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- DO NOT ADMIT RESPONSIBILITY FOR THE ACCIDENT EITHER WITH THE POLICE AT THE SCENE OR THE OTHERS INVOLVED. If there is litigation, things you say may be used against you. Although you may think the accident was your fault, you may find out later that the other driver was actually to blame, or you were both equally at fault. This is not to say that you shouldn't be truthful with the police about the FACTS of your accident– you just should not offer your OPINION that the accident was your fault.
- DO NOT SIGN ANY DOCUMENTS NOR AGREE TO PAY ANY DAMAGES. You should leave the payment of any damages to your insurance company. That's why you pay insurance premiums and that's why you have insurance coverage. Your insurance company will determine what expenses are appropriate to pay.
- DO NOT EVER DOWNPLAY YOUR INJURIES OR SAY YOU'RE "O.K." AT THE SCENE. Soft tissue and disc injuries often take hours or days to begin to really hurt. People are often very shaken up and disoriented after an accident so very often they don't realize they've been hurt until later when they start to calm down from the initial excitement of the crash. If you are asked if you were injured, always say, " I am not sure about my injuries– I plan to see a doctor to look me over." If you have any pain at all, and the officer offers an ambulance, you should consider letting him or her call one for you.
- NEVER GIVE A STATEMENT TO THE OTHER DRIVER'S INSURANCE COMPANY. OFFER ONLY THE VERY BASICS. The insurance company is sure to be in contact with you soon after the accident regarding the property damage to your vehicle. That does not give them the right to ask you detailed questions about your injuries. It is best not to speak to them at all regarding your injuries until you seek the advice of an attorney who concentrates on personal injury.
- DO NOT TAKE MONEY FOR YOUR INJURIES OR SETTLE UNTIL YOU HAVE FINISHED TREATMENT. Insurance companies may try to offer you money for your injuries right away. The full extent of your injuries may not be apparent for weeks or months. Once you settle for your injuries, you can't get any more money, no matter what they say.
- DO NOT HIRE A "FAMILY ATTORNEY" FOR AN INJURY CASE. Many people have a "family attorney" who assists the family with wills, real estate closings, or domestic matters; however, this is usually not the best attorney to handle your personal injury case. It is best to seek an attorney who concentrates exclusively on personal injury cases. If you don't know an experienced personal injury lawyer, you may call us at 1–800-ZIFFLAW or E-mail us at email@example.com and we will be happy to speak with you right away.
No-fault insurance in N.Y. means that the insurance carrier for your vehicle, rather than the insurance carrier for the other vehicle, pays your medical bills or lost wages. This is true regardless of who was at fault in causing the accident. However, no-fault does not apply to property damage claims which are usually paid for by the insurance carrier for the vehicle that caused the collision or by your carrier if you carried collision coverage. Also, no-fault does NOT apply to motorcycles so please refer to the motorcycle FAQ's to see how motorcyclists are treated different.
No-Fault Benefits include:
- Hospital and Medical Expenses.
- Lost wages equaling 80% up to $1000 per month for a period not exceeding three years (Note: Some policies provide more than the $1,000 per month minimum required by N.Y. law).
- All N.Y. NF policies are required to provide TOTAL coverage of $50,000 for both medical costs and lost wages.
No-Fault Benefits are NOT payable when:
No-Fault benefits are not available to anyone who was driving while intoxicated or under the influence of drugs if the NF carrier can prove that the accident was caused by the their insured's intoxication or drug use. NF Benefits are also not available if the person intentionally caused his/her own injury, or if the accident occurred while the person was committing a felony.
Making a Claim for No-Fault Benefits
To claim No-Fault benefits, you must file a written application with the appropriate insurance company within 30 days of the accident. After the accident, immediately request from your insurance company that they send you the New York State No-Fault Application. You will be given a claim number and the name of an insurance company claim representative to whom you or the medical provider can send the bills. You may also contact this person if you feel you're not receiving the appropriate benefits.
What Happens If the NF Carrier Fails to Pay the Bills?
If you do not receive your benefits, there is an arbitration procedure which can require the insurance company to pay them. You should consult with an attorney to make sure that your rights are protected and that you receive the benefits you are entitled to. An arbitrator's award can also include payment of interest as well as attorney's fees.
In NY, if you have suffered what the law defines as a "serious injury", you may bring a claim for your pain and suffering. Under NY law, a "serious injury" is defined as any of the following injuries:
- Fracture of a bone
- Significant facial disfigurement with visible scarring
- Loss of a limb
- Permanent loss or use of a body organ, member or system
- Permanent consequential limitation in use of a body organ or member
- Significant limitation in use of a body function or system
- A medically determined impairment that prevents the victim from conducting their normal daily activities for at least 90 days during the 180 days immediately following the accident.
- Loss of a fetus
- Death
These injuries must be medically proven. Your complaints about your injuries alone are not sufficient; rather, expert medical testimony and medical documentation are required to pursue a lawsuit. You should consult with an experienced, personal injury attorney as to whether or not your injuries meet this "serious injury" requirement.
Maybe. Maybe not. The point is that you should NEVER, EVER take your legal advice from the other driver's insurance company. Remember, it's their JOB to pay you NOTHING or as LITTLE as possible.
Many times, the insurance adjuster will say things like "sorry but you don't have a serious injury as required under N.Y. law but because we feel bad about what happened to you, we are willing to pay you $500″. This is wrong, improper and even illegal for this adjuster to do this. First, he's not a lawyer and surely not your lawyer so it's absolutely improper for him to be giving legal advice to you. Second, most often it is way too early to tell whether you will have a serious injury or not. Many people don't know the full extent of their injuries for months after a car crash. Third, do you REALLY believe they are paying you $500 because they feel bad? No way. They are paying you $500 because they want your signature on a Release. A Release is a legally binding document that says you are giving up ALL rights (both past and future) in exchange for the money. Once you sign off, you are done forever even if you need surgery two months later or start to have problems that disable you from work forever.
Bottom line– you need YOUR OWN attorney to give you proper advice about whether you should settle your case or not. If you are in doubt about whether you should settle your case or not, feel free to E-mail us at firstname.lastname@example.com or call us at 800-ZIFFLAW and we will tell you whether what you are being offered is fair or not. Don't worry, if you call or E-mail us you are not obligated to hire us but we will help you figure out whether the insurance company is trying to take advantage of you or not.
Almost always the answer is yes. The law says that you have to be able to stop safely if a car stops in front of you. As a licensed driver in N.Y. or Pennsylvania, you are obligated to have your car under control at all times. That means if it's snowy, you should reduce your speed for the conditions.
Many times people do not feel that they are seriously injured in an accident until days or weeks later. Many times people just feel that they were "shaken up" or that "I'll get better in a few days". Unfortunately, insurance companies and their defense lawyers try to turn this against these people who didn't treat right after an accident by trying to claim that the people weren't really hurt in the accident. Because of this tactic, our best advice to people involved in accidents is to PROMPTLY get checked out either at the hospital or Dr. It is important that you report ALL complaints even if at the time you just feel like you are "just a little stiff or sore". With that said, if you did NOT promptly seek medical attention, it does not necessarily mean that you don't have a good case. It just means you should sit down with an experienced personal injury lawyer who is familiar with the best way to deal with this situation.
Yes, it is in YOUR best interest to hire an attorney. They will be YOUR advocate in dealing with the insurance companies to cover the damage to your automobile and to cover your medical expenses. A national study showed that injured persons who were represented by an attorney received 300% MORE than persons who settled their claims without a lawyer. So even after you deduct the usual attorney's fee of 1/3rd, people represented by attorneys netted twice as much as those who accepted the insurance company propaganda that "you don't need an attorney… don't worry we will treat you fairly". Remember, the insurance companies have attorneys who represent them so you better have an attorney to represent YOU!
Every case is different. Some cases can be settled very promptly while others may take years to resolve. A number of factors influence how long a case will take: the nature and severity of your injury (the more serious your injury the longer it will take your condition to stabilize and the longer we will have to wait to try to start settling your case); the amount of time you are unable to work (like your injury, the longer you are out of work, the longer it is before we can get serious with the other insurance company about trying to settle your case); and, the insurance carrier for the other driver (some carriers settle quickly while others never settle until you are on the courthouse steps). The important thing to remember is that you do not want to hurry or rush your case as you only get one chance to pursue your case so you better make sure it is done correctly.
If the accident occurred in N.Y. and the other driver does not carry the insurance required by N.Y. law there is a special type of claim known as an MVAIC claim that can be brought to cover your expenses. There are very special time requirements and rules that pertain to an MVAIC claim so it is very important that you immediately consult with an experienced personal injury attorney if you have any reason to believe that either the other vehicle or the vehicle in which you are riding is not insured. In addition to an MVAIC claim, you may also be able to bring a claim under your OWN insurance policy. You may have coverage under either the Uninsured or Underinsured Motorists endorsement to your policy. Once again, there are special rules and requirements to pursuing these claims so we strongly suggest that you promptly consult with your attorney so they can decide how to handle your claim to make sure you are protected.
Yes, the no-fault insurance carrier should pay your medical bills and lost wages as discussed above.
It depends on whether or not your insurance policy provides rental car coverage for the time your car is being repaired. Check your insurance policy; many will have a clause that allows you to rent a car. Be sure to track the expense involved as this is considered a cost that you suffered.
Every case is different and unfortunately there are no hard, fast rules for determining the value of your case. Many factors influence the value of your case: how clear it is that the other driver was at fault in causing the accident, the severity of your initial injuries, how long you were hospitalized, how long you were out of work, the permanency of any injuries, the amount of your medical bills, etc. An experienced personal injury attorney takes all these factors into account in determining the reasonable value of your case.
The answer varies from case to case, and from individual to individual. You should know that going to trial can take years, but many times in return the judgment in court is larger than in a settlement. The client often needs to weigh the certainty of a settlement against the uncertainty of whether a jury will come in with a verdict that is higher or lower than the settlement amount. An experienced attorney can help the client make this difficult decision by discussing with the client his or her past experience in handling similar cases.
No. Tell the insurance company that you'll get back to them. In the meantime, contact an attorney immediately. Often times an insurance company will offer a minimal amount of money in return for your signature stating that you are giving up your rights to sue them. Never take an insurance check without first consulting an attorney. You need to make an informed decision about what is in your best interest and you can't do so until you have gotten advice from your own attorney. Remember, it's the insurance adjuster's job to pay you as little as possible for your claim so keep that in mind when they are sweet-talking you about how they are just trying to help you out.
Normally, in cases such as these, you don't pay the attorney any money until, and if, you win your case. If you do win, the attorneys fee is 33% of the settlement after expenses are deducted off the top.
The personal injury attorneys at the Ziff Law Firm (Carl Hayden, Jim Reed and Adam Gee) will consult with you for free to see if you need to have them represent you or not. Just call us at 1–800-ZIFFLAW or E-mail us at firstname.lastname@example.com and we will be happy to speak with you right away.
Carl T. Hayden, our senior partner, is a FACTL, a Fellow of the American College of Trial Lawyers. The College is not a bar association. You cannot join; you must be invited. Invitees are nominated by other trial lawyers and candidates are subject to intense scrutiny that focuses on the actual cases they have tried, their skill as a trial advocate and their ethical standards. Only one percent (1%) of lawyers are offered admission to the American College of Trial Lawyers. In the Elmira-Corning area, Carl is the only plaintiff's lawyer admitted to the College.
Jim Reed, our Managing Partner, was invited to membership in the Million Dollar Advocates Forum. As it says on the Forum website: "Forum membership is limited to trial lawyers who have demonstrated exceptional skill, experience and excellence in advocacy by achieving a trial verdict, award or settlement in the amount of One Million Dollars or more."
No, generally you do not have to pay taxes on a settlement unless a portion of your settlement was specifically designated as compensation for lost wages. The other exceptions to this general rule are set forth below. Most good personal injury attorneys are aware of these exceptions and will make sure that your settlement is properly structured so as to avoid or minimize any taxation.
In New York and Pennsylvania, compensation for your injuries and pain and suffering is tax free. You will receive notification from the insurance company that paid you compensation with documentation about your settlement. You need to give that to your accountant. However, there are no taxes to be paid on your settlement.
Once you receive the settlement proceeds, the taxability of that money is just like any other money you invest or put in a savings account. When you invest those monies into taxable investments, then any profit or gain you achieve is obviously taxable.
In a death case, an award for pain and suffering is generally taxable to the estate. In some instances there are legal ways to allocate the monies to the wrongful death cause of action (which is not taxable to the estate) rather than the pain and suffering cause of action (which is taxable to the estate).
It's bad enough being injured, and then having to bring a lawsuit to obtain proper compensation and payments for your disabilities. Can you imagine the impact it would have if you then had to pay income taxes on those monies? Luckily, the government realized that injury settlements are not earned income. Rather, they compensate an injured victim for the pain, suffering, and disabilities they suffered at the hands of another's carelessness. Accordingly, they generally (and thankfully!) are NOT taxable.
That is one of the toughest questions of all because there are so many factors that influence the value of a case including the following:
- How clear is the proof that the other driver is at fault in causing the accident? For example, a case of aggravated carelessness like a drunk driver may be worth more than a difficult intersection case where both drivers claim they were in the right.
- How serious are your injuries. Obviously, the more serious your injuries the more your case may be worth.
- How much time did you miss from work? Generally, the longer you are unable to work, the more your case is worth. Likewise, the more money you make per week the more likely your no-fault insurance covered all of your economic losses and accordingly the more your case is worth.
- How much insurance does the other driver have? One of the most frustrating problems we encounter is when we represent a client who has a very substantial case but the other driver only has the state minimum liability insurance (just $15,000 in Pennsylvania and $25,000 in NY). Inevitably, not only do these people have the minimum insurance but they also have no personal assets to pay any large verdict we may obtain against the bad guy. It's the old adage "You can't get blood from a stone". Because of this, a case with more insurance is worth more than a case with insufficient insurance.
Because of the wide range of possible case values, it is imperative that you talk to an experienced personal injury attorney as soon as possible so you can get some guidance as to what factors are very positive for your case and what factors might present obstacles to your obtaining a maximum recovery. It is amazing how often our being consulted early in a case permits us to do a prompt investigation that defuses many of these obstacles…
No. In both New York and Pennsylvania, there are laws that permit you to recover even if a judge or jury conclude that you are partially at fault in causing an accident. These laws are called "comparative negligence" laws because they compare the relative negligence of each of the parties involved in an accident. While this does permit you to recover even if you were partially at fault, any recovery may be reduced by the same percentage you were found to be at fault. For instance, if the other driver was found to be 70% at fault and you were found to be 30% at fault and the jury returned a total verdict in your favor in the amount of $100,000, that verdict would be reduced by 30% (the amount of your fault) and you would receive $70,000. Please appreciate that this is an over-simplification of a tricky area of the law but it does provide the general idea of how comparative negligence works.
Please see our webpage on Accidents for more information.
We hope you found this information helpful but if you have remaining questions that have not been answered on our website, feel free to E-mail us your question here


