2007 New Zealand gallantry awards

The 2007 New Zealand gallantry awards were announced via a Special Honours List on 2 July 2007, and recognised four New Zealand military personnel for actions while serving in Afghanistan in 2004. The identities of three of the four award recipients were not released for operational security reasons. Willie Apiata was awarded the Victoria Cross for New Zealand, the first and so far only time the decoration has been awarded since its inception in 1999.


List of New York State Historic Markers in Saratoga County, New York

This is an incomplete list of New York State Historic Markers in Saratoga County, New York.


Hearts Adrift

Hearts Adrift is a 1914 American silent short romance film directed by Edwin S. Porter. The film is now considered lost.
Production.
The film bears a great resemblance to the 1911 story "As the Sparks Fly Upward" by Cyrus Townsend Brady. The film didn't credit Brady, who sued the studio. The film's story also bears resemblance to the 1908 novel "The Blue Lagoon" by Henry De Vere Stacpoole, which was filmed in 1923 and several decades later with Jean Simmons in 1948 and Brooke Shields in 1980.
The film proved to be a huge success. Actress Mary Pickford eventually demanded a higher salary[from Adolph Zukor] as her popularity rose because of this film.
Plot.
Nina (Mary Pickford) and Jack Graham (Harold Lockwood) are both marooned on a deserted island. They fall in love and eventually Nina gives birth to a child. Despite being stranded, they are very happy together. One day, Jack's wife comes to rescue him. Nina is crushed and throws herself in a volcano.


Hitzig

Hitzig is the last name of:


Ben Haim

Ben Haim, also transliterated as Ben Hayim or Ben-Chaim, is a Hebrew surname meaning "son of life" . Notable people with the surname include:


Nicholas Furlong discography

This is the full discography of American songwriter and record producer Nicholas Furlong, also known as RAS.


Polkagris

Polkagris (plural: "polkagrisar") is a Swedish stick candy that was invented in 1859 by Amalia Eriksson in the town of Gränna, Sweden. It remains a well-known albeit old-fashioned candy in Sweden, often sold at fairs, Christmas markets, and the like. It is still closely associated with Gränna. The traditional polkagris candy stick is white and red, and is peppermint-flavoured.
Etymology.
The name "polkagris" literally means "polka pig."
"Polka" in the candy's name refers to a lively Slavic swirling dance, polka, which was still a novelty when the polkagris was invented. The dance originated in the middle of the 19th century and is still a common genre in Swedish folk dance and folk music. It may recall the way a traditional polkagris is made, twisting red and white sugar dough ribbons. Red and white colours linking its etymology straight to Poland - red and white being Poland' s national colours and of course the name "polka" meaning the Polish woman, Polish lady and Polish girl.
"Gris" means "pig", and was at that time used as an expression for candy.
History.
Polkagris is a special candy stick type which was invented in Gränna 1859 by Amalia Eriksson (1824–1923), a poor 35-year-old widow. Amalia needed to support herself and her family, when her husband died. Amalia Eriksson got the town council's permission to open a bakery to make pastries and peppermint rocks, and opened a shop in Gränna. She kept the recipe secret and it was only revealed upon her death.
The candy is made of sugar dough which is boiled, kneaded on a marble baking table, pulled, and twisted by hand to the right size. The candies contain peppermint, sugar, water, and a very small amount of vinegar, and are sold in about 20 stores in the town.
The candies come in a variety of shapes, sizes, and colors, but the classical version is a straight, peppermint-flavored stick colored in red and white. The recipe has been included in Swedish cookbooks.
The town of Gränna has only 2,500 residents, but its convenient location off one of the most traveled highways in Sweden attracts over a million visitors per year, many of them drawn by the famous candy, which has been a tradition for more than 150 years.
The first store making polkagrisar outside of Gränna opened in the summer of 2011, on Lilla Nygatan 10 in the Old town of Stockholm.
In 2016, polkagris made its debut in the US in the small town of Solvang, California. It is made by hand in small batches at the Swedish Candy Factory.
Championships and records.
In recent years, Gränna has arranged an annual world championship in polkagris making as a tourist event. The candy is handmade, and the perfect polkagris should weigh exactly 50 grams. The championship is held every year on 25 July, outdoors, at the Lake Vättern's shore.
A number of polkagris-related records have been registered for the Guinness Book of World Records. The world's longest polkagris (1989) was long; the highest polkagris (1993) was ; the world's heaviest polkagris stick (2003) was .


Obeah!

