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|By PR Newswire
Article Rating:
|November 15, 2012 08:01 AM EST
Company achieves 62% increase in production revenue
New infrastructure build on track plus four new wells drilled with excellent results.
VANCOUVER, Nov. 15, 2012 /PRNewswire/ - TAG Oil Ltd. (TSX: TAO) and (OTCQX: TAOIF), today announced its financial results for the quarter ended September 2012.
Q2-2013 and Recent Operating Highlights
- Production revenue increased 62% to $21.44 million for the six months ended September 30, 2012, compared to $13.23 million in the comparable period last year;
- Production revenue increased to $9.62 million during Q2-2013 compared to $7.38 million for Q2-2012;
- Net operating cash inflow increased to $5.81 million (six months: $14.98 million) for the quarter compared to $5.34 million (six months: $7.11) for Q2-2012;
- TAG sold 68,178 (six months: 170,058) barrels of oil during quarter at an average price of $109.97 per barrel (six months: $108.41 per barrel);
- TAG sold 80,592 boe (six months: 112,728 boe) of gas during the quarter at an average price of $4.38 per mcf (six months: $4.44 per mcf);
- Infrastructure build ontrack to allow production of 3000 boe p/d of behind pipe production to come online;
- Successfully drilled Cheal-A12, bringing the total to 19 straight successful wells in Taranaki;
- Currently drilling Cheal-B8 with 26 meters of net pay being identified on electric logs to date;
- Acquired three high-impact frontier exploration permits located in the East Coast and Canterbury Basins of New Zealand;
- All work carried out to the highest health and safety and environmental standards.
Liquidity and Financial Summary
At the date of this report, TAG is debt free with approximately $86 million in cash on the balance sheet. Production revenue for the quarter was $9.62 million (six months: $21.44 million) compared to $7.38 million (six months: $13.23 million) for the comparable quarter last year and the Company generated a net profit for the quarter of $1.20 million (six months: $6.76 million) before deducting $1,499,954 (six months: $2,340,675) for non-cash share-based compensation.
TAG currently has 59,773,923 common shares outstanding and 63,481,186 common shares outstanding on a fully diluted basis.
Taranaki Basin Operations
TAG finished Q2-2013 with excellent drilling results, and an ongoing Taranaki program underway with electric logs indicating economic oil-and-gas pay in recent drilling as follows:
- Cheal-C4 recorded a total of 17.5 meters of pay
- Cheal-A11 recorded a total of 30 meters of pay
- Cheal-A12 recorded a total of 23 meters of pay
- Cheal-B8 recorded a total of 26 meters of pay to date with drilling continuing at the reporting date
Summary of TAG well status
|Behind pipe
|Cheal A
|Cheal B
|Cheal C
* Drilled and awaiting/undergoing production test
TAG has drilled 19 consecutive successful wells in Taranaki, which have necessitated the infrastructure upgrades now underway, and expected to be complete on schedule by March 31, 2013.
TAG's infrastructure project will allow the Company to become completely self-sufficient in producing, processing and marketing all oil and gas. Once completed, TAG can initiate production on all oil and gas wells that have been drilled but are not yet producing (behind pipe) and any additional production arising from further successful wells drilled.
Cheal Oil and Gas Field - 100% Interest
Successful drilling throughout 2011/2012 and now Q2-2013 within the Cheal field has resulted in a material increase to the Company's forecasts. TAG expects continued growth through the following activity:
Continued exploration and development drilling: pre-emptive right on the
Nova-1 drilling rig ensures access to services;
Infrastructure enhancement project underway at Cheal ensures maximum
value is achieved from behind-pipe production and new discoveries
making TAG completely self-sufficient for oil and gas production,
processing and marketing;
Cheal's new planned pipeline now has all landowner agreements signed and
consent has been received with construction now underway;
Drilling the liquids-rich deep gas target such as Cardiff and Hellfire;
Cardiff has an independent resource potential estimated by Sproule
International of 214.5 Bcf and 12.8 million barrels of associated
condensate and the Company anticipates drilling Cardiff in Q2 of fiscal
- Completion of Cheal's secondary recovery scheme, which is forecast to cost-effectively increase recovery factors within the Cheal A pool's proved and probable oil reserves.
Sidewinder Oil and Gas Field - 100% Interest
On June 6, 2012, TAG received consent to drill four new wells within the Sidewinder permit, which was subsequently appealed by one opposing party. Progress has been made and TAG expects the appeal to be dismissed and drilling operations to resume as planned. A successful resolution is expected in Q3 of fiscal 2013.
TAG has planned a new multi-well drilling program using its proprietary 3D seismic, combined with new 2D seismic that was acquired during fiscal 2012. The Sidewinder Permit is lightly explored, where only 2.5% of TAG's acreage has been drilled to date. Significant exploration potential remain in both shallow and deeper targets within the Permit area. Near-term operations are as follows:
Drill a minimum of four new exploration wells;
- Drill Sidewinder's deeper liquids-rich gas targets such as the Hellfire prospect where TAG's technical team has used 3D seismic to interpret Hellfire as a large high-impact prospect with significant resource potential.
East Coast Basin Operations
The farmout agreement with Apache Corp in Q1 2012 was completed to explore and potentially develop oil and natural gas resources in the East Coast Basin of New Zealand. Apache Corp has agreed to spend up to $100 million to conduct a multi-phased exploration, appraisal and potential development program within TAG's East Coast Basin Petroleum Exploration Permits PEP 38348, PEP 38349 and PEP 50940 (the "Permits").
TAG and Apache Corp have completed their 2D seismic program within the Permits and the TAG / Apache JV are continuing an extensive consultation process relating to the upcoming drilling of four vertical wells targeting the Whangai and Waipawa source rocks. During the quarter, construction and surface lease access consents were awarded. Upon receipt of the necessary drilling consents from district and regional councils being obtained in a timely manner, TAG and Apache anticipate well-site construction to begin in the first quarter of calendar 2013 followed shortly by drilling operations.
In addition to East Coast Basin permits noted above that form the TAG/Apache JV, TAG completed the acquisitions of a 100% interest in two additional permits during the quarter: PEP 53674 and PEP 52676.
Canterbury Basin Operations
During the quarter, TAG Oil also acquired a new frontier exploration permit ("PEP 52589") in the Canterbury Basin, situated both offshore and onshore in New Zealand. At the date of this report, TAG has initiated the acquisition of 80 km's of new 2D seismic over certain leads identified within the permit. The Canterbury Basin is an under-explored frontier area with many geological similarities to the productive Taranaki Basin.
Historical drilling results in Canterbury indicate good exploration potential with two gas/condensate discoveries drilled in the offshore portion of the Basin, one of which tested in excess of 10 million cubic feet of gas and 2,300 barrels of oil per day. Although these discoveries were uneconomical due to the high cost of offshore development, more importantly, the gas/condensate accumulations found in these wells confirm that generation, migration and entrapment of hydrocarbons occur in the basin, indicating additional accumulations are likely to be present.
Offshore drilling scheduled by majors such as Anadarko and Origin Energy in 2013/2014 allow TAG to focus initially onshore while holding considerable upside related to its control over the onshore and near shore acreage directly updip of the scheduled deep water offshore wells.
