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A new series of Opera Shorts is underway, continuing The Royal Opera's collaboration with Kingston University.
Students from the undergraduate Illustration and Animation course were invited backstage at the Royal Opera House to immerse themselves in opera and find out more about the art form, before creating an animation inspired by one of the productions on stage. The resulting shorts offer a fresh and often playful perspective on opera and the stories it can tell.
Riena Shibahara, Annaliei Sayers and Matthew Brooks created Screen Grab, set to Queen of the Night's 'Der Hölle Rache' in Die Zauberflöte.
'Screen Grab uses the idea of social media and online presence as a platform for a personality shift and an outlet for rage' they explain. 'The animation reveals the Queen of the Night's real feelings, which have been disguised under her mask, similar to how online interaction can be very different from face-to-face communication.'
Seohye Lee, May Johananoff and Lucas Santi Pereira Winck's Surface is also set to the Queen of the Night's fiery aria:
'Surface examines identity using traditional drawn animation', they explain. 'How do we feel when we look in the mirror? Do we see ourselves or are we a production of how others see us? This film ponders these questions in a revealing snapshot of life.'
Last year, we published six Opera Shorts, all inspired by moments from La traviata and La bohème. This year, the students have selected moments from a wide range of work, including Mozart's Die Zauberflöte, Puccini's Madama Butterfly, and Bertolt Brecht and Kurt Weill's Rise and Fall of the City of Mahagonny.
Eight animations in total will be released on the ROH YouTube Channel over the next few weeks. View our Opera Short playlist to see all of the published animations so far, and those from last year.
Let us know what you think of the films. We'd also be interested in which moments from opera you think would work well as animations.]]>
Opera and pop go way back. In much the same way as pop has been inspired by ballet, if you look beyond the stars of classical crossover, and reality TV series like 'Popstar to Opera Star', and there's more of a link than you may think. We've picked out five of our favourites:
The Doors/David Bowie - 'Alabama Song'
For artists pushing the boundaries of pop music convention, 'Alabama Song' from Kurt Weill and Bertolt Brecht's capitalism-satirizing, cabaret-influenced opera Rise and Fall of the City of Mahagonny was a tempting addition to set lists. Favorites of the 1960s counterculture moment, The Doors recorded the first high-profile pop cover in 1966, with keyboardist Ray Manzarek introducing an appropriately-named marxophone (a kind of zither) into the arrangement below Jim Morrison's world-weary croon. Fourteen years later, David Bowie - at the time straddling his Berlin and pop phases - followed in the Lizard King's footsteps, summoning the spirit of Weill and Brecht in song.
Malcolm McLaren - 'Madame Butterfly (Un bel dì vedremo)'
An honourable mention for indie rock band Weezer's Butterfly-inspired concept album Pinkerton, but it was former Sex Pistols impresario Malcolm McLaren that most memorably ushered Giacomo Puccini's tragic heroine into the realm of pop. On the straightforwardly-titled 'Madame Butterfly (Un bel dì vedremo)', the producer sampled the opera's iconic aria, fusing it with drum machine-oriented 1980s R&B. Clocking in at six minutes in length, it was perhaps too long for radio play but the track was a hit nevertheless, reaching number 13 in the UK. The track opened the album Fans, which also included adaptations of arias from Carmen, Turandot and Gianni Schicchi.
Jeff Buckley - 'Dido's Lament'
For a singer with such an impressive vocal range (he could match Luciano Pavarotti note-for-note), it's something of a surprise that Jeff Buckley didn't cover more operatic arias - the singer devoured music of pretty much any genre throughout his tragically-too-short career, covering songs from gospel and chanson, to punk and Middle English hymns (his debut album Grace features a recording of Benjamin Britten's arrangement of 'Corpus Christi Carol'). His sole contribution to opera-infused pop was a live performance of the beautiful and tortured 'Dido's Lament' from Henry Purcell's baroque opera Dido and Aeneas at the Southbank Centre's 1995 Meltdown Festival, mercifully recorded for posterity. A small contribution, but a perfectly-formed one.
Billie Holiday - 'Summertime'
An opera aria-turned-jazz standard, 'Summertime' has been recorded (by one conservative estimate) over 33,000 times. George Gershwin's song is sung throughout his 1935 opera Porgy and Bess, but he couldn't have imagined the success it would achieve away from the lyric stage. The composer spent 20 months fine-tuning his score for the opera to make it sound as close to a folk song as he could, and his perfectionism paid off - in 'Summertime' he created a wonderful, woozy melody that would live on through renditions by artists including Sam Cooke, The Doors, R.E.M, and Massive Attack. Billie Holiday's cover was the first to emerge, entering the charts a year after the opera's premiere. The rest, as they say, is history.
Kelis - 'Like You' (Contains strong language)
Hip-hop and R&B has previous when it comes to sampling classical music (contains strong language), but the prize for the most seamless inclusion must go to Kelis's use of Mozart's flabbergastingly-difficult aria from Die Zauberflote, 'Der Hölle Rache'. The looping sample of the Queen of the Night's dizzying top Fs works perfectly with the driving hip-hop beat. It's not perhaps how Mozart saw the legacy of his music play out, but as a masterclass in hip-hop sampling, it's well worth hearing.
Die Zauberflöte runs until 11 March 2015. Tickets are sold out, though returns may become available and 67 day tickets available on the morning of the performance.
Rise and Fall of the City of Mahagonny runs from 10 March-4 April 2015. Limited tickets are still available. The production will also be live in cinemas around the world on 1 April 2015.
Madama Butterfly runs 20 March–11 April 2015. A limited number of tickets are available, with day tickets available on the morning of the performance.]]>
Extravagance, humour, beauty, drama and detail. Wonderful first night @TheRoyalOpera #ROHflute
— ShrimpVeranLondon (@ShrimpVeranLdn) February 23, 2015
Superb audience reaction to #ROHflute opening night, bravi tutti principals for great singing!!! — John Bernays (@operaroverman) February 23, 2015
Actors got noisier in this revival of #ROHflute ? IMHO, this change was unnecessary. It felt OTT.
— Yosh M (@yoshkosh10) February 23, 2015
The merriest Vogelfänger yet! Markus Werba as Papageno highlight at tonight's #ROHflute #ROHzauberflote — Sonja (@sonja_istanbul) February 23, 2015
My first Mozart, what a lovely evening. Queen of Night( Snna Siminka) was ok, but Pamina (Janai Brugger) was impressive! #ROHflute
— Annsherry Wang (@AnnsherryWang) February 24, 2015
The Magic Flute was amazing. Like a Masonic rite on acid. The Queen of the Night rocks. #ROHflute @RoyalOperaHouse — Alessandro Hatami (@ahatami) February 23, 2015
Cracking #ROHflute tonight. It felt sharper than a typical revival; made sense to realise David McVicar had returned. Some deft new touches. — John E. de Wald (@JEDeWald) February 23, 2015
Although it's my 1st time seeing #ROHflute I could tell this revival prod. is rusty & tired. It's time for McVicar to rejuvenate it, somehow — Mary Grace Nguyen (@MaryGNguyen) February 23, 2015
Nice to see David McVicar on stage to acknowledge his masterful #ROHflute. Particularly liked Georg Zeppenfeld and @JanaiBrugger was fab! — Ian Jones (@hmmrsmth) February 24, 2015
Press reviews:
What's On Stage ★★★★
Guardian ★★★★
Music OMH ★★★★
Bachtrack ★★★★
Arts Desk (£) ★★★
Financial Times ★★★
A Younger Theatre (No rating - very positive)
What did you think of Die Zauberflöte?