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After knocking out Lyoto Machida for the light heavyweight belt at UFC 113 last May, Rua (19-4) returns to action to make his first title defense. Jones (12-1), who is stepping in for teammate Rashad Evans, was offered the title fight last month after his win over Ryan Bader at UFC 126.
The live blog is below.
A mostly pro-Rua crowd waits patiently for a break between fights. A hype video plays on the replay screens, and the fighters will be out soon. Jones walks out to "Empire State of Mind." He looks preternaturally calm. Takes a deep exhale before he walks in, then to his knees to say a prayer. He does a one-hand cartwheel into the cage. Now it's Rua's turn. He walks in to some dance music, throwing his fist in the air as he enters the cage. It's time. The two shake hands after getting ref's instructions.
Round 1: Jumping knee from Jones to open, then leg kicks. Rua swings with a right. Jones takes Rua down 30 seconds in. Crowd pops. Jones into Rua's guard. Rua throws his legs up for a triangle or arm bar, but Jones is out. Rua looking for a leg from the bottom. Jones prepared. Jones lands a left elbow, then another. But Shogun is busy enough from the bottom that Jones isn't peppering him. Jones lands a left hand as we reach midway. Rua back to full guard now. Jones with elbows to the body. Rua looking to set up a triangle. Jones with strikes from the top. Shogun tries to get up. Jones knees him to the body, then knees him to the head. Shogun is hurt. Jones is careful. Knees from the clinch for Jones. Jones with a right from outside. Rua with a right hand over the top. Rua takes Jones back, tries to take him down. Jones steps right out and ends on top with :20 left. Big round for Jones, 10-9.
Round 2: Jones looks the fresher of the two to start round two. Jones with a front kick. Rua throws a wild left. Jones clinches and holds him against the fence. Spinning back elbow lands for Jones. It's all Jones early. Jones looks very relaxed, switching stance. They clinch again. They break with nothing landed. Rua tries a two-punch combo, but it starts from across the cage and Jones sidesteps. Another front kick. Then leg kicks. Rua throws a leg kick, Jones catches it and takes him down with ease. Jones has a little trouble from the top as Shogun defends well, tying him up. Rua loves that half-guard from the bottom, but Jones is having no trouble stopping his favorite attacks because of his length and base. The grueling bottom position is no picnic for Rua. Jones position for a kneebar to close but the round runs out. 10-9 Jones.
Round 3: Rua's face is marked up a little. Rua tries to wade in with a barrage, Jones sidesteps him. Jones tries a head kick, Rua ducks under, takes his back. They scramble to the ground. Rua looks for a kneebar, Jones is out. Jones on top now. Jones with hard ground and pound, a series of strikes. Rua had his gloves up to protect, but some got through. Big left hand from Jones, then a right elbow. Left elbow. Rua ini big trouble. Rua in big trouble. He's back to his feet. Jones hammers away. Rua goes down. It's over. MMA 2.0 is here.
Winner: Jon Jones via TKO, Rd. 3 (2:37)
Jones: "Champion 2011. It feels so good. Believe in yourself, believe in your heart."
Rua: "I wanted to fight Jones wherever the fight could go. I have to congratulate him. He was better than me."
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Whitney Houston's final film, "Sparkle," was released on Friday and sees her playing Emma, a no-nonsense mother of three daughters who tries to use her own tragic past to prevent her daughters for following in her mistakes.
Houston, who died in February at the age of 48, spoke in an interview shot during the movie's production about her role and her co-stars.
"She's raising her daughters in a religious atmosphere, back in the 60s, the late 60s. She is a church-going woman," Houston said in an interview provided by the film's studio, Sony Pictures. "She loves the lord, she loves gospel and that is her thing and she raises her daughters in that fashion."
"Sparkle" is a remake of the 1976 movie of the same name. The new film follows three sisters, played by Jordin Sparks, Carmen Ejogo and Tika Sumpter, who form a successful singing group and are subsequently forced to deal with the fallout of fame and drugs. Houston plays their mother.
"They are the three most warm, warm and loving and supportive young women that I've come across in a long time, not only in beauty but inside," Houston said about the three actresses who play her character's daughters. "They're really beautiful people. I have really come to be like their mother in a sense, you know what I'm saying? I give mom hugs on the set."The film marks the big-screen debut of Sparks, who won "American Idol" season 6. Sparks said Houston is "incredible" in "Sparkle."
In behind-the-scene footage from the set, Houston can be seen kissing and hugging each of the girls and joking and dancing around just before shooting a scene.
In March, Sparks talked at Disney's Dreamers Academy about how Houston would joke with her on set.
"In serious scenes, if the camera was on me ... she was standing right here, it was the back of her head, she'd be making faces at me, trying to make me crack," Sparks said. "And I was like, 'I'm going to get you for that. I am going to get you for that.'"
The "Sparkle" reboot is Houston's fourth film. She also starred in the 1997 television movie "Cinderella" and in the 1996 film "The Preacher's Wife" opposite Denzel Washington. Houston made her own movie debut with the 1992 film "The Bodyguard."
Houston and Sparks have a duet in the film called "Celebrate."
In one scene in the film, Houston's character Emma sings the gospel song "His Eye Is on the Sparrow" and Houston said that the scene was very familiar to her.
"Being born and raised in the gospel community, coming from a family of gospel singers, it was not new to me to sing gospel or to sing with a choir," she said. "It is very natural to me. In some ways more natural than popular music because I'm rooted, it's where my foundation is."
She added. "So it wasn't a new adventure, it was just coming back home and doing what I do."
Houston went on to say, "It's going to be a spectacular film and I really hope that everybody enjoys it, I really do, and gets the most of it."
"Sparkle" hit theaters on August 17. Check out the trailer below.