Capital Expenditure
Expenditures on the Company's oil and gas properties during Q2 of the 2013 fiscal year amounted to approximately $22.1 million, primarily invested in the Company's Taranaki operations for drilling, testing, workovers and infrastructure as follows:
|Cheal Field
|$18.6 million
|Sidewinder Field
|$1.5 million
|East Coast, Taranaki Offshore, Canterbury
|$2.0 million
The East Coast Joint Venture invested approximately $0.8 million during the quarter.
TAG Oil has filed its second quarter September 30, 2012, condensed consolidated unaudited interim financial statements and management discussion and analysis with the Canadian Securities Administrators. Copies of these documents can be obtained electronically at http://www.sedar.com, or for additional information please visit TAG Oil's website at http://www.tagoil.com/.
TAG Oil Ltd.
TAG Oil Ltd. (http://www.tagoil.com/) is a Canadian-based production and exploration company with operations focused exclusively in New Zealand. With 100% ownership over all its core assets, including oil and gas production infrastructure, TAG is enjoying substantial oil and gas production and reserve growth through development of several light oil and gas discoveries. TAG is also actively drilling high-impact exploration prospects identified across more than 2,953,810 net acres of land in New Zealand.
In the East Coast Basin, TAG has entered into a farm-out agreement with Apache Corporation to explore and potentially develop the major unconventional resource potential believed to exist in the tight oil source-rock formations that are widespread over the Company's acreage. These oil-rich and naturally fractured formations have many similarities to North America's Bakken source-rock formation in the successful Williston Basin.
TAG Oil has adopted the standard of six thousand cubic feet of gas to equal one barrel of oil when converting natural gas to "BOE's". BOEs may be misleading, particularly if used in isolation. A BOE conversion ratio of 6Mcf: 1 Bbl is based on an energy equivalency conversion method primarily applicable at the burner tip and does not represent a value equivalency at the wellhead.
Cautionary Note Regarding Forward-Looking Statements:
Statements contained in this news release that are not historical facts are forward-looking statements that involve various risks and uncertainty affecting the business of TAG Oil. Such statements can generally, but not always, be identified by words such as "expects", "plans", "anticipates", "intends", "estimates", "forecasts", "schedules", "prepares", "potential" and similar expressions, or that events or conditions "will", "would", "may", "could" or "should" occur. These statements are based on certain factors and assumptions including;
A. all estimates and statements that describe the Company's objectives, goals, production rates, infrastructure capacity and or future plans relating to the seismic, testing, work over and drilling programs in Taranaki are forward-looking statements under applicable securities laws and necessarily involve risks and uncertainties including, without limitation: risks associated with oil and gas exploration, development, exploitation, production, marketing and transportation, volatility of commodity prices, imprecision of reserve estimates, environmental risks, competition from other producers, and changes in the regulatory and taxation environment. These forward-looking statements are based on certain factors and assumptions, including factors and assumptions regarding the management's views on the oil and gas potential in the Permits, well performance, the success of any operations, completing infrastructure and the costs necessary to complete the operations; and
B. those relating to TAG Oil's exploration and development of its oil and gas properties within the Cheal and Sidewinder project areas, the production and establishment of additional production of oil and gas in accordance with TAG Oil's expectations at Cheal and Sidewinder, well performance, drilling the completion of new infrastructure at Cheal and Sidewinder, the increase of cash flow from new production, expected growth, results of operations, performance, prospects, evaluations and opportunities. While TAG Oil considers these factors and assumptions to be reasonable based on information currently available, they may prove to be incorrect. Actual results may vary materially from the information provided in this release, and there is no representation by TAG Oil that the actual results realized in the future will be the same in whole or in part as those presented herein.
TAG Oil is involved in the exploration for and production of hydrocarbons, and its property holdings with the exception of the Cheal and Sidewinder project areas are in the grass roots or primary exploration stage. Exploration for hydrocarbons is a speculative venture necessarily involving substantial risk. There is no certainty that the expenditures incurred on TAG Oil's exploration properties will result in discoveries of commercial quantities of hydrocarbons. TAG Oil's future success in exploiting and increasing its current reserve base will depend on TAG Oil's ability to develop its current properties and on its ability to discover and acquire properties or prospects that are producing. There is no assurance that TAG Oil's future exploration and development efforts will result in the discovery or development of additional commercial accumulations of oil and natural gas.
Other factors that could cause actual results to differ from those contained in the forward-looking statements are also set forth in filings that TAG and its independent evaluator have made, including TAG's most recently filed reports in Canada under National Instrument 51-101, which can be found under TAG's SEDAR profile at www.sedar.com.
TAG undertakes no obligation, except as otherwise required by law, to update these forward-looking statements in the event that management's beliefs, estimates or opinions, or other factors change.
SOURCE TAG Oil Ltd.
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Microsoft Clears MechWarrior4 Free Launch 131
from the done-and-done dept.
We've improved Slashdot's video section; now you can view our video interviews, product close-ups and site visits with all the usual Slashdot options to comment, share, etc. No more walled garden! It's a work in progress -- we hope you'll check it out (Learn more about the recent updates).
Not many publishers do so, and Sierra and LucasArts still after ~20 years send cease & desist letters to abandonware sites if they distribute their old games.
I think Microsoft Games was the most sensible part of the company anyway. Age of Empires, Midtown Madness, Motocross Madness, Flight Simulator.. I have great memories of those. It's a shame that division isn't what it used to be, but are only working 360 and such now.
(posting as anon as someone used their 15 modpoints to burn my karma and posting ability for the day. when will slashdot fix that?)
No thanks to payware.
All in all your payware aspect of the free release of older games seems pretty irrelevant to me, and it isn't even new. You've gotten old Command&Conquer free with the new ones for who knows how long.
The only thing new is paying for demos which makes absolutely no sense to anyone. If it's advertisement, you want it to reach to widest audience possible. If it's the product, why would I pay to see that the pig in your sack is actually a pig?
Developers are starting to talk about not wanting to release demos, and instead going with payware.
Ugh, really? I hadn't heard about this - it's like they want to encourage piracy. It's already hard enough to choose the good games from the masses that get released every month, and I don't have time to waste on rubbish games, I have so little gaming time now I want it to be quality time. Demos are the best way to judge this (too many reviewers have seemingly ulterior motives for awarding unduly high scores, even if I could find a reviewer who had exactly my tastes) and now they want to charge people for the privilege of finding out if the game's worth buying? The only reasoning I can see behind this is that so many games are not worth buying and they want to claw back money any way they can, now they'll force legitimate customers down the piracy route just to see if a game's any good, and I'd imagine even if those customers would have bought the original, a fair number will end up not bothering once they've gone to the trouble of downloading it (the convenience of just buying a game that works is one of the few reasons people still buy games).
It makes little sense to classify a company as evil or !evil over an extended period of time. They are a company, run by an often-changing group of people. They have no sentimental ties to their previous behaviour, and as such, they can turn on a dime. Microsoft releasing mw4 today doesn't mean they won't sue Linux contributors for patent infringement the next (I know, bad example).
Time to walk around with a sign saying "Free Sex."
And they're both members of that very rare and elite group, 'companies that have been around that long.'
With your bare hands?!?

