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Total Wine, the chain of delightfully enormous alcoholic beverage emporia, might never have made it to Texas were it not for a strip club. Twenty-four years ago two guys, one from Florida, one from Tennessee, decided to buy a San Antonio Baby Dolls. They had the cash. They had the expertise. Their ... More >>
A top UFC trainer builds a house of champions. Allegations of psychological and sexual abuse tear it down.
There are some foods that aren't legally available in Texas due to federal import bans. Haggis from Scotland, for example, is banned because of restriction on importing sheep's lung. The Kinder Surprise, the Italian-produced chocolate egg filled with toys, has been banned because of the choking haza ... More >>
You are a governor of a big state. Someone just shot and killed more than a dozen people in the nation's capital. Question: Should you tour a gun factory the next day? If you're Rick Perry, the clear answer is yes. As part of his job-poaching tour in Maryland, he took a look Wednesday around the Be ... More >>
Last January, an FBI agent based in Maryland was cruising through a peer-to-peer file-sharing network in search of child porn. There, he stumbled upon a user named "Classybitch," who offered him access to several hundred videos and images with file names like "Taboo Incest - Grampa Fucks Sleeping Gi ... More >>
Since Congress started wrestling with stricter gun control laws early this year, school officials around the country have been on edge about how to handle threats of violence from students. There have been a lot of draconian responses in the last few months. In one case, a eighth-grader in West Virg ... More >>
The documentary Cafeteria Man lays out the uphill battle faced by Tony Geraci as he took on Baltimore school system bureaucrats to overhaul the school lunch program. Geraci's plan was a simple one, focused on the same local ingredients that many chefs have embraced over the years to build a centrali ... More >>
U.S. Representative Steve Stockman is not a subtle man. We could go so far as to say he has a flair for the dramatic. He is, after all, the man who brought Ted Nugent as his plus-one to the State of the Union address, and compared the Earth to a sort of fuel-filled water balloon. And even further ba ... More >>
You've heard of Snow's BBQ, right? How about Black's and Kreuz Barbecue in Lockhart? The most popular barbecue restaurants in Texas are known for their long lines and wait times as much as they are their meats. But what if you could sit on your couch and wait for a packaged brisket to drop at your ... More >>
Ah, the holidays, that time when you frantically try to figure out what exactly to give whoever you got stuck with in the secret Santa drawing. Maybe you got lucky and selected a music fan; maybe you think you want to give that music fan something that's not just the latest Pitchfork-blessed album, ... More >>
I'm fascinated with Indian cooking. Obsessed. I love the way cooks build layers of flavor and aroma with onions and other aromatics, a cadre of spices and a long, slow simmer. If you've ever cooked a robust curry in your kitchen, you know that the smell that overtakes your entire home is almost into ... More >>
Maryland-based beverage superstore Total Wine is coming to Dallas. The new store, to be located in the shuttered Office Depot location in Park Lane (9350 North Central Expressway), builds on the more than 80 stores the chain has opened in ten states. The recent expansion will add stores to Texas, Ne ... More >>
Coupling a fish counter with a restaurant is the best path to freshness.
Sea Breeze Fish Market and Grill, the subject of this week's review, has had me thinking a lot about seafood and freshness. While the flesh of every animal begins to deteriorate the second that animal dies, seafood is the most fragile of animal proteins. Beef kept under refrigeration actually improv ... More >>
The McDonald's Arch Deluxe anyone?Today's story about Fish McBites and my prediction that they don't last past Lent spurred my curiosity into McDonald's other historic flops. Attempts to regionally market bad food have typically done poorly for the chain. Crab cakes in the Maryland market and ... More >>
Oh, no. The ice-driving season is about to come back to Dallas for its annual reign of terror. We're all going to die. When I moved to Texas from Michigan about 100 years ago, the common wisdom was that people from the North knew how to drive on ice and people from Texas didn't. I liked that versio ... More >>
I know better, more flavorful beers exist. When I go to the Meddlesome Moth I always ask for something tart and rustic. Not the sour lambics loaded with fruit, but the naturally fermented old world beers with a lot of funk. I love sour beers with musty and barnyard flavors. I also appreciate beers t ... More >>
10. We've sorta become desensitized to Oregon's smorgasboard of uniforms with different helmets featuring gray, green, yellow and white and neon-green outlined numbers. Blame Phil Knight and Nike for those. But what about the rest of ya? The opening weekend of college football delivered some gr ... More >>
Scott ReitzFinn, professional left-over consumer A little over a week ago I threw my belongings into a 16-foot Penske, drove down 16th Street past the White House, and headed west. Finn, my 14-year-old wonder-mutt, sat shotgun, along with a spider plant, a bottle of port, some Gatorade and a ... More >>
At least one good thing came out of Dallas garage punk duo Leg Sweeper's appearance at Good Records' Record Store Day party a few weekends back -- the fact that Parade of Flesh's John Iskander was able to use the performance for the bulk of the above live performance music video he just released fo ... More >>
I wouldn't have even known that Purim was upon us if my girlfriend hadn't told me that her friend brought hamentaschen to work for everyone on Tuesday. I promptly Googled the Jewish holiday only to discover that I had missed it. This year Purim stared at sunset on Saturday, March 19 and ended ... More >>
Justin TerveenA little bit o' this and a little bit o' that while admiring that picture taken yesterday by Best of Dallas-certified Justin Terveen:A Friend of Unfair Park whose name rhymes with "Jason Roberts" forwards along this Washington Post piece in which Oak Cliff's Better Block Project ins ... More >>
Alex FloresCrab cake is official food of the Preakness Stakes for good reason. Just as the Preakness is the second jewel of the Triple Crown of Thoroughbred Racing, the simple dish of quality crab meat, and little else, is a crown jewel of Maryland. Thought to be another one of these ancient ... More >>
Tuesday, March 16, at House of Blues
Bike Friendly Oak Cliff was the first locally to make mention yesterday of the fact Google Maps now offers bike trails -- that's the green line you see on the map at right. (Writes Jason Roberts, "It's a good way to see a birds-eye view of our trail system, and will hopefully help when plans deve ... More >>
Don McLean, you lied to us. Or, at the very least, you misled me. His "American Pie" hit the airwaves in 1971. How was a nine year-old listener supposed to know, first off, that good old boys really drink Bud--although maybe it was Schlitz back then--and, more importantly, that rye is a whiskey.B ... More >>
The 'Boys host the symbol of our nation's concern for native peoples on Sunday. Another fact about Maryland's second team...The Redskins are known as a "cupcake" on NFL schedules because linebacker London Fletcher bakes treats for opposing teams in the Easy-Bake oven he's used since childhood.**S ... More >>
Last week, the National Complete Streets Coalition announced that more than 100 cities across the U.S. have adopted at least some of its policies, with Lansing, Michigan and Rockville, Maryland, among the latest to seize the idea that the streets don't belong just to cars. (Ah, yes. Here we go.) ... More >>
Friday, October 2, at The Cavern
Tonight, at the Hydrant Cafe, Spune Productions has booked a performance from the Maryland-based Cotton Jones--check 'em out performing in the above in-studio clip for the Seattle based radio station KEXP. Theirs is an interesting sound, combining elements of lo-fi, ambience, pop, psychedelia and fo ... More >>
He refers to Blue Canyon Kitchen as his dream, an opportunity to create something distinctively American--a fusion of the country's traditions and regional flavors.Before his Cleveland restaurant began raking in awards, Evans worked as Charlie Palmer's sous chef. Perhaps that's where he learned to i ... More >>
Lara Solt, a Dallas Morning News staff photographer, just won an online-photography award from the Military Reporters & Editors Association for a collection of images that chronicled a U.S. Marine's recovery after a bridge exploded beneath him in Iraq. Corporal Eric Morante lost a leg, underwent e ... More >>
Caption-writing contest time, if you don't mind. Lance doesn't. He's tough. Every year, The Washingtonian surveys some 1,700 top aides on Capitol Hill -- "the administrative assistants, press secretaries, legislative directors, and chiefs of committee staffs" -- for its Best & Worst of Congress issu ... More >>
A long way from the shore, Frisco's BayGrill does fish (mostly) right
David Lee Roth and Co. jump at the AAC
On a recent flight from Houston to Dallas, my plane-ride banter took a grisly turn when I learned why the woman next to me was coming home to Big D. She lives in Maryland, and the day before, her brother's Labrador mauled their elderly mother, leaving both of her hands riddled with puncture wounds ... More >>
The voodoo thing is closing in on us. I wrote a well researched and highly readable column about the voodoo pot found recently in Hutchins just south of Dallas. Now two more Palo Mayombe voodoo cauldrons have been discovered in Conowingo, Maryland, with a human skull and human leg-bones in them. A s ... More >>
The Oak Lawn Eatzi's will be the only one left at the end of business today. Yesterday, the local corporate office of Phil Romano's gourmet take-out chain Eatzi's Market and Bakery was closed down. At the end of business today, its outlets in Houston, Atlanta and Rockville, Maryland, will shutter f ... More >>
You've got to have balls to sell BioPerformance's hot product--mothballs
Sunday, August 8
Order the coffee black; you'll need it at the dull Z'Tejas Southwestern Grill
November 30
Can't find your favorite alcohol? Blame bureaucracy.