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Members from the Scottsbluff School Board, along with teachers, staff, and administration members talked about increasing school safety during last night's board meeting.
This was Scottsbluff's first school board meeting since the massacre at Sandy Hook Elementary.
President Bob Kinsey says it is important to stay proactive. "There's a feeling of if you live in a small community, this is never going to happen here," explains Kinsey. "And that's just not the reality."
During last night's round-table discussion, several plausible ideas were discussed.
One would be to fortify or eliminate glass at the schools' main entrances, and create a more secure vestibule.
People also agreed that increasing the number of security cameras and having someone monitor them in real-time could be very beneficial. "Our goal is there wouldn't be a place at the middle school or high school that isn't under a camera," says Superintendent Rick Myles.
One security measure that did not go over well was the possibility of adding an armed security guard at the schools.


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Herts MPs renew commitment to support dementia campaign (From Borehamwood Times)
Get involved: send your pictures, video & news by texting BOREHAMWOOD to 80360, or upload here
Herts MPs renew commitment to support dementia campaign
Updated 6:16pm Tuesday 8th July 2014 in News By Victoria Oliphant, Reporter
MPs across Hertfordshire renewed their commitment to improve support for family carers of loved ones with dementia.
Carers and MPs took the campaign to Westminster on Monday, speaking movingly about their experiences at the meeting at Portcullis House.
Politicians including Hertsmere MP James Clappison supported the case for commissioning specialist dementia nursing care in Hertfordshire.
Roma Mills, carers involvement manager for Carers in Hertfordshire Carers, said they group had produced a cost-effective, quality model, which would give carers the continuing support they need as the disease progresses.
She added: "Carers of people with dementia tell us they need timely access to clinical advice not just at the point of diagnosis but over the longer term. Too many are being left to cope on their own."
Other MPs who attended were Anne Main, MP for St Albans, Stephen McPartland, MP for Stevenage, and Oliver Heald, MP for North East Hertfordshire.
Comments are closed on this article.


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How about a sneaky peek to the behind the scenes of Miista AW14 lookbook shoot at the Barbican? (more…)
How about a sneaky peek to the behind the scenes of Miista AW14 lookbook shoot at the Barbican? (more…)
Finally the culmination of the #SolestruckMiistaStyle competition. A broody, romantic new mid season lookbook.
Midnight Waters has reached LEWITT in Korea! And their lookbook is other-worldly..
Midnight Waters our Autumn/Winter 2013 collection was styled up proper and shot by renowned fashion photographer Philip Meech who was able to capture the dark and haunting yet beautiful quality of the looks.
This week we've been showing our Autumn/Winter 2013 collection in NYC and realized that we've yet to introduce all of you to the main themes involves in our upcoming collection!
This Autumn/Winter 2013 collection combines so many things that we love: Chloe Sevigny, Opening Ceremony, Kim Gordon of Sonic Youth, the power of the people and strong mod looks.
If you love shoes, you love Solestruck. Check out their newest lookbook featuring styles from Spring 2013!
Our Spring/Summer 2013 collection ELECTROMANCER premieres today in this lookbook shot by renowned fashion photographer Philip Meech!