Obeah! is a 1935 American horror film directed by F. Herrick Herrick and starring Jean Brooks and Phillips Lord. In the United Kingdom, the film was released under the title The Mystery Ship. It is believed to be a lost film.
Plot.
A sailor, known as "The Adventurer," searching for a lost American explorer discovers him being held hostage on a remote island in the South Sea. The man is held captive by the island's natives, who have placed him under a voodoo spell known as "obeah." The Adventurer attempts to halt a death ritual but fails, and the explorer dies. The Adventurer is forced to flee the island, taking with him a native woman and the daughter of the dead explorer.
With the help of a map taken from the explorer, the three attempt to locate a chest of gold that has been sunk off the island shore. Meanwhile, the high priest of the island people casts a curse on the three, and a love triangle ensues between those on the ship.
Production.
The film was produced by the New York City-based production company Arcturus Pictures. Based on a story by director F. Herrick Herrick, the film's script was written by Robert Carse, the film's production began in June 1934 and lasted several weeks. The film was shot on location in Kingston, Jamaica.
An additional article published in "Film Daily" claimed the film's shoot lasted a total of eleven months, shot on a worldwide cruise that stopped in over twenty countries. Later trade reports reported the shoot had only lasted four months. The ship's crew as well as various unknown performers appear in the film. Scenes were filmed at Papine and Port Royal, alongside interior shots in downtown Kingston bars.


