text:
The story begins…
Private John Ball and his platoon of Royal Welch Fusiliers travel from Southampton to France. Throughout the journey John experiences increasingly nightmarish visions. The platoon receives orders to join the Battle of the Somme, and find themselves taking part in the assault on Mametz Wood. At dawn, a chorus of dryads are heard from within the forest – do they bring death or rebirth?
Inspired by the work of a soldier poet
The opera In Parenthesis is based on the epic prose-poem of the same name by Welsh painter and poet David Jones – acclaimed by T.S. Eliot on its 1937 publication as 'a work of genius'. Jones studied at Camberwell School of Arts and Crafts before the outbreak of World War I interrupted his studies. He enlisted as a private with the London Welsh Battalion of the Royal Welch Fusiliers and went on to survive the battles of Mametz Wood and Ypres. His horrific wartime experiences fed into In Parenthesis, though Jones did not intend it solely 'as a "War Book"… I should prefer it to be about a good kind of peace'.
Listen: Actor Michael Sheen reads the warrior's boast from In Parenthesis
Honed for the operatic stage
Librettists David Antrobus and Emma Jenkins originally intended to adapt In Parenthesis as a play – but as work progressed they found the poem's intensity made it 'perfect for the bold conceptual medium of opera'.
'It is so musical, so mellifluous, so evocative of a textured soundscape that we were convinced this would be a gift to any composer', say the creative team. Antrobus and Jenkins carefully drew out from Jones's dense and highly allusive writing a simpler thread that would work onstage, ultimately focussing on Jones's alter ego in the poem, Private John Ball: 'Ball is our Orpheus descending into the Wasteland of war and emerging miraculously alive after an ordeal that should have ended in certain death.'
A full-scale opera
Composer Iain Bell is best known for his vocal music, acclaimed for its colour and nuance across a variety of genres. In his previous operas, A Christmas Carol (with Simon Callow) and The Harlot's Progress (with Diana Damrau), Bell collaborated closely with the librettists on the text. In Parenthesis was in some ways a reversal of that process, as Bell started with the finished libretto – but he still immersed himself in the text, working extensively with Antrobus and Jenkins: 'only then was I ready to start writing'. The finished score weaves in many influences – Welsh folk song, bel canto vocal writing 'subverted into a contemporary canvas', an inventive palette of orchestral effects for Ball's visions and extensive writing for WNO's brilliant chorus – in reflection of Jones's rich imagery and language.
Acts of remembrance
In Parenthesis is part of 14–18 NOW, a programme of cultural commissions to mark the centenary of World War I. The opera's 2016 premiere coincides with the anniversary of the Battle of the Somme, in which Jones fought and where he lost so many of his comrades, commemorated in In Parenthesis. 2016 also marks the 70th anniversary of Welsh National Opera's first production – although the company was first conceived of in 1943, when the nation was in the grip of another war. David Pountney, Artistic Director of WNO and director of In Parenthesis, pays tribute to the committee of Welsh amateur musicians who sought 'to forge a cultural initiative that explicitly embraced European culture as a whole'.
Turnage's The Silver Tassie
Britten's A Midsummer Night's Dream
Adès's The Tempest
In Parenthesis runs at the Royal Opera House 29 June–1 July 2016. Tickets are still available.
The production was commissioned by the Nicholas John Trust, with 14-18 NOW: WW1 Centenary Art Commissions, supported by the National Lottery through the Heritage Lottery Fund and Arts Council England and by the Department for Culture Media and Sport.]]>
'What's amazing about ballet and the language of ballet is that it's in constant change', says Wayne McGregor, Resident Choreographer at The Royal Ballet. 'There's a sense in which these bodies today are different from the bodies 50 years ago. They're eating better, they have a better understanding of the biomechanics of the body, they're faster, they can turn more, they can jump higher. That's what excites me about working with a ballet company – it's the potential to work with a lexicon that is known and pushing that to make an alphabet that is unknown, and those two working together and hopefully inspiring an audience.'
McGregor celebrates ten years as Resident Choreographer in autumn 2016, and that long relationship with the dancers is a crucial element in his works for the Company. 'We're very lucky here at The Royal Ballet in that all of the dancers are incredible. They have to have incredible technique, an amazing kind of emotional capacity – they have to be able to really invest in the material. These works that we are making are about those dancers and what their facility and ability is, and us finding a marriage to be able to extend classical ballet. Ballet is not a fixed form – ballet is a form which is always looking for new horizons and new adventures.'
When creating a work McGregor enjoys mixing together dancers he has worked with many times and dancers he is new to. 'We have over a hundred dancers here who each have an incredible individuality. When I'm thinking about casting a piece I'm always thinking about what is special about that dancer and how that might work with another dancer, and what's going to give me something really interesting – either a tension between them or a sympathy between them that's going to create some real magic, this alchemy.'
'I think part of my job as Resident Choreographer here at The Royal Ballet is to shake things up a little bit', McGregor explains. 'I try to find collaborations or ideas or work that in some way is unexpected and hopefully refreshing to the audience. You want the work to touch people in some kind of way, and it might be emotionally, but it also might be in a way that is quite confrontational.'
For McGregor, 'The purpose of art is to provoke debate, it's to stimulate imagination, it's to promote thinking. It's not about just coming and having a nice evening and enjoying something. Enjoyment might be a part of it but it's not the only part of it. Ultimately you want the audience to leave the auditorium with images in their head and a sense of moving in their bodies that carries them through life. And that's a really wonderful gift if you can share that with an audience.'
The interview uses music from Esa-Pekka Salonen's symphonic poem Nyx, used by McGregor in his ballet Obsidian Tear for The Royal Ballet.
The mixed programme celebrating McGregor's ten years as Resident Choreographer of The Royal Ballet runs 10–19 November 2016. Tickets go on general sale on 19 July 2016.]]>
Nabucco is an opera interested in the bad guys. Verdi's third opera – and his first great success – gives the most forceful characterization to the conflicted and the malicious: the proud tyrant Nabucco, his furious daughter Abigaille, the ruthless Zaccaria, high priest of the Hebrews. The opera is seared through with fierce confrontations – which reach their peak of intensity with 'Donna, chi sei?', the Part III duet between Nabucco and Abigaille.
In this opera Verdi largely sticks to the structural conventions of his day – with one or two unusual touches. 'Donna, chi sei?' is no different, and for this major duet Verdi follows the usual four-part structure of rapid dialogue leading into a slow, lilting cantabile, followed by an action-packed tempo di mezzo and ending with a fast-paced cabaletta. But Verdi strikingly bends the music to convey with great intensity the very different states of mind of his two protagonists – while also maintaining the similarities we have seen between them earlier in the opera.
Nabucco has been stricken mad at the end of Part II, for his blasphemy against the Hebrews' God. Abigaille has stepped up to fill the power vacuum, encouraged by her fellow Babylonians. Her subjects are clamouring for the execution of the captured Hebrews – which plays to Abigaille's plan, as the prisoners include the recently converted Fenena, Abigaille's sister and great rival. Abigaille has recently discovered that she was adopted by Nabucco – and so she now thrills at the idea of pushing the confused old man into signing away the life of the daughter he loves.