Die Zauberflöte runs until 11 March 2015. A limited number of tickets are available.
The production is given with generous philanthropic support from The Jean Sainsbury Royal Opera House Fund and Martin and Jane Houston.]]>
Mozart uses a veritable smorgasbord of musical styles in Die Zauberflöte. He wasn't breaking the mould in doing so – as a Singspiel ('sung play', a form of vernacular opera with spoken dialogue popular in Mozart's time) Die Zauberflöte is not unusual in mashing together lots of different types of music. What is rare is the extraordinary skill with which Mozart makes all this music seem part of a coherent whole, and the way he uses the characteristics of each different style to tell us something new about the characters. We look at a handful of the types of music Mozart draws on in the opera.
'Der Vogelfänger bin ich ja' (I'm the birdcatcher), Act I – Papageno
Papageno's first aria is an introduction both to this bumbling birdman and to one of the opera's many dichotomies – his cheerful arrival provides a bathetic contrast to the heroic Tamino. Papageno is the mensch of the opera; though he ultimately falls short of the enlightenment attained by the noble Tamino and Pamina, he's in many ways the opera's heart. He's one of the people, the audience's representative on stage – and so he sings something like a folksong, with simple short phrases and repeated verses. We learn of his happy daily life and also of his longing for companionship – he wants a wife, to whom he could give as much sugar and as many cuddles as she likes.
'O Isis und Osiris', Act II – Sarastro and the chorus
This majestic aria at the start of Act II is Sarastro's first extended solo. Mozart needs to achieve an about-turn with Sarastro; until the very end of Act I he was the opera's absent villain, a shadowy figure fiercely reviled by the Queen of the Night. When we finally meet him, we, like Pamina and Tamino, must not only understand but believe in his goodness. Mozart achieves this with an aria that looks back to the opera seria of Gluck and which, despite its brevity, evokes the grandeur and nobility of Sarastro's character. With an authoritative bass voice Sarastro sings in long measured lines that convey his serenity and majesty. The echoing chorus softly confirms the respect his people hold for him.
'Der Hölle Rache', Act II – the Queen of the Night
The Queen of the Night is angry. She's not the kind to keep it to herself; hers is a spitting rage, to be declared with all the haughty fury a queen can muster. What better musical tool could she use than coloratura? In her second aria she rains shower after shower of arrow-like notes down on her poor daughter Pamina in tyrannizing anger. The stratospherically high vocal line illustrates her steely cruelty, as she commands her daughter to kill Sarastro or be cast off entirely. 'Der Hölle Rache' has become probably the most famous aria in the coloratura soprano repertory, with audiences across the centuries drawn ineluctably to its fiercely difficult and fiery brilliance.
'Ach, ich fühl's', Act II – Pamina
Tamino must undergo trials to enter Sarastro's brotherhood. But it is Pamina who truly suffers in this opera. She has been captured by Sarastro, assaulted by Monostatos, tormented by her mother. And now Tamino will not speak to her – unbeknownst to Pamina, he has been commanded to undergo a Trial of Silence. Mozart gives her an aria of haunting, anguished beauty – an expression of all the torment she has suffered, with the loss of Tamino's love as her greatest pain. Her delicately ornamented line shines out against a bare accompaniment, a symbol of her desolation. Mozart takes the voice higher and higher as Pamina's anguish increases before she ends in hushed resolve to take her life.
These are just a few of Die Zauberflöte's highlights – which is your favourite?
Die Zauberflöte runs 23 February–11 March 2015. A limited number of tickets are available.
The production is given with generous philanthropic support from The Jean Sainsbury Royal Opera House Fund and Martin and Jane Houston.]]>
We often call Mozart's Die Zauberflöte (The Magic Flute) a 'Masonic opera' – but 'magic opera' is just as appropriate. Mozart's librettist Emanuel Schikaneder took much of his inspiration and several characters from Christoph Martin Wieland's fairytale collection Dschinnistan. It wasn't the first time Schikaneder had worked on a fairytale opera, and the sub-genre of opéra féerie had been thriving in France since 1771. But Die Zauberflöte is arguably the first masterpiece of the genre – and it heralded a growing interest in fairytales and magic as operatic subjects.
Charles Perrault's L'Histoire ou contes de temps passés launched a fairytale craze in France upon its publication in 1697. From the late 18th century various composers wrote operas based on Perrault's stories but, visually spectacular though they were, they have not remained in the repertory. Offenbach's hilarious 1870s operettas Le Voyage dans la lune and Le Roi Carotte, parodies of the fairytale genre, have had more success. But perhaps the most effective French fairytale opera is Massenet's Cendrillon (Cinderella), which combines humour with vocal virtuosity, sparkling ballets and romantic lyricism. Dukas, meanwhile, brought a touch of feminism to the genre with his Ariane et Barbe-Bleue.
19th-century German composers were particularly drawn to magical tales. A folktale about a hunter who makes a pact with the devil inspired Weber's hit Der Freischütz, with its terrifying 'Wolf's Glen' scene. Like Mozart, Weber looked to Wieland for his final opera Oberon, a superb theatrical spectacle that includes spells, pirates, mermaids and villainous Arabian potentates. Even myth-loving Wagner was not immune to fairytales: his first opera Die Feen depicts the love between a mortal king and a fairy princess, and Siegfried was partly inspired by the Brothers Grimm's 'The Story of a Boy Who Went Forth to Learn Fear'. Later on, Wagner's erstwhile assistant Humperdinck shot to fame with Hänsel und Gretel, adapting one of the Grimms' most popular tales. Humperdinck's other operatic masterpiece was also inspired by a fairytale (this time invented by his librettist Elsa Bernstein-Porges): the dark, exquisite Königskinder.
Russia's rich folklore fuelled the work of many 19th-century Russian composers. Glinka led the way with Ruslan and Lyudmila, an exotic odyssey featuring a knight on a quest to save his bride. But it was Rimsky-Korsakov who was the king of the genre – his seven fairytale operas include the farcical The Golden Cockerel and the epic, mystical The Legend of the Invisible City of Kitezh and the Maiden Fevroniya. Rimsky-Korsakov's pupils Stravinsky and Prokofiev carried on the tradition, with Le Rossignol (to a story by Hans Christian Andersen) and the satirical L'Amour des trois oranges respectively.
Fairytale opera also thrived in Central Europe. Dvořák's Rusalka is a particularly tragic take on the genre, its beautiful melancholic music reflecting the water nymph Rusalka's desperate attempts to win a soul and her beloved prince. But Dvořák also brought robust comedy to fairytale opera in The Devil and Kate, about a bossy girl who outwits a clueless devil. Bartók provided a dark, psychological interpretation of 'Bluebeard' with Bluebeard's Castle. On the other hand, examples of Italian fairytale opera are rare – the few exceptions include Rossini's La Cenerentola, which focuses more on morals than magic, and Puccini's Turandot, loosely based on a Persian fairytale.
Die Zauberflöte's most direct descendent is Richard Strauss's Die Frau ohne Schatten, which Strauss and his librettist Hugo von Hofmannsthal regarded as their version of Mozart and Schikaneder's masterpiece. The works have many parallels, including the fantastical Eastern setting, the trials endured by two couples (one noble, one humble) and the radiant finales praising the power of love. Above all, both achieve the full potential of fairytale opera: to use a magical setting to tell a moving, profound and very human story.
Die Zauberflöte runs 23 February–11 March 2015. Tickets are still available.
