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Real Life Adventures by Gary Wise and Lance Aldrich
- December 14, 2012
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There's a pub here that is covered in dead Santas and snowmen well into the summer.
Pub? Does that mean you're in England?
Never thought much about those inflatable decorations until I saw that you can buy six foot tall inflatable Leg Lamps. It is a major award.
I think inflatable decorations make your house look like a used car dealership.
Have not seen a flapping arm inflatable Santa yet, but I suppose it could happen.
I am – is that a problem?
Depends on what club's colors you are wearing.
Went into a pub in Glasgow once as an innocent American tourist and was informed that my attire was unacceptable in a most forthright manner.
A Glasgow kiss?
(For the uninitiated, this is a savage butting on the nose by the forehead of your assailant – also known as 'nutting'). It is agonising – I have been on the receiving end many years ago when I was accused (falsely) of chatting up another girl's boyfriend. Her mate followed me into the ladies, nutted me and then smashed my face off the sink. The error occurred because I was wearing a similar frock to the lass who was chatting this bloke up. Now you know the real reason women don't like to be seen in the same frock.
I still have the broken tooth.
I am originally from Sunderland (red and white), but now live in Gateshead, part of the Newcastle area (black and white). There is fierce rivalry between the two cities, so I keep quiet about my origins, and speak little if I am in particular areas (they have a very keen ear for intonation round here).
Actually, except on match days, it is not too bad.
By the way, Glasgow is not in England.
So that explains their funny accent and why their pounds are nor readily accepted in London.
No problema
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Whatever. If it's a firmware update, awesome, DVDWii, if not, I don't care.
I barely even watch DVDs anymore, and when I *do* want to watch them, my computer, and my PS2 can both play DVDs. I don't need to wear out my Wii watching DVDs
Besides, I prefer going to theaters when I see my movies anyways. LOTR just seemed better there than on a DVD for some reason. Same with Hitchhikers Guide to the Galaxy.

subset: commoncrawl


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you're right , how about doesn't matter which queen but Qd3, Qb5. Depending on how black reacts, you can do Qb7, Qb8, or Qc6 if he decides to take knight.
Sorry for the "crosspost" RetiFan...
What about
1. Nb8+ Bb7 2. Rc8 Bxd5 3. Nc6# or
1. Nb8+ Bb7 2. Rc8 Kxa7 3. Rxb7#
The nasty problem is that White cannot afford to waste time to prepare checkmate or whatever zugzwang he has in mind since Black has always Be6!, threatening to check with Bxd5+ and no more checkmate in 3 possible. Also the direct Na6+ leaves the a7 bishop unprotected after Bb7 and White is faced again with the "threat" of Bxd5+ with check. This one really a toughie...
Waste time? This doesn't look like a bullet game. It looks like no game I've seen, and I'm sure that's why it's presented as a puzzle.
TMIMITW By waste time he means waste 'tempo' as a chess saying.
Also I still think my solution is correct: 1. Nb8+ Bb7 2. Rc8 Kxa7 (2. ... Bxd5 or Bc6 3. Nc6#) 3. Rxb7#
Only problem is 1. Nb8+ Bb7 2. Rc8 Bxd5 come with check... Yeah life stinks sometimes...:(-
Aww so close
Waste time? This doesn't look like a bullet game. It looks like no game I've seen, and I'm sure that's why it's presented as a puzzle.
Huh... Guess you answered your own question.
Refi, "tempo" is an overused term here. Again, 4 queens! NO chance of losing. Yes, mate in 3 is not easy to see, but, it will still be mate.
Also, I'm starting to think that mate in 3 doesn't exist.
No. I answered yours.
Alright! Think I finally got it! 1.Kb2!! and wherever the darn bishop go it seems to be always checkmate in 2.
If Ba6 or Bb7, then Qg8 followed by Qxc8 mate
Bd7 2.Na6+ Bc6 3.Bxc6 mate
Be6 2.Na6+ Bxd5 3.BXd5 mate
Bf5, Bg4 and Bh3 are answered by Na6 mate.
So it seems to be a elaborate zugzwang finally...
It will be mate no matter what. Isn''t that the goal? To win?
It seems that the heat turned up.
Gentlemen, as you know, puzzle doesn't has to always occur in real games.
That's puzzle, only to make us find out what the correct moves.
And now, several tries are still failed.
The closest one is as what Fralnp said, Kb2!!.
But it's still fail to Bd7!!!I give it one more exclam. mark to show you that it's prevented mate.
is that's it?
That's just stupid puzzle....No one cares as these positions do not occur practically,Don't have to waste time solving it....
Im sorry, Im not great at puzzles but what is wrong with Nb5?
Math Word Problem:
Anwar has 1 apple, and then an angel from ABC Planet gives him 1 apple, how many apples does he have?
No need to answer, because ABC Planet doesn't exist.
Or maybe because you have no idea to solve the puzzle, Mr. 2116-rated?
I tried that too, Sir. But I got nothing. What will Nb5 do?
That's just ridiculous....You wrote the topic impossible puzzle..A puzzle that is unable to solve and yet everyone is trying to solve...:D.Yeah,I know maths....6can't be equal to 5,no matter how hard u try...This puzzle is the same example....
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Zoogeographical Regions
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Religions >> Egyptian
- Meditation and Kaballah
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Joined: 09 April 2010
Posts: 5499
Geet stard at her reflection in the mirror. Why did she always turn introspective in the bathroom? She reached into her purse, pulled out a compact to adjust her makeuo and grimaced. Her serious expression made her look older than her twenty- one years.
Time was not her friend, she decided.
Pulling out her lip gloss as well, geet touched the rose pink to her lips, blotted the better part of the colour into a tissue and restored the makeup to her purse
Hazel eyes staired back at her from the mirror, while long dark brown rings of hair cascaded from the head like a waterfall
Before yesterday ,thick brown mass had reached nearly to her waist.
Now a stranger looked back at her.
Why had i let Meera talk me into getting a cut
CHAnge you want something new in your life.. she had said dramatically
She smiled sadly remembering it.
Change. She whispered . she was right I had not had a hair cut in 5 yrs.i had not had lived in past 5 yrs too. Just some rhythmic breaths. Why can't those breaths change their course?
Why can't they stop breathing?
Why why why..
There were so many why is in her life but answer..
i am not sure about the title. plz suggest a title for it..
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Aadi :
He has sworn with him that they will expose the truth together.
Yash Handa .:
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Our Izaiah is 3-years-old and since the arrival of his brother Zeke, 2 years ago his sleeping habits have gone to crap. It's like he must keep one eye open at all times to make sure that Zeke isn't stealing any of his thunder.
Last summer, when we started the moving process – Izaiah lost a room of his own and shared a room with his little brother temporarily. 2 cribs in 1 room was quite crazy, but we soon found out we should of just moved 1 crib. Why? Because Izaiah was crib jumping out of his crib and into his brother's bed to sleep next to him. Which of course, meant Zeke's sleep turned to crap as well.
We moved again, this time into our current home. We needed to have my husband's study built out before Izaiah had his own room again. The last few months, he has been sharing a room with his older brother E. Which Izaiah loved, because of course he could just crash in bed with E – despite the fact we bought him a new bed.
Last weekend, we finally had the study built out. Izaiah can have a room of his own! This is something I've been looking forward to as his sleeping patterns are awful and I always attribute it to the fact he wakes easily and is sharing a bed with someone. We moved his bed downstairs. A room of his own! We tried to make a big deal out of it, despite that it still pretty much looks like a study. He isn't buying it. Each night he has been sneaking upstairs in the middle of the night to sleep with his brother.
I've come to the conclusion, he's a co-dependent sleeper, he must have another warm body to sleep next to. I wonder if we let the dog sleep in his room, if he'd stay in there then.
Have You Had Trouble Trying to Get Your Toddler To Sleep By Himself?


