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Prom 2: Mussorgsky – Boris Godunov
(16 July)
Boris is back - and conveniently for us, compiling this list in date order means the Royal Opera House Prom comes out on top. With a cast led by bass-baritone Bryn Terfel and conducted by Antonio Pappano, this concert performance of Mussorgsky's operatic masterpiece tells the tragic tale of a Russian Tsar plagued by guilt. The semi-staged performance is preceded by a workshop from the BBC Singers, where aspiring performers can join in with some of the opera's choruses.
Prom 5: Beethoven — Missa Solemnis
(19 July)
Fresh from conducting Verdi's epic Il trovatore on the Covent Garden stage, Gianandrea Noseda is at the helm of – if possible – an even larger masterpiece. Beethoven's Missa Solemnis was composed over four years towards the end of the composer's life and is considered to be is one of his supreme achievements. With a stellar cast of singers including soprano Camilla Nylund, mezzo-soprano Birgit Remmert, tenor Stuart Skelton, bass Hanno Müller-Brachmann, the Hallé Choir, Manchester Chamber Choir and BBC Philharmonic, the effect is sure to be breathtaking.
Proms 10 and 11: Wagner and Tippett
(23 July)
A full day of Wagner may feel relatively short for those attuned to his lengthy operas – but for newcomers to this composer's work, 11 July should serve as an introduction. Prom 10 at 11am showcases the 'Ride of the Valkyries' from Die Walküre in a family-friendly performance, alongside other classical staples from the BBC's Ten Pieces series – music designed to open up the world of classical music to children and young people. The evening's Prom 11 includes the final scene from Die Walküre, alongside Tippett's contemplative oratorio, A Child of Our Time.
Prom 14: Rossini – The Barber of Seville
(25 July)
There's something of a Rossini focus at this year's BBC Proms, and who better to celebrate the 200th anniversary of The Barber of Seville than our friends at Glyndebourne? Danielle de Niese leads the cast as Rosina, a young girl eager to escape the elderly Bartolo's affection, with comic consequences. There's also a pre-concert talk for those wanting to learn more about the role and politics of hair-styling in 18th- and 19th-century Europe (!) with Alun Withey and historian Kathryn Hughes.
Proms 27 and 30: Stravinsky
(5 and 7 August)
Fans of Stravinsky's ballet scores won't be disappointed with this Proms Season: over the weekend of 5, 6 and 7 August, audiences will be treated to Petrushka (1947 version), The Firebird, and The Rite of Spring, complete with pre-performance talks. Those looking to collect all the performances of Stravinsky's works over the 58 day-long festival should also save the date for the Pulcinella Suite on 20 July.
Proms at … Sam Wanamaker Playhouse, Shakespeare's Globe
(13 August)
A suitably Shakespearean recommendation in the 400th anniversary of his death. This performance takes regular Prommers away from the familiar surroundings of the Royal Albert Hall to an altogether smaller performance space: the Sam Wanamaker Playhouse at Shakespeare's Globe. Expect English Baroque music in spades, with music by Purcell, Blow, Locke and Draghi, as well as incidental music for Shakespeare's The Tempest.
Prom 41: The Hallé – Mahler's Das Lied von der Erde
(16 August)
Tenor Gregory Kunde stars alongside mezzo-soprano Alice Coote and the Hallé in Mahler's synthesis of song and symphony, Das Lied von der Erde, conducted by Mark Elder. Continuing the Season's focus on cello music, (kicking off on the First Night with a digital light projection from Sol Gabetta), Leonard Elschenbroich will perform a London premiere: Colin Matthews's Berceuse for Dresden, which takes inspiration from the eight bells of the Dresden church at which it was premiered.
Prom 45: Janáček — The Makropulos Affair
(19 August)
A dream team of singers assemble for a concert performance of Janáček's tragic satire, The Makropulos Affair, performed under the baton of Czech conductor Jiří Běhlohlávek. Finnish soprano Karita Mattila — acclaimed for her portrayal of the opera's heroine at New York's Metropolitan Opera — leads the cast.
Prom 59: (More) Beethoven
(29 August)
A rare treat to hear music from Beethoven's only opera, Fidelio. Despite his prolific musical output, the composer appeared to struggle with the overture, eventually writing four versions. This version (Leonore No. 2) is the first attempt and is thought to have been composed for the 1805 premiere – but nowadays the final version, Leonore No. 1, much lighter in style and with fresh musical material, is often heard in performance. This Prom also features András Schiff playing the Piano Concerto No. 5 in E flat major, 'Emperor', and the Symphony No. 7, performed by the Leipzig Gewandhaus Orchestra and conducted by Herbert Blomstedt.
Prom 67: Simón Bolívar Symphony Orchestra and Gustavo Dudamel
(4 September)
The conductor affectionately dubbed 'The Dude' is back, conducting the Simón Bolívar Symphony Orchestra in their first Proms appearance since 2011. In this Olympic year, the Proms is celebrating South American music and musicians with a premiere of Venezuelan composer Paul Desenne's Hipnosis mariposa, alongside Villa-Lobos's effervescent orchestral tribute to J. S. Bach, Bachianas Brasileiras No 2. For ballet fans, the performance ends with two dizzying works by Ravel: La Valse, originally conceived as a ballet but now frequently heard as a concert work, and the Suite No. 2 from Daphnis and Chloe.
Prom 75: The Last Night of the Proms
(10 September)
There's much more to the Last Night than tub-thumping Elgar and flag-waving pomp (although if that's your cup of tea, you won't be disappointed). Peruvian tenor Juan Diego Flórez is the star soloist for a diverse evening of music, including 'Una furtiva lagrima' from Donizetti's L'elisir d'amore, 'Ah ! mes amis' from La fille du regiment, as well as a generous helping of lush English song. Jette Parker Young Artist Lauren Fagan is also set to perform in a jewel in the evening's programme, Vaughan Williams' Serenade to Music, scored for 16 soloists, alongside the BBC Singers and BBC Symphony Orchestra, conducted by Sakari Oramo. Don your black tie and get queuing!
Tickets for the BBC Proms 2016 can be purchased from the Royal Albert Hall website.
All Proms will be broadcast on BBC Radio 3, with a selection available to watch on BBC Four.]]>
As any cellist, harpist, or (perish the thought) double bassist will tell you, there are few things more annoying than lugging your over-sized pride and joy to and from rehearsals, jamming it into the back of a car, crushing through the barriers on the tube, or inelegantly dragging it up and down flights of stairs.
These are the large instrument-playing unfortunates who are routinely pestered with that most infamous of muso cat-calls: 'Bet you wish you'd taken up the flute?'.
Spare a thought, then, for the ill-fated player of an altogether more cumbersome orchestral instrument: the anvil.
The epitome of a heavy and clumsy object - perfect for dropping onto a cartoon villain should the need arise - this hardened steel surface is designed to be struck with an enormous hammer; the larger the better. A fact which makes its popularity on the opera stage, most notably, in Verdi's smash hit, Il trovatore, all the more surprising. How on earth are performers expected to get it to and from the rehearsals (and, of course, the pub afterwards)?