The first movement makes the difference in power between the two vividly clear. The music for the old king is filled with trembling string figures and short, flustered outbursts, suggestive of Nabucco's frailty, bewilderment and quickly mounting rage. Abigaille, meanwhile, has cool long lines, her steely determination glinting through in the stubborn rising phrases and spectacular coloratura that are features of her part throughout the opera. The orchestra accompanies her in an eager dance tune as she goads Nabucco into signing the decree – which he does to an enraged proclamation: 'Death to all of Israel!'. There is a repeat of the dancing music as Abigaille treasures her victory – leading to another angry eruption from Nabucco, as he denounces Abigaille as the daughter of slaves.
This is no news to Abigaille. But any final glimmer of hope she may have held for Nabucco's acceptance is now extinguished forever. As we move into the cantabile, Nabucco sings in lilting, yearning phrases full of anguished realization of what he has done and how far he has fallen: 'You pitiful old man, you are a shadow of what you were.' Abigaille's vocal line, meanwhile, darts around her father's lament, in gleeful triumph that in its vibrancy and agitation is tinged with acid bitterness – 'I may lose a father but I have gained a throne'.
Offstage trumpets move us into the tempo di mezzo, sounding the death knell for the captured Jews. After the stillness of the previous section Nabucco is again on the back foot, reeling in shock with fragmented musical echoes of Abigaille's strong statements. She dominates musically and dramatically, but there is now a sense of hysteria in her ever higher, ever more ornamented vocal lines. The cabaletta begins with another lament from Nabucco, no longer internal but now a direct plea to Abigaille for her compassion: 'See this old man begging for the child he loves.' Of course, this is only further fuel to her fury. The final fast-paced section recalls Abigaille's triumphant dancing music from the beginning of the duet, though the pace is now increased and Abigaille's vocal line is even more florid. The music races to a close and the curtain drops on one of Verdi's most furious father-daughter duets.
Nabucco runs 6–30 June 2016. Tickets are still available.
The performance on 9 June 2016 will be broadcast live to outdoor screens around the UK for free – find a screening near you.
The production is a co-production with La Scala, Milan, Lyric Opera of Chicago and Gran Teatre del Liceu, Barcelona, and is generously supported by Rolex and The Friends of Covent Garden.]]>
#448Psychosis was genuinely incredible last night. @philipvenables score nails it, as did the performers and staging. Stunning!
— Andrew Morgan (@MorganNoise) May 25, 2016
Opera version of #448Psychosis at @LyricHammer really is very good. Musically surprising, exceptionally performed, and true to the play.
— Vincent O'Connell (@GerbyTheGerbil) May 24, 2016
I *think* really quite a lot of the music was amazing. But the staging did make it as difficult as possible to tell.
— Andrew Haydon (@Postcards_Gods) May 24, 2016
#448Psychosis made me weep last night. Huge congratulations to all the creative team and singers, but esp to @philipvenables. Stunning work
— Naomi Pinnock (@naomipinnock) May 25, 2016
A perfect balance of high drama, humour and utter devastation. Left breathless. Amazing @philipvenables #448Psychosis
— George Chambers (@geocham) May 24, 2016
was lucky to catch @royaloperahouse 's #448Psychosis last night @LyricHammersmith - absolutely stunning on all fronts - and devastating too
— Arun Sethi / Charo (@ArunIsCharo) May 24, 2016
.@philipvenables Stunned last night. Watched half of it w/hand clasped over mouth. Captured Kane's wit and humanity perfectly. #448psychosis
— T Rutherford-Johnson (@moderncomp) May 25, 2016
@LyricHammer Wow! 4.48 was incredible. Philip Venables score was unbelievable.
— Scott Hurran (@Ernest_Hurran) May 24, 2016
Eurostar back to Brussels. 4.48 Psychosis outstanding, riveting. Get a ticket if possible. With this and Oedipe, ROH is leading the way.
— Christopher Gillett (@CJGillett) May 24, 2016
Press reviews:
Guardian ★★★★
Telegraph ★★★★
Financial Times ★★★★
The Stage ★★★★
The Arts Desk ★★★★
The Upcoming ★★★★
What's On Stage ★★★
4.48 Psychosis runs until 28 May 2016. Tickets are sold out, but returns may become available.
The production is a co-commission with the Guildhall School of Music & Drama, is produced in association with Lyric Hammersmith and is given with generous philanthropic support from the RVW Trust.]]>
Enescu's opera Oedipe is a kaleidoscope of different musical languages. He was a consummate musician – a violinist, conductor and teacher who both championed and interpreted the music of his contemporaries.
Perhaps because of this, his masterpiece is a patchwork of shifting voices, as Enescu masterfully interprets very different musical ideas through his own distinctive lens. From this rich fabric Enescu's writing for the Sphinx emerges as the strangest and most unsettling music in the opera.
Oedipe's encounter with the Sphinx is the last in a series of events in Act II in which Enescu and his librettist Edmond Fleg show their hero taking the steps that bring about his own terrible fate. First he flees his adoptive home, thinking to evade the destiny predicted by the oracle. Next, at a crossroads, he unknowingly meets his real father, Laïos, and murders him. Finally, he comes to the gates of Thebes – his birthplace – and meets the Sphinx, a monster that has been ravaging the city. He will destroy the Sphinx, and in thanks the city will name him king and give him the hand of his mother, Jocaste, in marriage.
The appearance of the Sphinx is the climax of Act II and in many ways the centrepiece of the opera. It is through the Sphinx's dialogue with Oedipe that Enescu and Fleg explicitly explore the driving idea of their version of the story: that of man's struggle against his fate. As a daughter of destiny, the Sphinx is the physical manifestation of that fate. Enescu accordingly creates an otherworldly soundscape, a malicious aura around the Sphinx in which the opera's previous musical structures seem to warp and unravel. Enescu's monster is nightmarish, her music bewildering and malign, and her death shrouded in ambiguity.
The Sphinx exerts her terror by setting everyone who passes by her a riddle they cannot solve. When they fail to answer, she devours them, and leaves their blanched bones lying about her. A Watcher from the city is posted by her as she sleeps. He begs the wandering Oedipe to stop his sorrowful song, terrified that he will wake the Sphinx. As he points her out to Oedipe we hear fleeting rasps in the violins, flashes of horror against the slumberous sounds of murmuring woodwind.
Read: Our Opera Essentials to George Enescu's Oedipe
Oedipe determines to save the city and through agitated music wakes the Sphinx, to the horror of the Watcher. A monstrous crescendo marks its awakening but once she begins to sing her music is soft, slow and sleepy – wrapped in the sinuous, feline lines that characterize all her music. She has been waiting for Oedipe, she says. Enescu gradually expands the music with exquisite control, as the Sphinx anticipates her conquest of Oedipe – 'of all my victims, you will be the most beautiful' – and exults in the power of destiny over both man and gods.
Finally, she sets Oedipe her riddle. As part of their vision of the story, Enescu and Fleg alter Sophocles' original riddle. Instead the Sphinx asks 'What is greater than destiny?' Oedipe delivers his answer to exalting fanfare: 'Man.' The Sphinx's moaning response swings between laughter and weeping, underpinned by bathetic trombones. Her death cries are the balance of her monstrous awakening, slowly receding into silence; her final upwards glissando into death is continued in the unearthly sound of a musical saw. It is the perfect musical setting of her final words – 'Only the future will tell you if the dying Sphinx is weeping at her defeat or laughing at her victory' – words which haunt Oedipe through the celebratory coronation that follows.
Oedipe runs 23 May–8 June 2016. Tickets are still available.