What are chitlins, and why would anyone eat them?
Harlem Globetrotters double dribble the yuks
Speak now, or forever wish you hadn't wasted eight bucks
So three people go into the woods and only a camera comes out...


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A prisoner told the jury-trial for the civilian accused Semisi Kalisitiane Manu in the death of Kali Fungavaka, he saw Manu punch the victim inside cell 7 causing him to fall banging his head hard on the floor. While, another prisoner alleged to have witnessed beforehand the police beating up Kali "like treating an animal".
You are here
Results for jury trial
The jury trial for the civilian accused of manslaughter in relation to the death of New Zealand Police officer Kali Fungavaka in 2012, began today, Monday May 19 at the Nuku'alofa Supreme Court.
The first sitting of Tonga's Court of Appeal which ended on Wednesday, April 9, in Nuku'alofa delivered judgments, that included reducing a 16-years sentence imposed on a man who sharpened his knife and stabbed his sleeping wife 23 times. The court replaced it with 10-years imprisonment with the final two-years suspended.
Tamasi Kailahi, (23) of Holonga, Tongatapu, walked out a free man from the Nuku'alofa Supreme Court on March 2, after a jury dismissed the Murder and Causing grevious bodily harm charges against him.

subset: commoncrawl


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Balduccis made a big mistake by advertising boneless spiral ham as Delicious for Chaunkah. [NYDN]
Contradicting his colleague, Frank Bruni defends the entre, arguing that a too-long sequence or too-broad collection of too-small plates is like being tickled and tickled and never flat-out hugged. [Diners Journal/NYT]
Le Bernardins James Beardawardwinning pastry chef enjoys a nice Snickers bar with almonds at the end of the day. [Restaurant Girl]
Todays eggnog recipes are lighter and more flavorful than before, not to mention less prone to carrying foodborne bacteria. Drink up! [NYDN]
Latke Larry: The Worlds Only Talking Chanukah Gift. Thanks, Jerry Stiller! [Gluttonist]
In between cooking portions of truffled macaroni and cheese, Dave dont call me a bitch, bitch Martin from Top Chef found time to personally paint the brightly colored squares on the walls of his new restaurant, Crave on 42nd. [Restaurant Girl]
The Mud coffee truck has become the Love Street Coffee truck, but you can still get your Mud fix at the stationary location. [Vanishing NY]
If you're still looking for a Christmas-dinner venue, here's a roundup including Les Halles, Esca, and Spain. [amNY]


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GreatSchools Rating
Teacher quality
Principal leadership
Parent involvement
My son went to Hannum for Kintergarden, and honestly, the school rating does not reflect how amazing this school is. They have Kindergartners reading and writing paragraphs and solving simple algebra problems by the end of the year. Teachers, staff, and the principal are all WONDERFUL to work with. Also, I have lived in the area for many years. It's a safe, family centered, nurturing environment.
The teahers are very intelligent as is the Principal. The Principal is always smiling and ready to go every day. The office staff is fabulous. I can't say enough about what the kids are learning. They are challenged and their days are filled with lots of learning in fun and interesting ways. The only issue is that parents need to get more involved in their child's daily learning and care. It is easy to see the kids that yearn for their parent's attention.
The school is very student-parent oriented. The faculties, nurse, and principal are so nice. The place has childcare for early drop off with KLC and very affordable. Highly recommended.
My daughter is in first grade at Hannum and I am very impressed with the Teachers and the new principle. My involvement in her education is welcomed with open-arms and the communication is GREAT! She will definitely be there next year!
Hearing from the students it has very unique and fun learning, also teachers are nice.
Hannum welcomed my child with open arms. The teachers and faculty was awesome. My child exceeded in all her subjects. She improved in the subjects that were difficult for her. Thanks to Hannum A concerned parent,
This school is awesome. We have been here 6 years now and am very happy with the attention and education that my children are receiving. The teachers are great and friendly and the parents and PTA are very involved. The principal does a fantastic job making the parents fell involved and the kids feel special. My youngest will start Kindergarten next year and there was never a doubt that we would stay in the area and continue with our years at Hannum.
I feel that this school is very good. My son has attended kindergarten and 1st grade here. They have put him in reading programs that have excelled his reading dramatically. I have nothing but confidence in my sons education thanks to the teachers and staff at Hannum.
I have been with this school for about four years and I am so impressed with Hannum. The PTA is awesome and they know that every child is special. The teachers are fantastic and are very involved with the Class.
Community ratings and reviews do not represent the views of GreatSchools nor does GreatSchools check their accuracy or verify the reviewers' identities. Use your discretion when evaluating these reviews.
The Community Rating is the school's average rating from its community members (e.g., parents, students, and school staff). The highest possible rating is five stars; the lowest is one star.
9800 South Tripp Avenue
Oak Lawn, IL 60453
Phone: (708) 423-1690
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Quack, charlatan, cheat – fibber, peddler and all-round swindler – meet Dr Dulcamara! Or rather, let him introduce himself.
'Udite, udite, o rustici' (Listen up, you villagers!) is Dulcamara's grand entrance to Donizetti's L'elisir d'amore. He's arrived fashionably late; we've already met the three other main characters and got to grips with their convoluted love triangle (hopeless Nemorino loves confident Adina; she loves him but doesn't realize it and has decided to hitch herself to passing pompous soldier Belcore). But none of that matters to Dulcamara – he's here to put on a show and make a fast buck while he's at it.
He's sent an advance party to rally an audience, armed with a cornet and a fanfare. You might at first be reminded of the bombastic Belcore and his militaristic entrance – but there's something wrong about this three-time fanfare, something... wonky, as it thumps jauntily onto the middle beat before enthusiastically skipping up an arpeggio.
Wonky or not, it does the job, and soon there's a horde of villagers gathered. Their growing excitement is mirrored in throbbing bass, urgent horn calls and breathless vocal lines, plus some fabulously outrageous key changes (fortunately temporary) as they consider who the stranger could be: 'Some GREAT person – maybe a DUKE – or something better!'
Eventually the great man arrives. While his ramshackle appearance might be a bit of a disappointment, Dulcamara makes up for the shortfall with opening music of portentous grandiosity. 'Listen up!', he says – and even the orchestra waits on his every word. In slow parlante he relishes the rapt attention – 'You all know who I am, of course' – his profound vocabulary – 'the great, encyclopedic Dr Dulcamara' – and some off-the-cuff hyperbole – 'known throughout the universe, and – and – beyond!'.
A sighing violin melody takes us into the next section as Dulcamara modestly recommends his medicines, which benefit everyone and cure everything. He warms to his theme in a couplet that turns the melody on its head: Dulcamara charges up the scale in a vehement crescendo to proclaim what will be the key words of the aria: 'Buy it – I'm selling for almost nothing!'.
Finally we get to the patter. By this point in the aria Donizetti's audience would have been champing at the bit for a taste of this buffo baritone trademark, a waterfall of words delivered in next to no time. Donizetti has twisted the genre role slightly for Dulcamara – he's no fussy old man, like the archetypal Bartolo in Le nozze di Figaro and Il barbiere di Siviglia. Instead, the composer and his librettist Felice Romani have ingeniously used the form to characterize a sales spiel of extraordinary vigour.
Accompanied by an insistent flute melody, Dulcamara enumerates the magical abilities of his mysterious tonic at top speed. There's little melodic variation here for the doctor – the focus is on the words, spat out with the elation of the naturally verbose. Romani's patter text moves brilliantly from ridiculous-sounding to more ridiculous-sounding – try the tongue-twisting 'Gli apoplectic, gli asmatici, gli asfitici, gl'isterici, 'i diabetici' (the apoplectic, the asthmatic, the asphyxiated, the hysterical, the diabetic').
Dulcamara reaches his patter apex in a discussion of price, now with the whole woodwind chattering away at him. He should sell his potion for a 100 scudi, but he won't; nor 30, nor 20 – but just for one scudo! The chorus exclaim their delight in a firm cadence. Dulcamara returns to the opening style as he carefully lays out this tremendous deal – before prompting his cornet player to take up that wonky fanfare.
Accompanied by the orchestra in a lilting oompahpah, this three-time melody becomes an infectiously catchy dance theme. The chorus flock around Dulcamara as the orchestra texture thickens. At the end Dulcamara can't help taking the limelight again: he proclaims his happiness at returning to his home country, and how this has prompted his remarkable generosity (believe that if you like). But he soon joins the chorus in a rousing climax, reiterating those magic words – 'Almost nothing! Almost nothing!'.
L'elisir d'amore runs 18 November–13 December 2014. Tickets are still available.
The production will be broadcast live to cinemas around the world on 26 November 2014. Find your nearest cinema here.
The production is a co-production with Opéra National de Paris and is given with generous philanthropic support from Mrs Aline Foriel-Destezet.]]>
Venice: city of corruption, sickness and decay – not to mention a great tourist destination. You've heard it all before, from Don't Look Now to Casino Royale. But the city has also played a crucial role in the development of opera – perhaps more than you might expect, given that we tend to consider the city's golden age to have ended with the 16th century. Venice has been home to countless opera premieres; it has provided a home for some of the most prolific Italian operatic composers; and its reputation of putrefying glory has directly inspired several great operas.