While this line of argument is, of course, to be taken with a hefty pinch of salt, the fact is that this unlikely hunk of metal has made quite an impact on the world of classical music. Despite its size and its hugely limited range, this forged steel block is a key player in Verdi's middle-period masterpiece, in the unimaginatively nicknamed 'Anvil Chorus' (otherwise, known with much more zip as the 'Coro di zingari'). Verdi's musical direction in the score is that the singers, not the percussionist, should be the ones to hit the anvils in time to the music, with basses playing on the beat, and tenors on the offbeat. As the large Italian chorus sing the praises of hard work, good wine, and gypsy women, the effect is striking in every sense of the word: the dull chime of the anvil adds a unique tone to the now famous tune, and there's something quite hypnotic about the view of a stage full of people hitting hammers on every other beat as they sing.
But it's not just Verdi who saw the anvil's potential on the opera stage. Wagner, true to form, pushed the boat out in Das Rheingold, using not one, but 18 anvils - nine small, six medium, and three large - tuned to F three octaves apart. Siegfried, too, made use of the instrument's trademark timbre, unsurprisingly in the 'forging song', 'Hoho! Hoho! Hohei!', as Siegfried carefully crafts his sword. Wagner's considerable influence on heavy metal has never been more literal.
When attempting to bring suitably metallic pieces to life, other big-hitting composers turned to the anvil: Britten and Walton both used the instrument to conjure a 'Babylonian' sound in their works. In The Burning Fiery Furnace, Britten uses the anvil, alongside a lyra glockenspiel and small cymbals to take his audiences back in time, musically. Walton, too, in Belshazzar's Feast, puts the metallic sound to good use in 'Praise': as the chorus sing praises to the gods of various materials, the composer brings appropriate instruments to the fore – trumpets for the god of gold, flutes for the god of silver, and anvils for the god of iron.
More recently, anvils have made their mark in the worlds of film music, minimalism, and pop, as composers used the instrument's metallic properties to add depth to their pieces. Howard Shore, John Williams, and James Horner have each used it in film scores, and Louis Andriessen wrote an extended passage for solo anvils in his work De Materie (Matter), with text on the subject of shipbuilding. Even former Beatle Ringo Starr dabbled in anvil playing in arguably its most mainstream outing: the darkly eccentric hit Maxwell's Silver Hammer.
While a 'concerto for anvil' may not top the classical charts any time soon, there's no doubt that this obscure instrument has forged something of a niche for itself. And in a time-poor age where we're constantly being told to work fitness into our daily regime, which other instruments allow their player to get a full-on workout and save on a gym membership while performing? One thing's for sure - you can't say that for the dainty flute.
Il trovatore runs 1 December 2016-8 February 2017.
Tickets go on sale to Friends of Covent Garden on 21 September 2016. General booking opens on 18 October 2016.]]>
It started out as something of a dinner party crowd-pleaser. After hearing musicians in England playing an arrangement of water-filled wine glasses, Benjamin Franklin (of American 'Founding Fathers' fame) experimented with creating his own version.
The result was the 'armonica': 37 glass bowls of different sizes, threaded together on an iron spindle and colour-coded with paint to identify the notes. In contrast to the wine glass version, the bowls were positioned horizontally, allowing the player to sound up to ten notes at the same time. With its delicate sound and unusual appearance, the instrument soon became popular – even French queen Marie Antoinette took lessons – and thousands were built and sold.
So far, so ordinary, until reports from delighted party guests gradually gave way to something altogether more perplexing. Hearing the singing glasses, listeners credited the instrument with mind-altering affects. Princess Izabella Czartoryska of Poland, who met Franklin and his armonica in 1772, wrote an account: 'I was ill, in a state of melancholia, and writing my testament and farewell letters... [Franklin] opened an armonica, sat down and played long. The music made a strong impression on me and tears began flowing from my eyes. Then Franklin sat by my side and looking with compassion said, "Madam, you are cured." Indeed in that moment I was cured of my melancholia.'
Soon, regular players reported unusual side-effects from playing. Tinnitus, disorientation and even 'madness' struck the players with alarming regularity. The instrument was credited with causing evil and endangering the public, and the health warnings were clear: 'If you are suffering from any kind of nervous disorder, you should not play it; if you are not yet ill you should not play it; if you are feeling melancholy you should not play it,' German musicologist Friedrich Rochlitz wrote.
Reports of mental instability and hysteria soon saw this eerie instrument relegated from the realms solo performance. Opera, however, with its frequent flights of fancy and multiple 'mad scenes', is where this instrumental anomaly found its home.
Its most famous outing is during Donizetti's bel canto tragedy, Lucia di Lammermoor - unsurprisingly, during the 'mad scene', cementing the glass harmonica's place as the soundtrack to unusual or other-worldly activities. It's these unique qualities which Beethoven had used to his advantage in a similarly disconcerting scene written 20 years before, in an unpublished extract from Princess Leonore, incidental music composed for a play, Op.202/WoO 96. The play itself is unremarkable, but, unusually for Beethoven, there is a short 'melodrama' for glass harmonica and narrator, at at the point in the play when the heroine Leonore is speaking to her true love from beyond the grave.
If only the players had listened to the steadying voice of science a little earlier. A quick analysis of the tones produced by this maddening instrument reveals they are produced between 1,000 and 4,000 hertz. Sounds of this frequency are difficult for the ear to place, and the result is that listeners are unable to work out where the music is coming from: 'beyond the grave', unsurprisingly, no longer stands up as a credible answer.
But it wasn't just the sound that caused players and listeners alike to lose their wits. The lead crystal used in the manufacturing of the instrument reportedly had an effect on all those who spent hours in its company, causing them to hallucinate or even faint. One such player, Marianne Kirchgessner, died at the age of 39, with the instrument being blamed for her untimely death. Science, again, debunks this theory: lead poisoning was common in the 18th and early 19th centuries for both armonica players and non-players alike.
Nowadays, with science on its side, the glass harmonica has a small but devoted fan base. It's not hard to find plentiful examples of the instrument on YouTube or Spotify, where the likes of Björk, David Gilmour and Tom Waits are among those to have offered it a guest spot on their albums. But even despite a celebrity following, it's fair to say the instrument hasn't yet shaken its dangerous reputation. After years in the shadows the glass harmonica enjoyed its time in the operatic limelight in George Benjamin's 2013 work, Written on Skin, but the associations were clear. As the singer descended into madness, the eerie song of the glass harmonica could be heard from somewhere imperceptible. Science tells us it was the orchestra pit, but you never can be sure...
Written on Skin runs 13 – 30 January 2017. Tickets are still available.]]>
Who were the Mighty Handful?
'The Mighty Handful' is a name commonly used to refer to five Russian composers of the late 19th century, who aimed to create a distinctly Russian school of music. The term was first used by music critic Vladimir Stasov in a review of 1867. He was applying the term – moguchaya kuchka in Russian, literally 'mighty little heap' – informally, to a whole group of Russian composers of different generations and schools. But eventually 'the Mighty Handful' came to refer to just five, all based in St Petersburg: Mily Balakirev, Aleksandr Borodin, César Cui, Modest Musorgsky and Nikolay Rimsky-Korsakov.