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I'm finishing up the third of four technique books this week, then giving myself an end-of-summer break. I'll be back September 2nd. In the meantime, have a look at the best gone fishing essay of the year by NYTimes reporter C.J. Chivers. Enjoy your summer before it's all gone! If you liked this post, take a look at these links: My past summer posts on ceviche and fried chicken. Several weeks of summer still left, here are a few of Travel's Best Summer Foods. Our favorite ice cream splurge Columbus' own Jeni's ice cream, which now has various locations around the United States. © 2014 Michael Ruhlman. Photo © 2014 Donna Turner Ruhlman. All rights reserved.
Posts Tagged: NYT
It's summertime, for crying out loud! Nothing beats the smell of the smoke when hot fat hits hot coals. Grilling alone is a primal pleasure. Grilling among friends is a social pleasure. The flavor of a grilled burger is different from that of one fried in a cast iron pan–it takes on many complexities of the smoke, and if you've built a really hot fire, flames will lick the burger, adding even more complex Maillard flavors from all these differing heat levels. Grilled burgers have incomparable flavor for these reasons. Why am I going on about the greatness, the inimitable deliciousness of the all-American summertime staple? Because my pal Michael Symon urged people, in the NYTimes of all places, to avoid using a grill because, "A grill is too difficult." Let me Read On »
On September 24, 1993, I walked out of the offices of the publisher Henry Holt, having just gotten my first book contract. Donna was with me to share my elation. It was my dad's 55th birthday (he shared that day, BTW, with my literary hero, though not role model, Scott Fitzgerald)—an auspicious day. We could hardly believe it. Even Donna said it out loud to herself, a little incredulously, "My husband has a book contract." I was thirty and had been trying to write books for nine years and had been writing daily since sixth grade. We walked uptown to tell a friend the good news. I was sure I'd get hit by a bus. That's me. When something this good happens, something worse has to happen as well. On Park Avenue, a taxi with a flat Read On »
I was thrilled by Kim Severson's piece on the gluten-free trend because it points a light, yet again, on … but god, aren't there enough klieg lights on American's stupidity, gullibility, and laziness already? And yet even Severson herself quotes a chef, thereby giving the piece its own kind of reporter's credibility, saying that the gluten-free fad is here to stay. This, despite noting that only 1% of the population is actually badly affected by gluten, and that there is scant evidence that there's anything wrong with this wonderful protein combination. A grocer I know said he didn't know if it was a good or a bad thing, the gluten-free fad, but he was loving the hell out of it. If Americans' lack of self-awareness, or even awareness generally, weren't already on painful display almost everywhere, Read On »
Egg promotion is winding down, but what a lot of attention it got! (NPR's Steve Inskeep talked to me about it on Morning Edition. It inspired an egg-centric stroll through Manhattan with NYTimes reporter Alex Witchel. It was covered favorably in Sunday's NYTBR by William Grimes. Debbi Snook covered it for my hometown paper. And the Wall Street Journal ran an excerpt on page one of its weekend section.) But now that the fun is subsiding, I reflect on where it began: for me with this humble frittata. In fourth grade someone told me or I saw on TV how to make one. And so, home alone with only four channels to entertain me, the video game Pong a blip on the horizon, and hungry, really hungry, I made the above. It was not just the creation itself that Read On »


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Greg Norman Golf Course Design
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realmagick.com The shrine of knowledge.
Haiku Famous Writers
A selection of articles related to haiku famous writers.
Original articles from our library related to the Haiku Famous Writers. See Table of Contents for further available material (downloadable resources) on Haiku Famous Writers.
- Story of the Celts: The Ancient Celts
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History & Anthropology >> Celtic & Irish
- The Pagan Origins Of Christian Mythology
- The Judeo-Christian religions were founded in a region of the world where savior religions existed for thousands of years. Much of the symbolism and many of the stories in the Bible may be traced to earlier myths of the Persians, Egyptians, and other people...
Religions >> Christianity & Paganism
- What is a Druid?
- According to the New Age Dictionary a Druid is defined as "a member of Celtic priests, poets, healers, and judges in pre-Christian Britain, Ireland, and France." Too the best of our knowledge that is what the Druids were, which implies that they...
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Haiku Famous Writers is described in multiple online sources, as addition to our editors' articles, see section below for printable documents, Haiku Famous Writers books and related discussion.
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- But while this might be the most famous example of flash fiction (narratives employing usually less than 1,000 words), concise literary forms like fable and haiku have been used for centuries.
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Haiku Famous Writers Topics
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You don't need to wait until 2062
Who hasn't heard of Halley's Comet, that most famous celestial interloper that passes earth every 76 years? While we're not due for another visit from the comet until 2062, we're reminded of it each year around this time.
Marble chips and bluestone look good, but your plants won't like them
I recently drove by a modest home that was well landscaped with a moderate collection of azaleas, rhododendrons and Japanese hollies in the foundation planting. The junipers in the planting were thriving, while the remaining plants appeared chlorotic with dying branches. The house was dark green, and the white marble-chip mulch highlighted the plants.
How to get your fair share when fish and birds are feeding
It had started as a brisk, calm morning, but the fish weren't in the shallows where I had hoped to find them. After a futile hour, I followed Plan B to the Bay Bridge to find only little guys there. I was calling it a day and heading in when I saw a wisp of smoke to the north.
Start looking for Venus and Mars
The recent Hunter's Moon still dominates the night sky when it rises after sunset Thursday, with the piercing light of Jupiter to the moon's right. While the waning moon rises later through the week, Jupiter rises earlier until reaching opposition October 28....
Irene and Lee enriched your piles
Have you noticed how quickly your compost pile has shrunk now that the rain has stopped? The umpteen inches of rain between Hurricane Irene and Tropical Storm Lee provided uniform watering to exposed compost piles. This surplus water promoted rapid decomposition by microorganisms and encouraged earthworms to invade the piles.
When conditions are rough, the catch is all the sweeter
The 20-knot northerly wind was supposed to have laid down by dawn. Of course it didn't. Mike and I nonetheless launched at first light and, despite the snotty weather, were soon anchored off one of the western-side Bay Bridge supports and tossing chunks of weighted soft crab back into the structure.
How well do you know your capital skyline?
The skyline in Annapolis tells the facts of city life: the story of our 350-year history as a political center where great things happen, a religious center for the Church of England and the Catholic Church, the birthplace of our Navy, a center of education and an architectural gem.
It's a mess of a place up there
Like calendar pages strewn across an untidy desk, the stars of summer and even spring linger after sunset, with their autumn and winter counterparts commanding the heavens before dawn.
Pick them and squish them. Carefully.
A visitor came to Upakrik Farm recently with an arborvitae branch containing at least 20 fully mature female bagworms. What can I spray them with? he asked. He appeared shocked when I told him nothing.
He insisted that the bagworms had just appeared, for he had not seen them before. I told him that the bagworms had been feeding on his plant all summer long but that he had not noticed them.
Quietly and with hope
The tide was beginning to briskly move out as I lowered the hydraulic spike on my shallow-water anchor. Positioned a dozen or so yards off a long, heavy rock jetty in four feet of water, my skiff came to an abrupt stop, then swung about with the current. The light was already getting low in an overcast early evening gloom.
© Copyright 2016, New Bay Enterprises, Inc. All rights reserved.


text: What Happened To ANTM's Yoanna House?Tracie Egan Morrissey2/24/10 2:30pmFiled to: You Wanna Be On TopYoanna house breast implantsYoanna HouseBreast ImplantsAmerica's Next Top Model273EditPromoteDismissUndismissHideShare to KinjaToggle Conversation toolsGo to permalink Nooo! Yoanna House—winner of ANTM Cycle 2, and former The Look for Less host—showed up on the red carpet of the CW's "It's a Reality" event with an augmented look. (Click image to view full size.)[TMZ]Reply273 repliesLeave a reply


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Canada geese land on the lake with Autumn colours reflecting in the water. West Midlands, UK
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Restaurants For Sale in Zanesville OH
Searched the MergerNetwork database for Restaurants For Sale in Zanesville OH and found no matches. Expanded the search to nearby areas and found the following matches.
