ebola cases rise to 14 in Greater Kampala region
Tags: EbolaMasakaUganda

redpajama_set_name: RedPajamaCommonCrawl


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Sun, Sea, Cocktails &... Norovirus?! Love Island Producers Fear That Cast May Be Struck Down By Vomiting Virus
6 June 2017, 13:41 | Updated: 4 December 2017, 11:10
Uh oh. This would not be sexy for anyone involved.
The Islanders have headed into the Love Island villa in order to find love…
… and probably didn't want to find the norovirus in its place, but sadly for them, there's been an outbreak on the island.
> 8 Photos Of The New Love Island 2017 Villa That'll Make You Want To Rebook Your Group Holiday Hotel
The contestants have jetted off to Majorca in order to find the love of their life but instead have been faced with several cases of sickness which have hit the island.
However, in the hopes of warding off the infection which can spread faster in hot climates, the bosses of the show have reportedly been going around the villa and covering the crew and contestants in anti-bacterial and anti-viral hand gels to prevent infection.
"The show is about sexy young people hooking up in the sun - vomiting or diarrhoea would not be a good look", sources have revealed.
Thankfully, Cara and Nathan didn't have to face anything like this last year...


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Petroleum Development Corporation, doing business as PDC Energy, engages in the acquisition, exploration, development, production, and marketing of natural gas, natural gas liquids, and crude oil in the United States. The company operates in two segments, Oil and Gas Exploration and Production, and Gas Marketing.
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HOME / PEOPLE /
Jennifer L. Hochschild
Henry LaBarre Jayne Professor of Government and Professor of African and African American Studies
Member of the Faculty of Education; Harvard College Professor; Member of the Faculty at the John F. Kennedy School of Government
Jennifer Hochschild is the Henry LaBarre Jayne Professor of Government at Harvard University, Professor of African and African American Studies, and Harvard College Professor. In 2011, she held the John W. Kluge Chair in American Law and Governance at the Library of Congress. She will be a Fellow at the Straus Institute of New York University School of Law in 2013-14. Hochschild studies and teaches about the intersection of American politics and political philosophy -- particularly in the areas of race, ethnicity, and immigration -- as well as educational and social welfare policies. She also works on issues in public opinion, political culture, and American political thought.
Professor Hochschild is the author or co-author of numerous books, including the two most recent, Creating a New Racial Order: How Immigration, Multiracialism, Genomics, and the Young Can Remake Race in America, co-authored with Vesla Weaver and Traci Burch (Princeton University Press, 2012) and Outsiders No More? Models of Immigrant Political Incorporation, co-edited with Jacqueline Chattopadhyay, Claudine Gay, and Michael Jones-Correa (Oxford University Press, 2013). Hochschild currently conducts research on the politics and ideology of genomic science, immigrant political incorporation, and citizens' use of factual information in political decision-making.
Professor Hochschild was founding editor of Perspectives on Politics, published by the American Political Science Association, and recently was a co-editor of the American Political Science Review. She is a Fellow at the American Academy of Arts and Sciences, has been vice-president of the American Political Science Association, and was on the Board of Trustees of the Russell Sage Foundation and the Board of Overseers of the General Social Survey. She has received fellowships or awards from the Robert Wood Johnson Foundation, Guggenheim Foundation, American Council of Learned Societies, American Philosophical Society, Spencer Foundation, American Political Science Association, Princeton University Research Board, Radcliffe Institute for Advanced Studies, Harvard's Weatherhead Center for International Affairs, Mellon Foundation, Harvard's W.E.B. Du Bois Institute, and Harvard's Center for American Political Studies.
Before coming to Harvard in 2001, Professor Hochschild taught at Duke and Columbia Universities and was William Steward Tod Professor of Public and International Affairs at Princeton University for almost two decades.
View my CV
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hochschild@gov.harvard.edu
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The GTTN Secretariat joined the 24. CITES Plants Committee from 23-25 July 2018 to introduce the network and to discuss joint objectives and opportunities for collaboration. GTTN hosted a side event, offered input during the session of the CITES Working Group on wood identification, and organized a joint informal meeting between members of this working group and network members.
T he side event took place on July 23 and informed a group a ca. 60 people about the potential GTTN contribution to identifying CITES-listed species. Furthermore, participants explored GTTN's provision of capacity building to enhance the implementation of the Convention. Harisoa Ravaomanalina, CITES scientific authority for Madagascar and Head of the Plant Laboratory in the Mention of Plant Biology and Ecology, University of Antananarivo, introduced Madagascar's vision on timber identification and the current state of the art in the field of wood identification in the African country. The discussions following the presentations highlighted the need for standardization and enhanced international exchange of knowledge, as well as for capacity building. In addition, participants stated that effective wood identification training methods, tools and protocols for enforcement and customs officers are still rare.
During the meeting of the CITES Working Group on wood identification even more perspectives for a fruitful collaboration were identified. The CITES Working Group agreed on the necessity to determine gaps and counterparts in various tools and knowledge sources for timber identification, such as existing field identification guidelines and keys, and on their availability and usefulness. GTTN's Working Group on standardization is aiming at the same target with its activities in the field of advocacy and capacity building as well its collaboration with the International Association of Wood Anatomists (IAWA), who developed a map for available wood collections worldwide. The members of the CITES Working Group on wood identification also stated that the Plants Committee should – in collaboration with relevant stakeholders and building on information on existing initiatives – assist parties to identify existing laboratory services for the identification of timber and wood products, and to strengthen screening and forensic capacity to identify CITES-listed tree species in trade. GTTN contributes to this effort by developing a Service Providers Directory and promised to update the CITES tree species programme on further developments. Moreover, the Working Group decided to strengthen the focus on identifying and prioritizing the species of rosewoods and palisanders that would most benefit from the development of timber identification tools, protocols and materials. This corresponds with GTTN's current effort to update its species prioritization list. Even when CITES Parties have their own lists of target species, it would be useful to the network to obtain this information.
Finally, the Secretariat will work on making the currently available guidance on wood identification accessible to Parties on a dedicated page of the CITES website. The WG members welcomed this initiative, as well as GTTN's proposal to eventually add referral links between the main websites, but also to specific content to raise awareness of each other's activities. Likewise, the CITES WG group could benefit from GTTN's communication activities, e.g. the online document library offering broad information on current activities in the field of timber tracking and developments of tools as well as scientific expertise and relevant projects. Since the expansion of the library relies on members inputs, the GTTN secretariat encouraged CITES to share available information.
The fruitful meetings were concluded by an informal session between members of the Working Group on wood identification and GTTN. The great potential for cooperation with the network became obvious and is now recognized. The GTTN secretariat hopes that this will encourage CITES parties, while having expectations towards GTTN, to support the implementation of the network's tasks, i.e. by supporting local scientists to connect to GTTN working groups, etc.