A Musical Pioneer
Balakirev was a firebrand of Russian music, and the inspirational leader of the Mighty Handful. He was devoted to continuing the work of composers such as Glinka in creating music of an international standard that sounded distinctively Russian. His influence on the other composers of the Mighty Handful was crucial – he encouraged them to finish their works and explore new ideas, and as a conductor he championed their works in performance. His forceful personality was not to everyone's taste, though, and perhaps was one of the reasons why Tchaikovsky never allied himself to the Mighty Handful. Nevertheless, were it not for the irascible energy (not to mention the bullying) of Balakirev, the musical landscape of late 19th-century Russia — and particularly of St Petersburg — would have been very different.
Part-Time Composers
In the early days of the Mighty Handful, professional musicianship in St Petersburg was in its infancy; the St Petersburg Conservatory was founded in 1862, very shortly after the Mighty Handful began to meet. They were all largely self-taught and held down other jobs while pursuing music as a hobby. Balakirev was a civil servant, Borodin a gifted chemist, Musorgsky an army man and later a civil servant, and Cui an engineer and music critic. Rimsky-Korsakov was in the navy when he met Balakirev, but later became the only one of the group to work as a professor at the St Petersburg Conservatory, going on to have a significant and direct influence on the next generation of Russian musicians.
Brief but Bright
'Mighty Handful' continues to be a useful handle by which to refer to a distinct circle of composers – but the circle itself was relatively short-lived. Musorgsky died in 1881 and Borodin in 1887; Cui did not really continue to develop as a composer; and soon after his appointment at the Conservatory Rimsky-Korsakov began to move beyond Balakirev's influence. From the late 1880s the term 'Mighty Handful' was used more out of a sort of nationalist nostalgia rather than to refer to an active group, and was principally kept in currency by Balakirev's friend Stasov. But despite the group's brevity, the concrete legacy of the Mighty Handful features many wonderful, innovative and startling works, including some of the great and minor masterpieces of Russian music.
An Orchestral Celebration
This concert of works by the Mighty Handful is the third in an annual series of performances that celebrate the Orchestra of the Royal Opera House and its partnership with The Royal Opera's Music Director Antonio Pappano – putting centre-stage the outstanding musicianship that underpins the ROH's entire main-stage opera and ballet programmes. Each year the repertory of the concert ties in with a particular production – this year Musorgsky's Boris Godunov – giving audiences an opportunity to explore that work's wider musical context. The programme this year includes such popular favourites as Rimsky-Korsakov's fiendish The Flight of the Bumblebee and Musorgsky's St John's Night on Bare Mountain, along with Borodin's magnificent Second Symphony (composed alongside his opera Prince Igor) and Balakirev's opulent Oriental fantasy Islamey.
Antonio Pappano and the Orchestra of the Royal Opera House's concert of works by the Mighty Handful is on 8 February 2016. 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.]]>
We recently strapped GoPro cameras to Music Director of The Royal Opera Antonio Pappano and the Orchestra of the Royal Opera House as they rehearsed the iconic William Tell (Guillaume Tell) Overture.
An extended version of this film will feature as part of Deloitte Ignite 2015, the month-long festival of events (mainly free) which will open the 2015/16 Season.
'As we prepare for this new production of William Tell, we thought this presented the perfect opportunity to take audiences on a journey through this renowned piece of music from the perspective of our orchestra - something audience members seldom get the chance to see, but is at the very centre of any opera performance', says Pappano.
'Through this, we hope audiences understand more about how we produce this incredible sound every evening, as well as the focus, passion and trust required from everyone in the pit.'
Watch more films like this on the Royal Opera House YouTube channel:
William Tell runs from 29 June-17 July 2015. Tickets are available.
The production will be relayed live to cinemas across the world on 5 July. Find a cinema near you and sign up to our mailing list.
The production is staged with thanks to generous philanthropic support from Hélène and Jean Peters and David Hancock
Deloitte Ignite runs from 3-27 September 2015.]]>
'Puccini was a genius', says Italian conductor Nicola Luisotti. 'You can learn more from one of Puccini's scores than from books of orchestration.'
Luisotti, Music Director of San Francisco Opera, made his Royal Opera debut in January 2007 conducting Verdi's Il trovatore. He has since returned to Covent Garden on numerous occasions, most recently conducting Kristine Opolais and Brian Jagde in Madama Butterfly this spring.
'When I was younger, I thought Puccini was easy. Then when I grew up, I studied his scores and I said to myself, "Nicola, you were really stupid when you thought this about a great, talented and gifted and composer!"
'Puccini is attractive because he speaks directly to our hearts', he continues. 'When I study at the piano, I can understand what is written technically, but how the sounds and orchestration of the instruments is combined is a mystery – it's a miracle!'
'What Puccini needs is that you breathe the music with him', says Luisotti of how to approach the composer's work as a conductor.
Puccini's Tosca runs 9 January–5 February 2016. Tickets are still available.
Luisotti will next appear at Covent Garden conducting Verdi's La traviata in March 2016. Find out what Puccini operas we have coming up at the Royal Opera House.
Watch more films like this on the Royal Opera House YouTube Channel:
Madama Butterfly runs 20 March–25 April 2017. Tickets will be available soon.]]>
From a bubbling digital cauldron of eerie electronic crackles and blips of static, a distorted voice simmers to the surface. 'Doors closing… Ignition', it coldly intones, before whistling synthesizer afterburners begin to roar and we lift off, ushered into an intoxicating soundworld that blurs electronic and orchestral colours. It's ballet music, but not as we knew it.
Infra's jaw-dropping first movement was Royal Opera House audiences' introduction to composer Max Richter upon the ballet's 2008 premiere and in the seven years since, the composer has returned to Covent Garden twice – first in 2011 with his debut opera, Sum, a chamber piece based on David Eagleman's book Sum: Forty Tales from the Afterlives; and now for Woolf Works, Wayne McGregor's first full-length work for The Royal Ballet inspired by the writings of Virginia Woolf.
Richter's music is broadly influenced by minimalism, focused around simple melodies with nods to Brian Eno, Philip Glass, and Steve Reich – indeed, the mid-90s ensemble he founded, Piano Circus, performed works by these composers. 'I just try and reduce things to very simple elements and focus on the notes. On one level the music is quite nerdily constructed, but it's not as simple as it sounds', he told Sinfini Music. 'I'm into craft in quite an old fashioned way; I like putting notes together with a strong internal logic. I am looking for a powerful sense of inevitability, which takes away from the obviousness and the familiarity that I think would make it sentimental and wishy-washy.'
Richter has long fused electronic and organic sounds, and his 2002 debut album Memoryhouse – recorded with the BBC Philharmonic Orchestra – firmly established his reputation at the forefront of contemporary classical music. A documentary exploring the tumultuous history of 20th century Europe, it weaves poetry readings around Arvo Pärt-esque swirling strings and glitchy electronic rhythms that wouldn't sound out of place on an Aphex Twin track. As a reflection of this, his work is as discussed on the pages of Pitchfork or Drowned in Sound as it is in BBC Music or Gramophone magazines.