Highly Rated Authentic Sandwich Shop #408755 posted Jun 6, 2016
- Akron, Ohio, United States
- $249,900
Looking for an authentic and highly rated all American restaurant? Look no further than this well known and loved sandwich shop in Northeast Ohio. This family owned business has been a sensational hit with local radio hosts, newspapers, and magazines over the past several years. The business has earned...
Two Restaurants For Sale #407947 posted May 25, 2016
- Columbus, Ohio, United States
- Less than $100,000
I have two full service restaurants for sale in Downtown Columbus, OH. One is a Chinese Restaurant and the other is a Korean-American concept with a beer and wine license.
West Akron Fresh Asian Grill Franchise for sale #406579 posted May 6, 2016
- Akron, Ohio, United States
- $149,000
Major leading Fresh Asian Grill Franchise. Fast, casual, delicious and healthy food. Teriyaki dishes are their claim to fame. Fabulous high traffic prime visibility location with 50,000 car count daily in this high density area. Fresh high quality meats grilled with signature sauces, meals are customizable,...
Quaint Traditional Italian Restaurant in Columbus #393632 posted Nov 5, 2015
- Columbus, Ohio, United States
- $155,000
This is a real opportunity for someone interested in operating an authentic Italian restaurant preparing cooked-to-order meals. Charming decor, excellent food & drink, and friendly staff have contributed to the success of this well known business. Very high reviews from customers. Current owner(s) are...
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text: 'I Got It!': 2-Year-Old Teaches Self to Use Walker Amputee Kayden Elijah takes first steps By Newser Editors, Newser Staff Posted Jul 8, 2014 4:33 PM CDT 9 comments Comments 'I Got It!': 2-Year-Old Teaches Self to Use Walker Video of Kayden Elijah using his walker. (YouTube) Back to story » (Newser) – As catchphrases go, this one is perfect given the circumstances. As 2-year-old Kayden Elijah takes his first steps with a walker, he repeatedly says, "I got it," as seen in a gone-viral video spotted by MyFox8. The New Jersey toddler was born with a slew of serious medical problems, and he had his left leg and right foot amputated in January. Medical Daily has more specifics on Kayden's condition, called omphalocele. The family, meanwhile, has set up a GoFundMe page to defray bills. View 1 image


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Has Clear Channel won Christmas music war?
WMYX-FM (99.1) has yet to switch to an all-Christmas music format, despite having done so for many years in competition with WRIT-FM (95.7). The stations took turns being the first to switch to the format, and when the first one did, the second followed immediately.
The Clear Channel station WRIT-FM did so last week. But while WMYX was streaming Christmas music on its website, it was still playing its regular format on the air Monday afternoon. »Read Full Blog Post(23)
Trail of Dead rides the edge of intensity at Cactus Club
Chaos, wildness, freedom, anarchy: Rock 'n' roll doesn't really embody these states of being; it only simulates them. Some bands are simply better at verisimilitude than others.
At the Cactus Club on Friday night, ...And You Will Know Us by the Trail of Dead created an extraordinary 3-D simulation of lighted fuses, anticipatory countdowns and shrapnel-filled explosions. »Read Full Article
'Born to Royalty' movie offers history of royal baby-watching
If there's two things America loves about Britain at the moment, it's "Downton Abbey" and the impending royal baby.
There's a movie that can feed both passions while we wait for Prince William and Catherine Middleton's firstborn to take center stage. »Read Full Article
Off to a hungry start? Find a farmers markets — and great eats, too
The oppressive heat has fled, but your need for good eats hasn't.
Good thing so many farmers markets are open Saturday mornings. »Read Full Article(1)
Crazy Water on the Cooking Channel's 'America's Best Bites' Saturday
Crazy Water, 839 S. 2nd St., will be in the spotlight on Saturday; that's when Peggy Magister and Anthony Betzhold's restaurant will be on the Cooking Channel's "America's Best Bites" show.
It airs at 3:30 p.m. and focuses on Crazy Water and Magister, the chef, for the entire episode. »Read Full Blog Post


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When you go to the opera, you're usually there to see just one work, perhaps La traviata or Le nozze di Figaro. Puccini's three operas Il trittico are unusual. As the title ('The Tryptych') tells us, the operas were conceived as three separate works, but for performance together. This is not the same as three chapters of a novel, with characters running through each section to link theme together. Rather, it is like a collection of short stories – grouped together, but still individually complete.
This idea of programming contrasting works together is familiar today with classical music concerts and ballet performances – six of The Royal Ballet's main-stage performances this Season are mixed programmes. Yet in the history of theatrical entertainment, there is a more widespread tradition of putting different works together to create a substantial evening out. Screenings in the first decades of film invariably included more than one 'act'; even into the 1960s, the 'double feature' of early cinema history was still common, with a 'supporting film' – the 'B' movie – before the 'main feature'. The terminology tells us straight away the level of importance here.
The opera equivalent goes back to the 18th and 19th centuries, when shorter comic works – especially in Italian and French performances – were inserted between acts of the main opera as a theatrical amuse bouche to divide dramatic courses. The name of these 'B operas' gives it away: the intermezzo, or interlude. The most famous and historically influential is Pergolesi's La serva padrona of 1733, written to accompany his own opera seria, called Il prigionier superbo. These intermezzos are seldom seen now except for specific historical re-creation, but you get a sense of their light and diverting nature in one unexpected but historically well-informed place: Il muto, the pastiche of an intermezzo in Lloyd Webber's musical The Phantom of the Opera.
The one-act or shorter operas that don't quite make up a whole evening were written for various reasons. Some acted as 'curtain-raisers' to get the audience in the mood, often for operetta. Gilbert and Sullivan's Trial by Jury is today best known in this fashion from its long-established pairings before other G&S shows, such as H.M.S. Pinafore – although originally it was written to conclude an evening, when it was performed in London after Offenbach's La Périchole in London. A number of the most famous short operas that we see performed today were the results of competitions to find new talent: these include Mascagni's Cavalleria rusticana and Bartók's Duke Bluebeard's Castle. Puccini's rarely staged first opera Le villi was written as a competition entry, but didn't win. Others capitalized on the example of another successful work: Leoncavallo's Pagliacci was written to mirror the atmosphere and structure of Cavalleria rusticana.
In a daisy-chain of connections, Cavalleria rusticana was paired at Covent Garden with Ravel's L'Heure espagnole for the first time in 1926. Then in June 1962 Schoenberg's Erwartung was added to make up a trio of short works. The conductor of them, Georg Solti, described his reasons for putting the three together: 'they were written at roughly the same period… so they already have a certain unity, but also they have the musical variety of three composers from three countries, working in quite different traditions.'
Solti's reasoning makes clear the central decision in creating mixed programmes: to create connections through similarities or to emphasize striking contrasts. With Il trittico, Puccini made the choice himself. Or rather, he didn't need to. Juxtaposing the three operas heightens the contrasts of their different dramatic moods: melodrama for Il tabarro, tragedy for Suor Angelica and comedy for Gianni Schicchi. Yet they also fit together by sharing Puccini's musical style. It's an operatic case of having your cake and eating it.
Il trittico runs 25 February–15 March 2016. Tickets are still available.]]>
Most numbers in opera that talk about action describe something that has already been done, or that is about to be done. But a few operas (usually comic) and particularly operettas include songs that describe an activity while it is being undertaken – giving their composers the perfect opportunity to express a particular action through witty and often highly inventive means. Chabrier was something of an expert in the genre, and included a fair few action songs in L'Étoile.