text:
National / Politics
Kishida defends skipping U.N. talks, saying nuclear weapons ban would widen rift between haves and have-nots
by Sophie Jackman
Online: May 20, 2017
Last Modified: May 21, 2017
HIROSHIMA – Foreign Minister Fumio Kishida on Saturday defended Japan's choice not to participate in U.N. talks toward a treaty banning nuclear weapons, saying that proceeding would risk deepening the rift between countries with nuclear stockpiles and those without them.
In an interview, the Hiroshima native said Japan's stance reflects the divide that could be seen on the first day of the ban treaty negotiations at the United Nations in March.
"If we push ahead with this initiative, the divide between the nuclear and non-nuclear countries will get increasingly severe, and in the end it won't make a real difference … it won't lead to progress toward a world without nuclear weapons," Kishida said.
The decision has been criticized as Japan's bending to the will of its security ally the United States, which along with major nuclear powers Britain, China, France and Russia, plus non-nuclear members of the North Atlantic Treaty Organization, is not participating in the talks.
Instead, he advocated using existing frameworks that include nuclear countries to see through initiatives to reduce their stockpiles. This could eventually lead to the number of weapons being reduced to zero, but that hinges on "a legally binding treaty being introduced at the right time."
It's been nearly a year since Barack Obama became the first sitting U.S. president to visit Hiroshima.
Asked if it is realistic to expect Obama's successor Donald Trump to visit either Hiroshima or Nagasaki while in office, Kishida said it is far too early to know.
"The posts in the State Department underneath (Secretary of State Rex) Tillerson are yet to be filled, so we don't even know at this point who we would talk with," he said.
"I still think it is very important to bring the leaders of the world to the places that were hit by atomic bombs and let them get close to the reality of the bombings, and I want to pass that way of thinking on (to the United States)," he said.
Reflecting on Obama's visit, he said a sitting U.S. president "has the most power (of anyone) in the world, and has the responsibility of playing the greatest role in nuclear disarmament and nonproliferation."
Fumio Kishida, Hiroshima, nuclear weapons, atomic bombings


text:
Q: Logging ping results python? I can use the ping command and save the output using the following line:
command = os.system('ping 127.0.0.1 > new.txt')