Claudio Monteverdi arrived in Venice in 1613 as the maestro di cappella of San Marco. He had already created opera's first masterpiece, Orfeo, in Mantua in 1607. In Venice he wrote the only two other of his operas to have survived, Il ritorno d'Ulisse in patria (The Return of Ulysses to his Homeland) and L'incoronazione di Poppea (The Coronation of Poppea). The latter was probably his last work, written when he was 76 and first performed in 1643. It glorifies the ruthlessly ambitious Nerone and Poppea in their triumph over the forces of good and offers a compelling psychological insight into the pair, anticipating opera's greatest anti-heroes.
Venice would see a host of major world premieres over the following centuries as it played a central role in the development of Italian opera. Venice-born Antonio Vivaldi had 30 operatic premieres in the city, including his Orlando furioso. Christoph Willibald Gluck wrote Cleonice and Ipermestra for Venice's carnival. Gioachino Rossini wrote ten operas for Venice, including Tancredi, L'italiana in Algeri and Semiramide; Vincenzo Bellini wrote two, including I Capuleti e i Montecchi; Gaetano Donizetti wrote five, including Belisario; and Giuseppe Verdi's Ernani, Attila, Rigoletto, La traviata and Simon Boccanegra were all first performed at the famous La Fenice opera house.
After all this activity, Venice more or less disappeared from the musical map towards the end of the 19th century – though the Italian premiere of Der Ring des Nibelungen was given there in 1883, the same year in which its composer, Richard Wagner, died in the Palazzo Vendramin. The founding of the Venice Biennale in 1930 revived the city to the operatic world. The many major opera premieres that have taken place under its wing include Igor Stravinsky's The Rake's Progress, Benjamin Britten's The Turn of the Screw, Sergey Prokofiev's The Fiery Angel and works by Luigi Nono, Brian Ferneyhough and Salvatore Sciarrino, to name just a handful.
And what of the operas in which Venice itself plays a role? Composers have delighted in exploiting not only the (assumed) atmosphere of degradation but also the music specific to the city, particularly the gondolier's barcarolle. Rossini's Otello is set entirely in Venice, and the offstage gondolier's serenade 'Nessun maggior dolore' ('There is no greater sorrow') just before Desdemona's dreadful demise is one of the opera's most effective moments. Donizetti's Lucrezia Borgia, on the unfortunate (if rather silly) death of the title character's long lost son at her own hands, was one of the great successes of his career. And both Donizetti and Verdi sought inspiration from the Venetian doges – particularly the conflicting demands of duty and familial love – in Marino Faliero and I due Foscari respectively.
Amilcare Ponchielli had his great hit with La Gioconda, in which the evil Barnaba has a malicious barcarolle 'Pescator, affonda l'esca' ('A fisherman awaiting the tide'). Jacques Offenbach set part of his fantasy triptych Les Contes d'Hoffmann in Venice, writing arguably the most famous operatic barcarolle in 'Belle nuit, ô nuit d'amour' ('Beautiful night, night of love'). And Britten's Death in Venice paints a breathtaking portrait of the city: the fruit-sellers and their cholera-carrying strawberries; youths frolicking on the Lido; affluent tourists laughing at a bawdy song in Venetian dialect; and most of all the lilting call of 'Serenissima', at times languid, at others a cruel taunt of lost youth and spent passion – the perfect encapsulation of the dreams and desires this city has inspired.
I due Foscari runs 14 October–2 November 2014. Tickets are still available.
The production will be broadcast live in cinemas around the world on 27 October 2014. Find your nearest cinema.
The production is a co-production with Los Angeles Opera, Palau de les Arts Reina Sofía, Valencia; and Theater an der Wien and is given with generous philanthropic support from Mrs Aline Foriel-Destezet, Mrs Susan A. Olde OBE, Costas and Evi Kaplanis, Colm and Ella Kelleher and Mrs Philip Kan.]]>
Five hundred years after they reigned, we're as gripped by the Tudors as ever. We've recently been treated to Hilary Mantel's Man Booker-winning novels about life at the court of Henry VIII, stage adaptations of those books by the Royal Shakespeare Company, a film version of Philippa Gregory's Tudor novel The Other Boleyn Girl and the corset-ripping television series 'The Tudors' that ran for four seasons.
Italian audiences in the first half of the 19th century enjoyed a similar glut. Opera composers were on the hunt for plots to fuel their audience's love of high drama, and were drawn to the Tudor era like moths to a flame. Gaetano Donizetti's Tudor trilogy Anna Bolena (1830), Maria Stuarda (1835) and Roberto Devereux (1837) are probably the most famous today – but in fact Donizetti first forayed Tudor-wards in Elisabetta al castello di Kenilworth (1829). Adapted in a roundabout way from Walter Scott's Kenilworth, the opera dramatizes Elizabeth's infatuation with the younger Leicester – as we'll see, a favourite theme for Donizetti and his compatriots.
Anna Bolena takes its inspiration from Henry VIII's cold-blooded disposal of his second wife Anne Boleyn; the opera portrays her sympathetically, a victim of Henry's changeable moods. Donizetti's two last Tudor operas returned to the reign of her daughter, Elizabeth, and as with Il castello di Kenilworth, he depicts her as a tyrannical, moody and indecisive queen, in love either with Leicester or Devereux.
Donizetti's Tudor trio might be the most famous Italian operas to draw on the tempestuous family, but they certainly weren't the only ones. Gioachino Rossini's Elisabetta, regina d'Inghliterra (1815) returned yet again to the relationship between Elizabeth and Leicester; Michele Carafa's Elisabetta in Derbyshire (1818) has Elizabeth bustling in Fotheringhay; Saverio Mercadante's Maria Stuarda, regina di Scozia (1821) follows the brave young Mary's battles with rebellious Scottish leaders; there were yet further Maria Stuardas from Pasquale Sogner (1815) and Carlo Coccia (1827); and Giovanni Pacini's Maria, regina d'Inghliterra (1843) and Carlos Gomes's Maria Tudor (1879) looks to an earlier period, at 'Bloody Mary' and her love for another young man.
Love, revenge, executions, power struggles, family feuds – is it any wonder we remain fascinated by the Tudors? But why did this period of English history appeal to a group of 19th-century Italian composers?
Queens themselves were a rarity at the time in continental Europe, and seeing so many together on the stage had a sensational attraction in itself. The Catholic-Protestant tensions of the Tudor period was another tool Italian composers could use to intrigue their largely Catholic audiences.
Italy was also a divided country at this time. Napoleon had redrawn the map and much of the country was ruled over by foreign powers – who weren't averse to seriously censoring these conflict-ridden operas, with Donizetti's Maria Stuarda a famous victim. In his Tudor operas, Donizetti depicts a turbulent world ruled by absolute monarchs, swayed only by their whims while their subjects lived in fear of causing offence. Maybe Donizetti and co.'s fascination with the famously turbulent times of the Tudors is not so surprising after all.
Maria Stuarda runs until 18 July 2014. Tickets are still available.
Maria Stuarda is a co-production with Polish National Opera, Théâtre des Champs-Elysées, Paris, and Gran Teatre del Liceu, Barcelona, and is given with generous philanthropic support from Lord and Lady Laidlaw, Susan and John Singer and Michael Hartnall.
There is a much-repeated backstage line: a bad dress rehearsal means a good first night. True, it is usually spoken more in hope than expectation. But can the reverse be true? What if it was a really good dress rehearsal? Donizetti found out the hard way in Naples in 1834, where he was about to have the premiere of his opera Maria Stuarda. It wasn't the first time – and nor would it be the last – that Donizetti fell foul of the Neapolitan censors.
Maria Stuarda's dress rehearsal went exceptionally well, what Donizetti called 'a fanatical success'. The whole show had been commissioned, written, checked by the official censor who approved it with a few changes, and everything was made ready for the premiere. But just a day or so after, the bombshell dropped: the King refused permission for the opera to be performed.
The reason for the ban was never explained – but we can speculate. It may well have been because the opera includes a scene in which Mary receives confession and absolution. Presenting religious rites and even religious figures is a running theme in the censoring of opera in Italy in the 19th century. But equally it could have been because the first performance was intended to be a Royal Gala and the King had previously forbidden serious subjects for Royal Galas. Whatever the cause the result was the same: all that effort and money and time, but no premiere.
A year earlier, the premiere of Donizetti's Lucrezia Borgia in Milan had been a triumph, but such success did not mean it would automatically be fine for Naples. One of the censors there was so horrified by it that he protested about it to the police, stating that 'it ends with the death of six individuals, five of whom are poisoned at one table, where they have been enticed by the blackest perfidy disguised as polite and chivalrous hospitality'. So, not just a dangerous example of treachery among the ruling classes, but an appalling breach of manners.
Donizetti had written Pia de' Tolomei for Venice, where it was performed in 1837; for Naples in 1838 it had to be revised to accommodate the censors' demands. The same year, Donizetti must have felt Maria's history was repeating itself in the Naples rehearsals for his new opera Poliuto. This was based on Corneille's play on the life of the Christian martyr St Polyeuctus and had already been approved by the official censor. But the King of Naples is reported to have said 'Let's leave the saints in the calendar and not put them on the stage'. And that was that.