First comes a Tickling Trio. Princess Laoula and Aloès (the wife of the Princess's father's emissary) come across a sleeping young man, Lazuli, they decide to tickle him to wake him up. It is in fact not the main melody but the orchestra that portrays the tickling most clearly. The music in an instrumental section, which spreads into the ensuing orchestral accompaniment to the singing, has high, short trills and little scales which mimic in sound the light and quick motion of tickling – and its giggling results.
Next comes kissing. In The Mikado, Gilbert and Sullivan's satire set in Japan, Yum-Yum and Nanki-Poo are forbidden from expressing their love for each other. So what can the lovers do? Well, in one duet they demonstrate with each other precisely what it is they must not do – purely so as to make sure there is no misunderstanding. Spaces in the music are left for quick kisses between the words: 'This, oh, this [kiss], oh, this [kiss], oh, this [kiss], This is what I'll never do!' They couldn't make it clearer to each other. Of course L'Étoile goes not one, but two better: in charming waltz form, it has a kissing quartet in which the kisses of Lazuli revive Laoula from her faints.
Laughing has been built into music by several composers. Verdi use it with dramatic irony and menace in his Laughing Chorus 'Va, se di notte' in Un ballo in maschera. But the infectious exuberance of laughter gets more of an outing in the famous Laughing Song 'Mein Herr Marquis' by Johann Strauss II in his operetta Die Fledermaus. The maid Adele is pretending at a ball to be a glamorous actress. Eisenstein, her master, is understandably confused when he meets her and mentions the resemblance to his maid. Adele keeps up her act and dismisses such a ludicrous thought with laughter. The repeating tones of a laughing 'Ha, ha, ha!' are built into the music as the conclusion to the lines of the chorus, developing with even more repeats, then finishing with some coloratura trills and scales that suggest increasing merriment.
The action song found most regularly on the operatic stage is one for drinking. Often these come in the forms of toasts, such as the Brindisi in Act I of La traviata, or as more rustic chorus drinking numbers, such as that led by Turridu in Cavalleria rusticana. In L'Étoile, the alcoholic intoxicant of choice is green chartreuse. There is a whole song devoted to consuming it, sung in the third act by King Ouf and his astrologer Siroco, who in maudlin mood console themselves with drink.
But the state of La Périchole in Offenbach's operetta of the same name goes further. In 'Ah! quel dîner, je viens de faire', La Périchole confides that she has drunk way too much and concedes she is a bit tipsy – 'un peu grise'. The music makes it very clear that she is under the influence through the short phrases of the verse, the hesitations in the timing, repetitions of phrases and in a main slow waltz melody that has a strong sense of warm deflation. But 'shhh', don't tell anyone! she adds. Not that they need telling – the words, music and action make it all too clear.
La traviata runs 16 January – 1 February 2017. Tickets are still available.]]>
Giacomo Puccini certainly understood how theatre — as well as music — works. The last five minutes of Act I of Tosca are a wonderful example of slow build-up leading to momentous climax. This final scene begins with quietly tolling bells and ends with the full chorus and orchestra – as the curtain falls the brass in particular loudly puts the seal on the opening act.
The whole of Act I takes place in a chapel within the church of Sant'Andrea della Valle in Rome. It is a setting primarily for intrigue and romance, as Cavaradossi helps the escape of a political prison, his lover Tosca becomes jealous, and Baron Scarpia exploits that jealousy for his own nefarious ends. The act concludes with a religious service, as a Te Deum is offered up in thanks for the news (later discovered to be inaccurate) that Napoleon's invading army has been defeated.
First we hear two bells striking in a steady, even rhythm to announce the start of the service. The sound serves a specific and realistic purpose within the story and also sets the pattern for the music that follows. Scarpia and his henchman Spoletta have a brief exchange about having Tosca secretly followed, and the slow tolling of two alternating bass notes begins: F and B flat, a whole bar for each note in turn. This bass repeats through the whole final section for 56 bars, always with the low tones in the orchestra, bells and organ. It is a brooding and weighty effect that tells us serious ritual is underway.
As well as the church sounds of bells and organ there is the sound of the congregation, first muttering chanted Latin. (There is no real church service that fits the story, so Puccini made his own text of suitable-sounding phrases.) Puccini's musical conclusion for celebrants, choir and congregation is their unaccompanied singing in unison of the line 'Te aeternum Patrem omnis terra veneratur' – 'We acknowledge thee to be the Lord'.
However, these sounds of Heaven provide a backdrop to the sounds of something more hellish. Beyond the evocation of a church service is the sense of something frightening inexorably approaching – this is a march to the scaffold as well as a Te Deum. We hear a distant cannon firing at intervals, alerting the militia to the escape of the political prisoner we saw Cavaradossi helping earlier in the act. These booming explosions from outside disturb the service inside and add to the music's weighty, rhythmic quality.
The focus of our attention is in fact not the religious service, but Scarpia in the chapel behind the altar. His solo voice cuts through the preparations and the start of the Te Deum as he voices his desires to possess Tosca by using her jealousy against her. His intentions come through in his climactic line about Cavaradossi and then Tosca: 'One to the gallows, the other in my arms'.
Scarpia is so taken with his lust for Tosca and his sense of his own power that he utters something blasphemous in conclusion: 'Tosca, you make me forget God!' So when Scarpia joins with everyone else in that final unison line, he puts himself – not God – as the one in control of everything. The orchestral ending of the act is a thrilling statement in the brass of Scarpia's theme, which began the whole opera.
From the start of the opera we have followed the competing forces of love, lust, power, politics and religion as they collide. The Act I concluding Te Deum is a magnificent compilation in action and music of them all.
Tosca runs until 5 February 2016. Tickets are still available.]]>
The events of Mascagni's opera Cavalleria rusticana take place in a small village in southern Italy on Easter Day. Central to the story is the Easter service in the church, a vital focus in such a community's life. The opera's characters and their narrative are introduced before the service, and the violent conclusion takes place during celebrations after. The famous orchestral Intermezzo marks the passage of time as the service takes place (there is even an organ sustaining chords in the middle of the orchestral sound). But we don't see the service itself. Instead, we hear it.
The grand Easter Hymn, scored for pretty much the whole cast of the opera, starts with just a solo organ playing from inside the church nearby. Then we hear an unaccompanied choir singing (in Latin) the beginning of the service – 'Regina coeli, laetare' – with the voices of the congregation responding 'Alleluja!'. The choir sings two more phrases and the congregation responds. All this is out of sight.
In fact, the focus of the number is on the villagers on stage in the piazza, waiting to process into the church. This chorus now picks up a new section of the hymn, echoing the choral style of the church choir: 'Inneggiamo, il Signor non è morto' – 'Rejoice, for the Lord has risen'. They are accompanied by steady chords in trumpets and trombones, which bring both rhythmic interest in the repeating triplets and solemnity in the instrumental tone. After this response of the community, we again hear the organ as the ritual continues.
At this point, opera truly takes over the music. Organ and four-part choral singing give way to orchestra, solo soprano – Santuzza, a central character of the drama – and a wonderfully lyrical melody that just keeps rising higher and higher, phrase by phrase. This is the sincere expression of religious belief by Santuzza, made all the more poignant by her situation: because of her illicit affair, she considers herself unworthy of entering the church to take part in the service. Instead she sings in what builds in stages into a huge chorus involving everyone in the village.
Santuzza's introduction of the main melody is given a short response by the assembled villagers, who echo her final words, with a further response of 'Allelujah!' from the choir inside the church. Then the melody is taken up by the chorus – but it doesn't just repeat. It extends into a section that hovers round the top notes as Santuzza and the sopranos sing a high phrase that the tenors echo back to them, and which then descends.
The build-up keeps going. The way the music rises – as though depicting in sound Jesus rising from the grave Heavenwards – is developed by Mascagni with a vengeance in pitch and alternating voices, broadening out into the fullest sound so far. Suddenly, the sound drops away, with an increasing rhythmic urgency as voices come in one by one, building up to a statement by everyone of the original main tune. There is one more impression of the forces gradually diminishing, but it is really a preparation for the full-on conclusion.