The production is given with generous philanthropic support from The Jean Sainsbury Royal Opera House Fund and Martin and Jane Houston.]]>
'It's very tempting when you do an opera as well-known as The Magic Flute', begins Toby Spence, 'to go through the motions as if you're on train tracks, without thought… But none of us are doing that'.
The English tenor, who returns later this month to the Royal Opera House to perform as the young Tamino in Mozart's comic opera, has sung the role on practically every major international stage for the past 20 years. But he told a recent ROH Insights event that he embarked with enthusiasm on this role once again because David McVicar's classic production of Die Zauberflöte, despite having been around for more than a decade, has remained 'truthful to the story'.
The production was last staged by The Royal Opera in 2013, but this revival – the fifth – was overseen personally by the director himself , to work tirelessly with the cast with 'almost forensic detail'. Once on stage as Tamino, Spence does not just get a chance to demonstrate amply his vocal abilities with Mozart's wonderfully lyrical arias. His acting skills too are on full display, such as when his character undergoes a test of silence to rescue his beloved Pamina from the evil sorcerer Sarastro. 'As you can imagine, for a singer, scenes of silence are not that challenging', Spence says jokingly. 'I feel like a bit of a mime!'
It is not just the captivating story with its magical setting, however, that makes Die Zauberflöte a favourite among audiences the world over. For the singer, this is Mozart at his best, a vivid example of a musical genius who manages to exemplify all the characters' colourful personalities with clever and very subtle melodies. Spence explains that unlike Tamino – for whom the composer wrote arias in major keys to emphasize maturity – Papageno gets quite a distinct musical treatment: 'He's not very self aware and has every key given to him. He does flats; he does sharps. He modulates all over the place. I do believe that Mozart was that brilliant to be able to premeditate that', he says.
Spence recognizes it is a privilege to be able to perform an opera so radiant with 'universal themes of love, of opposites, of unity, of balance... They're extraordinary, huge themes and I can't think of an opera that engages so wholeheartedly with humanity's biggest questions'.
Die Zauberflöte runs 23 February–11 March 2015. Tickets are still available.]]>
The Story Begins…
Tamino promises the Queen of the Night that he will rescue her daughter Pamina from the enchanter Sarastro. But as they begin their quest, Tamino and his companion Papageno realize that things are not what they seem…
An Exquisite Fantasy
David McVicar's production of Die Zauberflöte embraces both the seriousness and the comedy of Mozart's opera, and takes the audience into a beautiful dreamlike world, where dancers turn into magical animals at the sound of Tamino's flute, three boys arrive by flying machine and a rising golden sun hails a new dawn in the opera's celebratory final chorus.
From Folksong to Fireworks
The score of Die Zauberflöte is extremely varied. The folksong-like arias of the robust 'man of nature' Papageno contrast with the coloratura fireworks of the Queen of the Night. Much of the music for the priests, and the duet of the Men in Armour, have a stately Baroque simplicity. There are exquisite lyrical solos for Pamina and Tamino. Extended passages – such as the finales to both acts, in which there is no spoken dialogue – look forward to German Romantic opera.
Mozart and Freemasonry
Mozart was an enthusiastic member of the Freemasons and many critics have seen Die Zauberflöte as being in part a Masonic allegory. The use of numbers in the score – particularly the number three – has been linked to Masonic rites, and it is possible that the wise Sarastro may have been modelled on Ignaz von Born, a scientist and prominent Viennese Freemason.
A Popular Success
Mozart wrote Die Zauberflöte for the Theater auf der Wieden, a suburban theatre in Vienna run by the larger-than-life actor and impresario Emanuel Schikaneder. As well as writing the libretto, Schikaneder was the first Papageno in the opera. At its premiere, Die Zauberflöte was acclaimed by the general public and by connoisseurs, including Mozart's supposed rival Salieri, who adored it. Die Zauberflöte has been performed more than 300 times at the Royal Opera House.
Die Zauberflöte runs 23 February–11 March 2015. Tickets are still available.
The production is given with generous philanthropic support from the Jean Sainsbury Royal Opera House Fund and Martin and Jane Houston.]]>
Update 2 March: Cast amendment for Die Zauberflöte and a live broadcast of Guillaume Tell.
Further BBC Radio 3 broadcasts of Royal Opera productions during the 2014/15 Season have been announced. These are in addition to previously-announced relays of autumn performances.
Cendrillon (2011) on 4 December 2014 at 2pm
The repeated broadcast stars Joyce DiDonato, Alice Coote, Ewa Podleś and Eglise Gutiérrez. Bertrand de Billy conducts Massenet's fairytale opera.
Plácido Domingo Celebration (2011) on 6 December 2014 at 7.30pm.
The repeated broadcast stars Plácido Domingo alongside Ailyn Pérez, Marina Poplavskaya and Francesco Meli. Antonio Pappano conducts extracts of Otello, Rigoletto and Simon Boccanegra.
Tristan und Isolde on 29 December 2014 at 5.45pm.
The pre-recorded broadcast stars Stephen Gould, Nina Stemme, John Tomlinson and Sarah Connolly. Antonio Pappano conducts the opera, which changed the course of western music through its revolutionary score.
Un ballo in maschera on 10 January 2015 at 7.15pm.
The pre-recorded broadcast stars Joseph Calleja, Liudmyla Monastyrska and Dmitri Hvorostovsky. Daniel Oren conducts one of Verdi's most sophisticated and subtle scores.
Idomeneo on 26 January 2015 at 6.30pm.
The pre-recorded broadcast stars Matthew Polenzani, Franco Fagioli, Sophie Bevan and Malin Byström. Marc Minkowski conducts some of Mozart's most varied and inventive music, including the heroic 'Fuor del mar', tender duet 'S'io non moro a questi accenti' and the furious vocal acrobatics of 'D'Oreste, d'Ajace'.
Andrea Chénier live on 31 January 2015 at 7.15pm.
The live broadcast stars Jonas Kaufmann and Eva-Maria Westbroek. Antonio Pappano conducts Umberto Giordano's best-known work, which features the arias 'Come un bel dì di maggio' and 'La mamma morta'.
Die Zauberflöte on 13 April 2015 at 7.30pm.
The pre-recorded broadcast stars Pavol Breslik, Christiane Karg, Markus Werba and Lauren Fagan. Cornelius Meister conducts Mozart's comic opera, which features the show-stopping aria 'Der Hölle Rache kocht in meinem Herzen'.
Rise and Fall of the City of Mahagonny live on 14 March 2015 at 7.20pm.
The live broadcast stars Anne Sofie von Otter, Peter Hoare, Willard W. White and Christine Rice. Mark Wigglesworth conducts Kurt Weill and Bertolt Brecht's satirical opera, which features the diversely-influenced 'Alabama Song', 'Hurricane fugue' and 'Crane duet'.
Król Roger live on 16 May 2015 at 6.45pm.
The live broadcast stars Mariusz Kwiecień and Saimir Pirgu. Antonio Pappano conducts Szymanowski's sumptuously-scored opera which draws on Byzantine, Oriental and Hellenic influences.
La bohème live on 8 June 2015 at 7.20pm.
The live broadcast stars Anna Netrebko and Joseph Calleja. Dan Ettinger conducts Puccini's masterpiece which features the aria 'O soave fanciulla' and one of all opera's most dramatic finales.
Don Giovanni on 13 July 2015 at 7pm.
The pre-recorded broadcast stars Christopher Maltman, Alex Esposito, Albina Shagimuratova, Rolando Villazón, Dorothea Röschmann and Julia Lezhneva. Alain Altinoglu conducts Mozart's tragicomedy, which features some of Mozart's most dramatic music.