Anna Mitchell

Anna Mitchell (October 16, 1926 – March 3, 2012) was a Cherokee Nation potter who revived the historic art of Southeastern Woodlands pottery for Cherokee people in Oklahoma. She was designated as a Cherokee National Treasure and has works in numerous museum collections including the Smithsonian National Museum of the American Indian, the Museum of Fine Arts, Boston, and the Fred Jones Jr. Museum of Art, among others.
Early life.
Anna Belle Sixkiller was born on October 16, 1926, near Sycamore, a small town near Jay, Oklahoma, to Oo loo tsa (Iva Louise née Owens) and Houston Sixkiller. Her family were full-blood Cherokee, who spoke the Cherokee language in their home. Her mother worked as a domestic or waitress in Jay and at night often quilted. Her father worked on their farm, raising produce to feed his family. Sixkiller began school in the public school system in Jay. Unable to speak English, indifference by the teacher, and financial struggles caused by her divorce and the Great Depression, led her mother to take her children out of the school. She and a younger sister were sent to the Seneca Indian School, one of the federally-funded boarding schools for indigenous children, located in Wyandotte. She quickly learned English, though she suffered from home sickness. As schooling at Seneca only went to the ninth grade, after graduating, Sixkiller was sent to complete her education at the Haskell Institute, her mother's alma mater and an intertribal boarding school in Lawrence, Kansas.
On April 17, 1946 in Oswego, Kansas, Sixkiller married Robert Clay Mitchell, a Cherokee descendant of Sequoyah, who invented the Cherokee syllabary. Making their home in Vinita, the couple had five children: Nena, Clay, Victoria, Betty, and Julie. Busy with raising her children, most of her time was spent on domestic work and school activities over the next years. In 1967, her husband asked Mitchell to create a clay pipe for him similar to the one often depicted in portraits of Sequoyah. Using clay found in their pond, she fashioned the pipe, which though she did not intend to become a potter, piqued her curiosity about how traditional Cherokee pottery was made.
Career.
For the next several years, Mitchell embarked on a course of self study. She knew nothing about the properties of clay and had no idea what Cherokee pottery was supposed to look like. She began by visiting museums in Oklahoma and Arkansas and then made trips to the Eastern Cherokee lands in North Carolina. She also made study trips to learn about pottery traditions of the Southwest Pueblo peoples and the Northeastern Woodlands people, all the while experimenting with making different pots, though she was often not satisfied with her result. In 1973, Mitchell held her first public exhibition at the Tulsa Indian Trade Fair and met Clydia Nahwooksy, a director of programming at the Smithsonian Folklife Festival. Nahwooksy encouraged Mitchell's work and helped her access material in the Smithsonian archives.
Mitchell learned that the early assimilation of the Southeastern Woodlands people had likely led to a decline in their historic arts well before the Trail of Tears. Finding the book "Sun Circles and Human Hands" at the University of Arkansas of Fayetteville, she also learned the techniques used by precontact Mississippian artists to produce Eastern Woodlands pottery. Though similar pottery shapes and coiling techniques were used by western and eastern indigenous people, Mitchell learned that the designs were different. In the southwest, motifs were typically angular with geometric shapes and stylized depictions from the natural world of animals and landmarks, placed on the pot in specific locations. Designs of the southeast tended to employ arches and swirls with realistic images of birds and human forms, with a free-flowing placement pattern on the vessel. Many of Mitchell's early works were influenced by precontact Quapaw pottery of Arkansas.
Aiming to remain true to the techniques and designs of southeastern pottery making and determined to preserve ancestral methods, Mitchell began with low-firing clay. She later mixed it with high-firing porcelain clay to obtain a stronger, but lighter, result. Grinding, pounding and sifting the clay to remove large particles, Mitchell worked to soften the clay and then tempered it with ground shells and sandstone before adding water. To shape the pot, she had to replicate stamping tools and wooden paddles based upon designs she had seen on pottery fragments in museums. After the vessel was formed and to maintain the historic color palette of gray, red, and yellow, she then brushed on slip, made from the clay on her land, and fired it over an open pit fire. Placing the pots on a metal sheet above a brick enclosure, where a wood fire was kept burning for an entire day, Mitchell allowed them to harden and gradually cool as the fire burned out. Once cooled, pieces were burnished with small stones to create a smooth texture.
Among her many awards and honors were the first prize in Muskogee′s Five Civilized Tribes Museum annual juried competitive art show in 1973; first place in the Oklahoma Arts and Crafts Show of Tulsa in 1977; a solo exhibition at the Southern Plains Indian Museum in 1978; and winning the first and second place prizes in the 1979 Five Civilized Tribes Museum annual competitive art show. In 1981, she participated in a group exhibition "Oklahoma Cherokee Art" hosted by the American Indian Community House gallery in New York City and won an award at the Five Civilized Tribes Museum annual art show. In 1982, Mitchell exhibited at the Frontier Folklife Festival in St. Louis, Missouri and at "The Night of the First Americans", held in Washington, DC, at the Kennedy Center. That year, she took first, second, and third Prize in the Smithsonian Institution's "Festival of American Folk Life" and was designated as a "National Treasure" of the Cherokee Nation.
In 1983, Mitchell was invited to participate in an exhibition at the National Museum of the American Indian George Gustav Heye Center in Manhattan. Winning a first place at the Santa Fe Indian Market in 1985, she had two solo exhibitions that year — one at the Creek Council House Museum in Okmulgee and the other at the Cherokee National Museum, in Park Hill. In 1987, she held one-woman exhibitions at the Qualla Arts and Crafts Mutual in Cherokee, North Carolina and at the Tekakwitha Indian Crafts Center of Helen, Georgia. In 1990, Mitchell was featured at a solo exhibition at the University of Arkansas and the following year won first, third, and honorable mention at the Intertribal Indian Market of Dayton, Ohio. She continued to show her work in local art shows like the annual Cherokee Art Market until her death.
Mitchell's goal was to revive the art of Cherokee pottery making for Cherokee people in Oklahoma. In 1987, Jane Osti, a student studying at Northeastern Oklahoma State University in Tahlequah, conducted an interview with Mitchell for a heritage course. She became fascinated with the craft of pottery making and began studying with Mitchell. Osti was later commissioned by the Cherokee Nation to create a bust of Mitchell, which was unveiled in 1990 and housed at the Bacone House on the campus of Northeastern State University. Other students who studied with Mitchell and have professional art careers her daughter, Victoria Mitchell Vazquez (Cherokee Nation) and Crystal Hanna (Cherokee Nation). Mitchell also inspired Martha Berry (Cherokee Nation), encouraging her to revive the art of Cherokee beadwork. In 2008, Mitchell was honored with the Educator of Arts and Humanities Lifetime Achievement Award by the Cherokee Nation.
Family.
Many of Anna Sixkiller Mitchell's family are important leaders in the Cherokee Nation. Her brother Dennis Sixkiller is a leading language instructor, who has a Cherokee-language online radio show. Besides being a ceramic artist, Victoria Mitchell Vasquez, Mitchell's daughter, serves as a tribal councilperson.
Death and legacy.
Mitchell died on March 3, 2012, in Vinita and was buried in Fairview Cemetery. A memorial scholarship fund was created by the Cherokee Nation in her honor. Her artworks are in the permanent collections of the Smithsonian National Museum of the American Indian, the Eastern Trails Museum in Vinita, the Fred Jones Jr. Museum of Art, and the Museum of Fine Arts, Boston, as well as other venues abroad and in private collections. In 2015, in honor of the 25th anniversary of the completion of Mitchell's bronze bust, it was removed from the Northeastern campus and placed on display at the W. W. Keeler Tribal Government Complex in Tahlequah, Oklahoma. In 2016, the Cherokee Heritage Center hosted a six-month exhibition, "Anna Mitchell Legacy" that featured pieces in various museum collections to show her development as an artist throughout her career and showcased work by her artistic protogées including her daughter Victoria Mitchell Vazquez, Jane Osti, and Crystal Hanna. The exhibition also included some of the tools she used to work on pottery. The following year, a mural by Dan Mink depicting Mitchell and her work was erected in Vinita along West Canadian Avenue and South Wilson Street.
The Cherokee Art Market offers an Anna Mitchell award each year to honor the artist's memory.