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Stuart Skelton has emerged as one of the finest heroic tenors of his generation with performances on leading concert and operatic stages spanning from Australia to Asia, Europe, and North America. His repertoire encompasses many of opera's most challenging roles from Wagner's Parsifal, Lohengrin, Erik and Siegmund, to Strauss's Kaiser, Beethoven's Florestan, Saint-Saëns' Samson, Dvořák's Dimitrij, and Britten's Peter Grimes. He is acclaimed for his beautiful voice, outstanding musicianship, and for his intensely dramatic portrayals.
The Australian artist begins the 2013-14 season with a new production of Fidelio at the English National Opera directed by Calixto Bieito and conducted by Music Director Edward Gardner and in the title role of Peter Grimes in concert performances with Vladimir Jurowski leading the London Philharmonic Orchestra. He returns to Peter Grimes and to English National Opera for a revival of the critically acclaimed David Alden production again under the baton of Mr. Gardner and in concert performances at the San Francisco Symphony led by Michael Tilson Thomas. Mr. Skelton joins Sir Antonio Pappano and the Orchestra dell'Accademia Nazionale di Santa Cecilia on a
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Stuart Skelton has emerged as one of the finest heroic tenors of his generation with performances on leading concert and operatic stages spanning from Australia to Asia, Europe, and North America. His repertoire encompasses many of opera's most challenging roles from Wagner's Parsifal, Lohengrin, Erik and Siegmund, to Strauss's Kaiser, Beethoven's Florestan, Saint-Saëns' Samson, Dvořák's Dimitrij, and Britten's Peter Grimes. He is acclaimed for his beautiful voice, outstanding musicianship, and for his intensely dramatic portrayals.
The Australian artist begins the 2013-14 season with a new production of Fidelio at the English National Opera directed by Calixto Bieito and conducted by Music Director Edward Gardner and in the title role of Peter Grimes in concert performances with Vladimir Jurowski leading the London Philharmonic Orchestra. He returns to Peter Grimes and to English National Opera for a revival of the critically acclaimed David Alden production again under the baton of Mr. Gardner and in concert performances at the San Francisco Symphony led by Michael Tilson Thomas. Mr. Skelton joins Sir Antonio Pappano and the Orchestra dell'Accademia Nazionale di Santa Cecilia on a European tour in performances of Dallapiccola's Il Prigioniero alongside Beethoven's Ninth Symphony, Sir Andrew Davis and the BBC Symphony Orchestra for performances of Elgar's The Dream of Gerontius (to be recorded for the Chandos label), and Paul Daniel and the Orchestre National Bordeaux Aquitaine for Act Three of Wagner's Siegfried.
Closely associated with Siegmund in Die Walküre, Mr. Skelton performed the role during the 2012-13 season at Seattle Opera in the Company's acclaimed Stephen Wadsworth production conducted by Asher Fisch and at the Opéra National de Paris under the baton of Music Director Philippe Jordan. The tenor returned to the title role of Parsifal in the Claus Guth production at Opernhaus Zürich led by Ulf Schirmer and assayed the role of Ghermann in concert performances of Tchaikovsky's The Queen of Spades with Vladimir Ashkenazy and the Sydney Symphony. Peter Grimes was heard in Tokyo for the first time in Willy Decker's production for the New National Theatre under the baton of Richard Armstrong and Mr. Skelton joined Sir John Eliot Gardiner and the London Symphony Orchestra for Stravinsky's Oedipus Rex on a multi-city European concert tour.
Highlights of recent opera seasons include the tenor's Metropolitan Opera debut as the Drum Major in Wozzeck conducted by James Levine; this role served for his Santa Fe Opera debut in a production by Daniel Slater conducted by David Robertson. He has bowed in Die Walküre at the Metropolitan Opera conducted by Fabio Luisi, Staatsoper Hamburg with Simone Young in a production by Claus Guth, at the Opernhaus Zürich with Philippe Jordan in a production by Robert Wilson, and at Seattle Opera under Robert Spano, in the title role of Peter Grimes at English National Opera conducted by Edward Gardner and in a new Neil Armfield production for Opera Australia, as Parsifal in a new production at the Opernhaus Zürich conducted by Daniele Gatti, Boris in Katya Kabanova in a new David Alden production at English National Opera conducted by Mark Wigglesworth as well as Laca in Jenůfa for the Opéra National de Bordeaux, Max in Der Freischütz at the Bayerische Staatsoper, the title role of Lohengrin at the Deutsche Oper Berlin, at the Semperoper Dresden under Ádám Fischer, and as Don José in Carmen at San Francisco Opera, the Vienna Volksoper, and Opera Australia. Mr. Skelton has sung Der Freischütz and Die Frau ohne Schatten for the Staatsoper Hamburg, Rusalka at the Opéra National de Paris with Jirí Belohlávek, and Ariadne auf Naxos with Asher Fisch and the Israeli Opera. At the Deutsche Staatsoper Unter den Linden Berlin, the artist has performed Der Fliegende Holländer and the title role of Lohengrin under the baton of Daniel Barenboim. Other highlights include Fidelio at the Teatro Carlo Felice in Genoa with Lorin Maazel, Der Fliegende Holländer at the Wiener Staatsoper, and King Arthur in Albeniz´s Merlin for the Teatro Real Madrid (available commercially on DVD). He has been acclaimed in performances of Lohengrin at the Teatro Comunale di Bologna with Daniele Gatti and received wide critical attention for performances of Die Walküre in a new production under the baton of Asher Fisch at the State Opera of South Australia; a commercial recording from this production has garnered rave reviews from the international press and is available on the Melba label.
Concert highlights include Stravinsky's Oedipus Rex with the San Francisco Symphony and Michael Tilson Thomas and with the Boston Symphony Orchestra and Christoph von Dohnányi, Fidelio with David Robertson and the Saint Louis Symphony, Janáček's Glagolitic Mass with Michael Tilson Thomas and the London Symphony Orchestra and with Franz Welser-Möst and the Cleveland Orchestra, Dvořák's Requiem with Mariss Jansons and the Bayerische Rundfunk Symphonieorchester, Zemlinsky's König Kandaules at the Concertgebouw in Amsterdam, the world premiere of Thierry Lancino's Requiem with the Orchestre philhamonique de Radio France under the direction of Eliahu Inbal (commercially available on the Naxos label), and Beethoven's Ninth Symphony with Jiří Bĕlohlávek and the Dallas Symphony Orchestra, Michael Tilson Thomas and the Boston Symphony Orchestra, Kazushi Ono and the Tokyo National Orchestra, Edo de Waart and the Sydney Symphony, and with Sir Charles Mackerras and the Philharmonia Orchestra at the Edinburgh Festival. The artist has given numerous performances of Mahler's Das Lied von der Erde including with Jonathan Nott and the Chicago Symphony Orchestra, Edo de Waart and the Hong Kong Philharmonic, Sir Simon Rattle and the Berliner Philharmoniker, David Robertson and the Saint Louis Symphony Orchestra both in Saint Louis and on tour at Carnegie Hall, Daniel Harding and the Frankfurt Radio Symphony Orchestra, James Conlon both with the Orchestra del Teatro Comunale di Bologna and with the Chicago Symphony Orchestra at the Ravinia Festival, and with Michael Tilson Thomas and the San Francisco Symphony Orchestra (recorded and commercially available on the San Francisco Symphony's own label).
Additional information is available at www.stuartskelton.com.
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"Stuart Skelton's Grimes has grown in stature and now sits alongside the very finest interpretations of the role. It's a voice of great beauty, which has everything the part demands, from the exquisite pianissimos of the Pleiades aria to the ferocious power of "And God have mercy upon me," sung effortlessly with a strapping lad over one shoulder."Simon Thomas, Whatsonstage.com
"Skleton's Grimes was as thrilling as I've seen and heard it. No one currently sings the part better, more beautifully, more powerfully."Edward Seckerson, edwardseckerson.com
"Yet the sad human plainness of Neil Armfield's conception of Grimes combined with Stuart Skelton's faultless performance in the title role and strong partnership with Susan Gritton have etched this opera on the memory like few others." "Skelton not only captured the visionary transcendence and fierce strength of Grimes but embodied these in his voice as he cut through the petty gossip of the crowd with the quiet sustained top Es in 'Now the Great Bear and the Pleiades. "Peter McCallum , The Monthly,
"…Stuart Skelton on jaw-droppingly good form as Parsifal…"Shirley Apthorp, Financial Times
"Stuart Skelton's junior Heldentenor sounded mellifluous in the Drum Major's music…"Martin Bernheimer, Opera
"Stuart Skelton made an impressive debut in the heldentenor-like role of the Drug Major."Mike Silverman, Associated Press
"In a smashing debut, towering heldentenor Stuart Skelton tossed off high notes like grenades as the thuggish Drum Major."James Jorden, New York Post
"The Australian tenor Stuart Skelton, in his Met debut, was an imposing, bright-voiced Drum Major."Anthony Tommasini, New York Times
"The heroic Australian tenor Stuart Skelton was compelling in the title role. As Parsifal, the clueless young man who chances upon the knights and comes to understand that he is the innocent fool prophesied as their savior, Mr. Skelton sang with ample sound, burnished colorings and comprehensible diction."Anthony Tommasini, New York Times
"Stuart Skelton, the finest Siegmund since James King, sang with a freshness and focus that allowed the detailed meaning of the words to come across."Andrew Clark, Opera
"Stuart Skelton, who was a subtly portrayed Grimes in David Alden's ENO production, appeared here as Katya's lover, Boris. He is a bear of a man, a huge stage presence, but sang with tenderness and compassion."Keith Clarke, MusicalAmerica.com
"Stuart Skelton dropped jaws throughout the audience with his bright, virile voice and imposing physique. Yes, he overindulged in the lengths of his cries of 'Wälse,' but then when was the last time anyone had heard the Zauberfest sung with such melting comfort? In Skelton we have at last a male Wälsung worthy…"Theodore Deacon, Opera
"Skelton is magnificent. His ringing tonal clarity and resounding power capture his character's resolute strength, while the focused sensitivity and scrupulous dynamic control of his exquisite sotto voce singing create unforgettable moments of searing beauty. When he sang the role in London earlier this year he was favourably compared with the likes of Peter Pears, Jon Vickers and Philip Langridge. On the evidence of this performance, it was not hyperbole. He really is that good."Murray Black, The Australian
"Singing Grimes, Skelton achieves immaculate control and precision without losing the roughness of character. His voice flashes with power yet achieves a mystical serenity in the sustained high notes of the great aria The Great Bear and the Pleiades… [Skelton's performance] could scarcely be bettered."Peter McCallum, The Sydney Morning Herald
"Stuart Skelton as Peter Grimes gives a performance of explosive intensity. His heavy-set, shambling Grimes is ogre one minute, gentle giant the next, and he sketches out each facet with equally unflinching honesty. His voice is massive, a true Heldentenor, but plumbs extraordinarily lyrical depths; the pianissimo beginning to his 'Now the Great Bear and Pleiades' is a moment of finely-wrought beauty; his mad scene, an astonishing piece of visceral virtuosity."Sarah Noble, The Opera Critic
"Australian tenor Stuart Skelton possesses a heft, handsome tenor that immediately places him in the alternative approach to the title role established by Jon Vickers – one that works on different lines from the English tenor tradition of Peter Pears and his followers, yet just as effectively. Bold and incisive, his singing was consistently impressive, while his acting was sufficiently skilled to make him a persuasive representative of an inadequate, emotionally stunted individual."George Hall, Opera News
"This superb company achievement has Stuart Skelton's towering performance at its heart, perfectly combining human frailties with an edge of brutality and moments of touching poetic insight – probably the most complete Grimes in London since Jon Vickers at Covent Garden in the late 1970s. It is the finest possible tribute to Skelton that he should invite such comparisons in what is a very special ENO show indeed."Andrew Clements, The Guardian
"If he is to get our sympathy, he could not be better cast, for Stuart Skelton gave us a truly humane figure, not just in presence but in a superbly understated vocal performance of much sensitivity and nuance. His soft-grained tenor was a joy, and the voice was admirably full in its lower reaches."Keith Clarke, MusicalAmerica.com
""...simply overwhelming...Stuart Skelton in the title role. If ever a singing actor combined the force of a Jon Vickers with the crazed inwardness of Pears, it is he. Watching him is hard, so near and yet so far from the healing embrace of the one person who understands him: Ellen Orford."Edward Seckerson, The Independent
"The burly Australian tenor Stuart Skelton sings Grimes with tremendous sinew and sureness..."Rupert Christiansen, The Telegraph
"Stuart Skelton's Grimes, poetic and distrait, with outbursts of belligerence, is impressively delivered."Barry Millington, The Evening Standard
"Australian heldentenor Stuart Skelton brought a big, open sound to the role of Siegmund. He sang the role at the Metropolitan Opera earlier this year, and he paced himself well at Grant Park. His voice was ardent, flexible and full of hope in the 'Wintersturme' section, while his ringing cries as he captured the opera's magic sword were thrilling."Wynne Delacoma, Chicago Sun-Times
"[Christine Brewer] had a worthy Florestan in tenor Stuart Skelton, absolutely stunning in his heartfelt cry of 'Gott! Welch Dunkel hier! (God! What darkness here!),' expressing a world of emotions in the first beautifully sung word."Sarah Bryan Miller, STLtoday.com
"The captive husband of Leonore, Florestan, was tenor Stuart Skelton. He possesses a clarion tenor with a warm honeyed timbre. His second-act opening aria, Gott! Welch Dunkel hier!, as it emerged from a dark abyss was startlingly beautiful; a piercing cry from the very soul."R. Spencer Butler, Palm Beach Daily News
"His singing was both heroic and lyrical, marked by ringing top notes that emerged with an unforced sweetness, and he crisply charted José's descent into murderous jealousy. The Act 2 "Flower Song," where so many tenors come to grief, sounded exquisite."Joshua Kosman, San Francisco Chronicle
"[T]he Australian Stuart Skelton, makes Laca's unshakeable, self-baffled fidelity to Jenůfa deeply moving."Paul Driver, The Sunday Times
"What a superb London stage debut, too, by the Australian tenor Stuart Skelton, playing Laca. The roughness in his big voice is exactly right for a man whose love is so great, but whose powers of articulation so inadequate, that he can only vent his feelings through violent deeds. The moment when he hurls a table at the mob that has torn apart the set and threatens to lynch Jenůfa is simply thrilling theatre."Richard Morrison, The Times
"Stuart Skelton is the finest Laca I have heard"Andrew Clark, Financial Times
"The principal role was in superb hands with tenor Stuart Skelton. His Oedipus was at the outset every inch a king, self-possessed, fearless in his resolve; later, in resigning himself to fate, he was no less noble or sympathetic. In Oedipus's final declaration, 'Lux facta est' (All is made light), the haunting simplicity of Skelton's singing was unforgettable."Wayman Chin, Opera News