However each time the script is run the text file is overwritten so I only have the last ping saved. I have looked into logging but cannot find a way to save the outputs of the ping requests into a text file without over writing.
I have tried:
logging.debug(command = os.system('ping 127.0.0.1'))

But this throws up an error with: debug() takes at least 1 argument (0 given)
Any help would be appreciated, thanks!

A: If you insist on using os.system, then simply use >> redirection:
command = os.system('ping 127.0.0.1 >> new.txt')

This would append new data to new.txt instead of overwriting it.
Another solution is to use subprocess module and manage file handler manually. This has the advantage of skipping the shell (it's faster and in some cases safer):
import subprocess
out = open('new.txt', 'a')
subprocess.call(['ping', '127.0.0.1'], stdout = out)
out.close()

Notice that you can do something else with stdout. For example, save it to string.

A: You could get result of subprocess.check_output and write it to a file:
import subprocess
result = subprocess.check_output(['ping', '127.0.0.1'])
with open("new.txt", "a") as myfile:
    myfile.write(result)

redpajama_set_name: RedPajamaStackExchange


text:
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  <library name="CWAC-LoaderEx">
    <CLASSES>
      <root url="jar://$PROJECT_DIR$/libs/CWAC-LoaderEx.jar!/" />
    </CLASSES>
    <JAVADOC />
    <SOURCES />
  </library>
</component>

redpajama_set_name: RedPajamaGithub


text:
BODY WORK with Rachel Maclean, Shana Moulton, Heather Phillipson and Julie Verhoeven
BODY WORK is the second installation of an ongoing series of video and film screenings presented by EVBG featuring works by Rachel Maclean, Shana Moulton, Heather Phillipson and Julie Verhoeven
Opening: 15 January 2016, 6pm – 10pm
16 January 12pm – 6pm
ReTramp Gallery // Reuterstraße 62, 12047 Berlin
Clean it, heal it, wipe it, wrap it, sanitised and mesmerised.
Purity and danger, dirt and paranoia.
Odours and openings.
The female body is never considered clean. It sweats, it bleeds, it grows hair, it smells. It requires constant care and work. It is either categorically filthy or ideal-ised and pure.
Since the 19th century, women have become agents and objects of what historian Kathleen Brown defines as "body work": cleaning, healing and caring practices which not only keep the body clean but also reflect changing notions of health, class and gender. Social anthropologist Mary Douglas stated that dirt, as well as taboo body fluids such as menstrual blood, are eliminated in cleansing rituals, be-cause they depict "matter out of place", a sign of chaos and unsettlement. Time and money is spent to put the matter into place, to purify and modify. The female body is understood to be "out of control", a woman who does not partake in "body work" is letting herself go.
The featured film and video pieces in BODY WORK explore images and imageries of the female body in multiple ways, examining what it means to work with and on the female body.
Rachel Maclean
Glasgow, UK
Working in green screen composite videos and digital print, Rachel Maclean forms disturbing candy-coloured, multi-layered worlds, referencing both historical events and imagined futures. The artist graduated from Edinburgh College of Art. Solo exhibitions include Zabludowicz Collection, London and The Centre for Contempo-rary Arts, Glasgow.
Germs, 2013, 03:00 min.
Shana Moulton
New York City, US.
Taking on the role of the fictive character Cynthia, Shana Moulton creates perfor-mance, installation and video works which easily slip from the absurdities of daily life to dream-like sequences of the subconscious, from consumer culture to New Age aesthetics.
Recent exhibitions and events at MoMA, New York; Yerba Buena center for the Arts, San Francisco; Smack Mellon, New York and DUVE, Berlin.
Swisspering, 2013, 09:01 min.
Heather Phillipson
Heather Phillipson works across video, sculpture, drawing, music, text and live events. Her videos and sculptural installations behave as places, musical scores, poems and nervous systems – attending to how physical and affective "selves" are constructed, manipulated and, above all, escape. Phillipson's work was previously shown at the Istanbul Biennial; Performa New York; Schirn Kunsthalle Frankfurt; Tate Britain, London; Serpentine Gallery, London; Palais de Tokyo, Paris and Insti-tute of Contemporary Art, London.
FINAL DAYS: HOSIERY, 2015, HD video (part 3 of 6), 02:48 min.
Julie Verhoeven
Following her work as a fashion designer and illustrator, Julie Verhoeven creates intriguing video works and installations. Combining fabrics, patterns, costumes, ob-jects and music to a wild, sensual collocation, Verhoeven draws on concepts of style, sexuality and gender. Her work has recently been shown at Institute of Con-temporary Art, London; Stedelijk Museum, Amsterdam and The Holburne Museum, Bath, amongst others.
Whiskers Between my Legs, 2014, 06:44 min.
EVBG is a venture by Marie Beckmann and Julie Gaspard dedicated to working curious work.
Small investigations into contemporary life, dealing with the concepts of FOMO, FOGO, feminism, representation and expectation. Avocado toast and hashtags.
EVBG is open for development, exploration and refinement. A nomadic brainchild waiting for its kindergeld based in Berlin, Germany. A special focus on video art, showing and exploring*
* You smart and you know it, I get it I get it, you outdo these pimps. Shine on them hoes, let 'em know that you run shit.
Rachel Maclean, Germs, 2013
Shana Moulton, Swisspering, 2013
Heather Phillipson_FINAL DAYS HOSIERY 2015_HD video_part 3 of 6.jpg
Julie Verhoeven, Whiskers Between my Legs, 2014
www.evbg.org
https://www.facebook.com/evbgberlin
https://instagram.com/evbg_berlin/