Punisher (2009 series)

Punisher, retitled Franken-Castle from issue #17 on, is a Marvel Comics comic book series featuring the character Frank Castle, also known as the Punisher. Spinning out of the second "Punisher War Journal" series by writer Matt Fraction, this series of "Punisher" places the character firmly in the ongoing Marvel Universe inhabited by superheroes such as the Avengers and Spider-Man, and super-villains such as Doctor Doom and the Masters of Evil. For the majority of issues released, the series had tied into the ongoing events of Marvel's line-wide "Dark Reign" storyline, opening with Castle attempting to assassinate Norman Osborn.
After the events of "Dark Reign", Castle was dismembered and killed by Wolverine's son, Daken, and reassembled as a Frankenstein monster by Morbius and the Legion of Monsters.
Publication history.
The story continued in "".
Story arcs.
"Living in Darkness" (#1–5).
After Norman Osborn positions himself as "humanity's savior" following the "Secret Invasion", he becomes the foremost national security officer in the country and disbands S.H.I.E.L.D., placing a new organization, H.A.M.M.E.R., in its place. Holding Osborn accountable for his actions as the supervillain Green Goblin, the Punisher plans to assassinate Osborn. Joining forces with a new, tech-savvy young partner, Castle sets about taking Osborn down. Castle, normally favoring simple ends to his targets, must adapt his methods to Osborn’s far-reaching influence and deep-seated corruption. Castle and his new associate Henry Russo elect to gather evidence of the former Green Goblin’s wrongdoing in order to completely destroy his newfound reputation and end his Dark Reign once and for all. Osborn, on the other hand, has an associate waiting in the wings to get rid of the Punisher.
"Dead End" (#6–10, "Annual" #1).
The Hood's crime organization grows at an alarming rate, eluding the authorities of New York City, most of the superhero population, and Norman Osborn and H.A.M.M.E.R. The Punisher positions himself as the only thing resembling consequence and makes it a personal mission to bring Hood and his organization down. Although, Hood is ready for him in the form of the "Deadly Dozen," a highly trained team ready to move in on Castle and eliminate him. And in the monthly's first Annual, Punisher moves in on criminals of New York City before being confronted by a dangerously strong and agile hypnotized foe: Spider-Man.
"Dark Reign: The List – Punisher" #1.
Going down his list of enemies to eliminate before ascending to, what he deems, "control of the world," Norman Osborn arrives at the man who made his list after attempting to assassinate him: Frank Castle. Devoting the entirety of H.A.M.M.E.R.'s resources to the elimination of the Punisher, Osborn is surprised at the vigilante's resourcefulness in evading H.A.M.M.E.R. ground forces. To remedy this, he dispatches Daken, the Avengers' dark reflection of Wolverine, to eliminate Castle once and for all. Finding him in a New York City sewer, a fight to the death ensues between the Dark Wolverine and the Punisher. The Punisher does well, and manages to fight on par with Daken, but the mutant's healing factor proved too much for Castle, and Daken eventually cut both his arms off before decapitating him.
"Dead and Alive" (#11–16).
Morbius and the Legion of Monsters reconstruct Frank as a Frankenstein monster. Morbius "re-composed" Castle, hoping his military experience, tactical mindset and leadership would help the Legion of Monsters overcome a society that has been hunting them down. However, Frank rejected the group upon waking up and left their base. He stayed in the tunnels, unaware the Legion was being slaughtered by the Japanese society. A creature who previously offered Frank food fled to him for help, but died at his doorstep. Frank joins in the fight to protect the innocent 'monstrous' entities being targeted by their enemies.
"Missing Pieces" (#17–21).
The series was retitled "Franken-Castle" starting here.
After being revived, Frank must find a way to live with his new limitations and make peace with what he has become. To do this, he hits the streets once again to punish the guilty, and begins to formulate a plan of vengeance against the man who killed him.
Daken, later seen at a nightclub, is attacked by the now monstrous Punisher, who is seeking revenge. After a brutal fight Daken is defeated but decides to hunt Franken-Castle to continue the fight and retrieve the Bloodstone integrated into Fraken-Castle's new physical form. After following Franken-Castle's trail, Daken encounters a series of devastating traps before meeting his foe again. After a second brutal hand-to-hand battle, Daken is severely injured and retreats. Franken-Castle finds him and, after damaging Daken even more, is about to throw him into a mass of concrete foundation (presumably to kill him). However, Franken-Castle is stabbed in the chest from behind, by Wolverine, who states he is intervening in his plans to kill his son.
Franken-Castle knocks Wolverine unconscious; however, Daken manages to slip away. Franken-Castle tries to avoid him, but Daken crashes into the vehicle and moves Franken-Castle's gem into his chest becoming invulnerable and attacks again. Wolverine and Franken-Castle are forced to work together to combat Daken because the effects of the Bloodgem on Daken's healing factor are disastrous. During their battle on the rooftop, Franken-Castle finally takes down the insane Daken. After Daken was defeated, Wolverine removes the gems from his son and gives it to Franken-Castle and the scene ends with Wolverine alone on a rooftop.
After his fight with Daken, Punisher returns to Monster Island and the Bloodstone seems to have returned him to normal but he starts growing insane and the monster within the Bloodgem is starting to take control of him. The Legion of Monsters decide to take him down and retrieve the Bloodstone from him with the help of Elsa Bloodstone. Though Manphibian attempts to talk some sense into the Punisher, Elsa decides to just shoot him and take the stone from him. This angers Punisher and he fights and defeats Elsa in a jungle but before he could finish her off Werewolf by Night intervened and saved Elsa. Then the Living Mummy convinces Frank to give up the gem and walk away.
Prints.
Issues.
The first 16 issues were simply titled "Punisher".
As of issue 17 the series was officially retitled "Franken-Castle".
Reception.
The non-Franken-Castle part holds an average rating of 7.8 by 51 professional critics on the review aggregation website Comic Book Roundup. The Franken-Castle series hold an average rating of 6.5 by 18 professional critics.