"Australian tenor Stuart Skelton brought to the title role the vocal resources of a Wagnerian hero and the verbal imagination of a Lieder recitalist. His frock coat made him look more like a doctor in a western than a king, but the slow dawning of the truth across his face was painful to watch."Richard Dyer, Boston Globe
"Stuart Skelton (tenor) sang brilliantly as the pathetic hero."Keith Powers, Boston Herald
"In the title role, tenor Stuart Skelton is about as good as Parsifal gets, with beautifully modulated phrasing, effortless power, crystal-clear diction and tender top notes. Add to that a tall, solid frame and you have a Wagnerian hero."Shirley Apthorp, Bloomberg.com
"Tenor Stuart Skelton, a late replacement for Anthony Dean Griffey, rose superbly to the challenge of the title role, his singing sinewy and clear."Joshua Kosman, San Francisco Chronicle
"Stuart Skelton, an Australian, has the kind of baritonal tenor ideal for Siegmund and for Wagner in general and must expect to be sought after on the grandest stages for years to come."Roger Covell, Sydney Morning Herald
"…Siegmund…is Stuart Skelton, singing with such heroic presence and sensuality, such subtlety of tone…"Ewart Shaw, The Advertiser
"Peter Grimes ist jetzt Stuart Skelton, der sich schnell das Zentrum des Abends erspielt. Skeltons aggressive, hymnische Exklamationen die an die Qualitäten der Referenz-Aufnahme von Jon Vickers denken lässt. Peter Grimes this time is Stuart Skelton, whose performance soon placed him firmly at the centre of the evening. Skelton's aggressive, hymn-like outcries [were] reminiscent of the reference recording of Jon Vickers." "Bernhard Uske, Frankfurter Rundschau
"Stuart Skelton entwickelte die widersprüchlichen Facetten der Titelfigur fast mustergültig: intelligent und instinktsicher in seiner Profession, bis zur Borniertheit eigensinnig und starr im Verhalten, in seinen Visionen einer glücklichen Zukunft von einer Empfindungstiefe, die selbst seinen verschlossenen Lehrjungen John." Stuart Skelton developed the contradictory facets of the title figure in exemplary fashion: a man of intelligence and sure instinct in his profession, stubborn and rigid in behaviour, but with a depth of feeling in his visions of a happy future which touches even his withdrawn apprentice John. "Benedikt Stegemann, Frankfurter Allgemeine Zeitung
"Stuart Skelton singt den Rienzi, verkoerpert ihn musikalisch so intensiv, wie es vielen anderen mitsamt Szene nicht gelingt. Er hat den lyrischen Schmelz wie die grosse Fortissimo-Attacke. Ganz am Ende in der grossen Gebetsarie laesst er das alles noch einmal zusammenschiessen, zeigt den Rienzi in seinem verbissenen Glauben, die Welt richten zu koennen als der einsame und letzte der Tribunen. Stuart Skelton sings Rienzi, embodying the role musically so intensively, as many others try but do not achieve even in sections. He possesses both lyric mellifluousness as well as huge fortissimo attack. At the very end of the great prayer aria he lets it all flow together again, showing Rienzi 's grim and determined belief to be able to right the world as the lone and last of the tribunes." "Annette Eckerle, Stuttgarter Nachrichten
"Dazu ein exquisites Saenger-Ensemble: Stuart Skelton in der Titelrolle greift mit angenehm unsentimentaler Heldentenor-Attituede schon direkt auf den Lohengrin voraus. In addition there is an exquisite ensemble of singers: Stuart Skelton in the title role with his non-sentimental heroic tenor attitude leaves an impression directly pointing toward Lohengrin. "Christoph Mueller, Schwaebisches Tagblatt
"Neben diesem Haupthandlungstraeger liegt das entscheidende Gewicht auf dem Titelheld, der von Stuart Skelton (Rollendebut) mit der erforderlichen charismatischen Individualitaet ausgefuellt wurde. Ein aparter, in den Registern ausgeglichener, in rezitativischer Ansprache und melodischer Ausgestaltung konstante Qualitaet bewahrender, keinerlei Verfaerbungen und Verquellungen vernehmen lassender Tenor, der sich die Rolle klug einteilt und nach starker Beanspruchung kein in Einheitslautstaerke staehlern exektutiertes, sondern von Intelligenz und Musikalitaet zeugendes Gebet hoeren laesst, das aus tragfaehigem Piano zu erhabener Kraft aufschwingt. Zum Niederknien! Der gesamte textlich ausdifferenzierte und technisch sicher fundierte Vortrag Skeltons fesselte durch den Zusammenfluss von Verinnerlichung und Inbrunst. Der Australier sollte sich jedoch hueten nach diesem bedeutenden Abend zu viele Angebote von grossen Haeusern anzunchmen und die kostbare Stimme durch zuviel Krafteinsatz zu belasten." Apart from the carrier of the main plot, the decisive weight lies with the title hero, who was filled by Stuart Skelton (role debut) with the necessary charismatic individuality. A distinctive tenor, balanced in all registers, maintaining constant quality in recital as well as melodic form and never showing any discolouration or warping, he arranged the role very cleverly and even after the previously required effort does not perform a steely executed prayer, but rather a prayer which bears witness to intelligence and musicality, which swings from a carrying piano to exalted power. The audience felt inspired to kneel before this singer! The entire texturally differentiated and technically securely founded performance of Skelton enthralled the audience with the combination of spiritualisation and ardour. Following this significant evening, the Australian should be careful to accept too many offers by the great opera houses, unless undue stress be imposed on this valuable voice. "Udo Klebes, Der Neue Merker
"Der australische Tenor Stuart Skelton verstroemt hier puren vokalen Balsam, beweist hoechste Kunst der Stimmfuehrung und Timbrierung, als haette es zuvor die Anstrengungen, die er so bravouroes meisterte, gar nicht gegeben. Es ist dies nichts anderes als eine saengerische Sensation - und zwar keineswegs die einzige in der konzertanten , von Peter Schrottner dirigierten 'Rienzi' - Auffuehrung der Stuttgarter Staatsoper." ... The Australian tenor, Stuart Skelton, exudes pure vocal balm, proving the highest artistic talent in vocalisation as well as timbre, as if the previous efforts, which he mastered so wonderfully, had not existed at all. He is nothing less than a singing sensation - in this "Rienzi" in concert form, conducted by Peter Schrottner at the Stuttgarter Staatsoper. "Martin Mezger, Esslinger Zeitung
"The title role was sung stunningly well by Stuart Skelton, an Australian tenor new to us: effortless, clarion tone allied to expressive musicianship."Rodney Milnes, London Times
"Opera North [brought] together a superb international team of soloists for a semi-staged production of Stravinsky's Oedipus Rex..... It was a deeply disturbing realisation, the final scene as Oedipus blinds himself with the pin from his mother's brooch, chillingly brought to life. Stuart Skelton's singing of the role was all that one could have wished for."David Denton, Yorkshire Post
"Einem angenehm timbrierten, kultiviert gefÜhrten Tenor mit strahlkraft in der Höhe bringt Stuart Skelton für den Lohengrin mit. A pleasantly timbred, cultivated and well controlled Tenor with radiant power in the high voice was brought for the role of Lohengrin by Stuart Skelton. "Nike Huber, Stuttgart Nachrichten
"Skelton sang der Schwanenritter mit einem strahlender metallisch fundierten Heldentenor. Skelton sang the Swan Knight with a radiant, metalically timbred Heldentenor. "Badisches Neues Nachrichten
"In der titelrolle überzuegt Stuart Skelton, besonders in der schön und geradezu empfindsam modellierten leise und melodische teilen, wie im Großen duet der 3 Aktes. The Title Role was convincingly sung by Stuart Skelton, especially in the beautiful and almost sentimentally modulated soft and melodic sections, like the large duet from the 3rd Act (Brautgemach.) "Der Rheinpfalz
"Eine stimmlich hervorragende leistung erbrachte Stuart Skelton als Lohengrin (11.7.). Hier wächst anscheinend eine große Hoffnung für das schwierige Fach des Wagner-Tenors nach: Die kräftige Stimme hat einen guten dramatische Kern, weist heldentenorale Attacke und eine hohe Intensität auf. Auch über leise Töne und Dfferenzierungsvermögen verfügt der Sänger. A vocally outstanding performance from Stuart Skelton as Lohengrin. Here, apparently, is a great hope for the difficult tasks of the Wagner tenor. His powerful voice has a good dramatic core, a Heldentenor's attack and a great deal of intensity. He also had soft tones and the ability to bring light and shade at his complete command. "Ludwig Steinbach, Der Neue Merker
"Stuart Skelton ist ein Narraboth ohne Fehl und Tadel. Stuart Skelton is a Narraboth without fault or blemish. "Von Susanne Kaulich, Mannheimer Morgen
"Schulte-Michels Inszenierung hat den Fokus aber nicht nur auf das zentrale Paar und ihre tödliche Liebes-Begegnung gerichtet. So erhält der junge, in Salome verliebte Hauptmann Narraboth auch dank der fulminanten Gesangsleistung von Stuart Skelton, der schon als Lohengrin überzeugte, imponierende Gestalt. Shulte-Michels direction had the focus not only on the central pair and their deathly love battle. That also was awarded to the young, in love with Salome captain, Narraboth, thanks to the brilliant vocal performance from Stuart Skelton, who had already shown impressive form as a convincing Lohengrin. "Von Thomas Weiss, Pforzheimer Zeitung
"Stuart Skelton singt den Narraboth mit strahlend schönem Tenor. Stuart Skelton sang Narraboth with a radiantly beautiful Tenor. "Von Nike Luber, Badisches Tagblatt
"Zu den sängerischen Lichtblicken gehörten Stuart Skelton, der als Narraboth mit erlesenen Tenorkantilenen aufwartete. "The ray of hope of the singers was Stuart Skelton who, as Narraboth, served us with an exquisite Tenor cantilena. "Von Karl Georg Berg, Die Rheinpfalz
"Mit Stuart L Skelton war endlich ein Erik zu hören. Der diese heikle partie nicht nur sicher, sondern auch noch mit schönem stimmklang zu singen vermochte. With Stuart Skelton there was finally an Erik worth hearing. In this difficult role he was not only secure, but able to sing also with a beautiful tone. "K. F. Shulter, Operglas Ausgabe
"In Janáček's 'Glagolitic Mass' the soloists were uniformly excellent, especially Measha Brueggergosman and Stuart Skelton, who between them had the larger parts to sing, and whose range and power rode magnificently over the heftiest tuttis without losing the many passages of lyrical beauty. Skelton, in particular, in the high tessitura of his part, was absolutely magnificent. In musicianship and understanding they were quite superb."Robert Matthew Walker, ClassicalSource.com
"Die Sensation des Abends war der australische Tenor Stuart Skelton, der zur Zeit die Welt erobert. So einen Siegmund hört man nicht alle zehn Jahre: Die athletische Ausstrahlung eines Peter Hofmann stößt auf ein Stimm-Material, das alles bietet: lyrische Eleganz, raumgreifende Fülle, Textdeutlichkeit und heldische Emphase. Bayreuth, wach auf! The sensation of the evening was the Australian tenor Stuart Skelton, who is currently conquering the world. One does not hear a Siegmund such as his even every ten years. He has the athletic presence of a Peter Hofmann and a voice that offers it all: lyrical elegance, space-filling volume and fullness, clear diction and heroic emphasis. Bayreuth, wake up! "Westdeutsche Allgemeine Zeitung
"Stuart Skelton's Siegmund…is something special: a clear, dark genuinely lyric heldentenor (if that's not an oxymoron) full of emotional vulnerability - perhaps the finest singer I've heard in this role since Ben Heppner or even James King......the voice is gorgeous."Richard Lehnert, Stereophile
"Stuart Skelton, as Siegmund, gives the disc's best performance with a mahogany rich and glowing voice … The disc is an important aural documentation of the historic 2004 Adelaide Ring and provides radiant listening."Peter McCallum, The Sydney Morning Herald
"Skelton is the real thing--a heldentenor with a baritonal lower tinge that brightens as it rises, and stunning breath control (his cries of 'Wälse!' seem to go on forever). (…) A technically superb recording … some of the most remarkable playing I've ever heard … Sound quality 10/10."Robert Levine, Classics Today
"Stuart Skelton's Siegmund: He possesses the special heroic tone, a molten bronze-gold alloy; the clarity of a tenor with the colours of a baritone; the inexhaustible breath – these Wälse which never seem to finish – valour and youth. However, his interpretation is not satisfied merely with vocal hedonism; it also expresses the weight of the fate which hounds him. More still than the poetry of spring, he gives himself up to the despair of the duet of the second act, the todesverkündigung was received with such a resigned pain such that his nobility of expression was transcendent."Christophe Rizoud, Forum Opera
"Also touching is Stuart Skelton's Siegmund. Steely of tone, and impressively elastic in his range, Skelton is the most promising young Wagnerian to emerge from Australia since..(Lisa) Gasteen. Few Wagner-nuts will be able to resist this recording."Anna Picard, Bloomberg
"As well as Gasteen's Brünnhilde, the reason to buy the beautifully-presented set is Stuart Skelton's Siegmund. Here is a voice to listen for in the future. The Winterstürme aria is precise and demonstrates a golden voice, while the conclusion of his duet with Sieglinde is electrifying. He has both the sense of drama and the vocal power and beautfy for this music."Dominic McHugh, MusicOMH.com
"The Volsung twins are an impressive pair, too. Stuart Skelton… has reserves of intensity which … are used to genuinely thrilling effect."Arnold Whittall, Gramophone
"An almost entirely Australian cast, headed by Stuart Skelton and Deborah Riedel's exceptional Volsung twins. Skelton's Siegmund blends the lyrical and heroic compellingly.""Michael Scott Rohan, BBC Music Magazine
"It is Stuart Skelton who gives the stand out vocal performance, his youthful, ardent voice with its rich baritone quality making him an ideal Siegmund. Right from the word go, the opening moments of Act I are stupendous – the orchestral sound during Siegmund's running-through-the-forest prelude exemplary, and both Deborah Riedel's Sieglinde and Stuart Skelton's Siegmund performances are highly impressive. ……….Skelton's contribution particularly struck me as I listened to the recording – the budding heldentenor ring was blossoming before my ears most impressively, and was a consistent thrill right through to his demise in Act II, and was complemented by splendid vocal acting. [Skelton's] extended story-telling near the end of the act is very impressive – its dynamic range astonishing, impressing particularly when it's reined in to the very brink of inaudibility, but as robust as they come when he lets loose the decibels required to do full justice to the interminably held Notungs as he names the sword in the tree and wrenches it free…"Michael Sinclair, The Opera Critic
"Stuart Skelton was simply heartbreaking as a shambling, bewildered Grimes, implying derangement in this lonely fisherman, his vocal flexibility allied to despairing body-language."Christopher Morley, Birmingham Post
"Given today's most accomplished interpreter of the violent-visionary fisherman, Stuart Skelton, and a conductor in Vladimir Jurowski always poised hawk-like to claw revelatory new detail from the score, the musical performance was as unforgettable as they come."David Nice, The Arts Desk
"Skelton was superb when he sang Grimes in David Alden's exceptional ENO production four years ago, but now, with his experience of singing roles such as Tristan and Otello, there's an extra dimension, and the vocal heft is complimented by a touching delicacy when needed; his angry despair in his second-act confrontation with Ellen was heartbreaking, Every facet now is exceptional."Andrew Clements, The Guardian