It's no wonder that Donizetti's next move was away from Italy to the less restrictive, more glamorous international sphere of Paris, where he arrived more than ready to turn Poliuto into a French grand opera, Les Martyrs.
By 1843, Donizetti's success was international and his operas acclaimed. But he still had to worry about the censors for his Caterina Cornaro, written that year for Naples – even over such details as whether the censors would allow one character to wear a Maltese cross.
Of course, Naples was not the only Italian city with irritatingly intrusive censors. In a Catholic country, suicide is a mortal sin, and so was an action that could not be presented on stage anywhere in the country. As a result, Donizetti found himself required to ensure that Maria Padilla, the title role of his 1841 opera for Milan, should die at the end of the opera not through suicide but 'of joy'.
Just as with Giuseppe Verdi, the censorship Donizetti faced in Italy was a crucial factor in shaping the works he created. The concerns of those Italian censors are not ours, yet the effects of their preoccupations remain in so many works as we know them today.
Maria Stuarda runs until 18 July 2014. Tickets are still available.
The production is a co-production with Polish National Opera, Théâtre des Champs-Elysées, Paris, and Gran Teatre del Liceu, Barcelona, and is given with generous philanthropic support from Lord and Lady Laidlaw, Susan and John Singer and Michael Hartnall.]]>
Rossini's Il barbiere di Siviglia and Mozart's Le nozze di Figaro
Inspired by Pierre-Augustin Beaumarchais' Le Barbier de Séville and Le Mariage de Figaro
Beaumarchais's three satirical 'Figaro' plays guaranteed him lasting fame – particularly the first two, immortalized in opera by Rossini and Mozart. The irrepressible energy of Le Barbier de Séville (the first and most lighthearted of Beaumarchais's comedies) proved irresistible to Rossini, who in Il barbiere created a comic masterpiece. In Le nozze di Figaro, Mozart focussed primarily on the most human aspects of Beaumarchais' second 'Figaro' drama (while keeping plenty of the original's humour), to create one of the warmest and most life affirming works in Western art.
Donizetti's Maria Stuarda
Inspired by Friedrich von Schiller's Maria Stuart
In his great political drama Maria Stuart, Schiller criticizes monarchical absolutism and highlights the dangers of power, embodied in the character of Elisabeth I, who sends her cousin Maria Stuart to death without a fair trial. Donizetti and his librettist Giuseppe Bardari kept much of the play's essential message in Maria Stuarda; but they also removed the complicated political subplots, and created a love triangle between the Duke of Leicester and the two queens. Schiller's explorations of the dangers of absolute power, the benefits of democracy and the heroism of freedom-fighting also provided inspiration for Rossini (in Guillaume Tell) and Verdi (in Don Carlo).
Verdi's Rigoletto
Inspired by Victor Hugo's Le Roi s'amuse
Hugo's great drama depicting the amorous exploits of King Francis I of France was banned after just one performance in 1832, due to its unflattering depiction of a French monarch. When Verdi came across the play in 1850 he described the subject as 'grand, immense' and the character of the crippled jester Triboulet (who became Rigoletto) as 'one of the greatest creations in theatre'. He and his librettist had to fight energetically with the Italian censors to get permission to use Hugo's play – necessary amends included changing the King into a lower-ranking Duke and moving the action from France to Italy. However, much of the play's plot and dramatic tone remained intact. Rigoletto was a sell-out success and is still one of the most popular of all operas.
Debussy's Pelléas et Mélisande
Inspired by Maurice Maeterlinck's Pelléas et Mélisande
Maurice Maeterlinck's fantastical Symbolist plays are rarely performed today, but his Pelléas et Mélisande was hugely popular in the 1890s. Maeterlinck's aesthetic – the exploration of characters' inner feelings through elements of the natural world, often in a fairytale-like setting – was regarded as a welcome contrast to the naturalism prominent in Parisian theatre of the time. Debussy described the effect of seeing the play in 1893 as 'like dynamite' for him. He treated Maeterlinck's text with great respect when he wrote his opera, leaving much of it intact and only omitting a few short scenes. He also ensured that every nuance could be clearly conveyed, with a predominantly syllabic word setting, almost like 'sung speech'.
Britten's A Midsummer Night's Dream
Inspired by Shakespeare's A Midsummer Night's Dream
Shakespeare's much-loved comedy A Midsummer Night's Dream inspired one of Benjamin Britten's most popular operas, composed in less than nine months. Britten and his partner Peter Pears (who took the comic role of Flute/Thisby in the opera's premiere) wrote the libretto, skillfully compressing and reorganizing Shakespeare's text while sticking faithfully to the Bard's words – Britten noted that they added only one line of their own. Britten heightened the supernatural strangeness of the fairy scenes by making Oberon a countertenor (a voice rarely used in opera at the time) and Puck a spoken role, and added to the comedy of the rustics' Pyramus and Thisby play by deftly parodying grand and bel canto opera.
Maria Stuarda runs 5–18 July 2014. Tickets are still available. The production is a co-production with Polish National Opera, Théâtre des Champs-Elysées, Paris, and Gran Teatre del Liceu, Barcelona, and is given with generous philanthropic support from Lord and Lady Laidlaw, Susan and John Singer and Michael Hartnall.
Rigoletto runs 12 September–6 October 2014. General booking opens on 15 July 2014.
Il barbiere di Siviglia runs 19 September–5 October 2014. General booking opens on 15 July 2014.]]>
Best show down since Bette Davis & Joan Crawford #RivalQueens #ROHMaria @RoyalOperaHouse — John Johnston (@JohnVecchio) July 5, 2014
#ROHMaria provides a dramatically weak study of power which didn't respect the audience's right to the best presentation of this work. — Attila (@attilalondon) July 5, 2014
#ROHMaria provides a psychologically astute study of power which respected the piece's historic context without making it a museum piece. — Tom Oxenham (@tomoxenham) July 5, 2014
#ROHMaria yesterday night, might just well start to really enjoy Donizetti/bel canto. @JoyceDiDonato and Giannattasio were amazing! — Aymeric (@LaLogedAymeric) July 6, 2014
Bel canto nirvana #ROHMaria. Three principals perfectly matched, with Ismael Jordi more than holding his own vs the 2 Queens! — Nick Macrae (@violanick) July 5, 2014
In operatic heaven vocally. But dear God, the production is an absolute mess. #ROHmaria — Mark (@RestrictedView) July 5, 2014
Still on a high after last night's #ROHMaria! Can't wait for 2 more! Maybe I need to book more? Hopefully booers won't be back. #ROHstuarda — Fedja Hadrovich (@Hadrovich) July 6, 2014
Many reasons to hear #ROHMaria especially the wonderful @JoyceDiDonato @cargiannattasio and Ismael Jordi. Very few reasons to see it though. — Mark Baker (@1630revello) July 5, 2014
#ROHmaria @RoyalOperaHouse was stunning - until the last scene was just given away without definite end. Why? — Thomas Obitz (@thobitz) July 5, 2014
Well @JoyceDiDonato @roseandfriends were SENSATIONAL tonight - booing of production over the top though #ROHmaria — Tara Persaud (@tarapersaud) July 5, 2014
Wig-raising, shirt-ripping, things-throwing catfighting in da house. Acting lifted from Dinasty but sadly not its styling #ROHmaria — Andres Rial (@AJRG620) July 5, 2014
The production of #ROHMaria wasn't wonderful, but the minimalist decor allows us to concentrate on the psychological drama. — Jane Ennis (@leonora1) July 6, 2014
What did you think of Maria Stuarda? Maria Stuarda runs until 18 July 2014. Tickets are still available. A co-production with Polish National Opera, Théâtre des Champs-Elysées, Paris, and Gran Teatre del Liceu, Barcelona. Generous philanthropic support from Lord and Lady Laidlaw, Susan and John Singer and Michael Hartnall.]]>
'The soil of England, vile bastard, is defiled by the touch of your foot!' That's a line to get you noticed, especially when hurled between royalty, in this case by Mary Queen of Scots at her Tudor cousin Elizabeth I. In Donizetti's Italy it was also a line to get you banned, and Maria Malibran's refusal to sacrifice it at the opera's eventual 1835 premiere at La Scala led to Maria Stuarda being dropped from the repertory, barely to resurface for 120 years.
You can see why Malibran wouldn't compromise. The Confrontation Scene that brings Act I thundering to a close is the only time in the opera the two rival queens share the stage – though 'share' might not be the right word. Donizetti expertly turns the bel canto idiom – as we understand it now, that of placing vocal beauty above all else – to his dramatic purpose, constructing a scene of breathtaking intensity.
The meeting (entirely fictional) has been engineered against the queens' wishes by Leicester, the tenor love interest (his romantic feelings also fictional). It's a classic love triangle: Elisabetta loves Leicester, Leicester loves Maria and Maria loves him. Maria's kindly gaoler Talbot has let her roam the forest around Fotheringhay, where she is incarcerated. Meanwhile, Leicester has steered Elisabetta's hunting party the 100 miles from Windsor to Northamptonshire (made possible through a somewhat fanciful approach to English geography) for this 'chance' meeting.