The atmospheres and textures conjoured in Memoryhouse and its Franz Kafka and Czesław Miłosz-influenced follow-up The Blue Notebooks were revisited in Richter's first high-profile film score for Ari Folman's animated war film Waltz with Bashir. Exploring the memories of a soldier in the 1982 Lebanon war, the film won numerous awards including including a Best Composer prize for Richter at the European Film Awards. Astonishingly prolific, Richter has contributed to or soundtracked more than fifty films to date including Martin Scorsese's Shutter Island, and Ridley Scott's Prometheus. 'Film music is solving puzzles', the composer has said of the relationship between his compositions and the visual elements of film, an approach which may be equally applicable to composing for dance.
Since Waltz with Bashir, Richter has explored the no-man's-land between classical and electronic music. In 2008 he released 24 Portraits in Full Colour, an album made up of orchestrally-tinged ambient snippets inspired by the mid-2000s pop culture phenomenon of the mobile phone ringtone – for Richter, digital technology has changed how we view music, and what we expect of it. Most recently, he released an experimental reworking of Vivaldi's The Four Seasons, an album that can best be described as a classical remix of perhaps the world's most famous concerto. 'The Four Seasons is something we all carry around with us', he has told The Guardian. 'It's just everywhere. In a way, we stop being able to hear it. So this project is about reclaiming this music for me personally, by getting inside it and rediscovering it.' Certainly, Recomposed showcases Richter's playful side, playing with tempos and adding subtle electronic tinges beneath Vivaldi's iconic melodies. And for those wanting to know what makes the composition tick, there's an accompanying app, which allows fans to dig into the score and isolate each section of instrumentation to explore how Richter builds his lush soundworlds.
Woolf Works will see Richter expand on the musical language present in both Infra and Sum, but the triptych nature of the ballet's three acts (inspired by Woolf's novels Mrs Dalloway, Orlando and The Waves respectively, as well a selection of her autobiographical writings) means that each section is likely to have a distinct atmosphere, coming together to create a perpetually unfolding, ever-moving score. A new Max Richter work is always a major event in contemporary classical music, and Woolf Works is sure to be no different.
Woolf Works returns to The Royal Opera House in 2016/17. Tickets will be available soon.
The production is staged with generous philanthropic support from David Hancock, Randa Khoury, Linda and Philip Harley, Victoria Robey, The Woolf Works Production Syndicate and an anonymous donor.]]>
Royal Opera Music Director Antonio Pappano made his Covent Garden debut in 1990. Now in his 12th year as Music Director, he has built up an impressive repertory with The Royal Opera, including the full The Ring Cycle, new productions of Les Troyens, Parsifal, Les Vêpres Siciliennes and Manon Lescaut, and two world premieres - Harrison Birtwistle's The Minotaur and Mark-Anthony Turnage's Anna Nicole.
'This house is not a pushover – not the audience, or the orchestra or the chorus', he says. 'You really have to earn your spurs!'
And he certainly has. This Season alone he has conducted four operas, including Verdi's I due Foscari, starring Plácido Domingo, and a new production of Andrea Chénier, starring Jonas Kaufmann.
'When Plácido walks into the room, he raises everybody elses's game, which is a fantastic gift', he says. 'By his sheer presence, everyone around him gets better.'
For the remainder of the 2014/15 Season, Pappano conducts new productions of Król Roger – his first collaboration with Director of Opera Kasper Holten – and Guillaume Tell. He will also conduct the first in a new series of annual concert performances, which are designed to celebrate his work with the Orchestra.
'You have to stick your nose into all corners of the repertory to keep an eye on the orchestra and its development', he says. 'We have to jump from Puccini to Wagner to Mozart, from Rigoletto to Anna Nicole. I think I change with every piece, and orchestra has to as well - we start again each time, but with a backlog of experience and a theatrical trust. We can count on each other!'
The Music Director is renowned as one of the world's best conductors of Puccini.
'Puccini was a very fastidious, refined man; a snappy dresser who loved women and sports cars', he says. 'There's natural sophistication in his music, even though he's manipulating you from note one. La bohème, for example, can only be conducted by someone who has a deep knowledge of the opera and knows the ins and outs, because otherwise it's treacherous.'
For more on the operatic language, commissioning new work and learning to conduct – and what he's looking forward to in the 2015/16 Season – watch highlights from the In Conversation event.
Antonio Pappano and the Orchestra of the Royal Opera House perform in concert on 4 May 2015. Tickets are still available.
Król Roger runs from 1 to 19 May 2015. Tickets are still available.
Guillaume Tell runs from 29 June to 17 July 2015. General Booking opens on 31 March 2015.]]>
Everyone warns you about the noise. But nobody mentions the quiet. It's a particular sort of quiet – tense, cutting and pregnant. Sitting in the pit at the Royal Opera House as the lights go down, you hear a silence the like of which you've never heard before. Even when nobody's playing or speaking, there's still the muffled breathing of a violinist or the gentle patter of a flute's exercising keys. But when the conductor raises the baton, even that drops away. You're plunged into a total, concentrated sonic vacuum. You could hear a pin drop – such is the acoustic cramp of the pit, where nothing goes unheard.
That silence is as much connected to professionalism and perfection as it is to physics. Contrary to the idea of pit musicians kicking back, reading books and exchanging gags, the atmosphere is more intense than anything I've experienced on a brightly lit concert stage. 'You're concentrating whether you're playing or not', says percussionist Nigel Charman. And boy do you sense it. 'It's disrespectful to do anything but. It doesn't matter if it can be heard out front or not: your colleagues will be affected by extraneous noises.'
'Out front' is pit parlance for the auditorium, where things sound so very different from how they sound down here. When the orchestra eventually gets going, digging into the groove and grind of Bernstein's Age of Anxiety (accompanying The Royal Ballet in Liam Scarlett's choreography) that sonic vacuum has been replaced by the opposite: an instrumental mêlée, loud and disjointed parts of the score drifting in and out of focus, mingled with copious technical noises from instruments and their players – the click of keys, the tap and scrape of woodwork and the hiss of sharply-taken breaths. 'It's a very unsympathetic sound in the pit, you hear absolutely everything, every slight imperfection', says Charman. 'But out front it somehow blends together, all tidied-up and lovely.'
It might be a strange thing to consider, but everyone points to the Covent Garden pit – this dark, unsightly recess full of odd corners and unidentifiable technical relics mummified by gaffer tape – as the key to this orchestra's distinctively smooth, woody character. 'It's not a great pit by international standards, but it does make a lovely sound', says Barry Wordsworth, Music Director of The Royal Ballet. 'I wish we could appreciate just how lovely it is out there in the theatre. It takes on this delicious bloom, which is one reason why it's not a good idea to play loudly down here, because you lose that – it breaks up. The orchestra knows that. It's very difficult to balance in, but they know how to coax the best out of it.'
But it takes some skill. 'I think all orchestras develop a sense of telepathy', says Section Principal Horn Richard Bissill, who came to the Royal Opera House in 2009 after 25 years playing in the same position with the London Philharmonic Orchestra. 'You have this sort of inner adjustment, so that you know when to play and how to play. Even though you might hear the other side of the pit playing a fraction of a second behind, you have to stay with the baton so that it sounds right out front. It's instinctive really.' And for the horns, it really has to be.