Guillaume Tell on 14th July 2015 at 5.50pm.
The live broadcast stars Gerald Finley, John Osborn and Malin Byström. Antonio Pappano conducts Rossini's final masterpiece, which features some of his greatest music.
All of the titles and broadcast dates listed above are subject to change. Please check BBC Radio 3's Opera on 3 website for the latest schedule.
The Royal Opera House and the BBC are partners. Find out more.]]>
'Das klinget so herrlich' ('That sounds so splendid') from Act I of Die Zauberflöte by Wolfgang Amadeus Mozart
Papageno and Pamina are trying to escape Sarastro's temple when they are interrupted by the villainous Monostatos. Luckily, Papageno strikes up a sprightly dance tune on his magic bells, whose sound comes from the glockenspiel. Monostatos's fury vanishes in an instant, and he and his minions, enchanted, dance away happily singing. Papageno and Pamina comment that magic bells like these would surely cure the ills of the world.
'Caro elisir! Sei mio!' (Wonderful elixir! You're mine!) from Act I of L'elisir d'amore by Gaetano Donizetti
Nemorino, inspired by the story of Tristan and Isolde, has purchased an 'elixir of love' (in fact, cheap Bordeaux) from the quack doctor Dulcamara. He believes that he has only to drink the elixir for his adored Adina to fall for him within 24 hours. As the wine goes to his head Nemorino feels cheerful. When Adina arrives, he pretends to ignore her, and breaks into song, his merry 'la-ra-las' accompanied by strumming strings. Donizetti wittily contrasts Nemorino's jolly wordless melody with Adina's growing irritation, as she tries to get his attention and – for once – is ignored.
'Den Tag seh' ich erscheinen' (The day I see dawning) from Act II of Die Meistersinger von Nürnberg by Richard Wagner
The pedantic town clerk Sixtus Beckmesser's attempts to serenade the beautiful Eva Pogner, but his efforts are constantly interrupted by the cobbler Hans Sachs. With the excuse that he has to finish Beckmesser's shoes in time for the next day's singing competition, Sachs marks each of Beckmesser's musical and poetical faults with a stern blow of his hammer. Wagner cleverly contrasts Beckmesser's pompous song – accompanied by faltering mandoline, full of florid ornamentation and awkward rhymes – with Sachs's dry comments. And then it turns out that Beckmesser is serenading the wrong girl anyway!
'Gonzalve! Gonzalve!': Duet for Concepion and Gonzalve from L'Heure espagnole by Maurice Ravel
Concepcion's arranged a romantic rendezvous with the poet Gonzalve while her elderly husband Torquemada is out. But things aren't going her way. First she has to get rid of the muleteer Ramiro, who wants his watch mended. Then when Gonzalve arrives he's more interested in declaiming florid poetry (depicted by Ravel in swooping vocal lines and grandiose orchestral crescendos) than getting down to business. Concepcion isn't impressed and makes frantic attempts to get Gonzalve to concentrate on love-making – but to no avail.
'There's no need to fear' and 'Up! Drink! Up!' from scene 3 of Le Grand Macabre by György Ligeti
The grim reaper Nekrotzar announces that he will destroy the world at midnight, and recruits the wine-taster Piet the Pot and the astronomer Astradamors to help him. Piet and Astradamors suggest a last feast – washed down with plenty of wine. They dance round Nekrotzar, shouting and insulting him in a jolly folksong-like tune, and order him to drink. Nekrotzar initially prefers to make pompous apocalyptic pronouncements in sonorous tones, but is tempted by the smell of alcohol. The music dissolves into a demonic trio, with jazzy syncopated rhythms and thudding percussion, as Piet and Astradamors continue to mock 'Tsar Nekro', and he doggedly downs wine, accompanied by loud orchestral hiccups. The scene soon collapses into anarchy. The following aria, sung in code by the crazed Gepopo, Chief of the Secret Political Police, gives you an idea of the kind of anarchy Ligeti can conjure!
What are your favourite comic moments in opera?
Die Zauberflöte runs 23 February–11 March 2015. Tickets are still available. The production is given with generous philanthropic support from The Jean Sainsbury Royal Opera House Fund.]]>
'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.


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Two-Way Tortoni
3 Jun 2009
Two way tortoni is a custard like italian dessert that is served chilled. This tortoni recipe is made with almonds and coconut for flavor as in a traditional tortoni. Creamed with whipped cream, coffee powder and vanilla for extra flavor, the two way tortoni is a rich and delcious dessert that can be served on any ocassion.
|Whipping cream
|1⁄2 Cup (8 tbs)
|1⁄4 Cup (4 tbs)
|1⁄2 Teaspoon
|Almond extract
|2 Drop
|Egg white
|Finely chopped almonds
|2 Tablespoon, toasted
|2 Tablespoon, toasted
|Instant coffee powder
|1⁄2 Teaspoon
Whip cream with 2 tablespoons sugar, vanilla, and extract.
Beat white to soft peaks.
Gradually add remaining sugar; beat to stiff peaks.
Mix almonds and coconut.
Fold white and half the nut mixture into cream; spoon half into 2 paper bake cups in muffin pan.
Stir coffee powder into remaining whipped cream mixture.
Spoon into 2 bake cups.
Sprinkle remaining nut mixture over all.
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Two-Way Tortoni Recipe

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Sara Mohr-Pietsch presents Radio 3's classical breakfast show.
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Samsung Galaxy Tab 3 Lite specs confirmed by leaked manual
The user manual of a yet-to-be announced Samsung tablet has surfaced on the company's website. Samsung's Polish website has listed the user manual of the Samsung Galaxy Tab 3 Lite with the model number SM-T110 that is said to be the Wi-Fi variant of the upcoming slate.
According to the manual, the Galaxy Tab 3 Lite will sport a 7-inch display with a resolution of 600 x 1024 pixels. The tablet will be powered by 1.2 GHz dual-core Marvell PXA986 processor and the Vivante GV1000 GPU. Read more »


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One word shall describe the slash 4x4 in my experience: fun. I picked up a brand new slash 4x4 this morning (lucasoil edition?) and I love it.crazy fast out of the box with great battery life with the stock nimh battery. With my 3 nimh batteries (from summit and slash 4x4) I can quite literally run the truck all day long. I put one on my ex peak in my fridge (don't ask) as soon as I deplete it and slap another one of 2 full batteries in. By the time it runs out, the first battery is fully charged and I cycle. Pretty good for stock batteries!
One dislike though is the traction and the amount of grass/dirt etc that gets stuck in the chassis. I find the truck too touchy out of the box and roll it often in the grass. Upgrades for the future include an outerwears cover ,sway bar kit, and I center diff only for when I race.
I wish I was as impressed with my summit as I am with this out of the box. Good job traxxas!
Can't wait to try it out in my first race on the 17th >


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The London 2012 supremo, who is chairman of the British Olympic Association, was reportedly the Government's preferred candidate for the role but said he did not have the "capacity" for the job.
Other names mentioned in relation to the role include Dame Marjorie Scardino, the former chief executive of the Financial Times, and Channel 4 chairman Lord Burns.
Lord Patten stood down in May for health reasons.


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AthenaHealth Makes a Move, Buys Epocrates
In a move to expand its platform and marketplace relevance, athenahealth announced a definitive agreement last week to acquire Epocrates for $293M, a 22% premium to the stock price. Epocrates is a well-known provider of drug information to physicians via a mobile device and has 340K physician users in the U.S.