In the opening recitative section, Elisabetta's nobility, pride and quick jealousy that we saw at the opera's opening is obvious again. Buoyant phrases in the flute give a pastoral sense, but it's undercut by the urgent pulsing in the strings. Elisabetta is caught between Leicester's ardent tenor, urging her meeting with Maria, and her dour baritone adviser Cecil, insidiously pushing Elisabetta towards removing through violence this threat to the English throne. Maria and Talbot arrive and a roll on the timpani pulls us into majestic dotted rhythms from the whole orchestra, leading us chromatically down to an anticipatory dominant 7th chord. From this Maria murmurs a fragile 'O Dio!'. There follows a killer of a dramatic pause.
But rather than an action-packed dialogue, Donizetti has Elisabetta haughtily turn aside and lead the canonic 'È sempre la stessa' ('She's still the same'), where to imitative music all the characters individually reflect on the situation. In short, nothing happens. The delayed action not only builds tension for the onslaught but hints that neither queen is really interested in the reconciliation Leicester so craves.
But now Leicester encourages Maria to start a humble prayer for forgiveness, 'Morta al mondo' ('Dead to the world'), a simple song that recalls her peaceful earlier aria 'O nube! che lieve' ('O clouds that lightly drift'). Elisabetta usurps Maria's lovely melody and takes it for her own, corrupting it with references to Maria's 'betrayed bed' and 'unavenged husband', her 'crimes and betrayal'. Leicester's attempt to comfort Maria only stokes Elisabetta's anger.
Finally Maria snaps. Unaccompanied except for the occasional shocked interjection from the orchestra, she launches a tirade against the queen. Undeterred by Talbot's breathless 'O Dio!', she delivers a series of determined insults, relishing each one, her voice rising higher and ever more exultingly to the final smack in the face.
Then all hell breaks loose, the strings hurrying beneath Elisabetta as she summons her guards, rushing us into the final stretta (the fast closing section for a finale). Here, for the first time in the scene, Donizetti colours the vocal lines with the rapid, decorative notes of coloratura, in a brilliant expression of Elisabetta's uncontrollable anger, Leicester's anguish and Maria's triumphant satisfaction. We hurtle to the close, where a series of decisive chords from the brass bring the curtain down on what is undoubtedly one of Donizetti's finest and fiercest finales.
Maria Stuarda runs 5–18 July 2014. Tickets are still available.
The production will be broadcast live on BBC Radio 3 on 14 July from 7.15pm.
Maria Stuarda is a co-production with Polish National Opera, Théâtre des Champs-Elysées, Paris, and Gran Teatre del Liceu, Barcelona, and is given with generous philanthropic support from Lord and Lady Laidlaw, Susan and John Singer and Michael Hartnall.
The Story Begins…
Maria Stuarda has been imprisoned by her cousin, Elisabetta I of England. Roberto, Conte di Leicester, urges Elisabetta to meet with Maria, but Elisabetta becomes jealous of Leicester's admiration for her cousin. Will Elisabetta succumb to temptation and use the meeting as a chance to destroy Maria?
Contemporary Resonances
Gaetano Donizetti's opera – as with Friedrich von Schiller's source play – was not a historical record, but a constructed drama. Moshe Leiser and Patrice Caurier's production mixes the iconic historical figures of the two queens with contemporary characters in order to stress that the violence linked to power and desire remains constant in any period. Elisabetta and Maria are enclosed within the shell of their political function, but they are also real characters in a world that could be familiar to us. Now, as then, the horror of capital punishment remains the same.
A Scandalous Premiere
Donizetti wrote Maria Stuarda in 1834 for the Naples Teatro San Carlo, intending it as a vehicle for the soprano Giuseppina Ronzi de Begnis. But due to its subject, the opera was banned in Naples before it even made it to the stage – the opera was only performed because the great Maria Malibran insisted on performing it, and sang the title role in the work's premiere at La Scala, Milan, on 30 December 1835. The local authorities there also moved to ban the opera, and it gradually disappeared from the repertory, until a revival of interest in 1958. It has become increasingly popular ever since.
A Tribute to Schiller
The libretto of Maria Stuarda is based on Schiller's 1800 play Maria Stuart, which depicted the final days of Mary, Queen of Scots, and her fateful meeting with Elizabeth I (an event that was entirely invented by Schiller; the two queens never met in reality). The intensity of the subject appealed to the composer, who added a romantic dimension by having Leicester fall in love with Maria. As Donizetti's librettist for the opera, Giuseppe Bardari, was very young and inexperienced, Donizetti may well have had a hand in the libretto himself.
Powerful Intricacy and Vocal Showcases
The score for Maria Stuarda contains some of Donizetti's most moving music, particularly Mary's confession duet with Talbot and her aria in the finale as she calmly goes to her death. The opera also provides a magnificent showcase for the two singers playing Maria and Elisabetta in their extended duet at the end of Act I. Famous pairings for the roles of Maria and Elisabetta have included Joan Sutherland and Huguette Tourangeau, Janet Baker and Rosalind Plowright, and Edita Gruberová and Agnes Baltsa.
Maria Stuarda runs from 5–18 July 2014. Tickets are still available.
The production is a co-production with Polish National Opera, Théâtre des Champs-Elysées, Paris, and Gran Teatre del Liceu, Barcelona, and is given with generous philanthropic support from Lord and Lady Laidlaw, Susan and John Singer and Michael Hartnall.
'O Isis und Osiris' from Act II of Die Zauberflöte by Wolfgang Amadeus Mozart
The High Priest Sarastro prays to the Egyptian gods that Tamino and Pamina will learn wisdom and virtue, and triumph in their trials. The noble simplicity of the melody, the lyrical writing for the bass voice and the lulling accompaniment of strings show that Sarastro, far from being the evil sorcerer the Queen of the Night had claimed, is both impressive and benign.
'Deh! Tu di un'umile preghiera' from Act II of Maria Stuarda by Gaetano Donizetti
Maria has been condemned to death by Elisabetta. She has confessed her fear of death and her guilt about her past actions to her advisor Talbot. Now calm, she asks the crowd to join her in praying for God's mercy. Donizetti depicts Maria's new-found humility through her flowing, virtually unembellished vocal line, and her hopes of heaven through the predominance of rising phrases. The prayer begins with delicate harp accompaniment, but as the chorus joins Maria the full orchestra enters and the mood becomes impassioned and almost exultant.
'Tu al cui sguardo onnipossente' from Act I of I due Foscari by Giuseppe Verdi
Lucrezia Contarini prays that God may save her husband Jacopo, unfairly condemned by the Council of Ten. In contrast to her angry recitative at the start of the scene her prayer is gentle and lyrical – a long, flowing vocal line, of the kind that Verdi admired in Bellini's arias, over an ostinato in the harp and soft woodwind chords. Lucrezia's vocal line grows more ornate as she becomes more ardent, and the aria culminates in an elaborate cadenza. Lucrezia's mood darkens in the ensuing fiery cabaletta – a short passage of recitative following her prayer when she has learnt that her husband will be condemned to exile, and she swears that God will strike down the corrupt Council.
'Allmächt'ge Jungfrau' from Act III of Tannhäuser by Richard Wagner
Tannhäuser has travelled with a group of pilgrims to Rome to seek the Pope's forgiveness for his transgressions with the goddess Venus. Elisabeth is in love with Tannhäuser and has waited eagerly for him. When he does not return with the other pilgrims, Elisabeth prays in anguish to the Virgin to let her die. The almost chorale-like simplicity of the music, with its delicate textures and lyrical soprano line, conveys Elisabeth's dignity and earnestness. Wagner also makes us aware of her pain through effective use of chromaticism. The aria culminates in Elisabeth's heart-rending plea, set at a higher pitch than much of the rest of the aria, that through her death she may redeem Tannhäuser.
'Ave Maria' from Act IV of Otello by Verdi
Desdemona has had a premonition of her death. Alone, waiting for her husband Otello to arrive, she says her evening prayers. Her initial chanting of the words of the 'Ave Maria' evolves into a beautiful soprano melody, cradled in warm string harmonies, as Desdemona asks for the Virgin's blessing on the sinner and the innocent. The aria closes in a soaring soprano phrase to the word 'Hail', sung pianissimo, before a final murmured Amen. The tenderness of this prayer gives the audience a certainty of Desdemona's goodness and innocence – making the ensuing tragedy all the more terrible.
'Vissi d'arte' from Act II of Tosca by Giacomo Puccini
Scarpia, Rome's Chief of Police, has condemned Tosca's lover Cavaradossi to death, and suggested a terrible bargain: he will spare Cavaradossi if Tosca will accept him as a lover. In agony, Tosca turns to God. She recalls her devotion to the Catholic Church, and how she has lived 'for art and love'. Puccini makes the aria particularly poignant by bringing back the theme that introduced Tosca in Act I, as if she is remembering happier times. Her initial melancholy, illustrated in falling vocal phrases, evolves into ardour and urgency as she repeatedly asks God why he has rewarded her devotion with such bitterness.