'If you look at the way we've got the pit laid out today, the horns are very far away from the trumpets and the trombones', says Matt Downes, Orchestra Operations Manager. 'There's a rising seventh theme in Britten's Sinfonia da Requiem [the score for Aeternum, the final work in the triple bill] that runs between the trumpets, the trombones and the horns. How on earth do you get that together when you're sitting so far away? It just comes from experience – from doing it a lot.'
There are eight decades of experience to draw from. The Orchestra of the Royal Opera House was founded in 1946 when the theatre reopened after the war. Today it numbers 105 players, who rotate to provide music for some forty projects (just under three hundred performances) a year. Despite the lack of stage glamour, this is the orchestra musicians fight to get into; when Richard's job came up six years ago, nearly every principal horn in London (and many beyond) applied for it. The critical community, too, is beginning to take note of the impeccable sensitivity and blend of this ensemble and others like it. The orchestra of the Metropolitan Opera House in New York was named as one of the ten best in the world in a poll of major conductors six years ago, and that ensemble hasn't had the luxury of eight decades in the care of some of the best conductors in the business: Georg Solti, Bernard Haitink, Colin Davis, Antonio Pappano. 'There's certainly an ongoing identity. You can say "that's the sound of the Opera House Orchestra", but still it's quite different from how it was 20 years ago', says Wordsworth, who has conducted here regularly for 40 years. 'Certainly they respond differently to me from how they did 30 years ago. I think the orchestra is more consistently good in the level of its performance now than it has ever been – for opera and ballet.'
Back in the pit, as the Bernstein ends and the Britten looms, the Orchestra Operations staff have to execute one of the most complicated technical changes all Season, during an interval. 'If you're on a concert stage with a symphony orchestra you can effect a change very quickly', says Matt. 'But here we have the extra complication that everything is plugged in, every stand has a light.' That, and the Bernstein includes three orchestral pianos (including one right in the middle of the pit by the conductor's podium) which need to be moved out using hydraulic lifts before string desks are moved back in. 'We have to be careful that the right buttons are pressed and we don't crush a piano.' When they're back, nearly every musician is in a slightly different but exactly specified position. 'It's all worked out so everyone is comfortable and has the room to play. The most important part of our job is enabling every musician to give their best', says Matt, which means, increasingly, looking out for the health of their ears.
The problem of excessive noise is countered by experimenting with clever positioning of loud instruments to direct sound away from colleagues, and using ear-plugs, both rudimentary – like those handed to me as I entered the pit (I couldn't bring myself to use them) – to the ones being trialled by Nigel and the orchestra's percussionists. 'We're at the forefront of things with these – they've got a microphone and a speaker and sensors, so they amplify the quiet sounds and take the edge off the louder sounds', Nigel explains. 'They seem to work well – I can hear the other side of the pit, which I can't normally. But it's about personal preference and they don't suit everyone. Obviously in a perfect world you'd be playing with nothing above you, so the sound has somewhere to go.'
This summer Nigel and his colleagues will get the chance to do just that. On 4 May the Orchestra will give the first of a series of annual concerts on the Covent Garden main stage under Antonio Pappano, performing concert music by Scriabin, Bernstein, Chausson and Ravel. The idea is to highlight the relationship Pappano enjoys with the orchestra he has made his own; for Co-Concert Master Sergey Levitin, it can't come soon enough: 'We would love to come to the stage more and play like a symphony orchestra – it's important for us and for our development.' For an orchestra used to overcoming the compromises and constraints of the Victorian dungeon that is the pit, playing on stage is quite a prospect. Don't miss it.
This article was originally published in the Royal Opera House Magazine, received quarterly by the Friends of Covent Garden.]]>


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JOB DESCRIPTION Job Posting Title: Program Manager Internal/Actual Title: Program Manager City: Kalamazoo State: Michigan Shift: 1st Shift WHAT WE DO: Synovos is a rapidly growing leader and global provider of comprehensive supply chain services that drive increased8/19/2016 Kalamazoo, MI Save This Job

subset: commoncrawl


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Usain Bolt is a tremendous runner. He proved that earlier this week when he won the Men's 100m, breaking the Olympic record with a 9.63 second jaunt. The only things faster than Bolt are a handful of animals, lightning and Wi-Fi in South Korea.
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But who are the slowest of the slow athletes? The worst runners of all time in any sport? Here's a top five list. They may be even slower than you.


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Cala Rossa, Cala Bianca, Guidaloca, Mazzo di Sciacca
A Green Oasis and Relaxation
Few minutes away from the amazing SCOPELLO Bay with its crystal sea, Borgo Aranci offers a "truly peaceful stay to his Guests".
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just 7 minutes from SCOPELLO
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Hi everyone! My name is Kelly, but here on MDL, I'm known as yankumicho.
I'm 29 years old, from Ohio, U.S.A.
My hobbies are: reading, writing poetry, analyzing baseball statistics, watching anime, drama, and movies, and watching baseball and American football.I'm a Medieval/Renaissance literature and history junkie; it means I spend too much time in libraries smelling old books, lol.
Byun Yo Han as Ddang Sae/Lee Bang Ji in Six Flying Dragons
Yoon Gyun Sang as Moo Hyul in Six Flying Dragons
Yoo Ah In as Yi Bang Won (King Taejong) in Six Flying Dragons
Women of the Month
Shin Se Kyung as Boon Yi in Six Flying Dragons
Gong Seung Yeon as Min Da-Kyeong (Lady Min, Queen Wongyeong) in Six Flying Dragons
Han Ye Ri as Cheok Sa Gwang in Six Flying Dragons
2nd Bias: Jackson Wang (WangKong) (GOT7)
Isn't he so cute? I want him to say that to me too! *_*
Favorite Dramas of 2015
Second Time Twenty Years Old
I Remember You
Oh My Ghost
Kill Me Heal Me
and the currently airing...
Six Flying Dragons
Reply 1988
My favorite actors are:
Seo In Guk
Lee Jong Suk
Yoo Yoon Seok
Park Bo Gum
Byun Yo Han
Well, that's about it for me! If you have any questions, feel free to message me below or in my inbox. Also you can find me at http://yankumicho.tumblr.com


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Flashing lights and loud, pounding music. I downed my shot of whiskey and eyed Sean from a corner of the club. He was grooving, dancing with another attractive lithe female who was very evidently, ready to give anything he wanted. Sean is dark, dangerous and handsome as sin, a well-known in the club I always frequent, and I cannot help but gawk. He was very tall, built and had the...Read On
Avg Score: 4.5 |
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He got the biggest surprise!
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Boy's first sexual experience...
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Read as me and my master and lover welcome in the New Year
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A NANNY FEMTASTIC! Chapter 2 …I just couldn't work out what was happening. I loved dressing in girl clothes, I felt relaxed and unstressed. But where was this leading! How could this work? I had never seen my parents that regularly maybe twice a year and they had mentioned on the telephone about meeting a few times. I put it off due mainly to my eyebrows! But I couldn't put them...Read On
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| 1 Comment
This slave is excited to go with Master to a party but little does she know she's the entertainment.