The production is a co-production of La Monnaie, Brussels, and Opéra National de Paris, and is generously supported by the Monument Trust, Richard and Ginny Salter, the Romanian Cultural Institute and the Friends of Covent Garden.]]>
A linchpin of British theatre
Playwright Sarah Kane was one of the most important artists of her generation. The five plays she wrote in her short life are remarkable works that challenge and transform the ideas of what theatre can be. Controversial at their premieres, her plays are now celebrated as linchpins of British theatre, praised not only for the innovations they make but also for Kane's unflinching exploration of depression and for her vibrant, beautiful language. Kane was insistent that her plays belonged in the theatre, and adaptations of her writing for other art forms are rare. Philip Venables's operatic adaptation of 4.48 Psychosis, Kane's final play, is the first of its kind.
Composing with text
4.48 Psychosis is the third opera by British composer Venables, following his 'anti-opera' Unleashed, based on recordings of gay men describing sexual encounters, and the ongoing chamber opera project The Schmürz. But text plays an integral part in many of his compositions, from The Revenge of Miguel Cotto, a collaboration with poet S.J. Fowler commissioned by London Sinfonietta, to his settings of poetry by Simon Howard in numbers 76–80 : tristan und isolde and numbers 91–95, and by Sean Bonney in Socialist Realism. These and other works also share a common thread in Venables's fascination with violence – its allure, its power and its consequences.
Not about blood and guts
Kane's 4.48 Psychosis was completed shortly before the playwright took her life, and since its premiere has been considered the equivalent of a suicide note. But 4.48 Psychosis is an important piece of theatre in its own right. The play has no character list, no speech cues and minimal stage directions; this built-in directorial freedom ensures no two productions of the work can be the same. Kane's text sometimes suggests a dialogue, sometimes intense soliloquy, frequently blossoming into passages of painful beauty; and, as with all her works, combines an upsetting and uncomfortable exploration of the human condition with sharp flashes of pitch-black humour. For Venables, 'it's not about blood and guts – it's about that huge conflict of wanting love and wanting happiness and not being able to find it'.
An extraordinary potency
Kane's plays are powerful theatre works, but they also have extraordinary potency when read. This has played into Venables's longstanding interest in the interplay of written, sung and spoken text. 'I chose 4.48 Psychosis because it feels like a really musical text', he explains. 'Of all Kane's plays it feels like the one where she's written some music on the page.' The play's unusual form has also influenced Venables's composition: 'the freedom in the text allows us to be so free with the ensemble of voices that we have. We're trying to re-create a kind of polyphony of inner voices – all those voices in your head.' Venables uses his cast of six singers and 12 musicians to create new contexts for Kane's text. 'There are at least four scenes which use visually projected text and percussion – which mirrors the speech rhythm of the text; there's also some voice-over work, and everything in between.'
Created by the Composer-in-Residence
Venables is the first person to hold the post of Doctoral Composer-in-Residence at The Royal Opera and the Guildhall School of Music & Drama, the first position of its kind specifically to support composers of opera. The studentship offers one composer every two years the opportunity to research and write a large-scale work, mentored by senior figures from each organization. 'The support has included one-to-one development sessions, building relationships with writers and performers and running workshops and rehearsal sessions with Guildhall School students across both music and drama', Venables explains. 'I'm astounded at how huge an enterprise this is and how utterly focussed everyone is on producing the most fantastic work. It's flattering and daunting to see so many people come together to work on my project.'
4.48 Psychosis runs 24 May–8 June 2016. Tickets are still available.]]>
Conductor Koen Kessels was appointed Music Director of The Royal Ballet in 2015. He came with extensive experience of ballet, having been Music Director of Birmingham Royal Ballet since 2010. But contemporary music has also been a touchstone throughout his career, and through his position as Artistic Director of the HERMESensemble he has collaborated with many of the leading contemporary composers of our time.
'Commissioning new music is one of the ways to bring about evolution in our society', says Koen. 'It's very difficult to find the right way to promote contemporary music and new commissions – but I think ballet, opera and stage work are the ideal field'.
He always encourages composers to 'go and see and find the choreographer who you feel aligned to'.
Bringing a new work to life means balancing the needs of the composer and of the choreographer with those of the dancers. 'It's always delicate to find the right mood and tempi working with dancers – so that the dancers can be their best on stage', says Koen.
The Music Director compares ballet conducting with accompanying singers:
'Accompanying means you understand the gesture, you understand the breathing – it's the same with dancers. So it's more of an understanding and a trust.'
Koen Kessels is currently conducting The Royal Ballet's Frankenstein at the Royal Opera House. In the 2016/17 Season he will conduct a trio of works by Wayne McGregor.]]>
The story begins…
Young men flock to the gay nightclub Pleasure. They worship at the feet of drag queen Anna Fewmore. But some also seek solace from toilet attendant Val. She's a shoulder to cry on, a confidante – and an enigma. When the beautiful, unpredictable Nathan comes looking for answers, Val's mystery begins to unravel.
A young man's game
Liverpudlian composer Mark Simpson shot to fame in 2006 at the age of 17, when he became the first person in the history of the awards to win both the BBC Young Musician of the Year (as a clarinettist) and the BBC Proms/Guardian Young Composer of the Year. In the last decade he has gone on to cement his position as one of Britain's most exciting musical talents, as both a performer and composer. His creative relationship with poet Melanie Challenger, librettist for Pleasure, began in 2008 when he read her collection Galatea; Simpson recalls how 'up until this point I had never experienced the written word as viscerally as I had experienced musical sound'. He went on write A mirror-fragment…, inspired by Galatea, and in 2015 they collaborated on the oratorio The Immortal for the Manchester International Festival.
Dionysus meets Divine David
The inspiration for Pleasure came from a night out in Liverpool. Simpson recalls how 'one evening, as I stood pouring my heart out to a toilet attendant in one of the clubs, I suddenly started to see the world around me with a new sense of objectivity… This was a world where you could escape your own reality. But at what point was the pursuit of pleasure an escape?'. He took this kernel of an idea to Challenger, who wove from it a libretto that takes real-world grittiness and blends it with super-heightened reality and themes from Greek mythology. She explains how 'one of my chief influences were the Homeric Odes to Dionysus. But another was the dark and brilliant spit-and-sawdust humour of Mancunian drag queen Divine David.'
A house of cards
The creative team for the premiere of Pleasure includes director Tim Albery and designer Leslie Travers, each highly-acclaimed for their work in opera internationally – Albery's previous credits with The Royal Opera include Tannhäuser. Simpson recalls the experience of watching his first opera come to life in rehearsals: 'I've never seen first-hand this level of detail going into the directing process. It's taught me a lot about how to approach the inner world of the characters and how to reflect this in the music I write… On a daily basis, I am confronted with just how complex the staging of opera can be. If one thing gets out of sync, the delicate house of cards we are building collapses. It is a huge collaborative effort.'