Little happens during this number that advances the story of Cavalleria rusticana. The narrative of confrontation, betrayal, revenge and murder happens around it. Yet the Easter Hymn is compelling through its sheer aural drama: from distant introduction to massed ensemble, the evocation of ritual, dynamic contrasts of pitch and volume, and the uplifting effect of melody. The addition of the values of religion and community that are important backdrops to the narrative, just add to what is already its striking dramatic effectiveness.
Cavalleria rusticana/Pagliacci runs 3 December 2015–1 January 2016. Tickets are still available.
The production will be broadcast live to cinemas around the world on 10 December 2015. Find your nearest cinema and sign up to our mailing list.
The production is a co-production with Opera Australia, La Monnaie, Brussels, and The Göteborg Opera and is staged with generous philanthropic support from The Royal Opera House Endowment Fund.]]>
'Vesti la giubba' is the most famous number in Leoncavallo's short opera Pagliacci (or Clowns). The first three words are familiar in English translation as 'On with the motley', referring to the stage make-up and costume the singer is putting on as he sings. In the original Italian the next line refers to powdering the face, to create the whitened look of the clown Pagliaccio from a commedia dell'arte comedy. The number is about performers and performing – which is also one of the themes of the whole opera.
Canio is an older man who leads a travelling troupe of players. His young wife Nedda is one of the actors, and she is in love with someone in the village the troupe is visiting. Canio finds out that his wife is cheating on him, but can't discover with whom. At the end of the first act he is left alone to get ready to take to the stage. As a man, he is heartbroken. As a character in the play, he must laugh and play the fool. It is all the harder as his character in the play is a man whose wife is cheating on him. Yet 'the show must go on'.
The fame of the number was boosted by a recording by the great Italian tenor Enrico Caruso. He recorded it first, with piano, in 1902 (creating the first million-selling record in the process), but it was the version with orchestra from 1907 that proved especially influential – right at the time when the new invention of recording on disc was taking off commercially. Conveniently, the aria is just the right length to fit on one side of an early 78 r.p.m. record. Other characteristics of the musical style help too: the orchestration is mainly low and undulating, rising and falling in waves with the emotions of the singer, rather than aggressive, sudden and cutting through them. This all means that the focus is clearly on the voice.
In the recitative before the main tune, Canio tells us that he doesn't know who he is anymore. A man? Or a clown? Then the melancholy aria melody begins. Canio becomes increasingly preoccupied with his situation. He exclaims the famous line 'Ridi, Pagliaccio' to an ear-catching five-note theme with the same rhythm as 'Vesti la giubba'. With irony, he is telling himself that as the clown he must laugh for the crowd. The instruction in the score is for the singer to sound 'tormented'.
This short number is full directions to the performer, such as 'violently' and 'with great expression'. In the introduction Canio breaks down with cries notated in words, but given no pitched notes. And the final two lines of the aria are marked to be sung with great passion as he ends 'sobbing'. This overt display of emotion in performance style is characteristic of this type of verismo Italian opera. The intention is to portray raw emotions, strongly drawn as part of a depiction of harsh reality.
'Vesti la giubba' contrasts the public face of the character and the private face of the performer. In the second act, Canio acts in the troupe's play, but increasingly loses grip on what is real. Pagliaccio and his cheating wife Columbina aren't an act on stage – it is him and his wife Nedda. He forgets he is performing and bursts out of character declaring 'No! Pagliaccio non son' – No! I am not Pagliaccio. The audience for the play applaud what they think is brilliant acting. They can't tell real from fake. They even watch Pagliaccio acting out the murder of Columbina – when it really is Canio killing Nedda right in front of them. In 'Vesti la giubba', Canio gives in to the demands of the imaginary world of the theatre. But at the end of the second act, real life tragically wins out.
Cavalleria rusticana/Pagliacci ran from 3 December 2015–1 January 2016.
The production was be broadcast live to cinemas around the world on 10 December 2015. Find your nearest cinema and sign up to our mailing list.
The production was a co-production with Opera Australia, La Monnaie, Brussels, and The Göteborg Opera and is given with generous philanthropic support from The Royal Opera House Endowment Fund.]]>
Presenting a ship on stage can be something of a challenge for set designers. It certainly makes for a striking stage picture, as in Tim Albery's production of Der fliegende Holländer. But why include a ship in a drama in the first place?
One aspect comes from a ship's most basic function: travel. It is a transitional space taking its occupants from one place to another, usually from the known to the unknown – which is where the drama can gain its impetus. One example is Act I of Tristan und Isolde, set on board the ship transporting the Irish princess Isolde to Cornwall to marry King Marke. Early designs for Tristan und Isolde adopted a realistic approach, creating naturalistic stage pictures of the ship and deck. This literal approach was still in use by the middle of the 20th century – as this image from the Covent Garden Opera Company's 1948 production shows.
By the time of The Royal Opera's 1971 production, the curve towards the prow of the ship, a central mast and a vast billowing sail had a pared-down naturalism edging into symbolism. Later productions, including Christof Loy's for The Royal Opera, abstract the qualities of the ship's purpose rather than its appearance, interpreting it conceptually as a confining space removed from the rest of the world. Indeed, a ship is in essence a contained world of its own, which amplifies the moods and emotions of the characters trapped in it. Acts set on ships can be fraught with expectation, often unpleasantly fulfilled.
Benjamin Britten's Billy Budd is probably the most familiar of the few operas set entirely on ships. E.M. Forster's libretto is based on Herman Melville's recounting of events on a British man-o'-war in 1797. The atmosphere on-board becomes intensely claustrophobic as mutiny threatens. The set for the 1951 premiere gives an idea of this cramped space, created naturalistically on the large stage of the Royal Opera House. The ship stands for a sealed microcosm of mankind, in which Captain Vere, all too human, is caught between the goodness of able seaman Billy Budd and the evil of the Master-at-arms, Claggart. When Vere sings of being 'lost on the infinite sea', the metaphor for life itself is clear. Vere's personal isolation and search for direction is compared to a ship in the middle of an ocean – he is 'all at sea'.
Britten's Peter Grimes evokes the atmosphere and the life of a fishing village, but while boats and events on and around them figure in the story, we never go out with the characters to sea – most poignantly at the end, when Peter sails out alone for the last time. Nonetheless, the curved wood of boats so often finds its way into designs for the opera – as in Peter's hut in the Royal Opera production from 1975.
With the current production of Wagner's Der fliegende Holländer, the ship is present in vast form. The whole drama is played out on a sleek and curved rising, iron hull of a large ship rolled onto its side, with hints of rusted metal. Whereas Billy Budd is literally set on a ship, this production of Der fliegende Holländer has the nautical connection pervade the atmosphere through a subtle, constant, physical presence. And like a talisman, Senta has a model ship as a sign of her identification with the myth of the Dutchman and its story of a redeeming love. The combination of a lit candle and the model boat alongside her intense passion for the story give the image a devotional feel, with a sense of hope. But by the end of the opera, the image of Senta is entirely different as she retreats into a solitary world, focussed on the model ship. It is all she has – the Dutchman has gone, leaving her alone with her futile imaginings.
Der fliegende Holländer runs 5–24 February 2015. Tickets are still available.
The production will be broadcast live to cinemas around the world on 24 February 2015. Find your nearest cinema.
The production is given with generous philanthropic support from Marina Hobson OBE and the Wagner Production Syndicate.]]>
There are six operatic storms this Season. We've already explored the narrative and dramatic use of storms in Il barbiere di Siviglia, Rigoletto and Idomeneo. Now our focus shifts to the sounds themselves – the techniques composers use to conjure the storm.