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Danielle has one more night of fun before her wedding.
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Krista stood up and when she did, she felt some of the moisture escape her slit. . .
Krista walked into the dorm room with her suitcase in her hand and slumped down to one side. Summer could tell that she had struggled with her bag either up the stairs or just carrying it from the elevator to the dorm room. Krista looked at Summer as she lied on her bed. Summer saw how frazzled Krista's hair looked and Krista's tired arm just dropped her bag immediately. With the weight...Read On
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My glorious time at St Wintermute's school for 16 to 18 yo girls.
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In one night, your whole perspective of a person can change.
There was something different about her tonight. She wasn't just the annoying girl I met a year ago when my father decided to move in with her mother; her movements were fluid as she stalked across the dance floor to the other end of the banquet hall. Her legs, extended to their length in four inch, black stilettoes; exposed to all of our eyes up to the mid of her thighs. Those legs that had...Read On
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The seduction - Rendezvous at 4:30
Beth, the hygienist on shift was an attractive lady with short auburn hair. A little heavy or rather buxom; she had a beautiful smile and bright blue eyes which made me warm up to her instantly. She also had a great personality and instantly put me at ease, a plus for my phobia. There are few things I fear more than a visit to the dentist, this news terrified me. I was considering having...Read On
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It was late, he was ready to leave. He feels the night has been a waste. When he arrived earlier, he had hoped to find someone. But all he had seen were young women, 20 something. That would not do. The young ones do not appeal to him. He wanted someone with experience, someone who knows what she wants. Her friends made her do it. She normally does not dress like this. The...Read On
Added: 31 Jan 2010 | Category: Anal |
Avg Score: 4.67 |
Words: 1,430 |
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| 5 Comments
R.J. was electrically charged from his toes all up his body...
Chapter 2 At first they just stood looking at each other. It was very steamy in the shower, and the drops were splashing down them. Josh reached for a bar of soap and began massaging his pubic area. As the soap began to cover his taught balls he slowly began to caress them. His cock was inflamed beyond belief. R.J. followed suit and was soon moaning in ecstasy as he copied Josh stroke...Read On
Added: 31 Jan 2010 | Category: Gay Male |
Avg Score: 4.07 |
Words: 867 |
| 1 Comment
A NANNY FEMTASTIC! Chapter 1 My story starts during a very bleak time in my life where I was unable to find continuous work of any meaningful type. I had, I suppose, looking back now, rather stupidly pursued Child and Nursery Care as a further education route. Much to my parents consternation! Yes I was the only guy in the college but I thought I would soon move into...Read On
Added: 31 Jan 2010 | Category: Crossdressing |
Avg Score: 4.57 |
Words: 1,954 |
| 2 Comments
Mary decides she's ready to take the next step
Tim pulled the garage door shut, and slowly washed the grease from his fingers. Wheel bearings and axle seals were dirty work, but the hand cleaner did its job. "All done?" He smiled as he heard Mary's voice echo down the hallway. "I sure am. Your mustang's ready for another 100K." "I think we'll need a minivan before that long." ...Read On
Added: 31 Jan 2010 | Category: Anal |
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A true story about a short, hot, anal fuck in a publc bathroom.
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Added: 31 Jan 2010 | Category: Anal |
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Words: 2,035 |
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| 5 Comments
New year started with a bang!!
It was news year's eve and the snow was coming down. I had been sat in my car watching your house for the last 10 minutes wondering if I should make a move or not. I finally decided to walk up the stairs and ring the doorbell. The hall light turned on, and I heard the rustling of the keys. Soon a familiar voice met my ears. "Why hello? Are you lost" the friendly yet...Read On
Added: 31 Jan 2010 | Category: BDSM |
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Words: 1,249 |
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| 3 Comments
The first time she tastes her lovers cum. Susan continues her sexual liberation.
Mark had been awake for hours, had made coffee, and had spent sometime pondering the events of the last few weeks. Susan had opened herself up to new and exciting things he had never imagined she would be up for. Before he left their sex life had been good and he certainly had no cause for complaint, but since his return they were like young exploring teenagers. Mark couldn't keep...Read On
Added: 31 Jan 2010 | Category: Oral Sex |
Avg Score: 3.5 |
Words: 986 |
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FELIX becomes FELICITY Chapter 7 …We both fell asleep almost immediately. I got up whilst he was still asleep in the morning and put on his shirt loosely over my naked body. I woke him up with breakfast , we kissed and he left late morning. I had been lucky to escape him not discovering my penis! I had to think hard about what to do about this. I would just have to have to tell him...Read On
Added: 30 Jan 2010 | Category: Crossdressing |
Avg Score: 4.86 |
Words: 688 |
| 4 Comments
After coming home from an extended absence Christa finds a love that she never knew was there...
Special thanks to a very special guy that helped me come up with ideas for this story. Hope you all enjoy it and please vote and comment if you would! Thanks!!!! Christa had been away from her dad's ranch for over 10 years, and things still looked the same. She was now 29. She had left right after high school for bigger and better things, she had thought. She wondered if Wayne, her...Read On
Added: 30 Jan 2010 | Category: First Time |
Avg Score: 4.95 |
Words: 2,188 |
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| 15 Comments
Gabrielle takes Jacquie Strap on shopping and ties her up while she fucked the shop owner with the t
Neighborly Lust (Part 4) Don Abdul ©2010 Gabrielle weaved her vintage Mustang through the afternoon traffic with feline grace until we were headed towards the edge of the city. She suddenly had a wicked smile on her face and then before I could dwell on it, she dropped her hand to my knee. Without taking her eyes off the road she caressed my knee and then snaked her hand expertly up my...Read On
Added: 30 Jan 2010 | Category: BDSM |
Avg Score: 4.82 |
Words: 1,722 |
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Shannon has some kinky anal fun while her boyfriend sleeps.
It had been a good night. Although I generally dislike being the third wheel, I usually enjoy going out with my roommate Kyle and his girlfriend Shannon. We always have fun, even if we do tend to drink a little too much and this night was no exception. "I'm telling you, she wanted you!" Shannon said, giving me a playful punch on the shoulder. "You should have talked...Read On
Added: 30 Jan 2010 | Category: Anal |
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Words: 4,688 |
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Right now it's all about the girl...
All about You 1 You giggle as I push you back onto the bed and then bite your bottom lip as I grip the sides of your panties. You lift your legs so I can pull them over your ass and off your legs, throwing the final piece of our clothing to the ground. I stop, admiring your nude body lying before me as you slowly open your legs, revealing your sweet spot to me. ...Read On
Added: 29 Jan 2010 | Category: Oral Sex |
Avg Score: 5 |
Words: 885 |
| 5 Comments
Looking back now, I wonder if I would have changed anything.