text:
Foxtel draws record haul in AACTA nominations
October 23rd, 2019 By David Knox Make a commentFiled under: Pay TV,
Foxtel is celebrating today with a record haul of 56 AACTA Awards nominations.
Lambs of God leads the pack with 18 nominations, an AACTA record, including 4 in the Subscription TV categories.
Actor Damon Herriman also took our dual nods in the one category for Lambs of God and Mr. Inbetween.
Wentworth, Secret City and Fighting Season are also nominated in the Drama categories.
Foxtel's Executive Director of Television, Brian Walsh, said: "This stellar result is testament to our
ongoing commitment to producing a wide range of Australian content for our customers, ensuring
the best entertainment all in the one place. I am particularly delighted to see our Foxtel Original
drama series receive such recognition, and must congratulate our partners, producers, creatives
and casts on these nominations."
Topping the drama nominations for Foxtel is the critically-acclaimed event series Lambs of God with
14 nominations in the Television categories, and an additional four nominations in the Subscription
The four-part drama has been nominated for Best Telefeature or Mini Series, while Ann Dowd, who played Sister Margarita, and Essie Davis, who played Sister Iphigenia, have both been nominated for Best Lead Actress in a Television Drama. Sam Reid has been nominated for Best Lead Actor in a Television Drama for his role as Father Ignatius, and Damon Herriman has been nominated for Best Guest or Supporting Actor in a Television Drama for his role as Father Bob. Damon has also been nominated in the same category for his role as Freddy in Mr Inbetween.
Lambs of God took out a swag of other nominations including Best Cinematography in Television; Best Direction in a Television Drama or Comedy; Best Screenplay in Television; Best Editing in Television; Best Original Score in Television; Best Sound in Television; Best Production Design in Television; Best Hair and Makeup; and Best Costume Design in Television.
Fighting Season has also been nominated for Best Telefeature or Mini Series, while Ewen Leslie has been nominated for Best Guest or Supporting Actor in a Television Drama for his role as Captain Ted Nordenfelt.
Mr Inbetween received a further three nominations in the Television categories (in addition to Damon Herriman's nomination for Best Guest or Supporting Actor) including Best Drama Series. Scott Ryan, who created and starred in Mr Inbetween, has been nominated for Best Lead Actor in a Television Drama for playing volatile hitman Ray Shoesmith, while co-star Brooke Satchwell has been nominated for Best Guest or Supporting Actress in a Television Drama for her role as Ray's love interest, Ally.
Secret City: Under the Eagle was nominated for Best Drama Series, while Anna Torv has received a nod for Best Lead Actress in a Television Drama after reprising her role as Harriet Dunkley. The series is also nominated for Best Cinematography in Television and Best Production Design in Television.
Wentworth has also been nominated for Best Drama Series.
In addition to drama, Foxtel has dominated both the Lifestyle and Sports categories, taking out
four of the five nominations in two key categories.
Lifestyle's top rating series Selling Houses Australia, Grand Designs Australia, Love It Or List It and The Great Australian Bake Off have all been nominated for Best Lifestyle Program. In addition, the hugely popular Gogglebox has been nominated for Best Factual Entertainment Program.
In sport, AFL 360, Bounce, On the Couch and Sunday Night with Matty Johns have all been nominated for Best Sports Entertainment Program. In addition, Foxtel has been nominated for Best Sports Coverage for AFL 2019 on FOX FOOTY as well as Test Cricket Live on FOX CRICKET.
Rounding out Foxtel's nominations in the Television categories is the HISTORY Channel's documentary series 100 Days to Victory, with nominations for Best Cinematography in a Documentary and Best Sound in a Documentary.
In addition to these 38 awards in the Television Award categories, Foxtel secured 18 awards in the Subscription Television categories.
The winners will be announced at the two major 2019 AACTA Awards presented by Foxtel events held at The Star Event Centre in Sydney: the Industry Luncheon on Monday December 2, and the AACTA Awards Ceremony on Wednesday December 4.
TV Tonight is a partner of the 2019 AACTA Awards.
Tags: AACTA Awards, Lambs of God