Lesley Garrett as Val and Steven Page as Anna Fewmore in Pleasure © Opera North 2016. Photo by Robert Workman
Timothy Nelson as Nathan and Nick Pritchard as Matthew in Pleasure © Opera North 2016. Photo by Robert Workman
Nick Pritchard as Matthew and Timothy Nelson as Nathan in Pleasure © Opera North 2016. Photo by Robert Workman
Lesley Garrett as Val and Steven Page as Anna Fewmore in Pleasure © Opera North 2016. Photo by Robert Workman
Nick Pritchard as Matthew and Lesley Garrett as Val in Pleasure © Opera North 2016. Photo by Robert Workman
A genuine coup
Pleasure is the third in a series of co-commissions between Aldeburgh Music, Opera North and The Royal Opera, begun in 2013 to commemorate the legacy of Benjamin Britten through chamber operas from a new generation of opera makers. Pleasure is a tight 75 minutes long, scored for just four singers and ten musicians – played by members of acclaimed contemporary ensemble Psappha, which gave the premiere of Simpson's first piece when he was 14. The opera had its premiere at Howard Assembly Room in Leeds on 28 April, with Alfred Hickling writing for The Guardian 'Simpson has pulled off a genuine coup'.
Pleasure runs 12–14 May 2016. Tickets are still available through the Lyric Hammersmith.
The production is a co-commission and co-production with Aldeburgh Music and Opera North, supported by a legacy from Ms D. Kurzman via Arts Council England.]]>
'It's phenomenal music, with a truth to it that I think I seldom feel in other things', says Emma Bell, who sings Elisabeth in The Royal Opera's production of Tannhäuser. Conductor Hartmut Haenchen agrees: 'I always say, it's quite simple – go, and feel what the music is telling you, and you will love it.'
Wagner's Tannhäuser 'is a very open work', explains Christian Gerhaher, who sings Wolfram. 'Before he died he said to Cosima, "I owe another Tannhäuser to the world".' Of the many versions Wagner produced over a thirty-year period, Haenchen prefers the last 'Vienna' version, from 1875. 'What he did finally for Venusberg was to take his experience of Tristan und Isolde and make this incredible music. And the other world [of the Wartburg] is quite dry, quite traditional, quite simple. I love to have these different worlds – then you understand Tannhäuser much more.'
For Gerhaher, 'The really interesting thing to me is I don't believe that Tannhäuser ever loved Elisabeth. It comes to this tragedy that he has to face this unloved woman and has to lie, lie lie. And so the tragedy is clear. It is like a catastrophic movie – everyone knows it will be horrible. Nothing can end in the right way, because everything is wrong'.
'If you look to the figures of all the women in Wagner's operas there is one big idea', adds Haenchen. 'He was really convinced that only women could do something good for this world. This was his musical statement in nearly every opera.' Bell agrees: 'this idea that a woman puts herself on the line in a way that men don't, necessarily, seems to me quite an obvious historical point here.'
'Wagner is not only loud', says Haenchen. 'Mostly you have Wagner from the beginning to the end; it's four hours and a lot of noise. But it's so different, the sound should be so different and you should play with the words and play with really extreme dynamics.' Gerhaher agrees: 'This is for me the right attitude, to weigh the importance of every word and clearly depict this importance by colourization, dynamical differentiation and tempo development.'
Ultimately, 'It's a lot more accessible than we've all been led to believe', says Bell. 'It's been put on this pedestal and barbed wire's been put on the stem and everyone's said now see if you can reach through. I think that just needs to be ripped down. Just give it a go, it's so truthful.'
Tannhäuser runs until 15 May 2016. Tickets are still available.
The production is given with generous philanthropic support from Dr and Mrs Michael West, Simon and Virginia Robertson, Maggie Copus, Peter and Fiona Espenhahn, Malcolm Herring, the Tannhäuser Production Syndicate and the Wagner Circle.]]>
Gerald Barry's 2011 opera The Importance of Being Earnest has won widespread acclaim as one of the most genuinely funny operas ever written – thanks both to Wilde's much-loved text and to Barry's imaginative, surprising and often ridiculous musical setting. Ramin Gray's 2013 production for The Royal Opera adds on a further level of absurdity, throwing in Irish jigs and a memorably intense relationship with food. During rehearsals for the production's revival at the Barbican Theatre, we spoke to four of the singers about the opera, and how Barry casts Wilde's classic play in a new light.
'Gerald's idea is that these people are trapped in convention', explains Paul Curievici, who plays Jack/Ernest. For Claudia Boyle, who plays Jack's ward Cecily, 'There is a complete falseness, mocking the Victorian upper class and how they conform. It's complete satire'.
In preparing the libretto Barry famously cut the play to a third of its length but 'didn't remove a single reference to food in the entire piece – which makes it almost exclusively about food', says Benedict Nelson, who plays Jack's friend Algernon. For Curievici, 'Whenever myself and Algernon get foody there's a sort of a binging, purging element to it. There's a suppressive self-harming instinct almost' – 'and ultimately a violence', adds Stephanie Marshall, who plays Jack's fiancée Gwendolen.
Violence is a recurring theme in Barry's vision. 'He really takes love and marriage – in the same way as Oscar Wilde does – and makes it an extreme thing, the ultimate violent act', says Nelson. 'There's the very famous plate scene', Boyle adds, 'where Barry chooses to have forty plates smashed, when Cecily and Gwendolen meet for the first time. It's the underlying tension and rivalry between them, and it just builds and builds'. For Paul, 'My favourite bit of that scene, given Gerald's obsession with the hysteria that underlies all of those social conventions, is that Gwendolen shoots Cecily five times, to no impact. It's ridiculous – but the effect is still had'.
Much of the opera's comic power rests in the surprising directions Barry's music takes. 'One of the most charming things about Gerald – it's now charming but originally it was infuriating – was that if you ask him questions about the music, he just doesn't understand the question', says Nelson. 'If you ask him why something's forte he'll say, well, because it's loud. Or why he's composed this bit of music – he'll say, because that's the ending. Which ends up being very liberating, because it means you can do lots of things as a performer just because.'
But Barry has a very clear idea of the sound he wants. Marshall talks about how 'I have this Canadian accent, and he prescribed that I listen to 1950s recordings of Edith Sitwell in particular and Diana Mosley, to really try and attain those accents. He was really insistent – incredibly specific'. 'He absolutely is', adds Nelson, 'he's very prescriptive. But the lovely thing about Gerald is that although he could describe what it is he wants he's never really interested in describing why – it's just how it goes'.
Audiences seem to appreciate the effect. For Marshall, 'I think what I was so thrilled by when we did it last time was the spontaneous laughter that happened at all sorts of different points. It wasn't that we were ever playing the sort of ba-dum-tish – audiences as a whole found different parts of this opera funny at different times, and spontaneously laughed out loud'. Nelson agrees: 'It's very funny. I think it would make other types of music laugh. I think if you could get other types of music round to listen to it they would all find it very funny'.
The Importance of Being Earnest runs until 3 April 2016. Tickets are still available through the Royal Opera House and Barbican websites.