Rossini's depiction of a storm in the overture to Guillaume Tell is similar to previous Rossini storms. The rumble of thunder is created through drum rolls and tremolo bass notes. The flash of lightning comes from abrupt loud chords, right across the pitch range, especially with high notes from the top of the woodwind. The non-stop wind and rain is suggested through chromatically descending or ascending chords and melodic lines, usually in incessant, regular rhythms. At the end, the notes thin out in density and frequency to suggest a few remaining raindrops, while a low drum roll becomes quieter and quieter to suggest the storm's retreat.
Verdi uses many of the same techniques in his Rigoletto storm music. Why are these musical elements so similar in two works by two different composers? First, 'word painting' in sound has always been a part of a composer's approach, trying to find sounds that in some way suggest a specific image (as with onomatopoeia in words) – hence the repeated use of bass drum rolls for thunder. Second, the aesthetics of Western 19th-century Romanticism encompass the depiction of the 'sublime' wonder of the natural world, in contrast to the insignificance of humans. Which leads us to Beethoven.
Beethoven's Symphony no.6 is known as the 'Pastoral'. He started a trend: throughout the following century, sound as evocation of the grandeur of natural forces became an increasingly familiar part of the musical landscape. Notably, Beethoven's storm is followed by a hymn of thanksgiving, a lyrical 'calm after the storm'. Rossini famously followed storm with pastoral in the overture to Guillaume Tell, with its 'cow calling' melody on the cor anglais to evoke the now-peaceful Alpine scene.
Wagner's sea storm music that opens Der fliegende Holländer is of a much more tempestuous order. It uses the same essential musical ingredients as Beethoven's storm, but bigger and bolder: chromatic scales, throbbing and rolling bass, loud and soft contrasts, intrusive and violent full-orchestra chords. Except here the rise-and-fall of incessant chromatic scales suggests the movement of huge waves. The themes we hear in this stormy overture come back through the opera, notably with the bare 5ths of the opening horn melody that will become the 'Yo-ho's of the sailors, and a contrasting peaceful interlude that will represent Senta's redemption of the Dutchman.
The last of our storms comes in Act II of Rise and Fall of the City of Mahagonny – but this one does not actually manifest itself. Instead, we have the anticipation of the storm, as Kurt Weill blurs the boundary between the sound of an approaching typhoon and the portrayal of the emotional state of the city's frightened inhabitants. Weill's music pulls together the aggression of low and steady drum strokes with quasi-religious choral settings (praying for salvation). There are quotations from music previously heard as though a flashback before disaster, and ritualistic announcements of the typhoon's passage that punctuate the music into clear sections, each of which focuses on different responses of the inhabitants of the city. A side drum with a long quiet roll is followed by a silence: the typhoon has detoured around the city and gone on its way.
There are many storms in opera – other famous ones include those in Otello, Les Troyens, Die Walküre, Peter Grimes and Porgy and Bess – but whenever the wind gets up the rain starts to lash, you can be sure that some of these familiar musical effects will be there to conjure up a tempest and heighten the drama.
Der fliegende Holländer runs 5–24 February 2015. Tickets are still available.
The production is given with generous philanthropic support from Marina Hobson OBE and the Wagner Production Syndicate.
Rise and Fall of the City of Mahagonny runs 10 March–4 April 2015. General booking opens on 7 January 2015.
The production is given with generous philanthropic support from Hamish and Sophie Forsyth, Richard and Ginny Salter, The Kurt Weill Foundation for Music, Inc., New York, NY, and The Royal Opera Circle.
Guillaume Tell runs 29 June–17 July 2015. General booking opens on 31 March 2015.
The production is given with generous philanthropic support from Hélène and Jean Peters and David Hancock.
Giordano's opera Andrea Chénier contains different ways of matching music and drama. There's the Act I Improvviso, a famous and lyrical section in which the character of the eponymous hero is established. But Act III shows another very different use, more like a film score, in which the music responds to each twist of action to heighten its impact. Expansive melody is reserved for the lead characters, for intense emotional statements. But the sequences of short scenes that race us through the action require a different, strongly kinetic style.
Threat, violence and war provide the atmosphere for the whole opera, and the portentous chords that begin Act III conjure up a sombre mood indeed. The instructions for the stage picture include those for a large banner that proclaims 'Citizens! Your country is in danger!'. They further describe the room for a tribunal in Paris in 1794, during The Terror of the French Revolution, where men and women will be judged. If – or more likely when – found guilty, they are sentenced to death by the guillotine.
The French Revolution, though not listed as a member of the cast, is as good as one. The politics and events of it give us the actions of the story – but it is the atmosphere drenched in suspicion and danger that heightens the central love story. Each act has some sort of central conflict between the individual and the state, and in Act III this is presented head on in a series of encounters that include Chénier's trial.
Some genuine music from the Revolution is included. In the first part of Act III, an elderly woman offers her sole surviving grandson up to fight for the Revolutionary cause. Her music is expressive against the haranguing and harshness that has come before it, where two characters drum up support for the Revolution. Then a crowd outside sings La Carmagnole, a genuine peasant dance tune that had words added in about 1792 to become a song of the Revolution. Giordano includes this melody in his score to give a precise sense of place and time and portray in sound the historical authenticity included in the opera.
Insistent music in continuous triplets underpins the curious and even bloodthirsty mob as they assemble to watch the Tribunal and chatter. But the murmurings die down as sustained low chords mark the arrival of the jury and a return to the atmosphere from the start of the act. With a sombre low melody in the orchestra, the populace comment on the arrival of the jury and finally the Public Prosecutor himself, Fouquier-Tinville. Prisoners are announced, and scorned by the public – 'Aristocrats!'. Chenier is accused of being against the Revolution – 'A traitor'.
The broken up, aggressive, non-melodic style turns heroic for Chénier's defence of himself. There is no sustained melody, but declamatory statements to the accompaniment of loud chords with tremolo strings and sudden changes of register or volume that convey the weight of each of Chénier's phrases. He proclaims his patriotism, accepts that his life can be taken, but not his honour! The response from Fouquier-Tinville is a passionless, unaccompanied intoned sentence: 'Call the witnesses'.
The final part of the trial has Gérard attempt to save Chénier by revoking his invented accusations against the poet, but the crowd shout him down. As the sound of drums of soldiers passing by intrudes, Gérard uses it to point the contrast between the soldiers fighting for their motherland and a tribunal that kills poets. The verdict is returned, spoken, not sung: 'Morte!' – death. The orchestra rushes in, an immediate and dramatic contrast to the sparse and unmelodic fragments of sound of the trial, as a swift conclusion in sound – a musical exclamation mark to the act's fateful turn of events.
The production is a co-production with the National Centre for the Performing Arts, Beijing, and San Francisco Opera, and is given with generous philanthropic support from Mrs Aline Foriel-Destezet, Mrs Susan A. Olde OBE, Simon and Virginia Robertson, Spindrift Al Swaidi, Mercedes T. Bass and Mrs Trevor Swete.]]>
Flowers, gardens and waltzes seem to go well together – at least in ballet. In Alice's Adventures in Wonderland, the tantalizing garden that Alice glimpses through an impossibly small door becomes the object of her searches through Wonderland, the place she hopes to find the Knave of Hearts.
A waltz characterizes this desirable garden, and as its composer, Joby Talbot, describes it: 'whenever Alice hears the flower waltz, she knows she should head towards it. Sometimes she thinks she's there, sometimes she's so close but gets lost and finally, when she arrives, we hear the Flower Waltz in its entirety as the culmination of a journey.' The waltzing flowers have an exuberance to match the music, which is reminiscent of a fairground carousel.
There is a rather different tone of waltz for the Queen of the Dryads in Don Quixote. The hapless hero of Petipa's ballet, knocked unconscious by a rampaging windmill, dreams he is among tree-dwelling spirits and their queen. An association with flowers in such a bosky setting is inevitable, not least with the imagery of the round spreading tutus, decorated with petals and flowers, and the sinuous, elegant bending of classical choreography. The queen is introduced with a gentle waltz in which the choreography captures the pendulum-like, easy flow of the waltz's three-in-a-bar rhythm and the rise and fall of the melodic phrases.