subset: commoncrawl


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This is really something that needs to be best figured out on your own then someone else telling you.
My suggestion is to use very large resolution scans. The reason for this is because you will have to shrink down the finished product to make it fit your wallpaper, hiding any imperfections you might have made in the extraction process.
Me personally, I use Photoshop's Quick Mask mode and paint on a selection using the default round brush, then using that selection, I cut the image I want out. Time consuming but it works, and I find it gets very good results.


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Jeff Sutherland on Scrum Beyond IT and his New Book
Jeff Sutherland talks about some of the ideas behind Scrum and discusses his new book which takes Scrum ideas outside of IT into the larger business world. He explains the importance of management setting compelling goals and tapping into what really motivates people.
Sally Elatta on Creating Sustainable Healthy Teams and Agility Health Check
At Agile 2014 Sally spoke about what it takes to form healthy sustainable high-performing teams, the organizational culture that is needed to nurture self-organization and a new tool for team and organization health checks.
Amber Case on GIS, Geolocation, Integrating Startups Into Companies
Amber Case explains how Esri handles GIS data, how to integrate small teams and startups into established companies, handling competent jerks and other types of team members, and much more.
Glen Ford on Building Great Teams, Lean and DevOps
Glen Ford talks about his experiences in different organizations' environments, from start-ups to the likes of BBC. Glen discusses how to build great teams and why in his view Kanban works better than Scrum. Finally, Glen explains how Lean, DevOps and systems architecture all influence each other.
Todd Charron on Lean Startup Machine & Improv in Agile
Todd Charron talks about some of the outcomes from Lean Startup Machine in Toronto, applying Lean Startup in the Enterprise and how can us improvisation techniques in Agile to reduce our fears.
Chris Clarke on the State of Agile ALM
Chris Clarke from Collabnet talks about the evolution of ALM, how Agile has affected its uptake across all levels of the organisation and some of the important metrics Agile teams should be measuring.
Al Shalloway Discusses the Lean-Agile Method
Al Shalloway sits down to discuss how the Lean-Agile method breaks away from tribes such as Kanban and Scrum to get back to our shared values.
Steve Adolph on Effective Communication and Healthy Backlogs
Steve Adolph discusses his PhD research on communications in organisations, the importance of boundary spanners and how a large backlog becomes an impediment to product development flow. He talks about he importance of the ScrumMaster role, problems with Product Owners and where Business Analysis can add value.
Lachlan Heasman and Bernd Schiffer on Agile Coaching
Lachlan Heasman and Bernd Schiffer talk about Agile Coaching and how to define it and the skills required as well as their experiences along the way including Scrum PLoP, 42 things and Agile meetups.
Sandy Mamoli on Kanban for 1
Sandy Mamoli talks about being an Agile consultant, Agile adoption in New Zealand, the flavours of Agile Coaching as well as experiences in succeeding with Personal Kanban and her tool KanbanFor1.
Andrew Prentice and Jo Cranford on Testing and Development at Atlassian
Andrew Prentice and Jo Cranford talk about testing and development approaches at Atlassian, in particular the role of Quality Assistance and approaches to effectively testing JavaScript.
Tim Berglund on Product Owners, Product Development at GitHub
Tim Berglund explains GitHub's approach to product owners and product development and how that can (or can not) translate to other companies.


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Exclusive: Mitt Romney told supporters behind closed doors that he's disadvantaged because he was born to a rich white family, that he'd have a better chance to win if his dad were a Mexican. It's getting hard to decide if Romney is simply a country-club racist or delusional, writes Robert Parry.
The Mystery of Neocon Influence
The neocons – despite the disastrous Iraq War and other harm they have caused – remain influential in Official Washington, given time on talk shows and space on op-ed pages to expound on their latest dreams of American intervention in the Middle East. But ex-CIA analyst Paul R. Pillar asks, why are they still listened…
Did Anti-Muslim Film Cross Legal Line?
The makers of an anti-Islamic propaganda video achieved what they apparently intended, inciting a violent reaction among Muslim and creating new tensions between Islam and the West. But the killing of four U.S. diplomatic personnel raises questions about whether legal lines were crossed, maintains Lawrence Davidson.
The Constitution's Unhappy Birthday
As the U.S. Constitution reaches its 225th birthday, the democratic Republic that it made possible is facing extraordinary threats to its survival, at least as anything but a shell of its former self. The main culprit is a relentless assault by the super-rich and their political/media handmaidens, says Beverly Bandler.
Misreading the Arab Street's Anger
The neocon response toward the anger against the U.S. on the Arab and Muslim "street" is to lash out at those countries and to chastise President Obama for his early efforts at out-reach. But Middle East specialists Flynt and Hillary Mann Leverett say the real problem was the lack of follow-through.
Congress at the Trough
Congress may seem like it's not accomplishing much, but that's only true if you don't count the political fundraisers. If all the after-hour events – tallying up millions in special-interests dollars – are counted, members of Congress are busy indeed, says Michael Winship.
Has Netanyahu Gone Too Far?
Israeli Prime Minister Benjamin Netanyahu is demanding that President Obama set a precise "red line" regarding Iran's nuclear program, meaning a commitment to go to war even if Iran is not actually building a nuclear weapon. Ex-CIA analyst Paul R. Pillar sees a possible turning point in the U.S.-Israeli relationship.
Romney's Jaw-Dropping Incoherence
Exclusive: Republican presidential nominee Mitt Romney's latest distortion about an attempt by the U.S. Embassy in Egypt to calm Mideast tensions is not only renewing concerns about his honesty but raising new questions about his mental stability, writes Robert Parry.
Would Neocons Control Romney?
Mitt Romney has articulated few substantive differences between himself and President Obama on foreign policy, but a Romney victory could dramatically change the U.S. approach to the world because he, like George W. Bush, is surrounding himself with neocon advisers, notes ex-CIA analyst Paul R. Pillar.
Walking the Jerusalem Plank
In reversing the decision of the Democratic platform committee to omit a plank declaring Jerusalem the capital of Israel, President Obama may have intended to deny the Republicans another attack line, but he also added to the disenchantment of some progressives, says Lawrence Davidson.


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Celebration For Us Ft. Moxy Monster + OATW (Music Video)
Video By Alvin Jordan + OATW
I'm at the 3 hr 10 min mark: http://new.livestream.com/icrctv/CEA2015
Phantom Of The Opera Ft. Chuck Inglish (Single)
Religiously (Music Video) + Maudie's Live 12/12/14 (Event)
in celebration of the new project I wanted to have something intimate in my hometown Cincinnati so me and Donte from MOOD (Space Invaders) will be live @ Maudies located 1207 Main Street. 9pm presale $5 limited space only fits 100 ppl so get your tix ASAP! here is the link – http://www.cincyticket.com/mobile/Performance.asp?Performance=3749Buggs Tha Rocka ft Donte from MOOD – Religiously (Official Music Video) produced by Hop Trax
Angel Of Death (Ft. Piakhan) {Animated Concept Video}
New concept video from Buggs tha Rocka & Alvin Jordan, "Angel of Death" is taken from his forthcoming album "Scattered Thoughts of an American Poet" which releases on 10th December.
A fan of animation, Buggs has used this form to reflect the message of the track which also features Piakhan and is produced by Hop Trax.