As we've previously opined, the hopelessly fragmented electronic medical records (EMR) vendors face a shrinking timeline for government funding of Meaningful Use technologies, others will likely pursue a similar path to Athena as they look to make the lasting leap from desktops to smartphones and tablets. Said differently, simply "mobilizing" EMR features won't be enough to create continued growth and competitive differentiation.
A few drivers are likely behind this deal:
- Brand Awareness: Fewer than 8,000 physicians using athenaClinicals today according the most recent 10-Q, and Company CEO Jonathan Bush has offered that their internal estimates showed that roughly 90 percent of doctors are familiar with Epocrates, 3x the name recognition of his own company. Bush further asserted "our biggest obstacle is that 70 percent of doctors don't even know we exist… Epocrates is to HIT what Angry Birds is to games."
- Decreasing athena's cost of sale: As a corollary to the above point, the in-person cost of sale for athena's RCM and EMR solutions remains high, and with Epocrates name recognition and lighter deployment footprint, represents a Trojan horse approach to market growth. In effect, athena will now have access to 300,000 physician pockets.
- Meaningful Use: As mentioned above, MU dollars are going to dry up in 2014, which should slow EMR adoption, and because much of the revenue generated by Epocrates comes from selling access to its physician network (to pharma and other companies), athenahealth gains an important new revenue stream.
Similar to how Aetna planted its stake in mobile by acquiring Healthagen/iTriage in 2011, many large healthcare solution providers have struggled to build successful in-house mobile solutions and are opting to pick off specialized firms with unique features. There is a lot of news coverage on this acquisition, and given our focus on mobile and HIT we would be happy to connect with you to share viewpoints.
Let us know what you think.
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Chris Hoffmann
Chris joined TripleTree in August 2005. He has over 23 years of experience as an operating executive, analyst and entrepreneur in the technology industry. He leverages this experience at TripleTree in his role as Senior Director overseeing research, as well as leading the firm's marketing and executive programs. Chris joined TripleTree from Tier1 Research, an independent sell side research ...
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"One potential benefit of high deductibles is that it may force our health care system into providing price transparency. Otherwise, it wil continue business as usual."
"Often times medical treatments are addresing the symptoms and not the real cause of the problem. A hollistic approach to the overall pacient life (health, conditions and behaviours) would definitely be a more efficient way of resolving health problems and even life quality of pacients. But then again, would that be considered a succes for pharmaceutical companies and medical practitioners, ..."
David Davidovic David built and led commercial functions in the pharmaceutical and biotechnology industries for 33 years and has been di More »
Barbara Ficarra Barbara Ficarra, RN, BSN, MPA is an award-winning journalist, media broadcaster, health educator, speaker and consultant More »
David Harlow David Harlow is Prinicipal of the Harlow Group LLC, a healthcare law and consulting firm based in Boston, MA. More »
Stephen Schimpff Stephen C. Schimpff, MD is the retired CEO of the Univ. of MD Med. Center and the COO of the Univ of MD Medical System. More »
Andrew Schorr Andrew, a leukemia survivor and respected medical journalist is the founder of PatientPower, an excellent web resource. More »
John Sharp John Sharp has interests in social media in healthcare and clinical research informatics including secondary use of EMR More »
Christina Thielst Christina Thielst is a hospital administrator, consultant, educator and author with 30 years of healthcare experience. More »


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Originally written on Fox Sports | Last updated 7/1/13
PHILADELPHIA - JANUARY 19: Danny Syvret #25 of the Philadelphia Flyers skates against the Columbus Blue Jackets at the Wachovia Center on January 19, 2010 in Philadelphia, Pennsylvania. (Photo by Bruce Bennett/Getty Images)
The Rangers have acquired defenseman Danny Syvret from the Philadelphia Flyers for forward Kris Newbury. The 28-year-old Syvret had six goals and 34 assists in 76 games last season with Adirondack of the AHL. He led the Phantoms with 34 assists, was second in points, and was third with five power-play goals. His 194 shots on goal were tops on the team. In 59 career NHL games with Edmonton and Philadelphia, he has three goals and four assists. New York, which was in need of defensive depth and help on the power play, has acquired two defensemen in two days. The Rangers obtained Justin Falk from Minnesota on Sunday before the NHL draft. The 31-year-old Newbury split last season between the Rangers and Connecticut of the AHL.
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College Accounting, Chapter 1-27 (20TH 11 - Old Edition)by James A. Heintz
Synopses & Reviews
Publisher Comments:
Develop the practical accounting skills now to secure a successful future with this popular college accounting text choice. This edition introduces accounting concepts using a proven step-by-step approach and inviting narrative style that focuses on the practical skills you'll need as you transition to tomorrow's workplace. The book begins with a basic foundation and simple service company examples before advancing to accounting within the more challenging merchandising and manufacturing environments. Engaging examples and functional learning features within the book's comprehensive approach reinforce the relevance of the skills you're learning and provide a clear, accurate presentation that's understandable even if you have no previous accounting experience or business background. Self-study aids and numerous practice opportunities allow you to check your understanding as you progress. To maximize your study time and help you efficiently completely your homework, the innovative new CengageNOW online learning system provides interactive support and a personalized learning path that assists you in the areas most challenging to you individually. Achieve your best in the classroom today and plan for success within the workplace tomorrow with the skills found in Heintz/Parry's COLLEGE ACCOUNTING, 20E.
This book presents concepts simply, while ensuring the best, most accurate coverage. College Accounting is designed to make accounting understandable to virtually everyone without sacrificing substance and technical correctness. A step-by-step, straightforward approach helps readers build practical accounting skills that are needed when entering the world of work. The book presents simple topics first and gradually builds to more advanced topics, so learners are not overwhelmed. The narrative approach covers a simpler example of a service business before moving to merchandising businesses, and finally, manufacturing environments.
About the Author
James A. Heintz currently guides today's students as Professor and Director of Accounting and Information Systems in the School of Business at the University of Kansas, where he has taught for 11 years. Prior to joining University of Kansas, he was the Accounting Department Head at the University of Connecticut for eight years. He also served as Assistant, Associate and Full Professor for 20 years at Indiana University. Professor Heintz earned his doctorate from Washington University in St Louis and is a CPA. He was a Price Waterhouse Faculty Fellow at Indiana, an Arthur Andersen Faculty Fellow at Connecticut, and is currently the Deloitte and Touche Faculty Fellow at Kansas. Professor Heintz has won numerous school and university teaching awards, including three teaching awards from the Doctoral Student Association. He has served in various capacities on 24 doctoral dissertation committees. Heintz has published numerous articles in accounting and business journals, including THE ACCOUNTING REVIEW; AUDITING: A JOURNAL OF PRACTICE AND THEORY; ACCOUNTING AND BUSINESS RESEARCH; JOURNAL OF BUSINESS FINANCE AND ACCOUNTING; and INTERNATIONAL JOURNAL OF ACCOUNTING EDUCATION AND RESEARCH. He served on the editorial board of AUDITING: A JOURNAL OF PRACTICE AND THEORY for seven years. Professor Heintz has served on various committees of the AAA and the FSA, and as president of the Accounting Programs Leadership Group of the AAA. He has participated in external reviews of accounting programs at 12 major universities. Robert W. Parry clarifies accounting concepts for students daily as Professor of Accounting at Indiana University's Kelley School of Business in Bloomington, Indiana. He has taught at Indiana University for the past 30 years as Assistant, Associate, and Full Professor. He earned a B.S. in Business Education at Bloomsburg University of Pennsylvania, an MBA at the University of Scranton, and a Ph.D. in Business and Economics at Lehigh University. An accomplished teacher, Professor Parry has taught accounting at virtually all levels. While earning his MBA, he taught accounting at Bishop Klonowski High School in Scranton, Pennsylvania. While earning his Ph.D., he also taught financial and managerial accounting at Northampton County Community College and Lehigh University. At Indiana, he taught in the Undergraduate, MBA, MBA in Accounting, Master of Science in Accounting, the online Kelley Direct MBA Program, and Ph. D. Programs. In addition, he has taught accounting in the Consortium of Universities for International Studies in Asolo, Italy. He has won a dozen teaching excellence awards and has been recognized twice by BUSINESS WEEK as one of the country's Outstanding MBA Faculty. In addition, he was awarded the Indiana University Distinguished Service Award for his efforts in planning and deploying a new, integrated MBA Core Program. He also received the Kelley School of Business Innovative Teaching Award for his role in designing and implementing the curriculum for the Master of Science in Accounting Program.