The production will be live-streamed on the ROH YouTube channel on 2 April 2016.]]>


text: Rand Paul Paul's Tea Party State of the Union Rebuttal Will Focus on Federal Debt By Kenny Colston (KPR) • Feb 12, 2013 Wikimedia Commons U.S. Sen.Rand Paul will be one of two GOP senators providing a rebuttal to President Barack Obama's State of the Union address on Tuesday. Paul is providing the tea party response to the annual address, while U.S. Sen. Marco Rubio of Florida will provide the Republican Party's official response. Rand Paul: Court Oversight in Drone Attacks Needed By Kenny Colston (KPR) • Feb 11, 2013 Wikimedia Commons Courts should decide whether the U.S. should use drone attacks on American citizens who are abroad and accused of committing crimes against the nation, U.S. Sen. Rand Paul said. Paul told Kentucky Public Radio on Monday that he would prefer a judge or jury make those decisions, as they do with crimes committed inside the U.S. Paul Says Judd Doesn't Represent Kentucky By Whitney Jones & The Associated Press • Feb 11, 2013 Wikimedia Commons Kentucky's junior Republican U.S. Sen. Rand Paul says actress and activist Ashley Judd, who's considering a run against Senate Minority Leader Mitch McConnell, doesn't represent Kentucky or even live in the state. Paul made the comments Sunday on CNN's "State of the Union" when asked about potential 2014 challengers to McConnell. Paul To Introduce Bill Directing Priorities if Debt Ceiling Not Raised By Kenny Colston (KPR) • Jan 21, 2013 www.en.wikipedia.com Senator Rand Paul is upset President Barack Obama will not debate spending cuts in talks over raising the debt ceiling. Many Republicans have threatened to block any increase in the nation's debt unless the president agrees to cut the budget elsewhere. Senator Paul Considers Legislative Move Against Presidential Executive Orders By Kenny Colston (KPR) • Jan 16, 2013 Wikimedia Commons U.S. Senator Rand Paul said he'll examine President Obama's just-announced executive orders to see if the president has overstepped his authority — and, if he believes so, will introduce legislation to overturn the orders. U.S. Senator Rand Paul's Son Charged With Assault By John Walker & The Associated Press • Jan 15, 2013 Wikimedia Commons U.S. Senator Rand Paul's son has been charged with assaulting a flight attendant during a trip from Kentucky to North Carolina. Paul Expects Deal on Fiscal Cliff to Include Top 2 Percent Tax By Josh James (KPR) • Dec 14, 2012 Wikimedia Commons Kentucky U. S. Senator Rand Paul says he expects any deal made to avoid the so-called Fiscal Cliff will include tax increases on the top 2 percent. The comments came at today's Commerce Lexington Public Policy Luncheon. Paul says Democrats are likely to get some tax increase passed, but criticized their rationale. Beshear Urges Leaders to Release Water from Missouri River By The Associated Press & Whitney Jones • Dec 14, 2012 flickr Kentucky Governor Steve Beshear is urging U.S. Sen. Mitch McConnell to sponsor and pass legislation that would force the U.S. Army Corps of Engineers to release water from the Missouri River to raise levels on the Mississippi. Drought conditions there could soon halt barge traffic. Beshear sent a letter to McConnell and U.S. Sen. Rand Paul Wednesday asking them to take action quickly. If the Mississippi continues to drop there could be negative economic consequences. Paul Amendment Changes How Soldiers Are Counted in Census By Kenny Colston (KPR) • Dec 4, 2012 wikipedia.org Services members would be counted differently in future U.S. Censuses under a successful amendment to a major defense bill that's to be debated in the U.S. Congress -- an amendment sponsored by Sen. Rand Paul of Kentucky. Rand Paul Considers Run for White House By Dave Shinall & The Associated Press • Nov 23, 2012 Kentucky's junior Republican U.S. senator says he's interested in running for president in 2016. Rand Paul tells ABC News he's not going to deny that he's interested. Paul tells ABC the Republican Party needs to change, but not what he calls the party's core message of encouraging economic growth to generate government revenue. Paul says the Republican Party needs to consider some different ideas that include allowing states to make decisions on the legalization of marijuana and taking a more moderate approach on immigration. Pages« first ‹ previous … 4 5 6 7 8 9 10 11 12 next › last »

subset: commoncrawl


text:
Board of High School and Intermediate Education U.P Exam Scheme
Board of High School and Intermediate Education U.P Exam Scheme 2009
The largest examining body in the World, Uttar Pradesh Board of High School & Intermediate teaching began its running from the year 1922. In the state of Uttar Pradesh a few secondary schools are being governed by the Indian Council of School teaching (ICSE) and Central Board of Secondary teaching (CBSE), but most of the Secondary schools seek acknowledgement of the UP Board. At present there are 9121 secondary schools are accepted by the UP Board of High School and Intermediate teaching.
Exam scheme 2009
The exam scheme 2009 is available on the official website of the university.
Website: http://upmsp.nic.in/
Contact Details
UP. Board of High School & Intermediate Education
Allahabad – 211 001
Uttar Pradesh
Ph: 91-532 602367 (Allahabad)
91-532 239006 (Lucknow)
Fax: 91-532-623182
Website: http://upmsp.nic.in/
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text:
Common Eider, King Eider, 'Extinction'
June 23, 2016
Cold Spring, 4.11.2016 With Extinction, Common Eider, King Eider continues to evolve with another step away from the template they set out on their folksy 2007 début How to Build a Cabin. The four piece, led by former Deerhoof man Rob Fisk, maintains its connection to the earth and its dusty contents...
CHANTS, 'The Zookeeper'
June 9, 2016
Astral Plane Recordings, 4.29.16 Jordan Cohen's draw toward a fragmented sound developed slowly. In his older work, such as 2015's We Are All Underwater (Hush Hush Records), Cohen — a.k.a. CHANTS — dealt with composition vertically, looping and piling parts on top of each other,...
Beacon Sound Choir, 'Sunday Morning Drones'
June 1, 2016
Infinite Greyscale, 3.18.16 Sunday Morning Drones is a lush slab of vocal drone from Peter Broderick and a collection of 30+ singers, dubbed the Beacon Sound Choir. Whether you play it at the proper 45 RPM or the accidentally amazing and stretched-out 33 RPM, this two-part record of bellowing bliss...
Aglaia is Always Wrong, 'Forgetful Diver'
May 24, 2016
More Mars, 2.29.16 Almost a decade into his career as a sound artist, there's still precious little information to be found on whoever is behind Aglaia is Always Wrong. We know he's male, based in Greece and a member of the free-rock duo Svounia, otherwise… well, that's about...
Yeongrak, 'Brainsoutclock'
May 4, 2016
End of the Alphabet Records, 4.4.16 I first came across producer yeongrak near the end of 2014 when music critic Adam Harper included him in one of his System Focus columns for The Fader. At the time, yeongrak was exploring an interzone somewhere between noise, beats and footwork — sped-up sandpapery...
Ocean Viva Silver, 'The Sleep in Opera'
April 28, 2016
The Sublunar Society, 2.8.16 The Sleep in Opera from French artist and experimental composer Ocean Viva Silver (Valérie Vivancos) is an ambient sound exploration into the soft hums of bodily relaxation. The conceptual album is devised wholly of field recordings made from a series of sleep happenings...
Harry Knuckles, 'Tónmennt'
April 21, 2016
FALK, 2.2.16 Tónmennt, attributed to Harry Knuckles, is reportedly the full-length debut from Reykjavik-based recorder Frímann Ísleifur Frímannsson… reportedly because there's only a fairly thin thread to follow through the project's backstory. I can say with certainty that...
Joe McPhee, 'Zurich (1979)'
April 13, 2016
Astral Spirits, 1.22.2016 Joe McPhee knows two modes in the solo. He knows the warrior and he knows the sputter. He can occupy everything in between too, percussively amalgamating pieces of phrases, here and there. He is the truest definition of the jazz multi-instrumentalist, having occupied the flugelhorn,...
John Bellows, 'L O N G EP'
April 11, 2016
Planted Tapes, 1.15.16 About once a year, I try to review a singer-songwriter and find myself working through a tangential monster of a preface having to do with the viability of the form and the lack of lyrical appreciation in today's culture, based on an imagined transformation of the culture...