Official Buggs Tha Rocka Merch
Thursday October 30th we have merch dropping for all you space invaders!
To purchase official Buggs Tha Rocka/Galaxxy Enterprise Merch email all inquires to
Cincinnati's Buggs tha Rocka returned to Atlanta for the second year running to perform at the A3C Festival 2014.
He documented his visit on film in this re-cap video which features appearances by Donte from MOOD, Kid Capri, Jay Electronica, Karen Civil, Bone Thugs n Harmony, Cyhi the Prynce, Losa and many others.
The backing track used is Electric Eel in a Pool of Catfish featuring Tanya Morgan, taken from his new album "Scattered Thoughts of an American Poet" which releases on 10th December 2014. The album features many local CIncinnati producers and artists as well as recognized names such as MOOD, Chuck Inglish, Jake One and !llmind.
Documented by Alvin Jordan
Buggs Tha Rocka | Bad Habits (Music Video)
Buggs Tha Rocka – Bad Habits (Official Music Video) from Buggs Tha Rocka on Vimeo.
Buggs tha Rocka returns from A3C with the release of this new video "Bad Habits" directed by Alvin Jordan. Taken from his forthcoming project "Scattered Thoughts of an American Poet" out on December 10th 2014, the soul-sampled beat comes courtesy of Hop Trax who weighs in heavily on the album's production together with Sal Dali, !llmind and Jake One. Tanya Morgan, Donte of MOOD and Chuck Inglish of the Cool Kids are among the featured artists
Buggs performs again on 30th October at Cincinnati's Rhinegeist Brewery with Reflection Eternal, MOOD and Mac Miller's tour DJ Clockwork with whom he has previously released two mixtapes


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Northern Plains co-op sets meeting
Northern Plains Electric Cooperative will hold its annual meeting for its members at 6 p.m. Tuesday at North Dakota Farmers Union in Jamestown. A complimentary meal is at 5 p.m.
Keeping electricity reliable and affordable will be among the many topics presented at the annual meeting.
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Winnipeg Free Press - PRINT EDITION
Bringing home the bacon
Groceries are among the most significant and necessary costs in a family budget
Kristin McKinley would like to be an extreme coupon cutter. She'd also budget unfailingly for the weekly grocery shopping duties.
But as a stay-at-home mom of a four-year-old and one-year-old, McKinley says time is a luxury that she often cannot afford.
"When I do my shopping I always have my two kids in tow with me, so it gets a little bit stressful," said the 32-year-old Winnipeg mom, who writes about the many joys and handful of challenges of motherhood on her blog, Born2beMom.com.
As much as she'd cut coupons and work up budgets, she says she doesn't have the time for that kind of pre-shopping prep work.
Instead, she tries to save money while at the store. Even so, tallying up the final tab is always a little nerve-wracking.
"Our monthly budget is a little bit tight," she said.
And while she looks for savings here and there, she finds she's only holding the line because prices are continuingly creeping upward.
"Honestly, our biggest expense when it comes to food would be milk," she says. "With two young kids, we buy a lot of milk and it gets pretty pricey, and it seems the price of milk has gone up quite a lot in the last few years."
McKinley estimates they spend about $15 to $20 a week on milk alone. Overall, she estimates groceries cost her and her husband Kevin at least $800 per month.
And McKinley is right. Food prices have been on the rise, outpacing inflation over the last decade, Statistics Canada data reveals.
While the Consumer Price Index (CPI) -- the basic cost measure for a basket of household goods -- has increased 24 per cent between 2002 and 2012, food prices have increased about 34 per cent, says Amanda Wright, an analyst with Statistics Canada.
In Manitoba, the price jump has been less than in other parts of the Canada, but food costs have still risen about 30 per cent here over the last decade. That may sound slightly out of whack for some shoppers. Prices for some food products have doubled over the last decade, but the CPI food prices are weighted according to overall spending. The products consumers spend more money on become more important in the calculation, Wright says.
In fact, food accounts today for less of our overall budget than it did in 1986 when Statistics Canada began recording the CPI data. We now spend on average about 16 per cent of our budget compared with about 18 per cent in 1986. That's compared with about 26 and 36 per cent on shelter, respectively.
"The cause for the decrease could be a variety of factors, but typically, as society's wealth increases, you spend less on the necessities and more on other things," Wright said. "It's generally something we see when we look at a change in a country's average income or wealth."
Still, certified financial planner and money coach Sheila Walkington says groceries are a significant and essential expense for most Canadian families.
The Vancouver-based adviser and author says many people she works with are surprised how much they are spending on food -- once they pay close attention to their spending habits. It's also a budget line where significant savings can be found with a little bit of planning and effort.
"It's easy to overspend on groceries, so it can be fertile ground for saving money," said Walkington, who co-founded Money Coaches Canada, which helps consumers better manage their cash flow.
"It's usually one of the first areas we look at, besides dining out."
Walkington says a reasonable grocery budget is about $200 to $300 a month per person. Any higher amount is likely an indication some financial fat can be trimmed.
Most people can cut about 20 to 30 per cent from their monthly grocery costs, she says. It's all about preparation -- something we often don't do.
"What I often find people don't do are meal plans -- many don't even go to a store with a list," she said.
Time is money when it comes to preparing meals at the end of the day. If you're home after work, hungry, in a rush and at a loss of what to make for dinner, that's a recipe for takeout. This quickly becomes an expensive habit.
"But if you know what the meal is and already have the ingredients, it's less difficult to just go home and cook," she said. "The first thing I suggest is that they develop a list of 30 meals the family likes, and each week they can decide which six or seven meals they're going to make and what groceries they need to buy for it."
Developing a weekly budget for food is also essential to cut the grocery bill. Everyone knows this fact, she says, but most people can't put the concept into regular practice because it's easy to overspend on food, using funds that could otherwise go toward savings and debt repayment.
Walkington says she often works with clients to set up a system where money is specifically set aside for food and just about every other expense. This can be done physically, putting money into envelopes or jars. But this method is often unnecessarily onerous and impractical.
"What do you do, for example, when you need your partner to pick up something from the store on the way home?"
An alternative is setting up different bank accounts for various needs.
But simple mental accounting works, too, knowing if you overspend on food, money has to come from somewhere else.
"I do this myself, so when I know there's only $23 left in the grocery budget, I'll make an extra effort to look in the cupboards for things to cook because if I go over budget, the money comes out of the travel or entertainment budget."
And the consequences should be short-term, not long-term pain, because they're more effective.
"People are more motivated to stick to their grocery budget if they know the savings will go to something fun."
If the overruns come at the expense of the RRSP, "it's easy to think 'I'll do it next time.' "
Cutting discretionary expenses has a more immediate impact, but it's also less threatening to long-term wealth than putting monthly savings and debt payments on hold.
These budget goals must continue even when the household budget is really tight. But discretionary costs can be cut, even eliminated temporarily. And then it can be a matter of finding grocery savings to restore the budget for the fun things in life.
"Make something like vacations, for example, zero dollars unless you can cut $200 from your grocery budget in a month," she said. "So if you can cut your grocery budget from $1,000 to $800, you've just freed up money for your travel budget."