'Salve regina' ('Zdrávas královno') from Act II of Jenůfa by Leoš Janáček
Jenůfa's stepmother the Kostelnička has given Jenůfa a sleeping draught. Meanwhile she takes Jenůfa's illegitimate baby to the millstream, to drown it – worried that the child may prevent Jenůfa's marriage to the kindly Laca. Jenůfa wakes up, bleary from the drug. She frantically searches for her child, and comes to the conclusion that her mother has taken the baby to show him to his father, Števa. She offers up a prayer to the Virgin, in a meditative mood that contrasts with her earlier agitation. It is a rare section of extended melody in an opera where much of the dialogue imitates speech. Shimmering strings and harp give the music an ethereal air, while the soaring soprano line and simple melody convey Jenůfa's sincere faith. It is one of the most moving examples of Janáček's writing for the soprano voice.
'Und ist kein Betrug' from Act III of Wozzeck by Alban Berg
Marie feels remorse at her affair with the Drum Major and her behaviour towards her lover Wozzeck. She reads the Bible and prays. Berg contrasts Marie's reading of Bible texts (all referring to Christ's mercy and to women taken in adultery), intoned in Sprechstimme (sung speech used extensively in the opera) with her increasingly anguished sung pleas for God's mercy. He sets the scene as a series of variations on a delicate opening theme, conveying Marie's growing distress. By the end of the scene, speech gives way entirely to song, as Marie reads the story of Mary Magdalene, and implores God, her line rising to a top C: 'Lord, you had mercy on her, have mercy also on me!'
'Hagios! Hagios!' from Act I of Król Roger by Karol Szymanowski
Long before Arvo Pärt and John Tavener attempted to capture the spirit of the Orthodox Church in their music, Szymanowski brought an Orthodox Church service on stage in the opening of his great opera Król Roger. The first act of the opera is known as the 'Byzantine' act, for the clear influence in it of Byzantine music and architecture. It opens very quietly, with an unaccompanied choir singing the words of the Byzantine Liturgy. Gradually the textures become more complex, with slow, hypnotic phrases in the bass voices answered antiphonally by more rapid passages in the high voices. The religious text is set syllabically, with every word declaimed. The texture becomes richer as strings join the voices and the bass voice of the Archbishop leads the congregation in chanted prayer.
'Ave Maria' from Act II of Dialogues des Carmélites by Francis Poulenc
Although he never lost his roguish humour, religion became increasingly important to Poulenc. This is reflected both in his beautiful religious choral works and in Dialogues des Carmélites, his only full-length opera. In Act II, new Prioress Madame Lidoine has warned her sister nuns of the adversity ahead of them. She leads the Carmelites in the 'Ave Maria', one of the most important prayers of the Catholic Church. The prayer is unaccompanied, with simple choral textures and rich harmonies. Poulenc gives particularly expressive harmonies to significant words and phrases, such as 'Jésus' and 'mortis nostrae'. The mood is both tranquil and ardent, making this one of the most exquisite of operatic prayers.
Tosca runs from 10 May to 26 June 2014. Tickets are still available.
Dialogues des Carmélites runs from 29 May to 11 June 2014. Tickets are still available.
Maria Stuarda runs from 5 to 8 July 2014. Tickets are still available.
I due Foscari runs from 14 October to 2 November 2014. Tickets go on general sale 15 July 2014.
Die Zauberflöte runs from 23 February to 11 March 2015. Tickets go on general sale 21 October 2014.
Król Roger runs from 1 to 19 May 2015. Tickets go on general sale 27 January 2015.
Walter Scott's The Bride of Lammermoor and Gaetano Donizetti's Lucia di Lammermoor
With its story of family feuds and romantic rivalry, The Bride of Lammermoor is particularly appropriate for opera. Donizetti and his librettist Cammarano streamlined the drama, omitting complicated subplots, political references and many of the characters (such as Lucy's tyrannical mother) to focus on the lovers Lucia and Edgardo. Donizetti heightened Lucia's plight by writing her an extended mad scene in Act III (not included in Scott's version), and provided Edgardo with a suitably operatic suicide, rather than Scott's ignominious fall into quicksand.
Abbé Prévost's L'Histoire du Chevalier des Grieux et de Manon Lescaut and Jules Massenet's Manon/Giacomo Puccini's Manon Lescaut, among others
Abbé Prévost's tale of a young man who sacrifices everything for love hasn't been out of print since its first publication in 1731. The novel has inspired several operatic adaptations – all markedly different from Prévost's original. Massenet focussed not on the hero Des Grieux but on the hedonistic, tender Manon, depicting her volatile character in arias ranging from the mournful 'Adieu, notre petite table' to the flamboyant 'Obéissons'. Puccini concentrated on the 'desperate passion' of the lovers, giving them music of Wagnerian intensity that makes their love seem far nobler than that of Prévost's ill-matched couple.
Alexandre Dumas fils's La Dame aux camélias and Giuseppe Verdi's La traviata
Alexandre Dumas fils's first 'hit', the novel and subsequent (1852) play La Dame aux camélias, have gained lasting fame in Verdi's operatic setting. Verdi makes his heroine Violetta more impressive than Dumas' Marguerite, minimizing the character's vulgar aspects to concentrate on her moral dignity and tenderness. His hero Alfredo is far more likeable than Dumas' rather priggish hero Armand, and his one act of cruelty to Violetta is impetuous rather than calculated. His, and his father's, reconciliation with Violetta in Act III is one of Verdi's most moving scenes. Small wonder the opera is now far more popular than Dumas' novel.
Prosper Mérimée's Carmen and Georges Bizet's Carmen
Mérimée was inspired to write his popular novella after his 1830 visit to Spain, where he studied gypsy culture. Bizet and his librettists set Part III, detailing the tragic love affair of the soldier Don José and the seductive gypsy Carmen. They slightly softened the story, enhancing its romantic elements by adding the dashing torero Escamillo (based on a minor character in Mérimée) and the innocent young Micaëla; so creating two love triangles. Bizet brilliantly conveys the Iberian atmosphere of Mérimée's novella through his music, particularly Carmen's sensual Habanera, Séguidille and Danse bohemienne.
Johann Wolfgang von Goethe's Die Leiden des jungen Werthers and Massenet's Werther
Goethe's epistolary novel about a young man who falls hopelessly in love with a woman betrothed (later married) to another was a runaway success – so much so that the book later embarrassed him. Massenet turns Goethe's examination of obsessive passion into a romantic tragedy. He gives his heroine Charlotte two arias in Act III that reveal her genuine love (never confirmed in the novel) for Werther, and provides his hero with an ecstatic death scene in which he is united with Charlotte – in stark contrast to the literary Werther's lonely, botched suicide.
Aleksandr Pushkin's Eugene Onegin and Pyotr Il'yich Tchaikovsky's Eugene Onegin
Tchaikovsky loved Pushkin's verse-novel, which was already a literary classic when he began his great opera. To some degree he stuck close to Pushkin when constructing his libretto, sometimes barely altering the original text. However, he avoided the dry, witty tone that predominates in the verse-novel and instead sympathized wholeheartedly with the romantic passion of Tatyana (expressed movingly in her Letter Scene) and the melancholy of Lensky (in his aria 'Kuda, Kuda').
Henri (Henry) Murger's Scènes de la vie de bohème and Giacomo Puccini's La bohème/Ruggero Leoncavallo's La bohème
Henri Murger's satirical autobiographical tales of bohemian life in 1840s Paris brought the struggling writer to public attention and international acclaim. Puccini's opera is only loosely based on Murger. He concentrated on the few genuinely romantic and tragic elements in the novel to create a work often called 'opera's greatest love story'. Leoncavallo tried to stick closer to the episodic, black-comic tone of Murger's novel. The result was a more fragmented drama that vacillates between farce and tragedy, and which has never gained a firm hold in the repertory.
Nikolai Leskov's Lady Macbeth of the Mtsensk District and Dmitri Shostakovich's Lady Macbeth of Mtsensk
Nicolai Leskov's chilling novel explores the boredom of provincial life and the suppression of women. Shostakovich focussed on the second theme in his operatic masterpiece. He depicts his heroine Katerina as an intelligent, lonely, passionate woman surrounded by brutes: the cowardly Zinovy, the macho Sergey and the bullying Boris. He made Katerina a warmer, more sympathetic and less vicious woman than in the novel, and gave her some of the opera's most beautiful music, such as the aria 'Zherebyonok k kobïlke toropitsya'.
Henry James's The Turn of the Screw and Benjamin Britten's The Turn of the Screw
Henry James's ghost story has fascinated readers and critics for generations –not least for the ambiguity of whether the ghosts seen by the Governess really exist. By giving his ghosts voices and having them participate on stage, Britten seems to imply that they are 'real' – though a degree of uncertainty remains. But certainly his ghosts have more definite personalities than in James, particularly Peter Quint, with his eerie celeste accompaniment and seductive speech. The scene in which the ghosts summon the children at night is particularly spine chilling.
Margaret Atwood's The Handmaid's Tale and Poul Ruders's The Handmaid's Tale
Margaret Atwood had worried about how her award-winning dystopian novel, with its internal monologues, multiple locations and fragmented chronology, could be turned into an opera – but she was very impressed when she saw the premiere of Poul Ruders's opera. Although Ruders and his librettist Paul Bentley cut some of the characters and reduced the number of flashbacks, they remained remarkably faithful to the novel's plot and tone. Many critics saw the opera's message as particularly relevant to the conflict-ridden early 21st century.