Chinatown, Victoria

The Chinatown in Victoria, British Columbia is the oldest Chinatown in Canada and the second oldest in North America after San Francisco's. Victoria's Chinatown had its beginnings in the mid-nineteenth century in the mass influx of miners from California to what is now British Columbia in 1858. It remains an actively inhabited place and continues to be popular with residents and visitors, many of whom are Chinese-Canadians. Victoria's Chinatown is now surrounded by cultural, entertainment venues as well as being a venue itself. Chinatown is now conveniently just minutes away from other sites of interests such as the Save-On-Foods Memorial Centre, Bay Centre, Empress Hotel, Market Square, and others.
The Royal BC Museum states that it "was known for its maze of alleyways and courtyards, containing everything from movie theaters and restaurants to gambling dens."
History.
The discovery of gold in the Fraser Canyon in 1858 led to a sudden surge in immigration to British Columbia from California, about one third of which was Chinese. Within a year, immigration to the colony directly from China began as news spread of the gold find, but the gold rush was only one reason many Chinese citizens immigrated. Famine, drought or war in their homeland also encouraged the voyage across the Pacific Ocean to Victoria (on the Crown Colony of Vancouver Island en route to the Fraser Canyon, and later to Barkerville and the mainland's many other goldfields). The majority of the population was from South China, in Guangdong province. Later, the construction of the Canadian Pacific Railway would continue to bring Chinese workers. It was mostly men who immigrated, but if they could make enough money, they would send for their family.
Initially a collection of crude wooden huts, Victoria's Chinatown rapidly evolved into a dense neighborhood of businesses, movie theaters, schools, churches, temples and a hospital. It did gain a dark, seedy reputation however, because of opium factories, gambling dens and brothels. Chinatown grew steadily over the years until its peak in 1911, when it occupied an area of about six city blocks in the north end of downtown Victoria. This area included two blocks of Herald Street, two blocks of Fisgard Street, and two blocks of old Cormorant Street. The block between Store Street and Government Street has since been renamed Pandora Street, and the block between Government Street and Douglas Street is now part of Centennial Square.
In 1911, Victoria's Chinatown housed 3,158 people, almost more than the entire population of downtown Victoria (including Chinatown and Harris Green) in 2001. From the late nineteenth century to the first decade of the twentieth century, it was the largest Chinese settlement in Canada.
Victoria's Chinatown suffered a period of decline between the 1920s and the 1970s, shrinking dramatically both in size and in population. In the 1980s, significant revitalization efforts were undertaken, most notably the construction of the Gate of Harmonious Interest on Fisgard Street (at Government Street). Ongoing revitalization over the years has included the introduction of coffee shops, cafes, studios, and workshops, as well as a small condominium development in Dragon Alley.
Today's Chinatown.
Victoria's revitalized Chinatown is a popular area for tourists as well as for the artistic community. The focus is the 500–600 block of Fisgard Street, including famously narrow Fan Tan Alley, the old Chinese School and a small selection of historic buildings and Chinese businesses. Many historic buildings have been well preserved in Chinatown and also in the larger area it once occupied along Government Street, Herald Street, Store Street, and Pandora Avenue. The modern Chinatown continues to be a key component of Downtown Victoria with its many tourist attractions, hotels, bars, restaurants, movie theaters, services, and shopping areas. The district was designated a National Historic Site of Canada in 1995. It was considered as potential addition to Canada's Tentative List of nominations to become a World Heritage Site, but has yet to be nominated.
Some of the tourist attractions of Chinatown are the previously mentioned Fan Tan Alley (originally a private walkway, now home to offices and retail shops), and its ornate gate, The "Gate of Harmonious Interest". The stone lions that are part of the gate were built in Suzhou (Soochow), one of Victoria's sister cities.
Many of Chinatown's most historical and important places are out of public view, like the Tam Kung Chinese Temple, which is the oldest of its kind in Canada.