It comes down to people discovering what motivates them, she added.
For McKinley, it's not holidays that compel her to trim costs. She tries to save on food to buy something more precious: time.
"It's used for those nights when I'm too exhausted to cook dinner," she said. "Then I know I have the money to order a pizza so I can spend more time with my family."
Republished from the Winnipeg Free Press print edition July 13, 2013 B12
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Health of defined benefit pension plans hurt by falling interest rates2:28 PM 0
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Tutus, tiaras, pirouettes and pas de deux – that's what ballerinas are made of. Or are they? Alongside the fairies, princesses and girlish heroines stand another group of women who defy the mould. Encompassing parts that range from protective mothers to powerful sorceresses, these so-called 'character roles' make use of acting and mime in addition to dance. And they're often as vital to the drama of a narrative ballet as that decorated leading lady.
At The Royal Ballet, most character roles are undertaken by Character Artists. These dancers tend to have performed with the Company for several years and risen through the ranks. They therefore bring to their roles an understanding of the movement and characterization inherent to classical ballet – Genesia Rosato, one of the Company's current Principal Character Artists, explains that performing character parts is 'just an extension of what we have been taught classically'. However, without the technical framework of a fully danced role to fall back on, these performers must go beyond choreographed steps to create convincing personas – they must, as Rosato explains, have 'a natural feeling for acting'.
Dancers with a flair for acting and mime in fact often take on character parts relatively early in their careers, watching and learning from those who have experience of performing the roles. This tradition is particularly strong within The Royal Ballet; Rosato describes how she was 'taught in my early days in the Company by Julia Farron, Gerd Larsen and Derek Rencher, who nurtured my dramatic tendencies'. Fellow Principal Character Artist Elizabeth McGorian remembers her training in mime with Anthony Dowell – 'a stickler for detail but never afraid to update it or experiment with it' – and Peter Wright, 'who knows everything there is to know about classical mime and is such a perfectionist'.
Christina Arestis – a current Royal Ballet Soloist who performs both dance and character parts – draws on her training to immerse herself in a particular role: 'Monica Mason once said to me, the most important thing when approaching any role is first to consider how that particular character would walk. That is always my starting point. Once you have established that, you can start to build the layers of your character from there.'
Of the many choreographers who include character roles in their narrative ballets, Kenneth MacMillan is particularly revered for the imaginative, complex personalities he created. For McGorian, 'MacMillan was the master. Character roles were such an intrinsic part of all his story ballets and he was groundbreaking with the way he made the storytelling so naturalistic'. She names Lady Capulet from MacMillan's Romeo and Juliet as her favourite role, 'not least because of the heartbreaking, gut-wrenching reaction she has to her nephew Tybalt's death… the build up to that scene and performing it leave me emotionally and physically shattered'.
The female character artist's repertory includes a number of other powerful mother figures: Berthe in Giselle and the Princess in Swan Lake are each complex characters, caring for their children but powerless to avert disaster. Though less prominent, the dignified presence of Madame Larina in Onegin provides valuable background detail for the behaviour of her two very different daughters. But character artists are by no means restricted to depictions of maternal love. The plethora of women they portray range from glamorous, independent figures such as Madame in Manon to the demented, knife-wielding young cook in Alice's Adventures in Wonderland. They can be some of ballets most famous baddies – the wicked fairy godmother Carabosse in The Sleeping Beauty and the witch Madge in La Sylphide.
None of these characters conform to the stereotype of a ballerina. But without them, and the skilled dance-actors who bring them to life, ballet's most famous stories could not be told.
Onegin runs until 27 February 2015. Tickets are still available.
The production is given with generous philanthropic support from Simon and Virginia Robertson, David Hancock, Lady Jarvis, Lindsay and Sarah Tomlinson, Sir Roger and Lady Carr, The Artists' Circle and The Royal Opera House Endowment Fund.
Swan Lake runs 10 February–9 April 2015. Tickets are sold out but returns may become available, and there are 67 day tickets for each performance.
Swan Lake will be broadcast live to cinemas around the world on 17 March 2015. Find your nearest cinema.
The production is given with generous philanthropic support from Celia Blakey, John and Susan Burns, Doug and Ceri King, Peter Lloyd and Gail Ronson. Original Production (1987) and revival (2000) supported by The Linbury Trust.
Nineteenth-century ballet: a melting pot of international influences. No, really! Look beyond the pointe shoes, tutus and classical positions, and you'll discover a rich heritage of ballet choreographers finding inspiration in dance from around the world.
Take two of today's most popular 19th-century ballets: Act II of The Nutcracker has Spanish, Arabian, Chinese and Ukrainian trepak divertissements; and the Act III party of Swan Lake has a Spanish dance, a Hungarian csárdás, a Neapolitan dance and a mazurka. While not all the dances might seem 100% tasteful to modern eyes, they do all have very recognizable characteristics – take those trouser-splitting trepak jumps – and are all matched with clear national markers in Tchaikovsky's music.
How about a whole ballet inspired by national dance? Don Quixote is classical ballet, but it also owes more than a passing debt to Spanish flamenco culture. In addition to all the matadors and cape swishing there are arched backs, stamping feet, sinuous port de bras. It's not subtle, but it's unmistakably Spanish in feel. Similarly, within La Bayadère's straightforward classical ballet, there are a few set pieces that draw very specifically on the Indian setting: the Act I D'Jampée Dance, making ingenious use of the traditional garb of one scarf attached to the ankle; and the Bronze Idol in Act III, whose poses directly recall images of classical Indian dance. In both ballets, Ludwig Minkus gives the accompanying music its appropriate national stamp.
The uniting figure across all four of these ballets is the choreographer Marius Petipa. He spent most of his career in St Petersburg but began life in Marseille, and spent years working in France and four years in Madrid. Petipa evidently made good use of his time in Spain – on his return to Paris he 'inserted [a] genuine, original fandango in the opera Carmen… it was not my invention, but the national dance that I had learned when I was in Madrid'. Spanish dance obviously remained close to his heart and he found a way to include it in most of his Russian ballets.
Petipa wasn't some national dance-crazed outsider though. Recent research by Lisa C. Arkin and Marian Smith has shown that the French Romantic ballet in which Petipa began his career placed almost as much emphasis on national dance as it did on the 'balletic' danse d'école.
It all stems back to the Romantics' love of folklore. The early 19th-century poet looked to folksong; the ballet equivalent was national dance, considered to be as essential to the identity of a nation or people as its language. As the formal genres of 18th-century courtly ballet (the style de perruque, literally 'wig style') broke down in favour of story- and music-driven Romantic ballet, national dance became crucial in setting the scene and conveying the emotions of the characters.
National dance was not the exclusive domain of specialists. Some of the most prominent dancers of the day were experts in national dance and won renown for their performances of particular numbers – Marie Taglioni's Spanish dance in La Gitana, Fanny Elssler's cracovienne in La Gypsy are just two examples. These stars took their job seriously: Taglioni went to Warsaw to learn her mazurka, Elssler to Pest for her csárdás. Petipa – commissioned to create a Caucasian lezghinka – brought in four soldiers from the Russian Caucasus Army.