We recently asked what books you'd love to turn into an opera or ballet, with suggestions offered as diverse as Winnie The Pooh and The Bell Jar.
La traviata runs from 19 April–20 May 2014. Tickets are still available. Manon Lescaut runs from 17 June–7 July 2014. A small number of tickets are available, and there will be 67 tickets available on the day of each performance. The production will be broadcast live around the world on 24 June 2014. Find your nearest cinema here. La bohème runs from 9–19 July 2014. Tickets are still available.


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Exhibitor Services Manual
Welcome to the portal and thank you for exhibiting at the Interscience Conference on Antimicrobial Agents and Chemotherapy (ICAAC)! This area of the website features important logistics information and forms you need, as well as deadlines and announcements. To continue our commitment towards sustainable and environmental best practices, I am delighted that our Exhibitor Manual will be fully accessible electronically via our website. Please review the manual in its entirety, as it has been designed to support you with the ordering of services required for your participation at the show. Also, please be sure that the person(s) responsible for coordinating your exhibit reviews the necessary items in the manual as well.
Once again, Freeman Exposition, Inc. will function as our General Services Contractor. They and the many suppliers we have contracted with for ICAAC 2014, have been carefully chosen as the most qualified and cost effective to serve your needs. Please be sure to frequently review IMPORTANT DATES & DEADLINE LIST in order to take advantage of any preferential advanced pricing available to you as an exhibitor. Some forms are mandatory, while others are optional. We encourage you to read everything very carefully to make sure you meet the appropriate deadline for each form, and call the ASM Exhibits staff at (202) 942-9256 with any questions.
Every good market begins with planning, and ends with branding, so master the details now. Everything you need to know is here for ready reference and quick download.
The Service Manual forms below are broken down into five parts:
Show Management Information and Forms
Show Management Information and Forms provide general information about exhibiting, deadlines checklist, and mandatory forms such as your Meeting & Exhibit Guide Company Listing Form, booth diagram review, and Exhibitor-Designated Contractors (EDC) form.
- ICAAC 2014 Meeting Basics
- Official Exhibition Service Contractors List
- Exhibitor Deadline Checklist
- Meeting Rules & Regulations Guidelines
- Meeting & Exhibit Guide Company Listing Form – Deadline: July 11, 2014
- Booth Configuration & Construction Guidelines – Deadline: June 20, 2014
- Exhibitor Designated Contractor Notification Form – Deadline: June 27, 2014
- Exhibitor Housing & Registration Guidelines – Housing Deadline: August 18, 2014
- Usage of Exhibit Space Guidelines
- Demographics from ICAAC 2013
Affiliate Meetings & Booth Promotion
ASM allows exhibitors to host educational symposium, exhibitor staff meetings, hospitality, focus groups, investigator meetings, and booth presentations during ICAAC 2014. Please review the guidelines and select the forms that best meet your needs.
- Symposium and Affiliate Events/Staff Meetings Information & Forms
- Satellite Symposia Opportunity Guidelines & Application – Deadline: July 2, 2014
- Affiliate Meeting Space Guidelines & Form – Deadline: July 18, 2014
- Product Theater Application – Deadline: July 2, 2014
- Exhibitor Business Suites & Lounge Order Form – Deadline: July 18, 2014
- Booth Promotion Giveaway & Raffle Notification Form – Deadline: August 1, 2014
- Abstract & Poster Compilation Form – Deadline: August 7, 2014
Raising the visibility of your company is the key to taking full advantage of your participation at ICAAC 2014. ASM has designed opportunities to give your company maximum exposure to the buyers before, during, and after ICAAC 2014 to keep your name in front of ASM members and attendees.
- Advertising & Marketing Kit Rate Card – Deadlines are specific to marketing or sponsorship opportunity
- Attendee List Order Form
- Advance Pre-Registration Attendee List Order Form – Deadline: July 8, 2014
- Pre-Registration Attendee List Order Form – Deadline: August 5, 2014
- Post-Show Mailing Label Order Form – Deadline: November 11, 2014
- Lead Retrieval Order Form – Deadline: August 27, 2014
- ASM Microbiology Buyer's Guide
Other ASM Contractors
Order forms for audio visual, computers, floral, utilities (electrical, water, etc), lead retrieval and catering using these forms.
- Electrical – Deadline: August 7, 2014
- Utilities: Plumbing (Air, Water, Drain) – Deadline: August 7, 2014
- Internet/Telecommunications – Deadline: August 12, 2014
- Audio Visual (ASM Exclusive Provider) – Deadline: August 15, 2014
- Catering – Deadline: August 15, 2014
- Shuttle Transportation Services – Deadline: August 22, 2014
- Lighting & Rigging – Deadline: August 27, 2014
- Security
- Photography
- Floral
Freeman Expositions, Inc. Information & Forms
Freeman Expositions, Inc. is our official service contractor. Through Freeman Online you can order carpet, furniture, cleaning, rental exhibits, signs, and graphics, material handling, view shipping information, and much more.
ICAAC 2014 Exhibitor Fraud Warning
As you know, we post the Exhibitor List online. Unfortunately, this makes us vulnerable to unapproved and non-vetted companies soliciting you for everything from hotel reservations to lead management services.
Please be advised that we strongly discourage you from working with any of these vendors as many are fraudulent or don't warn you of hidden costs. Click here to access our official vendor list that has been approved to contact you directly for ICAAC 2014. When in doubt, email Kristina Morrison, Exhibits Coordinator at firstname.lastname@example.com before signing on the dotted line!


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Thank you for buying my book, i hope you enjoy reading it.
I live in Cornwall, UK and have been writing for 20 years. I publish my own work as well as writing for other people. For more information on my services, go to my Facebook page.
Always happy to help. :-)
Review by:
Jaye Steed
on Oct. 07, 2012 :
A pleasant naughty but nice read. Looking forward to the sequel !
(review of free book)


text: In Pictures: Mafia II Ross Catanzariti (Good Gear Guide) 0 - - - - print email next Loading... Development of Mafia 2 was announced on August 21, 2007 and the game is set for a 2008 release in Australia. Next 1/6 Comments on this image There are currently no comments for this image. Post new comment Comment Name Email (This will be kept private) Users posting comments agree to the PC World comments policy. Login or register to link comments to your user profile, or you may also post a comment without being logged in. Close In Pictures: Mafia II 6 images


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Viewer Comments: Broken Elbow - Causes
Patient Comments & Reviews
The eMedicineHealth doctors ask about Broken Elbow:
Comment from: Dark Ashes, 7-12 Female (Patient) Published: April 05
I was playing on a bouncy castle with my friend and we both jumped down the slide at the end and left my elbow in a funny position with her on it. I had an x-ray and they said that it was fractured and then yet another x-ray for my wrist because it was swollen but they said that this was common. Another time I slipped down my garden steps at 6:15 in the winter and had to drive an hour to an open hospital. Yet another time I was trying a trick on my scooter and made it, nearly broke my scooter and fractured my right elbow, which then meant I couldn't write!
Comment from: eve, 45-54 Female (Patient) Published: February 24
I put off seeking medical care because of my college class schedule. Bad move on my part. I was taking a "Body Pump" class at the gym. (This is a weight-lifting class choreographed to music.) Anyway, when at the rack to put the weights and bar away, someone handled their bar incorrectly and in doing so swung it right into my elbow. It really hurt badly, but elbows get banged all the time so I didn't think much more about it. A week later, it still hurt and now the pain was also in my forearm, plus, my range of motion was somewhat decreased. By the second week, I could not fully extend my arm, could not sleep on that side and had no strength to even pick up a gallon jug of water. It took me 3 weeks to see a doctor! Don't wait like I did. I may have permanently damaged myself by waiting. Time will tell.
Comment from: ifell over inthesnow, 45-54 Female (Patient) Published: February 17
I slipped in the bad snow at 4 days before Christmas 2010 and broke my elbow. It has been 8 weeks now and although the bone has healed, I suffer with stiffness of the elbow and weakness in my arm in general. I am 47 years old and really hoping that I don't have any long term damage. I guess taking things steady for a while and gentle exercise on my arm is the only way.
Must Read Articles Related to Broken Elbow
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Magnetic Resonance Imaging (MRI) Magnetic resonance imaging (MRI) is a scanner that takes cross-sectional images of the body. It is used to evaluate tissues of the head, neck, chest, limbs, abd...learn more >>
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Report Problems to the Food and Drug Administration
You are encouraged to report negative side effects of prescription drugs to the FDA. Visit the FDA MedWatch website or call 1-800-FDA-1088.
Need help identifying pills and medications?
Patient Comments & Reviews
The eMedicineHealth doctors ask about Broken Elbow:
Broken Elbow - Followup
Did you have any complications recovering from your broken elbow? Please describe them.
Viewer Comments are not a substitute for professional medical advice, diagnosis, or treatment. Never delay or disregard seeking professional medical advice from your physician or other qualified health provider because of something you have read on eMedicineHealth. The opinions expressed in the comments section are of the author and the author alone. eMedicineHealth does not endorse any specific product, service or treatment.
If you think you have a medical emergency, call your doctor or 911 immediately.