Table of Contents
PART 1: ACCOUNTING FOR A SERVICE BUSINESS. 1. Introduction to Accounting. 2. Analyzing Transactions: The Accounting Equation. 3. The Double-Entry Framework. 4. Journalizing and Posting Transactions. 5. Adjusting Entries and the Work Sheet. Appendix: Depreciation Methods. 6. Financial Statements and the Closing Process. Appendix: Statement of Cash Flows. Comprehensive Problem 1: The Accounting Cycle. PART 2: ACCOUNTING FOR CASH AND PAYROLL. 7. Accounting for Cash. Appendix: Internal Controls. 8. Payroll Accounting: Employee Earnings and Deductions. 9. Payroll Accounting: Employer Taxes and Reports. PART 3: ACCOUNTING FOR A MERCHANDISING BUSINESS. 10. Accounting for Sales and Cash Receipts. 11. Accounting for Purchases and Cash Payments. Appendix: The Net-Price Method of Recording Purchases. 12. Special Journals. 13. Accounting for Merchandise Inventory. Appendix: Perpetual Inventory Method: LIFO and Moving-Average Methods. 14. Adjustments and the Work Sheet for a Merchandising Business. Appendix: Expense Method of Accounting for Prepaid Expenses. 15. Financial Statements and Year-End Accounting for a Merchandising Business Comprehensive Problem 2: Accounting Cycle with Subsidiary Ledgers, Part 1. Comprehensive Problem 2: Accounting Cycle with Subsidiary Ledgers, Part 2. PART 4: SPECIALIZED ACCOUNTING PROCEDURES FOR MERCHANDISING BUSINESSES AND Partnerships. 16. Accounting for Accounts Receivable. 17. Accounting for Notes and Interest. 18. Accounting for Long-Term Assets. 19. Accounting for Partnerships. Comprehensive Problem 3: Specialized Accounting Procedures. PART 5: ACCOUNTING FOR CORPORATIONS AND MANUFACTURING BUSINESSES. 20. Corporations: Organization and Capital Stock. 21. Corporations: Taxes, Earnings, Distributions, and the Retained Earnings Statement. 22. Corporations: Bonds. Appendix: Effective Interest Method. 23. Statements of Cash Flows. Appendix: Statement of Cash Flows: The Direct Method. 24. Analysis of Financial Statements. 25. Departmental Accounting. 26. Manufacturing Accounting: The Job Order Cost System. 27. Manufacturing Accounting: The Work Sheet and Financial Statements. Module: Accounting for a Professional Service Business: The Combination Journal.
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from Smithfield, UT
on 3/7/2012
I bought this product for our cruise to Mexico. I love the fabric, the color and feel of this rashguard. I bought one size larger than my regular size. I am glad I did. It fits great. I bought the black one with the hot pink stripe down the side. It is very slimming. I burn easily and wanted a way to stay covered while swimming in the ocean. I am excited to wear it.
O'Neill rashguard runs really small!
from Michigan
on 2/18/2012
I received a size small in this rashguard for a Christmas gift After two size up exchanges, I now have my size large which fits. No, I'm not oblivious to my size, I typically wear a size 4 or small. If you have any shoulders at all, this will squeeze you. So, advice: SIZE UP ON THIS ONE! Exchanges went smoothly, just took lots of time.
great for protection from cold & sun
from San Jose, CA
on 2/9/2012
I've been using this rashguard for swimming laps in an outdoor pool. It is comfortable and helps keep me warm, but not too hot. I wear an XS in shirts/tops and ordered an XS for this item, which fits perfectly. The only thing I don't like about it is O'Neill's logo on the front and the back. I've already purchased the item -- why do I need to do free advertising for them too?
Women L/S Crew Rashguard
Jimmie W. (Linda)
from Chicago, IL
on 1/30/2012
The things that were nice about the product was the sleeves were fitted at the wrists and some of the colors were nice.Another nice thing was the pricing, especially the clearance and sale items.Unfortunately the Rashguard O'Neill Women XL was too small, too tight and had to be returned. Also the largest next size up was only 1XL. It would have been nice to have at least a 2XL. I know this kind of top is suppose to be fitted, but it was an uncomfortable fit.
Fine but small
from Indianapolis, IN
on 1/19/2012
Looks and feels nice. Glad I got an XL, it runs very small. Seems quality and I can't wait for some sun to wear it in!
Size runs small
Scrappy Chicago
from Chicago, IL
on 12/26/2011
I am usually a size 6 so I ordered a small in this shirt. Unforttunately it is way too small. I will reorder a size up, if you want the shirt a bit loose you may want to order 2 sizes up. The aqua blue color is nice, looks like the picture on the web page.
Too Small
from Louisville, KY
on 9/7/2011
Like the colors, but the fit was too small. Sending it back for a larger size.
Return/Exchange Process Extremely Slow
from Orlando, FL
on 8/25/2011
Can't give a rating since I returned the small on 8/12 and as of 8/25 my return and exchange has still not been processed.
Christy B.
from Scottsdale, AZ
on 7/28/2011
I ordered this to swim laps in, and it works great. It fit perfectly.. A+ product. I also wore it all day at the lake and it protected me from the sun beautifully, keeps you cool when you are wet. Ordered one in black/pink...can't wait to get it.
Happy with the product
Marie D.
from Tucson, AZ
on 7/17/2011
I've had a bout with skin cancer and am happy to wear the rash guard when I swim with my grandchildren at the pool. It is comfortable and looks nice along with guarding me from the sun.
not pleased with product color
from Hull, GA
on 6/27/2011
The color is NOT what the picture shows. This is a light pastel blue, which doesn't match my swim shorts. So I am not happy with it.
Best ever top
from Orlando, Florida
on 6/20/2011
I purchased this rashguard for sun protection since I have had one instance of skin cancer and dont want that again. I purchased this to use as my swimsuit top since it covers my entire top. I will say that this is the best swimsuit top I think I have ever owned. I purchased a white bikini bottom to go with this and wore it to the pool and have received many compliments and other people asking where to buy it. My husband says its very sexy on me. I love it. I am going on a trip to the Keys later in July and will wear it to snorkle, swim and paddle board etc. I dont have to use sunblock on my upper body (except face of course) since this covers it all. I have nothing bad to say about this product. My fave color is pink and I would like to see this in pink and white so I can have a second one to wear.
rashguard for sun protection
san antonio rose
from San Antonio TX
on 4/21/2011
I was looking for a shirt to wear for sun protection and at the lake. This fits a little small, I got the XL, I'm 5'10" and 150 lbs. The sleeves are a bit short and its a little snug but should be fine when I'm riding the jetski but not so comfortable to wear otherwise (working in the yard, etc.) It's seems to be fine for what it's made for.