text:
Town Square
County focuses on water mitigation measures for Tassajara Valley cemetery
Original post made on Mar 5, 2013
Read the full story here Web Link posted Monday, March 4, 2013, 4:16 PM
on Mar 5, 2013 at 10:45 am
This cemetery is misguided, yet another attempt at despoiling the Tassajara Valley to make money off of an agricultural zoned property. These uses spew toxics into the ground as human bodies decay.
We have the New Farm to its north that would be better called Fake Farm. And now we have a proposed "Dead Farm" to the south where toxicly altered bodies will be planted into our ecosystem.
Stop this insanity. Take your cemetery somewhere else, or use the existing ones in the area, which have more than enough capicity these days with more and more people opting for cremation and memory walls.
Additionally, yet another stupid reason to use water for monster green lawns, in a place that has no place for these lawns. How about requiring the cemetery to use gray water, that they pay to pipe in themselves, so they can avoid over taxing the aquifer.
Fight this travesty, say "NO To Dead Farm"
or better yet: "Dead Farm: Dead on Arrival!!!"
on Mar 6, 2013 at 7:25 am
Why the need for a traditional "green lawn" cemetery?
Why not the natural native golden grasses already growing in this area?
Nature's own xeriscape.
on May 22, 2014 at 1:54 pm
I am outraged that this is even being proposed! We live in an area where lawns should be considered a luxury, and yet this group is proposing a huge lawn and landscaping for over 45 acres? If there is a need for a cemetery in the area, why not let nature landscape it?
I understand, sort of, some peoples' need to have a destination to "visit" their loved ones. My father died in October 2013 and my mother January 2014. They were cremated and their remains placed in Urns in a Memorial Garden. This was my sister's wish. I wanted to scatter them. She has yet to visit. No one in the family has.
From what I read in the article, there are cemeteries already existing in the Bay Area with Vacancies. Sound to me like someone aims to capitalize on families in mourning.