Report Problems to the Food and Drug Administration
You are encouraged to report negative side effects of prescription drugs to the FDA. Visit the FDA MedWatch website or call 1-800-FDA-1088.


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> 'Salmon Star' - Oriental Hybrid Lily Bulb
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Watchdogs quiz Google in Safari cookie-stalking probe
Regulators on both sides of the Pond are snapping on the surgical gloves after Google was caught bypassing privacy settings on Safari browsers. People on the inside track have whispered to the Wall Street Journal that the US Federal Trade Commission and France's CNIL are now investigating the search'n'advertising giant over the …
And the Canadian Privacy Commissioner will likely.....
let them walk as she did with street view. I sure would like to know her credentials? Mine are, Shane Kent, Lead Mentor MS's largest Canadian call center group 1996-2001. Did support for Windows and the addons, most notably Internet Explorer. I supported the General Public on a grand scale, what did she do? And I never bought a software engineer screwed up from a company that specializes in data analysis, as how did they not see the extra data? Google "is evil" and should be blocked from doing business in Canada for violating privacy. This is not to say MS is a shining star that never does wrong, but Google is evil that claims do no evil.
If the Canadian Privacy Commisioner does nothing, I would have to say it is time for a new privacy commisioner.
it was a mistake.....
when Google street view snapped up WiFi information, now its a mistake with safari.
It's always a mistake or coding error but how long was it known about and not put right
Unofficially they knew alllllll about it.
Re: it was a mistake.....
Like a burglar getting into your house because you left the window open? Not my fault it you left the window open for me to steal your tv.
Rogue developer or rogue code
Either way they'll say 'We didn't mean it to happen'
Do evil until caught
"... that we didn't anticipate this would happen..."
... and they didn't bother to test for it, despite knowing that privacy breaches are an important concern.
Then again, maybe they knew what would happen.
Re: "... that we didn't anticipate this would happen..."
well, if you test for such things, then you can hardly claim they were an accident when they are discovered. . .
Re: "... that we didn't anticipate this would happen..."
Google created an invisible form on a web page and then simulated a mouse down (click on it) to bypass Safari's privacy controls. That didn't happen by accident. That's hostile code.
Have they laminated the sheet which lists how it was a rogue developer doing some testing which slipped into the live version? Save a fortune in printing costs at this rate.
Once again
No google fans posting here because they can't turn it into an attack on apple
A mistake, of course.
"Google has said that the whole thing was a mistake."
Hmm, I seem to remember a very similar set of statements over the Wi-fi data 'slurp' affair. They have some very talented, careless, software developers down at Google.
Chris Cosgrove
OK; I'm in.
So what search engine do I use?
What online Usenet reader and what mail account do I replace my Google stuff with?
I am very unhappy, not with the secrecy thing. I use the internet, I know where all those tubes and pipes and things connect up to.
I just hate the new format. It SUCKS.
I've been using ixquick (aka startpage) since Scroogle bit the dust. It seems to do a good job and, unlike Google and friends, doesn't store any information about its users and uses SSL encryption for search queries and results.
Re: OK; I'm in.
There are lots of alternatives. Personally I host my own email (I know, not for everyone) but there's Yahoo mail, MS hotmail and many, many others, often your ISP will supply webmail services that you could redirect a mail account to. As for search engines, there are also loads, Bing, Yahoo, ask, etc. etc.
The thing is that people get happy with what they know and resist change, even when asking what the alternatives are. I'm not suggesting you are in this case, but it's pretty usual for posts on the Reg asking for alternatives to something as a setup to tell you how rubbish all the alternatives are.
I wonder if this will turn out to be a lone "rogue" engineer, like the WiFi slurping?
Most read
- HALF A BILLION TERRORISTS: WhatsApp encrypts ALL its worldwide jabber
- HUMAN DNA 'will be FOUND ON MOON' – rocking boffin Brian Cox
- Bang! You're dead. Who gets your email, iTunes and Facebook?
- YOU are the threat: True confessions of real-life sysadmins
- Blackpool hotel 'fines' couple £100 for crap TripAdvisor review


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See the robotic toy ball (yes,really), iPhone-friendly winter gloves and geek-chic desk accessories that have us buzzing
Updated: Friday Nov 30, 2012 | 12:00 PM EST
By: Zoë Ruderman
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For your friend who wishes he lived in the Mad Men era, except for the fact that he'd have to give up his MacBook: these wood pieces with a rich walnut or cherry finish, which adhere to the buttons on a keyboard. (Also available for Apple desktop extended keyboards and wireless keyboards.)
Copyright © 2014 Time Inc. All rights reserved. Reproduction in whole or in part without permission is prohibited.


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Free Education Conference for Teachers coming to Plaza Theater
POSTED: Wednesday, June 29, 2011 - 9:58am
UPDATED: Wednesday, June 29, 2011 - 1:53pm
EL PASO – The 3rd Annual Culture, Caring and Classroom Conference will be held on on July 12th at the Plaza Theatre.
The conference aims to give educators new skills and strategies to help educate their students in the classroom.
Registration starts at 7:30 am and the conference runs from 8:30 am – 3:30 pm. Organizers expect around 1700 people to attend.
Guest speakers for the event include Harry Wong, co-author of "The First Days of School: How to be an effective teacher" and Louanne Johnson author of the New York Times Best Seller "Dangerous Minds"(originally My Posse Don't Do Homework).
For more information, and to register visit: http://www.esc19.net/
Attached is the flyer for the event.
|Culture Caring and the Classroom 2011.pdf
Comments News Comments
People should talk about how teachers are being forced to pass students and to change their grades. How teachers are forced to teach to the test and how students nor parents are never held accountable for their actions. Teachers are doing everything except teach.
Public education in El Paso is shameful due to the corruption of school boards like EPISD and the corrupt Superintendants as in Dr. Lorenzo Garcia!!!!
Every tax payer in this city deserves a higher standard of professionalism, character, morals and ethics when selecting EPISD'S next Superintendant.
Lorenzo Garcia, what ya gonna do when they come for you bad boy, bad boy?
Public education in El Paso is shameful due to lazy and dumb parents. The school districts pass the students along to the next grade because parents have low standards. Public schools are baby sitting services for the public. One school on the East Side will be starting at six o'clock in the morning. That should tell it all. People are not for their children. Schools are not for the children. This is child-abuse. Low standards are abusive to the students and the tax-payers.


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The Music Man Live on Stage at La Habra
* Additional fees apply.
The last date listed for The Music Man was Saturday October 15, 2005 / 2:30pm.
Currently at La Habra Depot Theatre
Dracula: Intimate Take on Timeless Classic
- Full Price:
- $25.00
- Our Price:
- $12.50
When Dr. Seward's sister Mina becomes ill, he sends for old friend Van Helsing to help. But someo...Learn More
Venue Details
The weather was cool . I wore Jeans and a sweater.Tommy dress • Apr 10 2014 star this tip starred
Temperature was fine on our visitThe Tragedy of Hamlet, Prince of Denmark info • Feb 01 2013 star this tip starred
Reviews & Ratings
Featured review from Autumn Browne
view more less of this review
Wonderful actors! Great choreography! I was very surprised at the quality of this production. Thank you!
star this review starred report as inappropriate
This show was entirely too long, the cast was awful and the overall performance stunk! I wouldn't recommend this show to anyone.
The Music Man tells the story of traveling salesman, Harold Hill, and his visit to a small Iowa town in 1912 where he meets and falls in love with the willful, spinster librarian, Marian Paroo. With his fast-talking style, "Professor" Harold Hill convinces the town that unless they adopt his revolutionary music program, the youngsters of River City will be forever doomed. He gets the parents to buy instruments and expensive uniforms in order to form the River City Boys Band. Chaos ensues as Hill's credentials are questioned and he is called upon to prove himself to the citizens of River City.
"The Music Man" is 2 1/2 hours including a 15 minute intermission.
About the Ticket Supplier: La Habra Depot TheatreThe La Habra Community Theatre began in 1976 as a Children's Theatre project of the City's newly established Cultural Arts Council. The first production was Shakespeare's Twelfth Night. It was performed in La Habra High School's lecture hall since the city did not have a Community Performing Arts Facility.
At the same time, the 1909 Pacific Electric Depot building stood empty and in danger of demolition if it was not restored to a functional role in the community. Planning for its renovation as a Community Performing Arts Facility was initiated by the Mayor of La Habra and supported by the City Council as well as many community members. The "train station", or depot, was then moved across the street to its current location in Portola Park to integrate it into the master plan for the redevelopment of downtown La Habra.
Funding to restore the depot and convert it to a Theatre came largely from the Federal Government Restoration of Historical Landmarks. "The Depot" was declared Orange County Historical Landmark Site #14.
In January of 1980, the Children's Theatre project was expanded to incorporate adult theatre. Then, in July of 1982, the 100 members of the Community Theatre moved into the Depot Playhouse. The first performance in the restored building was the musical Oklahoma. On August 15, 1995 the Depot Playhouse became a non-profit tax-exempt organization and officially became know as Depot Theatre of La Habra. The theatre's board of directors and all production committees are comprised of community volunteers. The Depot Theatre is one of the few community organizations which functions without a single paid staff member.