text:
A poem about acceptance and discriminatory treatment of minorities. : Gay And Lesbian » Read
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text:
YIELD: Serves 4
Heat oil in large nonstick skillet over medium heat. Add onion; sauté 5 minutes. Add tomatoes; sauté 3 minutes. Stir in zucchini, corn, 3 tablespoons basil and parsley. Cover and simmer until zucchini is crisp-tender, about 3 minutes.
Add halibut fillets to sauce in skillet. Sprinkle fish and sauce generously with salt and pepper. Cover; simmer until fish is opaque in center, about 5 minutes. Remove from heat. Drizzle lime juice over.
Using spatula, transfer fish to plates. Spoon sauce over. Sprinkle with remaining 2 tablespoons basil and serve.


text:
The rail cars that split open and burst into flames during a western Illinois oil train derailment this week were retrofitted with protective shields to meet a higher safety standard than federal law requires, railroad officials said.
Daylight saving time strikes again Sunday at 2 a.m., at least for every state outside Hawaii and Arizona. Though DST has been a part of life in the United States since World War I, its origin and effects remain misunderstood, even by some of the...
A list of obituaries in today's edition of the Kirksville Daily Express.
Industrial designer Glen Ediger served as the keynote speaker during the STEAM Education Summit Thursday.
Here are some home and safety items to take care of as spring approaches.
Hold us!Showtime's Penny Dreadful returns for its second season on Sunday, May 3 at...
KIRKSVILLE - It's becoming a trend in the Class 4, District 8 Tournament.
- Events Calendar


text:
Jane EyreHardback Penguin Classics
List price $23.35
You save $5.36 22% off
Free delivery worldwide
Dispatched in 2 business days
When will my order arrive?
Additional formats available
- Format
- Paperback $7.76
- Publisher: PENGUIN CLASSICS
- Format: Hardback | 624 pages
- Dimensions: 132mm x 200mm x 52mm | 680g
- Publication date: 27 October 2009
- Publication City/Country: London
- Edition statement: Reprint
- Sales rank: 7,163
Product description
Part of "Penguin's" beautiful hardback "Clothbound Classics" series, designed by the award-winning Coralie Bickford-Smith, these delectable and collectible editions are bound in high-quality colourful, tactile cloth with foil stamped into the design. Charlotte Bronte's first published novel, "Jane Eyre" was immediately recognised as a work of genius when it appeared in 1847. Orphaned into the household of her Aunt Reed at Gateshead, subject to the cruel regime at Lowood charity school, Jane Eyre nonetheless emerges unbroken in spirit and integrity. How she takes up the post of governess at Thornfield Hall, meets and loves Mr Rochester and discovers the impediment to their lawful marriage are elements in a story that transcends melodrama to portray a woman's passionate search for a wider and richer life than that traditionally accorded to her sex in Victorian society.
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Author information
Charlotte Bronte (1816-55), along with her sisters Emily and Anne, is one of the greatest novelists of the 19th century. She is also the author of Shirley, The Professor and Villette. Dr Stevie Davies is a novelist, critic and historian. She is Director of Creative writing at the University of Wales Swansea. She is the author of four books on Emily Bronte, three novels, and three books in the Penguin Critical Studies series.
Customer reviews
By Rebecca 09 Jul 2011
Jane Eyre is an orphan brought up by relatives who do not care for her. She is sent to a harsh institution where she works with diligence to gain an education and thus a means of independence. In her first position as a governess, she falls in love with her employer, Mr Rochester. A secret from the past prevents their marriage and they will not be united until Mr Rochester is a broken man.
Review quote
"At the end we are steeped through and through with the genius, the vehemence, the indignation of Charlotte Bronte."--Virginia Woolf"


text:
Rock Lacrosse in proud to announce the current crop of commitments from our 2015 class. Rock would like to provide special accolades to those who participated on our Rock 2015 ELITE team, who went undefeated in the Summer 2015 season, registering only 1 loss in the Fall 2014 season.
The Rock 2015 ELITE team will go down as one of the nation's top 2015 club teams. Not only did this team compete at the highest level, each participant invested heavily in TEAM and the "love each other" principles instilled in all Rock teams. Each of the players should be commended for their investment in achieving both individual goals and the team goals.
Rock 2015 ELITE Verbal Commitments
Carter Flaig(A)-St. Paul's-Princeton
Robert Clark(A)-McDonogh School-Georgetown
Sean Carter(A)-Mt. St. Joseph-Mercer
Blake McDermott(A/M)-South Carroll HS-UMBC
Patrick Clipp(M)-Marriotts Ridge HS-UMBC
Zach Goodrich(M)-Kent Island HS-Towson
Matt Sovero(A/M)-St. Peter & Paul HS-Towson
Ben Scmerler(G)-Gilman-Tufts
Jake Waxter(A)-Gilman-Denison
Hunter Davis(A)-Westminster-York College
Michael Colgan(D)-Loyola Blakefield-Mary Washington
Jake Bredeck (D)-Catonsville HS-Florida Tech
JD Beck (LPM/D)-Kent Island HS-York College
Brady Ament (A)-Calvert Hall HS-Stevenson
Brody Bartell(G)-Hereford HS -Stevenson
Austin Glab(M)-Calvert Hall-York College
Jason Brown(A)-Calvert Hall-Army
Chad Patterson(D)-Westminster HS-Towson
Jake Norhausen(D)-Loyola Blakefield-Army
Stephen Bull(D)-Loyola Blakefield-Bates
Stone Boone (A/M)-Kent Island-UMBC
Rock's commitment to player development and our consistent investment in the teaching curriculum required to prepare our players for the next level continues to produce proven and tangible results.
Congrats to our 2015 ELITE Class!
Oct 5th JCC 9-10:30
Oct 19th JCC 9-10:30
Oct 26th SP Upper tennis ct field 9-11
Nov 2nd JCC 9-10:30
Nov 9th JCC 9-10:30
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text:
The scalp is "alive"!
Helps stop my root area getting limp and lank as well as improving my scalp health.
very pleased with product. have noticed a definite improvement with look and texture of my hair
Buy this for my husband as he likes to keep his hair and scalp in good condition but I pinch it as well. Love Philip Kingsley products.
My scalp calms down after using this product and doesn't itch after drying my hair
Have used it before so hoping same results
This is the only product I have experienced that cures an itchy scalp.
This toner is light and refreshing on the scalp, nice and cool. Not crazy about the smell - it's not bad but doesn't seem to have any added fragrance. That in itself is probably not a bad thing in a world full of additives but a nice natural fragrance would make the experience that much better.
Product is excellent
My husband adores this product and he says its why he still has a good head of hair at the age of 67 and has no intention of stopping using.
It has helped with sensitive scalp and my hair texture has improved.
Love it
very soothing
Best my scalp product.
Use it on a regular basis as I exercise a lot.