text:
PARK CITY, Utah — The CEO of a U.S. company is accused of assaulting a star of the now-canceled ABC Family reality show "Beverly Hills Nannies" at his vacation home.
Prosecutors in Utah say they've charged 51-year-old Patrick Henry with assault, damaging or interrupting a communication device and criminal mischief. He's set to be arraigned March 18.
Authorities allege that Henry was hosting Ariane Bellamar at his home Jan. 23 when he assaulted her and threw her phone to the ground when she tried to call for help. Police say the phone's screen was cracked.
Henry is the CEO of the tech company Entropic Communications Inc. He issued a statement published by the Los Angeles Times saying Bellamar was drunk at the time and the assault accusations are false.


text:
Nuin - Ash
Feb 19 - Mar 17
Color: Glass Green
Class: Cheiftain
Letter: N
Dancing Willow Coven
is a Welsh based British Traditionalist/Elemental working Coven in the Piedmont Triad of North Carolina, devoted to developing a sense of unity and pride within our community, the state, and the surrounding areas.
Celtic Tree of the Month
Meaning: Locked into a chain of events; Feeling bound.
Y Ddraig Goch ddyry gychwyn
Croeso cynnes iawn!"
A very warm welcome!
About Us
About Our Priest
Historical Tidbits
Sabbat Recipes
Random Pagan Topics
Sacred Places


text:
A man wanted in connection with former football star Aaron Hernandez's alleged slaying of Odin Lloyd will waive his right to a rendition hearing and be sent to Massachusetts "as soon as possible," the man's attorney said Saturday.
Ernest Wallace, 41, turned himself in to police in Miramar, Fla., Friday after learning that authorities had issued a warrant for his arrest, said David Meier, his attorney. He is being held without bond while he awaits rendition on charges of being an accessory after the fact to murder.


text:
Monday, May 09, 2011
no fragrance as foul as the scent of desperation...
Last week, Catherine and I attended a party at Gump's, which I attend for the sole purpose of being photographed by someone from Drew Altizer. I have zip, zero, zilch interest in anything that party was celebrating (some book, I think) because all I care about is perfecting my society photographs so I can one day be a good enough person to be included in a tiny photo in a local magazine full of advertisements and Hermes beach towels.
There is a small part of me in which my grandmother still lives and she was in full bloom at Wednesday's party. Catherine and I followed that photographer around all night, as Catherine politely tolerates my sick, sad needs.
While I know this most recent collection of photos don't make the grade of the Sunset Beacon much less 7x7, San Francisco Magazine or Paper City. But I think I'm getting better. Or worse, depending on how you look at it.
I did not cross my legs for the standing pose. Brock advises against this as he claims it makes one look like one needs to pee, but Brock is, by his own accord, pin thin. I have the calves of a hearty hill-dweller. So for next time, it's the standing cross. I'd rather look thinner and holding it, don't you agree?
The second thing I need to work on for next time is looking at the camera as opposed to the photographer, who I am obviously desperately trying to befriend. I look like David Patterson in this photo.
I'm now at like, 8 physical things to remember: Back straight, head up, chin down, shoulder tilt, medium smile, eyes open, legs crossed and eye on the lens. Remembering all of this in the split second the photographer says, "Can I take a quick shot?" is virtually impossible. I don't know how those dumb broads do it.
Catherine, who is perfect in every way, feels she needs to work on "taming" her hair.
The third and final lesson I need to work on the next time I am photographed is to not care about something so stupid, shallow and pointless.
But I suspect it's far more likely I'll just remember to cross my legs.
5 comments:
- Clair said...
I say bigger smile, and is that a scarf in your hand? Wear it, it's just a little unusual. But then, I'm definitely not destined for even the background of one of those photos, so what do I know?
- Beth Spotswood said...
Oh Clair, hot tips. I agree. There's a fine line between big smile and too big smile. I have yet to find the perfect balance.
- Brock said...
I'm now technically considered clinically obese. I go back and forth...
Maybe start out submitting some shots to the Sunset Beacon and work your way up?!
Both photos are lovely and you and Catherine look fantastic. The Pennysaver would be lucky to have you amongst their society photos and coupons.
Maybe a little something like this next time will convince 7x7.
- Seana said...
You should rock the beauty pagent pose (hips at 3/4 turn, front leg slightly bent, ankle of front leg at mid point of back foot, shoulders front). Sounds way more complicated than it is, but it gives you the silouette you are looking for and no look of needing to pee.
BTW, you look great.


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A few months back my brother my told me that UFC 111 is scheduled to be at the Prudential Center in Newark on March 27th. So hey, that could be cool. I've never been to a UFC event before, never been to the Prudential Center even though it's only fifteen minutes away, and it would be nice to see what the arena's like since the Nets might move there next year. (Turns out they are moving there next year).
The end result is that I somehow get talked into dropping 315 dollars on a ticket. 315! Here is a list of things that, had I known it were going to cost me 315 dollars to go, I would likely have bought instead.
- Wrestlemania 1985-2005 Anthology or Royal Rumble Complete Anthology
- Marshawn Buffalo Bills or Aaron Rodgers Green Bay Packers jersey
- Heavy Rain or God of War III for PS3
- hookers and blow
And to think I could have gotten pretty much one of each of those things instead for the same price.
The card:
Nate Diaz (-300) vs. Rory Markham (+240)
Sherdog's bottom line: This is a much tougher matchup for Diaz than most seem to think -- he's going to get clipped on the feet repeatedly by Markham. The only reason Diaz will win is that his chin seems to be reinforced with adamantium, which will keep him upright long enough to work a takedown and exploit the difference in talent and technique on the floor. A wild fight ends with Markham falling into Diaz's web of submissions.
If I were a betting man, the fact that Sherdog says this is going to be a tougher fight than most would think would make me want to bet on Markham. You know, if I had an account at Bodog.com or something. If.
Ricardo "Cachorrao" Almeida (-160) vs. Matt "The Immortal" Brown (+130)
Sherdog's bottom line: There really is no telling how the drop in weight will affect Almeida, but it certainly won't turn him into a double-leg machine. A few stuffed takedowns will leave the New York native desperate, and once Brown gets a whiff of worry, he'll start pouring on the pressure and pain for the win.
Ricardo Almeida was the head instructor at a Brazilian Jiu-Jitsu dojo that my brother attended during his days at Princeton, so I'll be rooting for him. Not knowing much about him otherwise, it seems a little surprising to me to see that Sherdog think he's lose though Vegas has him as the favorite, but the main concern seems to be how Almeida's skills will transition over to the lighter weight class and a reliance on wrestling due to weak striking skills. That and it's hard for me to root for anyone other than Hulk Hogan trying to pull of "The Immortal" as a nickname.
Rodney "Sho Nuff the Master" Wallace (-130) vs. Jared Hamman (EVEN)
Sherdog's bottom line: Every undercard now seems to have a fight designed to help the UFC shed a contract, and this is definitely it. Wallace isn't going to willingly slug it out, and his takedowns are plenty good enough to get Hamman way outside his comfort zone. Plenty of positional dominance will eventually pave the way for Wallace to notch a late submission at the expense of Hamman's right arm.
Essentially, both guys suck, so this is a de facto Loser Leaves Town match. I'm a sucker for those. And who comes up with a name like Sho Nuff the Master? Wouldn't most people just pick one or the other instead of concatenating both of them together? I feel like that's enough for me to want him to win and stick around.
Rousimar "Toquinho" Palhares (-160) vs. Tomasz "Gorilla" Drwal (+130)
Sherdog's bottom line: Barring a blink-and-you'll-miss-it submission in the first few minutes, Drwal is going to best Palhares with superior striking and wrestling. The strength advantage Palhares is accustomed to having won't exist in this fight, and it will likely end with him on the business end of a ground-and-pound TKO.
Can a brother buy a vowel?
Matt Riddle (-250) vs. Greg Soto (+190)
Sherdog's bottom line: It's always worrisome to see a young fighter overwhelmed by something as simple as fighting overseas, but Riddle is owning up to his mistakes and trying to fix them. A big part of the fix will be serving up another top-control special at Soto's expense, and that is exactly what everyone should be expecting. There won't be much in the way of excitement, but Riddle will take home an undeniably dominant decision.
I hope Riddle comes out in a big suit with a giant question mark on the back. Short of that it's hard for me to get excited about this one.
Jon Fitch (-450) vs. Ben "Killa B" Saunders (+300)
Sherdog's bottom line: It takes a lot more than kicks and knees to beat Fitch, and that's a lesson Saunders is going to learn. Three frustrating rounds end with Saunders dropping a unanimous decision and questioning the wisdom behind his bravery.
That assessment of Ben Saunders' chances pretty much confirms the underlying belief I've had about the usefulness of my skills as a black belt in taekwondo in a serious fight.
Kurt "Batman" Pellegrino (-250) vs. Fabricio "Morango" Camoes (+190)
Sherdog's bottom line: This just isn't the right fight for a developing fighter like Camoes. Pellegrino isn't going to stand and trade with him or give him any openings to work with on the mat. The pressure of constantly defending takedowns is going to wear on Camoes as well, and three rounds of frustration will end with him losing a unanimous decision.
I feel like foreign language nicknames should be translated in situations when that nickname isn't obvious. Situations like Mauricio "Shogun" Rua and Antonio "Minotauro" Noguiera are great, but what am I supposed to do with a nickname like "Morango". Oh. It's Portuguese for strawberry. Why, that's a TERRIBLE nickname.
Jim Miller (-500) vs. Mark Bocek (+325)
Sherdog's bottom line: This just isn't the kind of matchup Bocek can win, and it'll show early as Miller scores takedown after takedown while handily winning the striking exchanges. Opportunities will be few and far between for Bocek. Miller will build up an insurmountable lead on the scorecards and maintain control every step of the way en route to a unanimous decision nod.
If this fight turns out the way Sherdog is thinking, I think I'll take my bathroom break during this.
Frank Mir (-170) vs. Shane Carwin (+140)
Sherdog's bottom line: This is one of the most evenly matched heavyweight bouts in some time on paper, but odds are it won't last terribly long. Carwin's unproven submission defense and Mir's obvious distaste for punishment are combustible flaws that will cost one of them dearly come fight time. Bank on Mir's superior technique on the feet to give Carwin fits before an ill-advised takedown lands Carwin in a fight-ending submission.
I'm a little confused about the line here, given that Brock Lesnar utterly destroyed Mir in their last matchup and Carwin was supposed to be his next legitimate challenger...are there no other legitimate heavyweights? I'm not so sure the world is hankering for another Lesnar/Mir showdown, though I did enjoy Lesnar's heel rant after demolishing him in their last fight. It was nice to see Sable again too.
Georges "Rush" St. Pierre (-625) vs. Dan "The Outlaw" Hardy (+425)It would be far from unbelievable if Hardy starched St. Pierre, though. Opponents suicidal enough to throw down with Hardy are putting their short-term health at risk. However, St. Pierre is becoming a more and more cerebral athlete, which is a terrifying trend for both Hardy and anyone else banking on goading St. Pierre into a low-rent brawl. A dominating performance for St. Pierre reaches its inevitable conclusion with an overdue tapout from Hardy in the third round.
Sherdog's bottom line: Hardy is going to be an entertaining presence in the welterweight division for a long time. A potential bout with his equally truculent rival Josh Koscheck down the road would make for one of the most epic displays of pre-fight vitriol in modern times. With that said, St. Pierre is like refined King Cobra venom to one-dimensional strikers like Hardy.
I feel like GSP really could use a much better nickname, but his last name really doesn't lend itself to such trivialities. You could make a case for him sounding extremely badass like a European assassin, or some prissy waiter in a high-class French restaurant. Not a whole lot of room for a nickname in there. Though I suppose a meaningless nickname like "Rush" gets the job done well enough given the circumstances.