Probably the most famous of all flower waltzes is Tchaikovsky's for Act II of The Nutcracker. Again, the setting is a garden (a Sugar Garden, no less), where Clara and her Nutcracker are entertained after victory over the Mouse King and his army. The Waltz follows a series of short character dances, and fills the stage with the corps de ballet in a joyful climax. In fact, these concerted waltzes for the corps de ballet and some of the principals are often the conclusions to scenes. The seemingly perpetual, uplifting motion of the waltz lends itself to celebratory finales.
All of these three waltzes personify flowers in various ways: the spreading shape of the tutus as though the petals of a flower, pastel colours, decorations of flowers and petals on the costumes, swaying movements like the gentle wafting in a breeze, arm gestures like the opening from bud to bloom, or turning and spinning that emphasize the circular symmetry of the flower.
But flowers are used for their romantic symbolism too. In Act I of The Sleeping Beauty the Garland Dance takes place as part of the celebrations of Princess Aurora's name day. The corps de ballet dance with hoops and garlands of flowers to create elegant, evolving shapes, and also bring a bucolic and charmingly youthful quality to the party. The Garland Dance is a waltz, naturally. Continuing the flower significance, it is followed by the famous Rose Adage, for Princess Aurora and her suitors, in which the presenting of a flower from each suitor to her expresses a profession of love.
Perhaps most distinctive of all the flower ballets is not part of a large narrative work, but a short, self-contained pas de deux based on a poem by Théophile Gautier: Fokine's Le Spectre de la rose. In it, a rose worn by a young girl at a ball manifests itself in her dreams as a romantic ideal; its beauty and grace represents the physicality of a lover. It was a signature piece of the creator of the title role, Vaslav Nijinsky. His leap through a window into the girl's bedroom has become the defining image of the work, but the work is more properly an exquisitely tender interpretation of a young girl's romantic longing. And the music for this ballet? Carl Maria von Weber's piano piece Invitation to the Dance – a waltz.
The Sleeping Beauty runs 21 December 2016 – 14 March 2017. Tickets are still available.
The Nutcracker runs from 23 November 2016 –12 January 2017. Tickets are still available.
The production is supported is given with generous philanthropic support from Hans and Julia Rausing, Peter Lloyd and the Friends of Covent Garden.]]>
At the end of Act III of Verdi's Un ballo in maschera, laughter seems to dominate the character of the music. It's not uproarious mirth, but wry chuckles. In a graveyard at midnight, a band of men with a sinister purpose (conspiring in an assassination, in fact) come across a man apparently enjoying a secret assignation with a woman. Definitely some embarrassing extra-marital affair, they all think.
The man is Renato, and the woman turns out to be his wife, Amelia. The clandestine meeting now looks like a couple trying to spice up their relationship – hence the chuckles. The words of the first of the conspirators, beginning 'Ve', se di notte', describe the scene mock-heroically: an enamoured hero bringing his bride to lie on bed of dew in the honeyed moonlight. However, the lewd undertones are unmistakable.
The music of this mockery includes the effect of a laugh, as the voice line suddenly leaps up and immediately comes down again. This first conspirator's voice is soon joined by a second in repeated, rhythmic laughter. The risible tone is amplified with little slides up to each note of the same tune as it is played by the violins. Quickly, the whole gang of conspirators joins in with this laughing theme.
What the conspirators don't know is that Renato has been equally shocked to discover the woman is Amelia. He found her (face hidden) with Riccardo, Renato's best friend and master, and by now is wrongly convinced she is having an affair. As this Act II finale builds, the chortling music of the men is contrasted with long, anguished melodic phrases from Amelia – she feels completely misunderstood – and bitter, muttered words from Renato. All three elements come together in a central choral section, which includes a moment of musical group reflection developed from a familiar Italian opera form, the pezzo concertato (this 'little concerted number' is a convention you often find in finales of 19th-century Italian operas).
Before the chorus of conspirators arrives, there had been a tense scene between Renato, Amelia and the 'other man', Riccardo. Verdi underscores it with a little repeating rhythmic pattern of a crotchet and two quavers, in reference to the ominous, inexorable march of fate. This musical motif returns prominently near the end of the Laughing Chorus as Renato plans to meet the conspirators to join their assassination plot against Riccardo. The motif we keep hearing is suggestive of impending doom and links to the equally simple, repetitive patterns of laughter: in essence, it is a single musical quality used in one place for tragedy, and in the other for comedy. At the end of the act the even, rhythmic laughter of the conspirators fades away as they go off into the night – but by now the fact of such insistent rhythmic repetition in itself has an association with inevitable disaster.
Such use of comic qualities to heighten the tragic recurs in Verdi's operas. There is a notable parallel in his earlier opera Rigoletto, where comedy and tragedy combine in the story of a cursed and taunted court jester. At the end of Act I scene 2, courtiers blindfold Rigoletto and convince him they are kidnapping the wife of another courtier. In fact, they are kidnapping Rigoletto's own daughter under his very nose, although they think she is his mistress. Another case of mistaken relationships leading to uncomfortable revelations – and tragic consequences – counterpointed by a wry, comic chorus.
When comedy and tragedy are so blatantly juxtaposed on stage, the audience can respond to the tensions between these emotional poles. The reactions and fates of the unhappy central characters – the butt of the misplaced humour – are more poignant as a result. And we know that the laughter will inevitably be followed by tears.
Un ballo in maschera runs 18 December 2014–17 January 2015. Tickets are sold out, but there are 67 day tickets for each performance and returns may become available.
The production is a co-production with Theater Dortmund and Scottish Opera and is given with generous philanthropic support from The Royal Opera House Endowment Fund.]]>


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GreenFaith in the Media
GreenFaith Media Room
Press Contacts
- Rev. Fletcher Harper
- Executive Director
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- Certification Program and Sustainability Director
- email@example.com
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Press Releases
Aug 18, 2015
- A high-level, international group of Muslim leaders released the Islamic Climate Change Declaration at a symposium in Istanbul, Turkey organized by Islamic Relief Worldwide, the Islamic Foundation for Ecology and Environmental Sciences, GreenFaith, and CAN-International.
Apr 10, 2012
ELCA Congregations to Enter GreenFaith Certification ProgramGreenFaith and Lutherans Restoring Creation are partnering to bring ELCA congregations into the Certification Program. 20 selected churches will receive a 50% discount on tuition for the Program.
Dec 01, 2011
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Providing Environmental Resources for US Hindu Temples, Centers and Leaders
Press Clips
Feb 11, 2015St. Louis Jewish Light
- Composting program at Central Reform Congregation, a GreenFaith Certification Program congregation
Jan 21, 2015The Bernardsville News
- St. Bernard's Church in Bernardsville, part of the GreenFaith Certification Program, is coordinating a local community garden effort
Dec 19, 2014Independent Press
- Summit JCC is the first Conservative synagogue in Union County to join the GreenFaith Certification program
Dec 09, 2014Religious Action Center of Reform Judaism
- Cantor Ross Wolman of BJBE shares a teaching and information about their successes in the Certification Program. He also provides information on the Energy Shield.


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Recorded with an 35 piece orchestra last week for my new trailer music album for EMI SONY - 2 very full on days. Starting work on First Dates Hotel for channel 4. Really excited to go back to the National Film + TV School as visiting tutor.
Clip from the recording session of my upcoming album with EMI
(orchestra and synths recorded in Budapest)
My soundtrack for Joanna Lumley's Trans Siberian Adventure has been nominated for a Jerry Goldsmith on the best documentary score category, and for Best TV score at MASA
First Dates won a BAFTA for Best Factual series last Sunday.