Dance critic Théophile Gautier was a fan: in 1837 he (somewhat cattily) wrote that national dance added some 'spice to the deadly boring framework of ballet'. His original scenario for Giselle included some scene-setting German national dance, as well as a divertissement-like set for the Wilis in Act II – the Oriental odalisque Moyna, the Indian bayadère Zulma, attending French and German ghostly jilted maidens – that seems quite far removed from some modern conceptions of the Wilis as a manifestation of pure balletic dance.
So next time you catch yourself sighing because the dancers are wearing heels instead of pointe shoes, stop yourself! These national dances are a key part of ballet history, and a fascinating insight into the attitudes of its creators.
Don Quixote runs 25 November 2014–22 January 2015. Tickets are still available. The production is generously supported by The Friends of Covent Garden.]]>
Giselle is now available to pre-order on DVD and Blu-ray from the Royal Opera House Shop, online and in person.
Pre-ordering your copy online means that you'll receive a discount.
Peter Wright's production, based on Marius Petipa's classic version of the ballet, features Natalia Osipova as Giselle – in her first role as a Principal with The Royal Ballet – and Carlos Acosta as Albrecht.
Considered by many to be the greatest of all Romantic ballets, Giselle is a tale of betrayal, enduring love and supernatural forces. The ballet tells the story of a young peasant girl who falls in love with a villager, but her discovery of his noble identity has devastating consequences.
Natalia's portrayal of Giselle was described as 'technically and artistically supreme' by the Telegraph and as 'a revelation' by the Guardian. Read audience reactions to the opening night.
Giselle will be released on DVD and Blu-ray on 1 September 2014. Buy your copy now.]]>
Over the summer, Sky Arts is broadcasting a number of Royal Ballet productions, including La bayadère, The Metamorphosis, Giselle, The Sleeping Beauty, Alice's Adventures in Wonderland and Swan Lake.
Full details of upcoming Sky Arts broadcasts:
Broadcast times are subject to change, so do check Sky Arts listings for final confirmation, and to find out what other dance programmes they are screening this summer.
Behind the scenes films about all these Royal Ballet productions can be found on our YouTube Channel]]>
Our 'How to Stage an Opera' series offers different perspectives on the practicalities of staging an opera, from the initial research through to the final performance. Here we look at how the reception of Gounod's opera has influenced the director's approach.
Charles-François Gounod's Faust is a masterclass in operatic dramatic structure. It was collectively the greatest work of Gounod and his librettists Michel Carré and Jules Barbier – the duo that made a name for themselves adapting literary masterpieces for opera in Roméo et Juliette, Hamlet and Les Contes d'Hoffmann. But Faust was the first and the greatest. From Goethe's epic Enlightenment verse-drama they and Gounod sculpted a work that complies with the conventions of French grand opera but has a dramatic immediacy the three would never better. The opera was embraced by the public from its premiere in 1859, and by the start of the 20th century had become the most internationally popular opera that had ever been.
But hand in hand with the opera's popularity there grew an increasing disparagement of Gounod's version of the Faust myth, specifically the alleged trivialization of Goethe's play. Richard Wagner was among the first to deride what he termed 'a repellent, sugary-vulgar patchwork… wedded to the music of a second-rate talent'. By the early 20th century Faust, a victim of its own ubiquity, had become the prime operatic cliché. It was used by authors such as Edith Wharton and Hergé to encapsulate the perceived peculiarities not only of the operatic idiom itself but also the supposed social milieu of its audience. In the second half of the 20th century the opera disappeared from the repertory, dismissed as kitsch. As late as the 1992 edition of The New Grove Dictionary of Opera it was described as a work 'too much of its time to transcend the age in which it was written'.
This heritage of scorn provides modern directors with both a challenge and an opportunity. Gounod's score, with its catchy tunes and show-stopping arias, and the proficiency of the libretto's structure, ensure that audiences will have a good time almost regardless of the production. But opera is at its greatest when staging and music exalt the senses together. Modern directors have an opportunity to present the work in a way that forces audiences to re-evaluate it, a chance to guide them away from the kneejerk historical response and to discover latent qualities that may never have been seen before.
David McVicar's 2004 production for The Royal Opera latches onto the opera's period sense that so offends some of its critics. He discards Gounod and Goethe's medieval setting (based on the supposed real Dr Faustus) and instead sets the opera in the latter half of the 19th century, the time of the opera's ascent to fame and infamy. He finds a new story to tell, where Faust becomes a stand-in for Gounod, tormented by the conflicting desires for earthly pleasures and the simplicity of holy life that rent the composer's life. The music, governed by the dance forms of Gounod's era, becomes McVicar's accomplice.
The set is dominated by a theatre box on one side and an organ loft on the other – ever-present visual icons that loom over the action. The rustic village dance becomes a seedy show in the Cabaret d'Enfer; the team of doughty soldiers are pawns in the brutal Franco-Prussian War; the peasant maiden Marguerite is now Manet's barmaid, pure but jaded; Méphistophélès is a figure of theatricality, preening himself in plush red velvet, inducting Faust first into the childish fun of dressing up, then seduction, and eventually guiding him into the abuse of absinthe and morphine.
McVicar's production retains the sense of spectacle that was a part of the opera's initial success, employing specific references to the forms and technologies of the time – the flashing lights of the Cabaret d'Enfer, the grotesque Giselle-like Walpurgisnacht ballet. But more importantly, he introduces a troubling undercurrent that compels us to question the moral assumptions of Gounod's time – for example, that the abhorrent abuse Marguerite suffers could be considered straightfoward entertainment.
McVicar's production of Faust is an example of how a director's vision can diverge from the composer's intentions while remaining true to the spirit of the work. Follow the next in our series to explore why Jonathan Kent's production of Tosca follows Verdi's original setting in Rome, 1800.
Read other posts in our 'How to Stage an Opera' series.
Faust runs until 25 April 2014. Tickets are still available.
Faust is a co-production with Opéra de Monte Carlo, Opéra de Lille and Fondazione Teatro Lirico Giuseppe Verdi, Trieste, and is given with generous philanthropic support from David Hancock, Spindrift Al Swaidi, Martin and Jane Houston, Mr and Mrs Christopher W.T. Johnston, The Tsukanov Family Foundation, The Connoisseurs' Series and The Friends of Covent Garden.]]>
Fabulous #rohgiselle stage full of strong vengeful women. Corps de ballet. Wonderful and scary
— Poetry Divas (@PoetryDivas) January 27, 2014
Blown away by Giselle cinecast! Absolutely beautiful and heartbreaking #rohgiselle
— Rebecca Geller (@tbex) January 27, 2014
Amazing Soloists at #ROHGiselle but disappointed with the corps de ballet
— Dance Challenge™ (@Dance_Challenge) January 27, 2014
#ROHgiselle I am in floods of tears and clapping so hard. Don't care I am in the cinema! Wonderful! Just wonderful.
— Kaye Sedgwick (@kaye_sedgwick) January 27, 2014
Thank you very much indeed for a lovely evening. I stand amazed here in Karlstad, Sweden. #ROHgiselle
— Eel In (@MuddyNostril) January 27, 2014
#rohgiselle - clearly there is no gravity at ROH - Osipova absolutely amazing - tears in Tunbridge Wells
— Louise Sinclair (@LouiseLynes) January 27, 2014
#rohgiselle Osipova epitomises the method acting of the ballet - she IS Giselle! Exquisite performance x
— Elizabeth (@kerl_e) January 27, 2014
In tears watching #rohgiselle. Beautiful, heartbroken performance by Natalie Osipova.