Jarvis Cocker has been added to this years Latitude Festival line-up.
The former Pulp star, who recently released his self-titled solo album, will headline the Sunday night at the Suffolk festival, taking place July 12 " 15.
Also joining the Latitude bill are Patrick Wolf, Midlake, and Gotan Project.
The new recruits join previously announced headliners including Arcade Fire, Magic Numbers, Damian Rice, and The Good The Bad and The Queen.
Kanye West To Go To School In UK?


text:
Don't Look Now © STUDIOCANAL ALL RIGHTS RESERVED.
Home | Films | Explore Films | Don't Look Now (1973)
Following the tragic drowning of their daughter, John and Laura Baxter leave England and head to Venice, where John throws himself into a church restoration project. But an eerie atmosphere fills the labyrinthine alleys of the city, and soon John begins to obsess over a figure he sees resembling his dead child. Nothing is what it seems in a film that's as confusing as it is compelling, right up until the shocking finale. One of the greatest psychological horror movies of all time, it's definitely a case of once seen, never forgotten.
Julie Christie,
Hilary Mason,
Clelia Matania,
Massimo Serato,
Contains strong sex, violence and injury detail.
What films would Roald Dahl be making if he were alive today?
13 Sep 2016 BY Joe Ursell
To mark Roald Dahl Day and the great storyteller's centenary, we explore his wide-reaching influence and consider what sort of films he might be making today.
Best of British Horror
Halloween, 31 Oct
A film list that reveals our nation's greatest fears.
Suitable for14+
A selection of films which explore loss and the grieving process in all its forms, from kitchen-sink dramas to animated folktales.
"Some of them saw a clip from Wakolda (The German Doctor) on TV recently and really wanted to watch it. So I thought I'd take a chance, not expecting them to watch the whole film but the majority were absolutely gripped. "
- Ann Hardy, Teacher, Manchester Secondary PRU, Manchester