The kickstarter campaign for my Periodic Table of Musical Instruments, in support of Mind UK was a success. A big Thank you to all the backers. x
Delighted to announce that my soundtrack for this ITV series has been released by Movie Score Media.
Joanna Lumley's Trans-Siberian Adventure
The whole score is effortlessly charming, with real warmth, and an engaging personality that mirrors Lumley's own. The instrumental textures d'Oliveira employs are consistently interesting, blending together in a series of excellent combinations, and the scope of the score perfectly encapsulates the heart of the project.
Jon Broxton, Movie Music UK
"lovingly crafted and perfectly realised little jewel; I only wish it were longer"
album review by Michael Beek
"Instead of making me try to associate it with the TV show, Miguel d'Oliveira's creation stirs my imagination and lets it fly freely.
This is what good film music is all about."
"It is playful from start to finish and the orchestration is light and really fun to listen to.
This music takes me on a journey to places I have never been. It feels magical and beautiful."
"From bold, bright and dynamic to more nuanced lyrical, melancholic and even slightly sarcastic themes. All written with a lot of class."
Mundo BSO
"Trans-Siberian Adventure is a charming, uniformly lovely score whose only drawback is that there isn't more of it." ****
"The composer put together a quirky ensemble and stuck with it. It's incredibly pleasant on the ear.
It has some beautiful and magical moments."
"Delightfully wonderful.
This is a great effort from Miguel d'Oliveira who showcases some rather impressive writing"
Film Music Media
Project timeline
Writing new music for the next series of First Dates, an album of film trailer music, scoring a 3 part series for ITV about Japan and a 2 part documentary for BBC one.
writing 5 tracks for 2 production music albums for Universal and the music for a Ch4 documentary about narcolepsy
About to start scoring a 4 part series for Channel 4 about West End musicals plus a 1 hour documentary for ITV.


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Hotel Fire & Ice - Neuss
Your hotel has 5 restaurants serving lunch and dinner where you'll find good menu choices and service with a smile. If you are planning on a spot of skiing during your stay, not only will you find ski lifts nearby, but also facilities such as ski-in/ski-out access, ski passes, ski storage, skiing lessons and ski rentals. On-site winter fun includes downhill skiing. The on-site spa is the place to be for rest and relaxation, offering hot stone massages and sports massages, as well as reflexology, a steam room and a sauna. Guests wishing to enjoy a drink will surely want to visit one of the 2 bars/lounges.
In addition to the on-site spa, a fitness center and a sauna are among the leisure facilities on offer. Free WiFi is available.
Hotel Fire & Ice - Neuss
Hotel Info: 1-877-214-4288from $136
- Standard Twin Room, 1 Single Bed
- Family Suite
- Premium Twin Room
- Deluxe Double Room
Also popular with travelers from the USA
At a glance
Key facts
Hotel size
- This hotel has 79 rooms
- This hotel is arranged over 6 floors
- Check-in time starts at 3 PM
- Check-out time is 11 AM
Required at check in
- Credit card or cash deposit required
- Government-issued photo ID required
Travelling with others
- Up to 2 children (12 years old and younger) stay free when occupying the parent or guardian's room, using existing bedding
- Pets allowed (dogs only) *
- Specific rooms only *
- 1 per room
- Free WiFi in public areas
- Free WiFi in rooms
- Free self parking
- Free RV/bus/truck parking
In the hotel
- Buffet breakfast daily (surcharge)
- 5 restaurants
- 2 bars/lounges
- Room service (during limited hours)
- Coffee/tea in a common area
- Ski-in/ski-out access
- Ski storage
- Fitness facilities
- Full-service spa
- Steam room
- Ski passes available
- Sauna
- Number of meeting rooms - 14
- Conference space
- Conference center
- 24-hour front desk
- Concierge services
- Tours/ticket assistance
- Dry cleaning/laundry service
- Free newspapers in lobby
- Luggage storage
- Multilingual staff
- Number of buildings/towers - 1
- Year Built 2011
- Elevator/lift
- ATM/banking
- Safe-deposit box at front desk
- Fireplace in lobby
In the room
- In-room climate control (air conditioning)
- Air conditioning
- Minibar
- Bathrobes
- Slippers
- Iron/ironing board (on request)
- Hypo-allergenic bedding available
- Pillow menu
- Down comforter
- Blackout drapes/curtains
- Soundproofed rooms
- Premium bedding
- Pillowtop mattress
- Individually furnished
- Private bathroom
- Shower only
- Free toiletries
- Hair dryer
- 32-inch LCD TV
- Satellite TV channels
- Desk
- Free newspaper
- Free WiFi
- Phone
- Free bottled water
- Daily housekeeping
- In-room safe (laptop compatible)
- Connecting/adjoining rooms available
Special features
Guests can indulge in a pampering treatment at the hotel's full-service spa. Services include hot stone massages, sports massages, and massages. A variety of treatment therapies are provided, including reflexology. The spa is equipped with a sauna and a steam room.
The spa is open daily.
DiningSalzburger Hochalm - This restaurant specializes in local cuisine and serves lunch and dinner. Open select days.
Jausenstadl - Onsite restaurant. Open select days.
Salzburger Alm Biergarten - Onsite restaurant.
Pistenlounge - This restaurant serves breakfast and dinner. Guests can enjoy drinks at the bar. Open daily.
- Ski-in/ski-out access
- Ski passes available
- Ski storage
- Ski lifts nearby
- Ski lessons on site
- Ski equipment rentals on site
- Downhill skiing on site
- Snowboarding on site
Hotel Fire & Ice - Neuss's small print
Also known as
- Fire Ice Neuss
- Hotel Fire & Ice
- Hotel Fire & Ice Neuss
The property has connecting/adjoining rooms, which are subject to availability and can be requested by contacting the property using the number on the booking confirmation.
Pet-friendly rooms can be requested by contacting the property at the number on the booking confirmation.
This property's policy is to refuse certain bookings for the purpose of group events or parties, including pre-wedding stag/bachelor and hen/bachelorette parties.
Only registered guests are allowed in the guestrooms.
Optional extras
Rollaway beds are available for EUR 20.00 per night
Buffet breakfast is offered for an extra charge of EUR 17.00 per person (approximately)
Pets are allowed for an extra charge of EUR 25 per pet, per day
We have included all charges provided to us by this hotel. However, charges can vary, for example, based on length of stay or the room you book.


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UNDATED (Indiana's NewsCenter) - Logan Irwin connected for 25 points as Whitko scored a 70-48 win over Southwood in boys basketball Friday night.
Alaina Schwarz put in 21 points and Aleah Swary 16 as Northrop shocked Bishop Luers 57-49, handing the Knights their first loss in the SAC girls race, and scoring their first win in the league.
Brierra Young led Luers with 18.
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(Enter more than £40)
Estimate: £70 - £80
Description: Dinky No.982 Bedford Pullmore Car Transporter "Dinky Toys delivery Service" - light blue, mid blue ridged and Supertoy hubs - twin side rivets - overall condition is generally Excellent nice bright example in a Good Plus blue and white striped lift off lid box, also comes with No.994 Loading Ramp which is generally Good Plus - see photo.
- You have read and agree with the Auctioneer Terms and Conditions below and the Invaluable Terms of Use Agreement
- You agree to pay a buyer's premium of up to 27% and any applicable taxes and shipping.
If you wish to pay by bank transfer, our bank details are as follows: Handelsbanken, Ground Floor, Winder House, Kingfisher Way, Stockton on Tees. TS18 3EX
Sort Code: 40-51-62 Account: 42076703 IBAN: GB16HAND40516242076703
Bank Swift code: HANDGB22
Account Name: Vectis Auctions Ltd
You can also send us a cheque, made payable to Vectis Auctions Ltd to
Vectis Auctions Ltd,
Fleck Way,
Thornaby, Stockton-on-Tees