Let me introduce myself to you. My name is Jon Combes, and I've been gay since my mom's fifteenth boyfriend fucked me when I was nineteen. Since a lot of you guys wanted a real story. I decided to use my personal story. This is my story about the first night. I was in bed, Mom was downstairs with Paul. I heard her scream, and ran downstairs to see if she was ok. "Get your ass back up,"...Read On
Added: 29 Jan 2010 | Category: Gay Male |
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Six thirty in the morning is a lonely time on a college campus. I was at the student recreation center, going for my morning run around the track. Good thing we could get in with our student IDs early in the morning, since it's the only time I have when I can get to the gym regularly. As I ran around the track, trying to keep track of my laps and time, I pushed myself. I had already done...Read On
Added: 29 Jan 2010 | Category: Straight Sex |
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Words: 1,747 |
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| 34 Comments
FELIX becomes FELICITY Chapter 6 ..I put the gingham dress on that fit well and completed the ensemble with the shoes and cardigan. I looked like a fully grown woman in a school girl outfit. My breasts seemed to project and fill the dress with the buttons on the front tight. The fabric belt pinched in my already slim waste and the skirt part of the dress flared slightly emphasizing my...Read On
Added: 29 Jan 2010 | Category: Crossdressing |
Avg Score: 4.85 |
Words: 2,196 |
| 5 Comments
Two lovers sate their hunger in the morning
Lily lay quietly under the sheets, her chest rising and falling as she slept. I watched her sleep for a time, savoring the memories of last night's passion. It would be so easy to crawl between her legs and lick her to wakefulness. But I decided to let her sleep a bit longer, and slipped quietly from the bed. The tile felt cool under my toes and I felt the warm sunshine pouring through...Read On
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Tastier than chocolate strawberries.
It's a special day – your birthday perhaps, I tell you a few days before that we'll be going out ..."Somewhere nice, so wear something you feel really good in – something sexy might be good." I suggest with a smile. To your surprise, for our 'special evening', I drive away from the city. You'd been sure we would be spending the evening in a hotel and started to wonder what the night...Read On
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Words: 1,888 |
Fuck me hard Baby
I was abroad on business when after my meetings had end I could't catch my sleep so I went to have a brandy down at the bar of the hotel I was residing at. I was happy to see the bar full of people seeming to have a good time. A live band was playing Jazz in the back and as I went to find a place to sit and order my brandy I saw her. There she was, Sarah, looking lushes as ever. It had...Read On
Added: 29 Jan 2010 | Category: Straight Sex |
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B_ had to be the sexiest woman I had met online, she had an air of mystique that was incredibly hard to penetrate. She lived in Lebanon, was married and discovered porn through her husband. He however had no clue to the Pandora's box he had opened and would be shocked if he knew exactly how addicted she had become. She revealed after much prompting that she had been a virgin before...Read On
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text:
(USAToday.com) -- Researchers in Germany have found that trained sniffer dogs are able to detect lung cancer in its early stages.
The study found that the dogs were able to identify volatile organic compounds that are linked to the presence of cancer on people's breath.
Read the entire story here.
What are your thoughts CLICK HERE to leave us a "QUESTION OF THE DAY" comment.
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text: The 140-Mph Chase Cars Of The U.S. Air ForceSam Smith5/13/10 12:00pm1714EditPromoteDismissUndismissHideGo to permalinkFifty years ago, the United States Air Force discovered its top-secret Lockheed U-2 spy plane was nightmarishly tricky to fly. To keep aircraft from crashing, they began using high-speed chase/guide cars during take-offs and landings. Government-issue Camaro Z/28, anyone?


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Series Summary
Get your swimsuits ready. Lt. Mitch Buchannon is the dedicated leader of a group of lifeguards at Malibu Beach in Los Angeles. This soap opera features a lot of sand, sun and bikinis, but also tackles many serious themes and features multifaceted characters. "Baywatch" is known for using slow motion when the lifeguards are running.
Air Dates: 1989 - Present
Genres: Drama, Action
Network: NBC


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The following students made the fall semester dean's list at the University of Minnesota Twin Cities: from Greenfield, Savannah Andryczak, Natalie Kay and Emily Mongan; and from West Allis, Theresa Moore and Kelsey Rademacher.
The following students made the fall semester dean's and honors lists at the University of Wisconsin-Oshkosh: from Greenfield, Stephanie Donlevy and Cori Stegerand; and from West Allis, Michael Chevremont and Staci Krueger.
The following students made the fall semester honors lists at the University of Wisconsin-Green Bay: from Greenfield, Rebecca Bakalarski, Heather Bekkers, Shannon Butts, Stacey Butts, Jennifer Carrillo, Heba Mohammad, Brittney Neibert and Amy Reese; and from West Allis, John Jackson, Taylor Lux, Kristine Pflugradt and John Waldoch.
Got some good news to share? We want to hear all about it. Send your announcements to Celebrations/NOW Newspapers, 1741 Dolphin Drive, Suite A, Waukesha 53186; or email@example.com .
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- Celebrations: June 19
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Nobody does extreme quite like TLC. They are leaving behind toilet paper eaters and polygamous couples for the moment, and delving into the world of extreme cougars and the men who love them.
In this instance, the adjective "extreme" when used in conjunction with the word "cougar" means that there is a 20-year… READ MORE »


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Welcome to the CRediT community of interest. CRediT brings together a diverse set of stakeholders wanting to better understand and communicate the different kinds of contributor roles in research outputs.
- Investing in invisible infrastructure Apr 18, 2016
- CRediT Integration at Aries Apr 18, 2016
- Widening the piste of research incentives: the opportunities of open science Apr 18, 2016


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realmagick.com The shrine of knowledge.
Ki Blast
A selection of articles related to ki blast.
Original articles from our library related to the Ki Blast. See Table of Contents for further available material (downloadable resources) on Ki Blast.
- Lauràelle, the Ceremony & the Sword: An OBE Experience
- I have profoundly hesitated over the telling of this tale for many years. I have a lifetime of experiences like this to share, but some (like this one) may seem way over the top to some people, no matter how its written. This is simply because they lack any...
Astral Projection >> Out of Body Experiences
- Popular Oracles and Omens
- I think it would be correct to assume that man has always been anxious to lift a corner of the veil of the future. In this section I've included several popular oracles, omens and superstitions. Some of these might seem a bit ridiculous, but why not consider...
Psychic Abilities >> Divination
- Bringing it Down to Earth: A Fractal Approach
- 'Clouds are not spheres, mountains are not cones, coastlines are not circles, and bark is not smooth, nor does lightning travel in a straight line.' B. Mandelbrot W e want to think about the future - it's our nature. Unlike other creatures, humans possess an...
Mystic Sciences >> Astrology
- A Treatise on Astral Projection, Part 4: More Rope Techniques
- ROPE is a very effective projection technique, but it still has to be learned to be effective. I would like to elaborate on a couple of points about the technique, inspired by the feedback I have received so far. There is NO visualization required - AT ALL -...
Parapsychology >> Astral Projection
- Room Candle Cleanse
- You need: White candle and holder, Salt Place the candle in the middle of the room. Sprinkle the salt in a circle deosil around the candle. Light and say: 'Creature of wax Creature of fire Listen to me Hear my desire Cleanse this room By the power of three...
Spells >> Candle Magick
- King James Bible: Exodus, Chapter 15
- Chapter 15 15:1 Then sang Moses and the children of Israel this song unto the LORD, and spake, saying, I will sing unto the LORD, for he hath triumphed gloriously: the horse and his rider hath he thrown into the sea. 15:2 The LORD is my strength and song, and...