Ratings Guide Read about our product rating system


text:
Fates Worse Than DeathPaperback Spokesman Pamphlet
List price $4.67
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- Publisher: Spokesman Books
- Format: Paperback | 16 pages
- Dimensions: 110mm x 180mm x 1mm | 22g
- Publication date: 1 July 1982
- Publication City/Country: Nottingham
- Sales rank: 217,081
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Editorial reviews
Return of the Old Rambler, doing a replay on his 1981 autobiographical collage Palm Sunday, this time pasting together a memoir from speeches, forewords, articles, and so on written since 1981. Norman Mailer invented this format with Advertisements for Myself (1959) and no one, including Mailer, has done it as well since. Vonnegut adds plenty of humor to his new model but not much sinew. There's something truly self-defeating about parenthetical asides that leave each page of copy slack with interruptions. He includes vague forewords to Franklin Library editions of his more recent novels; writes of his brushes with Salman Rushdie (who, despite a friendship with Vonnegut, shot down one of his novels, with Vonnegut seriously thinking of adding another team to the hit list on Rushdie); comments on the firebombing of Dresden; recalls dead friends who appeared in Slaughterhouse-Five and dead fellow novelists Nelson Algren, Donald Barthelme, Hemingway, James Jones, Irwin Shaw, and others; and discusses his own incompetence as a speech-writer, his dislike of or inability to read his own works, and a suicide attempt that was foiled by a stomach pump. Vonnegut pictures himself as a depressive, though his less-than-faint hope for humanity is not as corroded as Mark Twain's during his later years. Vonnegut's most well-developed theme is in the title, as he weighs fates worse than death, including crucifixion (enslavement by the Reverend Jim Jones of the Guyana Kool-Aid horror doesn't measure up). His most memorable moments are about his first wife Jane and her death from cancer; his architect father, who never got a chance to show his stuff; and his deep feelings for fellow Dresden POW Bernard V. O'Hare. Vonnegut writes best about people, while his think pieces are sliced up with asides or dry-gulched by his alter ego. Patchy. (Kirkus Reviews)


text:
Cambodian royal cows eat corns and beans during the annual royal plowing ceremony in Kandal province on May 17, 2014. Cambodia's royal cows performed an ancient ceremony predicting the country will have a "quite good" agricultural harvest this year. AFP PHOTO/TANG CHHIN SOTHY
TA KHMAO, Cambodia: Cambodia's royal oxen munched on beans, sesame, corn, and rice at an ancient ritual on Saturday, leading astrologers to predict a "quite good" agricultural harvest this year.
Hundreds of people watched to see what the cows ate to signal the coming year's harvests at the Royal Ploughing ceremony, presided over by King Norodom Sihamoni in a football field outside Phnom Penh.
After a symbolic ploughing of a portion of the field, a pair of royal cows were led to seven dishes -- rice, corn, beans, sesame, grass, water and alcohol -- laid out on trays.
The rice, corn, beans and sesame represent the harvest. The more the oxen eat the better.
If they eat grass, it means illness, and if they drink water, it means floods, while sipping alcohol portends war.
"As the royal cows ate beans, sesame, corn, and rice, the harvest will be quite good," chief astrologer Kang Ken declared, to the relief of superstitious onlookers.
"Our agricultural harvest will be good. And our country will be peaceful," Sam Sokhom, 59, told AFP after the ceremony, which marks the start of the planting season in the kingdom.
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Japan on Saturday pledged $6.1 billion in financial aid to the "Mekong Five" countries as it pushes infrastructure...
Cambodia's royal oxen munched on beans, sesame, corn, and rice at an ancient ritual on Saturday, leading astrologers...
Two former Khmer Rouge leaders Thursday began appeal hearings against their landmark convictions for crimes against...
Philippine police have filed murder charges against the owner and crew of a passenger ferry that capsized and left 56...


text:
Jackson vs. Stoker showdown set in 19th Senate District
Jackson beats fellow Democrat Hodge
19th Senate District
Jason Hodge 146,146
Hannah-Beth Jackson 49,271
Mike Stoker 55,155
27th Senate District
Fran Pavley 52,062
Todd Zink 53,236
37th Assembly District
Rob Walter 31,483
Das Williams 39,868
38th Assembly District
Edward Headington 15,737
Patricia McKeon 11,079
Paul Strickland 7,379
Scott Wilk 15,594
44th Assembly District
Jeff Gorrell 29,511
Eileen MacEnery 11,924
Tom Mullens 9,541
Superior Court Judge, Office 4
Bradley G. Bjelke 16,825
Harry Walsh 67,798
Former Assemblywoman Hannah-Beth Jackson, who came within 857 votes of being elected to the state Senate four years ago, will get a second shot in the 19th Senate District this fall.
Jackson handily turned back fellow Democrat Jason Hodge of Oxnard, with 41.2 percent of the vote to Hodge's 13.5 percent. Former Santa Barbara County supervisor Mike Stoker, the only Republican on the ballot, led the field with 45.3 percent. Jackson and Stoker will advance to the general election in November.
Hodge, an Oxnard Harbor District commissioner and a Ventura County firefighter, vigorously contested the campaign but said he could not overcome the high name-identification of the other two candidates.
"My opponents had been on ballots for well over a decade," he said. "We went into this with no illusions."
Stoker said his strong showing should bolster his ability to generate excitement and financing for the fall campaign, which on paper would appear to be an uphill battle for a Republican. Democrats hold an 11 percentage-point advantage in voter registration.
"All the polling showed a very substantial number of Hodge voters will come my way," he said. "On the campaign trail, there was a clear contrast in how close Jason and I were on a lot of issues in contrast with Hannah-Beth."
He noted the two Democrats spent hundreds of thousands of dollars on campaign advertising focusing on the special interests that were supporting the other.
"All they wanted to talk about was who's getting money from what special interests," he said. "I don't think I'll take that bait. We'll be talking about issues that can move California forward."
Jackson said she is confident that not only will Democrats now unite behind her candidacy, but that Democratic voters also will come out in far greater numbers than they did in a primary election marked by very low voter turnout.
"The Democrats did not get out to vote," she said. "That will change with a big presidential race in November. In this district, my vision for California is much more in line with that of the voters."
As for Stoker's belief that he will benefit in the fall from a fractured Democratic vote in June, Jackson suggested he was living in "a fantasy world."
"Let's put this back into reality, a place where Mike, sadly, doesn't spend a lot of time," she said. "When November comes, we'll have a much better turnout."
Hodge was not prepared to say Tuesday night whether he will urge his supporters to now back fellow Democrat Jackson in the fall campaign.
"Both candidates have a lot to offer," he said. "My focus is on going back to work saving lives as a firefighter and going back to work as a harbor commissioner, creating jobs."
In the county's other hotly contested legislative primary, in Simi Valley's 38th Assembly District, businessman Scott Wilk was first among the three Republicans on the ballot. He will challenge Democratic businessman Edward Headington in the fall, in a race to replace termed-out Assemblyman Cameron Smyth, R-Simi Valley.
When the count was finished early Wednesday morning, Headington, the only Democrat in the race, led all candidates with 31.6 percent of the vote. Wilk had 31.3 percent of the vote, ahead of Republicans Patricia McKeon, with 22.3 percent, and Paul Strickland, with 14.8 percent.
In other legislative districts around the county, incumbent Republican Assemblyman Jeff Gorell ran a strong first in the 44th Assembly District with 57.9 percent of the vote. Democrat Eileen MacEnery, with 23.4 percent, was in second place and headed for the general election against Gorell. Democrat Thomas Mullens was third at 18.7 percent.
The 44th Assembly District includes Oxnard, Camarillo, Moorpark and Thousand Oaks.
In two districts there were only one Democrat and one Republican on the ballot, assuring both of advancing to the November election.
In the 27th Senate District, Republican Todd Zink had 50.6 percent and incumbent Democrat Fran Pavley 49.4 percent. The district includes eastern Ventura County, much of the western San Fernando Valley, Malibu and parts of the city of Santa Clarita.
In the 37th Assembly District, incumbent Democrat Das Williams led with 55.9 percent, with Republican Rob Walter at 44.1 percent.
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