— Georgina Carter (@glcarter) January 27, 2014
If you go down to the woods tonight you're sure of a big surprise/If you go down to the wood tonight you'd better go in disguise #ROHGiselle
— Vampire Soup (@VampireSoup) January 27, 2014
The athleticism is stunning, but Osipova didn't move me as Nunez (or for that matter @LondonBallerina or Marquez) did. #ROHGiselle
— Michael Potter (@MichaelPotter) January 27, 2014
So much expressed in every movement from Natalia Osipova in #ROHgiselle. Whole performance breathtaking.
— Sue Sheard (@trakkabase) January 27, 2014
Trying to estimate how many times I've seen Giselle without *ever* noticing that the wilis have wings... #ROHgiselle
— Mette (@mettewb) January 27, 2014
What did you think of Giselle?
A Giselle digital guide is available to buy containing specially selected films, articles and exclusives to bring you closer to the production.
The next relay as part of the ROH Cinema Season will see The Royal Opera's Don Giovanni screened live around the world on 12 February 2014. Find your nearest cinema.]]>
The Royal Ballet's Giselle was screened live across the world on 27 January as part of our Live Cinema Season 2013/14. During the relay a series of backstage films were shown, featuring rehearsal footage and interviews with the cast and creative team. In case you missed them last night, or just want to find out more about Giselle, here they are again:
Corps de ballet rehearsals for Giselle
Follow the corps de ballet as they rehearse for Giselle with Ballet Mistress Samantha Raine. The corps play the Wilis - girls who've died of a broken heart. First Artist Nathalie Harrison and Annette Buvoli, the Company's youngest dancer at 18, explain the complexities and challenges of the scenes involving the corps.
The Romance of Giselle
Producer Peter Wright rehearses with Natalia Osipova and Carlos Acosta and discusses the story, the characters and legacy of the ballet.
A Giselle digital guide is available to buy containing specially selected films, articles and exclusives to bring you closer to the production. This performance of Giselle will be released on DVD in autumn 2014.
The next relay as part of the ROH Cinema Season will see The Royal Opera's Don Giovanni screened live around the world on 12 February 2014. Find your nearest cinema.
To see more films like this, subscribe to our YouTube channel:]]>
The first performances of Giselle over one hundred and fifty years ago took place at a time of remarkable innovation in the world of dance. Giselle delighted audiences then, and to this day remains at the centre of the classical repertory. Its popularity can be attributed to its fulfilment of the ideals of both Romantic ballet and of classical technique – a captivating combination of plot and spectacle, reality and fantasy, achieved through challenging choreography and dramatic storytelling. The balance of these two elements is brilliantly encapsulated in the mad scene, where the joyous atmosphere established in the first act unravels and the village descends into turmoil. The focus of this scene is, of course, the peasant girl Giselle. Unable to cope when she discovers that her fiancé Loys is in fact Count Albrecht in disguise, and that he is engaged to another, she loses her mind and commits suicide.
Peter Wright stressed that when performing Giselle 'The important thing is to make the story and the characters believable'. His production preserves much of the mime woven into the fabric of the ballet at its first performances in the 1840s. The use of mime as a dramatic device was popular in 19th-century ballet, and precise descriptions of gestured conversations and monologues in early rehearsal scores for Giselle suggest that mime was almost as important as the ballet's danced choreography. In the mad scene the characters on stage portray a whirlwind of emotions and thoughts; disbelief, horror and – for Giselle – heartbreak and loss of reason through gesture, body language and facial expressions. The ability to make Giselle's mime coherent and believable, and to sustain the drama of the scene until she drops dead, is regarded by many as the ultimate endorsement of a prima ballerina's talent as a performer.
However, the mad scene calls for more than an accomplished actress alone. It is carefully structured to support and enhance the actions of Giselle and those around her in order to achieve maximum pathos. Adolphe Adam's score for the ballet plays an important role here. The composer clearly collaborated closely with Giselle's original choreographers, Jean Coralli and Jules Perrot (whose work influenced that of Marius Petipa and Peter Wright). Each dramatic development is skilfully reinforced by a musical idea – for example, an obsessive repeating figure in the violins played at a gradually rising pitch increases the tension as Giselle discovers who Albrecht really is, and an eerie high-pitched trill over disturbing, pulsing strings seems to signify madness creeping in.
Towards the end of the mad scene we hear themes that have appeared earlier in the ballet. These musical leitmotifs and their accompanying choreography originally illustrated Giselle's youthful exuberance and devotion to Loys; their reappearance here highlights her downfall. The bouncing staccato tunes of the dance motifs have become distorted and fragmented, morphing into a haunting oboe lament, while the choreography that originally comprised light, sprightly ballonnés, ballottés and jetés is now performed with no elevation, feet dragging along the floor, head flopping and arms flailing. There is even a premonition of Giselle's fate in the fleeting chromatic gestures from the theme of the Wilis as she stumbles distractedly from one side of the stage to the other.
By the time Giselle collapses at the end of the scene, the Romantic unity so skilfully established during the rest of Act I has been utterly annihilated. This demolition, achieved through the consummate skills of choreographers, composer and dancers alike, is not only a gripping spectacle in its own right but also gives credibility to Giselle's descent into the haunted world of the second act. In this realm, where nothing is familiar, we are able to understand the plight of the eerie, shrouded Wilis.
Giselle runs from 18 January to 10 February 2014. Tickets are now sold out, except for returns and day tickets, but there will be a live cinema broadcast worldwide on 27 January 2014. Find your nearest cinema.
The production is given with generous philanthropic support from Mrs Aline Foriel-Destezet, Celia Blakey and the Jean Sainsbury Royal Opera House Fund.]]>
Peter Wright's classic production of Giselle, starring Natalia Osipova and Carlos Acosta, will be screened live in cinemas across the globe on Monday 27 January.
A tale of betrayal, enduring love and the supernatural, Giselle is one of the most influential of all Romantic ballets. Find out more in our Ballet Essentials article.
Digital Guide
The Royal Opera House has produced a digital guide to The Royal Ballet's Giselle, containing specially selected films, articles and photos to bring you closer to the production. The guide, which costs £2.99, is designed to help you engage with the work, from viewing exclusive pictures of the cast in rehearsal, to finding out about the era in which it was written.
It includes an introduction to the creation of Giselle, features exploring the music and the mime, a full synopsis of The Royal Ballet's production and an interview with Peter Wright, as well as biographies of the cast and creative team. From Monday morning (27 January) we will be adding an exclusive interview with Carlos Acosta. Buy the Royal Opera House Digital Guide to Giselle.
The Cast
'For me the theme is love that forgives, or as I would call it forgiveness through love,' says Natalia, who is performing the title role. 'I want the audience to come away with a purification of emotions - a catharsis.'
'For the woman, it's very demanding technically and physically,' says Hikaru Kobayashi, who is dancing the role of Queen of the Wilis. 'It's very tiring. There are lots of different jumps, and after those jumps, you are still on stage and have to have the authority and presence of a queen.'