text:
Homeless brothers stole to eat, court told (From Darlington and Stockton Times)
Send us your pictures, video, news and views by texting DST to 80360 or email us
Homeless brothers stole from Darlington store to feed themselves, court told
Updated 3:37pm Thursday 6th February 2014 in News By Alexa Copeland, Reporter (Darlington)
TWO brothers who found themselves homeless and penniless after a spell in prison stole sandwiches to feed themselves, a court heard.
Defence solicitor Sonny Lawson said Nathan Young, 23, and Philip Young, 22, were sleeping rough and had no source of income when they each stole a sandwich from Sainsbury's on Duke Street, Darlington.
The combined value of the sandwiches amounted to £4.90 and the brothers pleaded guilty to theft at Darlington Magistrates' Court today (Thursday, February 6).
Mr Lawson said the pair had recently been released from custody and had "fallen into a gap" where they were waiting for the relevant authorities to help them find a home and an income.
He said: "They were both homeless, both hungry, both sleeping rough."
The court heard that that since the theft on January 25, the brothers had been assigned a key worker who had helped them find accommodation on Hartington Road, Stockton, and had helped them apply for benefits.
Mr Lawson said now their lifestyle problems had been resolved, the pair were determined to stay on the right track.
Magistrates imposed a six-month conditional discharge and ordered each man to pay £40 in court costs and charges.


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Hongxia Tong, Jian Cao, Shensheng Zhang, Minglu Li, "A Distributed Algorithm for Web Service Composition Based on Service Agent Model," IEEE Transactions on Parallel and Distributed Systems, vol. 22, no. 12, pp. 2008-2021, December, 2011.
@article{ 10.1109/TPDS.2011.127,
author = {Hongxia Tong and Jian Cao and Shensheng Zhang and Minglu Li},
title = {A Distributed Algorithm for Web Service Composition Based on Service Agent Model},
journal ={IEEE Transactions on Parallel and Distributed Systems},
volume = {22},
number = {12},
issn = {1045-9219},
year = {2011},
pages = {2008-2021},
doi = {http://doi.ieeecomputersociety.org/10.1109/TPDS.2011.127},
publisher = {IEEE Computer Society},
address = {Los Alamitos, CA, USA},
RefWorks Procite/RefMan/Endnote
JO - IEEE Transactions on Parallel and Distributed Systems
TI - A Distributed Algorithm for Web Service Composition Based on Service Agent Model
A1 - Hongxia Tong,
A1 - Jian Cao,
A1 - Shensheng Zhang,
A1 - Minglu Li,
KW - Distributed planning algorithm
KW - web service composition
KW - software agent
KW - service agent model.
JA - IEEE Transactions on Parallel and Distributed Systems
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[18] J.S. Simao and Y. Demazeau, "On Social Reasoning in Multi-Agent Systems," Inteligencia Artificial, Revista Iberoamericana de Inteligencia Artificial, no. 13, pp. 68-84, 2001.
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Warning: GEAR POST
This is a long delayed gear post that has been requested by a few of you. So here it is. As of January, this is my current chest rig for SAR. the following is a detailed list of everything involved, if I miss something let me know and I will correct.
Photo 1 & 2:
This is everything I carry on me except the stuff in my pockets. On the top left is a Petzl Ecrin Roc Helmet with a SureFire Minimus.
In the middle is my chest rig. The base of it is a First Spear Modular Chest Rig. Attached to it is a MSM Stealth Utility/Admin Pouch and a Emdom-MM GPS Pouch. On the Right of the Chest rig is a DPx HEST Original and a Wouxun KG-UV6D kept by a Mojo Retractor (see photo 5). On the right shoulder strap is a Grimloc holding on a Go-tube and PIG FDT-Alpha gloves (see photo 7). Behind the admin pouch is some glow in the dark trauma shears (see photo 4).
Pack: Arc'teryx Axios 35
Photo 3 & 4:
Here you can see the front opened up on the admin pouch and the GPS pouch. On the admin pouch's map pocket I usually keep maps and team info ready to go for quick access. The GPS shown here is a Garmin Foretrex 401, but usually an eTrex Venture is in that pouch. Inside the front pouch is a few pairs of nitrile gloves and a bunch of bandaids for quick access. Behind the map on the Admin flap is a mechanical pencil, marker, and chem light. Behind them sits a Silva Ranger compass.
Photo 6:
In this photo is the contents of the main pouch in the Admin Pouch. On the left is a whistle and a ferrocerium rod tied together for quick and easy access. Next to them is a roll of gorilla tape (~12 ft, 3.6m). A write in the rain note pad with some info in it and for taking notes as scribe/mission briefing. And a Surefire L1Digital (discontinued).
I made a video explaining the gear a little more and you can view it here. Most of this gear has been tested and put through some hard stuff. I really enjoy all of it, and its taken me a while to get it to where it is now. Some of this stuff might work great for me but for you might not, so this is not a buying guide, more so just to show you what I use and how I set it up. If you have any questions feel free to shoot me a message and I will gladly give my input.
For more stuff like this click here & here
Enjoy and stay safe.
Cool overview of HUFF's SAR chest rig.
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Get inspiration and information to start your edible garden creations.
When we grow, we grow more than just plants. These growing stories will show you what's possible and inspire you to tell your own.
There are many inspiring ways to spruce up your garden beds with a little color.
Our commitment to create 1,000 community gardens.
If you've picked the fruits and vegetables in your garden but find you can't eat them all, don't let them go to waste.


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Coyotes In Guilford County
"Guilford Sheriff 911," a thirty-minute community affairs program that examines everything positive in Guilford County, airs Saturday June 16, on Cable Access Channel 8 at 7:30 PM. Host and Sheriff BJ Barnes welcomes Todd Menke, Assistant State Director North Carolina, USDA-APHIS-Wildlife Services. Mr. Menke, also a Certified Wildlife Biologist, says that since the first North Carolina coyote sighting in the late 1930's the population has been growing steadily. The reclusive coyote is indeed living here in Guilford County, but is this anything to fear?
- The first Guilford County sighting was around 1997.
- Extremely adaptable, they have the ability to live even in urban areas.
- This carnivore weighs from twenty to forty-five pounds.
- They have been known to take pets and livestock, but not their preference.
- Mostly active at night, they are rarely seen by humans.
- Leaving pet food outside attracts them, puts your pet in danger.
- Since they are not a game animal, there are no laws protecting coyotes.
- They can be hunted year-round, with a license, and trapped in season.
- If you hear the "western howl" dusk to dawn, you know they are near.
- Generally, they run from humans and are not aggressive.
- Never, ever feed them. Often there are unintended consequences.
Next on this episode, we present the Monday June 11 grand opening and ribbon-cutting for the new jail in downtown Greensboro. Eighteen years of effort and almost three years of construction have finally seen the largest building project ever undertaken by Guilford County completed. This week we feature celebratory remarks from Chair of Commissioners Melvin "Skip" Alston, Commissioner Paul Gibson, and Sheriff Barnes. In next week's show, we'll take viewers on an extended tour of the inside of the facility to see its unique features.VIDEO COMING SOON - Coyotes In Guilford County


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Graphic Designer Job in Kenya
Category: General Jobs in Kenya
Posted: Jan 31, 2014
Original Images is looking for a Graphic Designer
Have the ability to interpret the client's business needs and developing a concept to suit their purpose.
Ability to think creatively to produce new ideas and concepts.
Ability to develop design briefs by gathering information & data through research.
Have some experience & a portfolio to show for it.
Have some experience working with some of the basic digital printing machines.
Conversant with Illustrator & Illustrator.
Education: A diploma in graphic design or acquired the skill through work experience.
Education: A diploma in graphic design or acquired the skill through work experience.
Position Application
- Email a portfolio & CV on PDF.
- Email subject; GRAPHIC DESIGNER.
- Attach a PORTFOLIO
Email address: [email protected]