The Body, 'No One Deserves Happiness'
March 31, 2016
Thrill Jockey Records, 3.18.2016 Some five or six years ago, I walked into a DIY spot full of unfamiliar crusties in a still unfamiliar midwestern town, expecting to see a punk show with all of the discomfort that comes with it; scenesters, dudes smashing into each other, drinking cold beer in even...
Blind Alfred Reed, 'Blind Alfred Reed: Appalachian Visionary'
March 25, 2016
Dust-to-Digital, 2.19.2016 Dust-to-Digital's expansive new compilation of Virginia-born and West Virginia raised Blind Alfred Reed (1880-1956) is subtitled Appalachian Visionary, an appropriate sobriquet whatever his ocular condition. As a West Virginian, I'm particularly fond of our...
Suspect, 'Faux Empath'
March 17, 2016
Night-People Records, 1.24.2016 With its grisly imagery and blood spattered cover, it would be easy for one to assume that Faux Empath, the first tape from Chicago artist Suspect, is an enjoyably "experimental" release that follows in the rich history of "experimental" artists...
Sapropelic Pycnic, 'A Love Supreme'
March 14, 2016
No Index, 1.5.2016 The first irony of covering John Coltrane's A Love Supreme is that, for me at least, that work hardly served as an introduction to Coltrane. During my first explorations of jazz music, it was Ascension and Meditations that acquainted my ears with his uncanny vision. From this...
Shapes / Melfi, 'Split'
March 4, 2016
Umor Rex Records, 1.8.2016 The day I am writing this review is also the six-month anniversary of my cubicle job. I stepped out of the classroom after nine years last May and, after a final summer vacation scouring Indeed and Glassdoor, landed a gig as a technical writer for a mortgage company. I offer...
Sean McCann, 'Pacifics'
February 29, 2016
Recital Program, 1.15.2016 Pacifics is a new hardbound bit of experimental poetry and accompanying audio from Recital Program proprietor Sean McCann, released late last year alongside Italian sound poet Enzo Minarelli's kabbalistic Romanzi Nelle. Though only the latter's stated inspiration...
V/A, 'Absence'
February 16, 2016
Flaming Pines, 2.8.2016 Absence is a new compilation of Iranian experimental music organized by Flaming Pines proprietor Kate Carr, and curated by Arash Akbari — who also contributes its second track — with a particular ear to highlight Tehran's ambient scene. The opening contribution...
øjeRum, 'The Forest Is Sleeping Within The Trees'
February 8, 2016
Scissor Tail Editions, 11.5.2015 Minimal, sad ambient that splits the difference between Gas and William Basinski. Paw Grabowski is øjeRum, a Copenhagen-based artist mining melancholy with a minimalist toolset. Much of his catalog has been released on low-run cassettes, carrying lo-fi, spindly, surreal...
Kraus, 'Golden Treasury'
February 1, 2016
Oma333, 12.12.2015 For Auckland, New Zealand based sound explorer Pat Kraus (better known in D.I.Y circles as Kraus), Swedish cassette label Oma333's reissue of his 2009 album Golden Treasury couldn't have come at a better time. As the story goes, Oma333 chanced upon a copy of his excellent...
Various Artists, 'All the Little Devils Are Proud of Hell'
January 26, 2016
Chondritic Sound, 9.11.2015 Chondritic Sound, the Los Angeles-based imprint with a quasi-healthy addiction to atonal ambiance, withered minimal and cold wave, severely industrial aesthetics, and just about everything in-between, celebrates its 300th release with All The Little Devils Are Proud of Hell,...
Haku, 'Ne Mele A Ka Haku (Music of Haku)'
December 15, 2015
EM Records, 10.17.2015 Haku is reportedly the alias of Frank Tavares, an obscure Hawaiian experimental composer who — in addition to any other accomplishments — produced at least one slipstream synth album of truly weird and spectacular proportions. Ne Mele A Ka Haku (Music of Haku) began...
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text:
This place is awesome! I had the BBQ pork plate. You get a decent amount of food for the price. The atmosphere is great, being in downtown Statesville. BBQ was nice and tender, lots of juice. The sauce is a vinegar based sauce with a slight twing. The only I give it 4 stars is because of the sweet tea. Being a southern BBQ place, you would expect a great tea. But other than that this place is great!
Statesville Barbecue
1. Phifer's Hot Wings & Bar-B-QMenu
1023 Shelton AveStatesville, NC 28677
2. Chuck's Barbecue and Grill
By far, the best hot dog around. Probably the best chili, too. And don't forget to try the apple pie. But, be prepared to wait if you order there…
3. Uncles C's BBQ
This place is awesome! I had the BBQ pork plate. You get a decent amount of food for the price. The atmosphere is great, being in downtown Statesvil…
4. Gregs Famous BarbequeMenu
707 Sullivan RdStatesville, NC 28677
5. Port-A-Pit Bar-B-QueMenu
119 Marshall Forest LnStatesville, NC 28625
6. Ol' Bob's BBQ & CateringMenu
7. Carolina Bar-B-QMenu
This is a hometown favorite. The food is good and reasonably priced. But, the poor ladies who serve are overworked and spread thin. They like the…
8. Little Pigs BarbecueMenu
226 Brookdale DrStatesville, NC 28677
9. Cook-Out
181 Turnersburg HwyStatesville, NC 28625
10. Outback SteakhouseMenu
979 Folger DrStatesville, NC 28625
From Business: Outback Steakhouse is an Australian-themed chain of restaurants that offers a variety of chicken, ribs, seafood and pasta dishes. It offers a range of food items, s…
11. Chili's Grill & BarMenu
149 Turnersburg HwyStatesville, NC 28625
12. Koala-T Katering
119 Marshall Forest LnStatesville, NC 28625
13. Randy's BarbecueMenu
The BBQ pork is smoked to perfection. There are simple, delicious sauces on the table but BBQ purists will appreciate the pork standing on its own s…
14. Keaton's Barbecue IncMenu
17365 Cool Springs RdCleveland, NC 27013
15. Cj's
210 Old Amity Hill RdCleveland, NC 27013
16. C's Bar-B-Que Restaurant
11705 Statesville BlvdCleveland, NC 27013
17. Lancaster's BBQ & Wings
First visit was outstanding. Service was very satisfying. Food was was delicious and I can't wait to go back. My son attends NTI and I look forwa…
18. Carolina Ribs On The RunMenu
This place is one of the best restaurants I've ever been to! The people working there are great and the food is amazing!
19. Boss Hog BBQ Restaurant
7564 E Hwy 150Sherrills Ford, NC 28673
20. Sonny's BBQ
You can't eat here at fast food prices, but it's still cheaper than most sit-down restaurants in the area. This location has one of the best salad b…
21. Boss Hog Bbq
7564 E Nc 150 HwySherrills Ford, NC 28673
22. Landing Restaurant
4491 Slanting Bridge RdSherrills Ford, NC 28673
23. Hannah's Bar-B-QMenu
2942 N Oxford StClaremont, NC 28610
24. Big Daddy's Of Lake Norman IncMenu
Fabulous.. Best sangria ever. Steaks cooked perfectly. Awesome salad bar. Service is better than excellent
25. Epic ChophouseMenu
Beautiful restaurant. Very elegantly decorated, relaxed, and comfortable atmosphere. We were seated immediately. The hostess was extremely professio…
26. Boxcar GrilleMenu
This place has the best food you can get and very cheap prices
27. Gunter's in the Grove
1684 W Memorial HwyUnion Grove, NC 28689
28. Sagebrush Steakhouse
140 Regency Center DrMooresville, NC 28117
29. Tokyo Japanese RestaurantMenu
539 E Plaza Dr Ste VMooresville, NC 28115
30. J P Steakhouse
129 Easy StMooresville, NC 28117
They really need to work on the sides. I got a very small cup of slaw that wasn't that good and a hamburger bun with my order. Other than that the chicken was SO good! Fell right off the bone! They are a new business so I am sure they will improve!