Peter Wright's production for The Royal Ballet, which had its premiere in 1985, has had more than 550 performances. Watch Peter Wright discussing the revival and working in rehearsals with Steven McRae and Roberta Marquez.
Read audience reactions to the opening night of Giselle and add your own review.
The Royal Opera House is also creating a Digital Guide for Kasper Holten's new production of Don Giovanni, which will be available to buy soon.
Giselle runs from 18 January-10 February 2014. A small number of tickets are still available. The ballet will be broadcast live to cinemas worldwide on 27 January 2014. Find your nearest cinema.
The production is staged with generous philanthropic support from Mrs Aline Foriel-Destezet, Celia Blakey and the Jean Sainsbury Royal Opera House Fund.
Former Royal Ballet Principal and Strictly Come Dancing judge Darcey Bussell will give audiences around the world glimpses behind the scenes as the live presenter of Royal Ballet cinema relays for the remainder of the 2013/14 Season. Darcey will present upcoming cinema relays of Giselle, The Sleeping Beauty and The Winter's Tale.
Cinema relays see our performances relayed to over 1,100 cinemas in 29 countries around the world. As well as the performance being beamed live from Covent Garden, the events also feature interval films exploring the making of the ballet. Darcey will interview key cast and production team members on the night.
Darcey danced with The Royal Ballet from 1988 to 2007 and was made a Principal aged just 20 in 1989. She performed the role of the Sugar Plum Fairy in The Nutcracker on a number of occasions, as well as many other iconic roles such as Aurora in The Sleeping Beauty, Odette/Odile in Swan Lake and Giselle in Giselle.
The Royal Opera House Cinema Season continues on 27 January 2014 with a live relay of The Royal Ballet's Giselle. Find your nearest cinema and buy the Giselle digital guide.]]>


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February 24, 2012
Senegal's presidential candidates must call for calm ahead of the first round of elections this weekend.
February 24, 2012
Poland must cease hiding behind state secrecy and allow a fully transparent investigation into its role in U.S.-led rendition and secret detention programs, Amnesty International said.
February 23, 2012
Cuban Authorities Prevent Activists from Commemorating Death of Dissident, says Amnesty International
Authorities in Cuba are barring activists from participating in an event in Havana to mark the second anniversary of the death of a prisoner of conscience.
February 23, 2012
A landmark European Court of Human Rights judgment upholds migrants rights that Italy violated by returning African migrants to Libya in 2009.
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Musicians and artists worldwide have been a vital part of Amnesty International's global efforts to bring human rights to every man, woman and child in the world.


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David Hockney's Garroby Hill serves as a timely reminder of the winding road to Christmas, through desolation to hope.
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the perfect getaway
I can't imagine a cozier cabin in a more beautiful place. This trip was the getaway that made me feel like I really got-away. I would love to go back!
60 lb Blue Cat caught off the dock by Brad Mason at Min Paradis in Leakey, TX
We could not have had a more fabulous stay! Incredible hostess with what Brad and I have deemed "luxury rustic" accommodations. This fish was caught on a 10lb line and hook with a piece of sausage, just out the front door of the cabin. The highlight of our trip, among many exquisite delights. (and yes, we threw him back in......he's waiting for you....)
Authentic Texas Experience
Sight unseen, we rented this property for our annual family pilgrimage to the Hill Country, this year with our sons' college roommates from Seattle and Montreal. We were captivated by the beautiful landscape, the large and comfortable lodge, and most of all, the virtual Noah's Ark of free-range hoofstock (with hundreds of photos to prove it). Rugged hiking in the hills, swimming in the picturesque natural pool, and star-gazing around the bonfire pit, all were among the best experiences we've had in 30 years of visiting the Frio Canyon area. Our guests were thrilled with their first experience of Texas - and intend to return for more R&R at Circle H Lodge.


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Magic Tree House #30
Haunted Castle on Hallows Eve
By Mary Pope Osborne; Mary Pope Osborne (Read by)
(Listening Library (Audio), Compact Disc, 9781400091058)
Publication Date: August 10, 2004
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Haunted Castle on Hallow's Eve
The intrepid Jack and Annie are summoned once again to the fantasy realm of Camelot. There, Merlin the Magician tells them that the Stone of Destiny has been stolen. The answer to its disappearance lies within a haunted castle. With a young magician named Teddy, Jack and Annie take on the challenge in an adventure that takes them to new heights and places they couldn't even imagine!
Mary Pope Osborne is the author of all the Magic Tree House books, as well as American Tall Tales and New York's Bravest for Knopf. The author lives in Goshen, CT.


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Epicly Later'd
Josh Kalis -- Part 3 of 4
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In Episode 3 of the Kalis series, Josh talks about his trip to the mental hospital, getting dropped from H-Street, and being over skating. Jamie Thomas makes his first appearance on Epicly Later'd to talk about finding Josh and filming with him in Texas. The real deal here though is about 3 minutes of never-before-seen footage filmed in 1994 that stands up to most of what's being filmed today.
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The Marian E. Koshland Integrated Natural Sciences Center (KINSC) is a platform for scholarly and curricular activities among faculty and students sharing a passion for scientific inquiry across a diverse and interdisciplinary range of topics. The KINSC catalyzes and facilitates programming that maintains Haverford College's position as a leading institution of excellence in the sciences.
The Haverford associate professor of physics continues her groundbreaking work on predator-prey interactions with a new paper on goshawk pursuit strategy.
The KINSC is a nexus for interdisciplinary and multidisciplinary growth at Haverford and supports curricular and faculty development that promote synergies between existing Departments and cooperation with the Hurford Humanities Center (HHC) and the Center for Peace and Global Citizenship (CPGC).
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LAFIECOKatie Ulrich '14 is spending her summer working at the Laboratory of Plant Physiological Ecology (LAFIECO) at the University of Sao Paulo in Sao Paulo, Brazil.
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"You have to like Tom Clancy"
It is true that you have to get through 8 hours of characters fretting about the world and what they believe in before you get to some action. Then you think that would wrap up quickly, but that consumes the next 10 hours. The last 6 go more quickly and you are left wishing that John Clark had been more involved. Good book for those who have read the others as you see how the characters got to where they were in the other books.
"Get the abridged version"
This dragged on way too long and seemed to repeat points over and over again. The story is interesting, but get the abridged version.
"Narration flawed"
This was an ordeal to get through and the narrator tried to be too dramatic so that you were continually messing with the volume and replaying sections (after hiking the volume) to figure out what he said. While I normally like the unabridged versions, I found this one too long and wished I had downloaded the abridged version.
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I've never worn these shoes,so I can't give an accurate description on how they "feel" or how well they'll hold up after long-term use,but I DID want to comment here,on the "video" that BikeBandit posted with this shoe! If You watch it,it shows some dirtbike-guys riding around on their dirtbikes wearing full dirtbike-gear,INCLUDING their raceboots!!! So by the end of the video,one is left to wonder,WHAT in the WORLD does any of that have to do with the actual SHOE that there SELLING???
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On Veterans Day 2009 - a few days after the Fort Hood shooting - Iraq veterans against the war came together with family and friends to remember their loved ones who died because of the war, both abroad and at home.
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