Deputies began a search immediately and a Department of Public Safety ranger helicopter with night-vision capabilities joined them.
The search continued into Friday, with help from nearly every area law enforcement and search agency, as well as help from the FBI and Homeland Security, pouring into the Lynx Lake South Shore parking area.
By noon, there were an estimated 150 people looking for Kadence on foot, horseback, ATV, and boat. The DPS helicopter roared overhead, following a search pattern.
YCSO Captain Jeff Newnum said that about 12 community members showed up, asking how they could help, and they were added to the effort.
It was one of these volunteers who finally spotted Kadence, Newnum said, although he did not identify the searcher.
Across the lake from the searchers' command post, perhaps a quarter-mile away, a man's voice bellowed, "I found her!"
Then she ran, followed by several searchers and deputies. Finally, she just stopped and sat down, Newnum said, so he sat down next to her and talked about what had happened.
"Kadence...is from Sierra Leone," Newnum said. "She was brought here to the United States at a young age, but still is suffering from the struggles she experienced in Sierra Leone.
"There are certain triggers that trigger a response from her," he said, "so that happened...and that's why she was running."
He said she had been on a ridge near the lake overnight, and "She did say that she saw the people looking for her." She had a small pack with food and a towel with her.
Kadence wanted help, Newnum said, but "I don't think she knows what she wants right now."
Newnum said that, because no one knew what had happened to Kadence, two simultaneous operations had been undertaken-a search-and-rescue effort and a response by the Child Abduction Response Team.
She was found in good shape, with no injuries.
"She's going through some struggles with some horrific things she experienced in Sierra Leone," Newnum said, noting that she would not face any charges and that she had just walked back with him and other search crew members to be reunited with her family.
Chief Deputy John Russell summed up his feelings simply as he walked among the returning searchers, shaking hands and backslapping them.
"I'm happy. I'm just happy," he said, with a wide smile.


According to the results of the Grade 5 Scholarship examination 2017 , island best students have been released by the Department of Examinations.
Island 1st – Dinuka Krishan Kumar of Harischandra College in Negombo. Dinuka has obtained 198 marks to become the island first in 2017 Scholarship examination.
Island 2nd – Indumini Jayaratne of Welipillawa Junior School, Ganemulla and Sanjana Nayanajith of Thulhiriya Junior School are tied for second place with 197 marks.
Island 3rd – Sahas Dharmaratne of Kirillawala Junior School, Kadawatha came in thrid with 196 marks.
Island 4th – There were 12 students in the 4th place of this examination.
Check Grade 5 Scholarship examination 2017 Results here.


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Warning On Baby Slings After Newborn Dies.
Post by: JenGiove, Oct 8, 2011 in forum: TurnToIslam Lounge !
Fast Food Restraunts: halal or haraam?
Du'a before fasting and while finishing the fast: Is it a Bida'h?
Post by: JenGiove, Oct 7, 2011 in forum: TurnToIslam Lounge !
How to Purify Self When Touched By Dry Pigskin?
Post by: JenGiove, Oct 1, 2011 in forum: TurnToIslam Lounge !
Isn't that a question you should be asking the Moderators privately and not us?


The capacity of the Chapel is 24 seated and about 30 standing.
The Chapel. It is necessary to pay the price difference, i.e. 2000 Kč.
Information on moving must be announced by telephone (+420 353 999 394) before 9:00 o'clock on the day of ceremony.
There are about 56 seats on the terraces, more benches can be brought if necessary and confirmed in advance. Furthermore, there is a considerable amount of standing room.
Parking is provided at around 50 m from the entrance gate for 10 cars without a fee. There is more parking on the Town Square or on the road by the river Teplá, in the direction Marienbad.
Floral Decoration for the weddings places, including floral weddding arches and other arrangements, wedding bouquets and flowers for the wedding banque can be provided by GARDENS TEPLÁ (ZAHRADA TEPLÁ), Klášter, 364 61 Teplá - tel.: + 420 736 643 229, +420 353 392 275, email: propark@seznam.cz, info@zahradatepla.cz. Catalogues and consulting provided, transport of decoration included.
It is forbidden to throw rice and flowers on the premises. It is also forbidden to blow bubbles in the castle interior.
Please, do not enter the premises with a car and do not park cars or carriages right in front of the gate.
Animals are not allowed inside.
Cannonade, fencing tournaments and other accompanying activities must be announced in advance.
For weddings organized in the chapel, it is permitted to take photographs and film the ceremony.
The ceremony must be paid 30 days after reservation at the latest.
Call the Municipal Register Office in Bečov nad Teplou - Mrs Žáková, tel. +420 353 999 318 ro settle a date for your ceremony and other required matters.
Pay for the space in the Administration office of Bečov Castle.
In addition, we offer various spaces at Bečov for banques, celebrations and other occasions.