text:
landfill monitoring Companies in Slovenia
Current filtering criteriaYou can remove a filter by clicking on the x
MLU - Monitoring für Leben und Umwelt
Office in Dob, SLOVENIA
MLU - Monitoring für Leben und Umwelt delivers and services monitoring technology for the environment. The Austrian company MLU delivers and services instruments and systems for measuring ambient air quality. MLU is one of the most experienced solutions providers for particulate matter (PM) monitoring all over Europe and represents the broadest range of PM monitoring ...
Endress Hauser Instruments International AG
Office in Ljubljana, SLOVENIA
Endress Hauser is a global leader in measurement instrumentation, services and solutions for industrial process engineering. The Group employs more than 12,000 personnel across the globe, generating net sales of 2.0 billion euros in 2014. Water quality, discharges, regulations, the environment… just rely on a trusted partner. No resource is more precious than water. But ...
Ames d.o.o.
based in Brezovica pri, SLOVENIA
AMES is an associated member of the Ljubljana Technology Park (former technology park of the Jožef Stefan Institute). Until 1993, the group that now forms AMES was a laboratory and later a department of the Jožef Stefan Institute. AMES produces meteorological sensors (digital wind sensors, ombrometers, temperature sensors), instruments (several types of anemometers), ...
Umwelt-Geräte-Technik GmbH (UGT)
Office in Trnava, SLOVENIA
UGT - Umwelt-Geräte-Technik GmbH - founded in 1992, develops, manufactures and installs environmental measurement devices and long-term monitoring systems for pedologic, hydrologic and related environmental research questions for scientists and environmental managers of all industries. The company's core strength in providing innovative, high-quality instruments and ...
MicroBioTests Inc.
Distributor in SLOVENIA
MicroBioTests Inc. is specialising in the following areas: the production of biological material for culture/maintenance free microbiotests for both toxicological and ecotoxicological applications, the design and manufacturing of specific low cost kits for the before mentioned applications, under the generic name TOXKITS, and the worldwide commercialisation and ...
Eijkelkamp Soil & Water
Distributor in SLOVENIA
As part of Royal Eijkelkamp, Eijkelkamp Soil & Water contributes to the following mission and vision. Mission: Royal Eijkelkamp is able to make a continuous contribution to a safe and healthy living environment thanks to more than 100 years' experience and expertise in soil and water research. Vision: Royal Eijkelkamp wants to become the world's preferred supplier of ...


text:
TV Watch Keeping Up with the Kardashians
Khloé Kardashian Admits She's Looking Forward to Having Kids After Divorcing Lamar Odom: 'I Need This Marriage to End Because It's Depressing'
On Sunday's episode of Keeping Up With the Kardashians, Khloe Kardashian is dealing with her impending divorce to Lamar Odom, but it became extremely stressful after her mother got involved.
Yeezy celebrated his 39th birthday this week, and in honor of the big day (and "birthday week" in general), his wife consulted the zodiac to see how compatible she and the rapper are.
"I did a little research about Libras and Geminis and found out they're a perfect match!" Kardashian gushed in a post on her website and app titled "The Week in Kanye: Libra and Gemini Forever."
Permalink | Filed Under: Couples, Keeping Up with the Kardashians, Music News, People Picks, TV News, Kanye West, Kim Kardashian
WATCH: Kardashian Kurse? Find Out How a Rooster Could Help Scott Disick Rid Himself of 'a Load of Negative Energy'
Is Scott Disick's fate already sealed?
In a preview of Sunday's episode of Keeping Up with the Kardashians, Kendall Jenner accompanies Disick to a tarot card reading with a psychic.
"The cards talk a lot about a load of negative energy," the psychic tells him. "A negative energy is following you around. Everything that you try to do, you have a tendency to have many obstacles in front of you. To answer your question, I would probably say you do have a curse."
WATCH: Kim Kardashian West Feels Mommy-Shamed When Her Best Friend Hires a Look-Alike to Spend Time with Him Because She's 'Too Busy'
Well this is awkward.
Permalink | Filed Under: Keeping Up with the Kardashians, Reality TV, People Picks, TV News, Kim Kardashian
Who knew they were such good friends?!
Permalink | Filed Under: Keeping Up with the Kardashians, Kourtney Kardashian, Lindsay Lohan
Scott Disick may be ready for baby number four – but not with Kourtney Kardashian!
The Keeping Up with the Kardashians star couldn't help but make light of recent reports about Kourtney's younger sister Khloé on Wednesday, posting a partial image of a new tabloid cover that implies he could be the father of Khloé's unborn child and writing, "Got my fingers crossed!"
Permalink | Filed Under: Babies, Keeping Up with the Kardashians, People Picks, TV News, Khloe Kardashian, Lamar Odom, Scott Disick
Kim Kardashian West's Special Message for Kanye on His Birthday: 'I'm Just Happy We Have More Time on This Earth Together'
Yeezy takes 39!
On Wednesday, Kim Kardashian West started off husband Kanye's birthday celebration with a loving message for him on her website and app.
Another day, another rumor for Kylie Jenner to squash.
In a deleted scene from Sunday's Keeping Up with the Kardashians, released by E! News, Jenner finds herself wondering how all these pregnancy rumors about her came about.
WATCH: Khloé Kardashian Explodes at Kris Jenner's Meddling in Her Personal Life – 'Lamar and I Are Not Together!'
There's tension brewing between Kris Jenner and one of her daughters on Keeping Up with the Kardashians.
In a preview of Sunday's episode, Jenner gets into a discussion with Khloé Kardashian about her estranged husband Lamar Odom.
"I think Lamar needs us as a family," Jenner, 60, tells Kardashian of the former NBA star, who is still recovering from a near-fatal overdose in October.
Kardashian, 31, appears frustrated.
"Lamar and I are not together!" she tells her mother before Jenner walks out of the room and Kardashian rolls her eyes, falling back onto the bed in exasperation.
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People Latest News
- Former Law & Order Director Sentenced to 10 Years Probation for Child Pornography Charges
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Android Games
Game Questions & Answers (Q&A) service lets you ask questions about video games for game consoles or PC games. So ask your The Oregon Trail: American Settler question for Android and get answers from real gamers or answer questions and share your insights and experience with the rest of the gaming community.
Boxshot & Details
- Developer: Gameloft
- Publisher: Gameloft
- Genre: Edutainment
- Release: Mar 29, 2012
- ESRB: Not Set
Question & Answers
Mission told me to buy a camel, from where?