Old Testament >> Exodus
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- History at the altar of Nationalism: The Stakes of the Student Resistance in India
- Kanhaiyya, who was imprisoned for nineteen days, was brutally beaten in custody by policemen and lawyers for three hours till he agreed to say, "Bharat Mata ki Jai!" (Hail, Mother India!).
- Critics blast Europe's draft plan to send some refugees back to Turkey
- Separately, U.N. Secretary-General Ban Ki-moon said he's worried by Europe's increasingly tough asylum policies, growing anti-refugee rhetoric and attacks on migrants.
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Suggested Web Resources
- Ki Blast - Dragon Ball Wiki - Wikia
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text:
Webster Schroeder High School Senior Lindsay Sharrow nominated her favorite teacher For a News 8 Golden Apple Award. Watch here to see us sneak up and surprise Science Teacher Dr. Bob Enck!
Copyright 2016 Nexstar Broadcasting, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.


text:
Apple fans to meet co-founder Woz in July
Mariel Grazella
The Jakarta Post
Apple fans and software developers are in for a treat.
Steve "Woz" Wozniak, the man who founded Apple Inc. with Steve Jobs, is scheduled to visit Jakarta and speak at the Innovation and Creative Workshop at the Balai Kartini on July 17.
Event organizer 3Ocean Live said that Wozniak would share his experience in transforming a business startup into a multi-billion dollar company, which was exactly what Wozniak and Jobs did.
While Jobs assumed the role as the company's visionary, Wozniak was the engineer that tinkered with Apple's products, including the company's first computer, the Apple I. The prototype cost around US$1,000 to make, which Wozniak assembled in Job's garage.
Apple has since then grown into a software and hardware juggernaut, recording a stock market value of roughly $500 billion in March. The company posted revenue of $39.2 billion in the first quarter of 2012 and sold 35.1 million iPhones and 11.8 million iPads within that period.
Woz, who rides a two-wheeled electric Segway on an almost daily basis, quit Apple in 1997 to pursue other ventures, such as the Electronic Frontier Foundation and Wheels of Zeus.
He has also published his autobiography, iWoz, and currently advises the makers of a Steve Jobs biopic produced by Sony Pictures. He still maintains share ownership in Apple.
Tech start-ups have started to proliferate in Indonesia, with many budding entrepreneurs developing e-commerce sites and mobile applications for operating systems such as iOS and Android.
Fadli Wardhana of 3Ocean Live said that Indonesia already had its own pool of creative people in the digital industry, and this was the crowd whom the event organizers were targeting.
"We are targeting these people who can derive ideas from Steve Wozniak on how to create products that can be of use to the masses," he said.
Ticket prices range from Rp 2 million to Rp 3.5 million. The organizers have prepared 250 VIP seats, 500 gold-class seats and 300 silver-class seats. Tickets are now on sale at online ticket counters and would soon be available at travel agents, he said.
"Besides the workshop featuring Steve Wozniak and three other speakers, we will also hold an exhibition of digitally-advanced international brands," he added.
Fadli said that Indonesia and Malaysia were the only two countries in Southeast Asia where Steve would talk.
"Steve will only be in Indonesia for one day," he added.
Anton Soeharyo, a founder of mobile application start-up Touchten, said that he was "very interested" in meeting Wozniak.
"This is because my company is related to Apple [products]," he said, referring to the game applications his start-up developed for iOS.
Some of the start-up's games, namely Sushi Chain and Hachiko, have made it to the most-downloaded Apple Store game applications for countries such as the US and Japan.
In addition to meeting and greeting Wozniak, Anton was also interested in obtaining advice on start-ups from the Apple co-founder himself.
"As a start up, I find the ticket price not too expensive," he told The Jakarta Post.
Meanwhile, William Tanuwijaya, the CEO of e-commerce website tokopedia.com, said that the US market that Wozniak had experience in was different from Indonesia's.
"It's not guaranteed that what will be shared in the workshop will be applicable to the Indonesian market," he said.
"The workshop will be more to something that will inspire," he told the Post.
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- Shareholders approve divestment of Indofood's shares in China Minzhong
- We are working to address traffic congestion: Ahok


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July 31, 2009, 1:55 PM PST | Length: 191
Golf has long been considered a great way to do business in a less formal environment. Deals may not be actually signed on the course, but relationships are developed. Suzanne Woo, author of On Course for Business: Women and Golf, shares her tips on using the game as a business tool. For more on hitting the links with your business contacts, read Business & Golf: A Survival Guide.


text: Simulator shows students the dangers of distracted driving By Craig LeMoult • Mar 14, 2014 ShareTwitter Facebook Google+ Email University of New Haven student Nick Sullivan in a simulator showing the dangers of distracted driving Credit Craig LeMoult The National Highway Traffic Safety Administration reports that in 2012, 3,328 people were killed in crashes involving distracted drivers. This week, at the University of New Haven, students are getting the chance to see just how hard it is to drive when they're distracted. Listen Listening... / 3:14 Tags: University of New HavenDistractology 101distracted driving


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40 years of experience
Accepting new patients
Caldwell, TX 77836 Phone number & directions
A medical license is required for a doctor to practice medicine in a particular state. Requirements vary by state but most require, at a minimum, post-graduate training in the doctor's specific specialty. An NPI number is a national identifier unique to an individual health care provider and is managed by the Center for Medicare & Medicaid Services (CMS).
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Dr. James Cabaniss practices Emergency Medicine and Family Medicine near Caldwell, TX.
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text:
Download this recipe for a 3-by-5-inch card (PDF)
• 3 ripe avocados, halved, pitted, peeled and sliced
• 1/2 medium red onion, thinly sliced
• 3-4 tablespoons pear-infused balsamic vinegar, or to taste
• Chopped fresh cilantro
PREPARATION: Arrange sliced avocados on serving plate.
Top with sliced red onion; drizzle with vinegar. Sprinkle with fresh cilantro, to taste.
Serve immediately.
Makes about 6 servings.
Nutrition information: 170 calories, 2 grams protein, 15 grams fat, 3 grams carbohydrate, 6 grams fiber, 0 cholesterol, 11 milligrams sodium


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Etiologic factors include increased luminal pressure, long how much icariin equals viagra intestinal transit time, small stool volume, lack of dietary fiber, age-related factors, and hypersegmentation. Decreased dietary fiber in the colonic lumen leads to decreased stool volume and increasing segmentation during peristalsis. Although the specific cause is unknown, development of diverticula likely involves mechanical, environmental, and lifestyle factors. 4. How do diverticula develop?.
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Magic Logix is a Dallas, Texas based integrated marketing agency that provides a full spectrum of customized automation solutions for clients in all industries, worldwide. As the only company with developers certified in Marketo, Drupal, Magento, Joomla, and Google, Magic Logix creates and develops cross-functional solutions that are most logical for each client's unique environment, giving them a customer base that expands right before their very eyes. Magic Logix is GSA certified, and its partnership with industry leaders such as Magento, Drupal, Marketo and Joomla positions them on the front line of developing trends in marketing automation.
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