It says I need to but three camels, and that they are in the animals section but there arnt any camels in the animal section? I have no idea how to complete this mission
Answer from: Guest
You can skip that mission using cash:-)
Answer this QuestionAsk / All Questions
Trailers & Gameplay Videos
The Oregon Trail: American Settler - Gameplay
- Aug 22, 2014, Views: 831
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- Aug 22, 2014, Views: 237
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*A photo that claims to show Rihanna's naked vagina was posted online by a fan and has of course gone viral.
On March 25, one of RiRi's fans posted the above Twitpic that shows her lounging in a bikini during one of many yacht getaways to the Caribbean.
Now folks are asking, was it photoshopped? Is it even her crotch or just an unfortunate placement of her bathing suit fabric?
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text:
Hotels in Aguilas, Spain
Search & Compare Aguilas Hotels
Trending now in Aguilas
Hotels in Aguilas
- Most bookedAguilas de los Collados
25 people looked at this hotel in the last hour
Most recent review
"Good apartment for the price but an absolutely "dead' neighborhood and 4 km to the nearest shopping possibility."
A Traveller, Nov 2015, US
21 people looked at this hotel in the last hour
Most recent review
"Very nice hotel but it could have been better considering it was a 4 star hotel?! The previous 3 star hotel was far better finished and furnished and the breakfast slightly better. The pool was nice but was being cleaned, the beach needed the seaweed raked up. We didn't have dinner but the main t..."
A Traveller, May 2015, GB
7 people looked at this hotel in the last hour
Hotels within 10 miles of Aguilas
- Residencial Mar De Pulpi
No Guest Reviews yet
23 people looked at this hotel in the last hour
15 people looked at this hotel in the last hour
Hotels within 15 miles of Aguilas
14 people looked at this hotel in the last hour
Most recent review
"Great hotel. Not the best neighbourhood but a rose amongst thorns! Super helpful staff. Nice dinner. Secure parking."
A Traveller, Apr 2016, GB
- Hotel Sercotel Riscal
No Guest Reviews yet
3 people looked at this hotel in the last hour
Hotels within 20 miles of Aguilas
10 people looked at this hotel in the last hour
Most recent review
"Stay was good for a stop over from Granada. Comfortable room, bed and good bathroom. Breakfast was very good. No boiling water for breakfast tea. Otherwise good."
A Traveller, Feb 2016, IE
6 people looked at this hotel in the last hour
Most recent review
"A bit out of the way but still within walking distance to get into the town centre. Close to train station. Free parking provided. Good breakfast."
A Traveller, Nov 2015, GB
Map of Aguilas hotels
Best hotels in Aguilas
If you are looking for Aguilas hotels in a particular area, you can use the search feature at the top of the page to search by neighborhood, landmark, address or zip code, or you can search by using the built-in map feature. You can also browse hotels in Aguilas by type, amenities, and star-rating so that you can find the best hotel. Currently, top rated hotels in Aguilas are:
- Aguilas de los Collados
- Hotel Puerto Juan Montiel & Spa & Base Náutica
- Águilas Hotel Resort
- Hotel Riscal
- Hotel Spa Jardines de Lorca
The location of your Aguilas hotel is important. If you are traveling to Aguilas, &StateorCountry for business, you may want to consider getting a hotel close to the airport or near your meeting venue. By doing so, you can really cut down on transportation costs and time. You may also want to book a hotel that offers free wifi just in case you need to get some work done.
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Dallas Market Center Announces Gourmet Gold Award Winners
Monday June 23rd, 2014 - 10:33AM
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Dallas Market Center has announced the winners of the fifth annual Dallas Gourmet Gold Awards, which were announced during the Dallas Total Housewares & Gourmet Market. <
>The Dallas Gourmet Gold Awards is said to celebrate exceptional manufacturers in the gourmet products industry that exhibit in Dallas. Winners in housewares categories were:
According to the announcement, judging was based on originality, taste and packaging, as well as innovation, visual appeal and practicality. The judges were: KC Lapiana, owner of In The Kitchen and president of HTI Buying Group; Anthony Van Camp, executive chef at SĒR Steak+Spirits; and Chef Edgar Solis, executive chef for Levy Restaurants.
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Ikea Recalls 29 Million Chests And Dressers »
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The front-end performance by the national drug chains is under intensifying scrutiny after flat or declining comps the past several months. That threatens to squeeze the growth potential, if it already hasn't, for housewares in the drug channel.


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Is there a health issue in your life and you're looking for a solution? Settimi Chiropractic and Wellness Center can help. Our main goal is to educate the community on how to live well and we want to help as many people as possible. Wednesday January 8th we will be holding a FREE wellness workshop in our office at 630pm. Class lasts about 45 minutes and is full of information on how to change your life to for the better. Call today to reserve your seat as room is limited and fills up quickly. You can call for more information for future classes as well. We hope to see you there and wish you and yours wellness for 2014!
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Brookfield WI 53045
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732 California St SE Albuquerque, NM 87108 (South San Pedro)See your commute times
- Single-Family Home
- 1,673 sqft
- Lot size: 7,619 sqft
- Built in 1950
- Edit Home Facts
Property Details for 732 California St SE
Sold > NM > Albuquerque > 87108 > South San Pedro > 732 California St SE
Description provided by Trulia
This is a Single-Family Home located at 732 California Street Southeast, Albuquerque, NM. 732 California St SE has approximately 1,673 square feet. The property has a lot size of 1 and was built in 1950. The average list price for similar homes for sale is $161,290. 732 California St SE is in the South San Pedro neighborhood in Albuquerque, NM. The average list price for South San Pedro is $126,607.
Public Records for 732 California St SE
Official property, sales, and tax information from county (public) records:
- 1,673 sqft
- County: Bernalillo
- Lot Size: 7,619 sqft
- Built In 1950
|Listing price for 732 California St SE
|Average listing price for similar homes
|0% below listing price
|Average listing price for all homes in South San Pedro
|0% below listing price


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alaplaya Unveils S4 League: Season 2, "Iron Eyes"0 Comments
July 14, 2011
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June 29, 2011
About This Game
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An intense shoot-em-up arena game by Korean developer Pentavision. A bonus for fans of Pentavision's work: some of the characters from DJ Max Portable will make an appearance as playable shootists in the game.
Genre: Shooter
Developer: Pentavision
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Brittle Hands
Dunno if a thread has already been made about this, sorry if it has. When I used to box I was plagued by brittle hands and wrists, I'm only 22 now and I'm looking to start sparring again, just to get fit again, but I might have a fight or two if I feel up to it, but I'm worried about my hands/wrists again.
Anybody have any useful advice or tips, I really miss being in the ring!
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Is your form on point? Like... You're not bending your wrist inwards at a sharp angle...or sticking your elbow out? That's all I can think of...sorry man. No experience if it's not because of form. Maybe look into the way you wrap your hands too, I nver had an issue there either but it's worth looking into I suppose
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use illegal substance xylocaine like floyd...dunno if you'd getaway with it tho like he does
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Just what I did, might work for ya. It worked for me. But i took it lightly on my wrist and hand for half a year before i picked up the tempo again.
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V.19 No.49 | 12/9/2010
Free song from The Dears
By Jessica Cassyle Carr [ Fri Dec 3 2010 12:45 PM ]
The Dears' promo people encouraged me to share this free download—"Blood," from the band's forthcoming album Degeneration Street—with you readers. I like The Dears, a shoegaze-ish pop rock band from Montreal, and have to say this song's OK—it sounds a little '90s. Still, free music! Thanks, The Dears.
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