Drumma Boy production discography

The following is a list of songs produced, co-produced and remixed by American record producer, Drumma Boy.
Production credits.
TBA.
Project Pat - Cheez N Dope 4
Others.
Allie Baby - "Study Hall"


List of New York State Historic Markers in Onondaga County, New York

This is a list of New York State Historic Markers in Onondaga County, New York.


Beattie

Beattie is a Scottish surname, meaning "one who held land on condition of supplying food to those billeted on him by the chief"; "public victualler".


Jonathan Dayton and Valerie Faris videography


Odissi

Odishee (Odia: ), also referred to as Odishee in older literature, is a major ancient Indian classical dance that originated in the Hindu temples of Odisha – an eastern coastal state of India. Odishee, in its history, was performed predominantly by women, and expressed religious stories and spiritual ideas, particularly of Vaishnavism (Vishnu as Jagannatha). Odishee performances have also expressed ideas of other traditions such as those related to Hindu gods Shiva and Surya, as well as Hindu goddesses (Shaktism).
The theoretical foundations of Odishee trace to the ancient Sanskrit text "Natya Shastra", its existence in antiquity evidenced by the dance poses in the sculptures of Odishee Hindu temples, and archeological sites related to Hinduism, Buddhism and Jainism. It was suppressed under the British Rule. The suppression was protested by the Indians, followed by its revival, reconstruction and expansion since India gained independence from the colonial rule.
Odishee is traditionally a dance-drama genre of performance art, where the artist(s) and musicians play out a mythical story, a spiritual message or devotional poem from the Hindu texts, using symbolic costumes, body movement, "abhinaya" (expressions) and "mudras" (gestures and sign language) set out in ancient Sanskrit literature. Classical Odia literature & the Gitagovinda set to traditional Odishee music are used for the "abhinaya". Odishee is learnt and performed as a composite of basic dance motif called the "Bhangas" (symmetric body bends, stance). It involves lower (footwork), mid (torso) and upper (hand and head) as three sources of perfecting expression and audience engagement with geometric symmetry and rhythmic musical resonance. An Odishee performance repertoire includes invocation, "nritta" (pure dance), "nritya" (expressive dance), "natya" (dance drama) and "moksha" (dance climax connoting freedom of the soul and spiritual release).
Traditional Odishee exists in two major styles, the first perfected by women and focussed on solemn, spiritual temple dance ("maharis"); the second perfected by boys dressed as girls ("gotipuas") which diversified to include athletic and acrobatic moves, and were performed from festive occasions in temples to general folksy entertainment. Modern Odishee productions by Indian artists have presented a diverse range of experimental ideas, culture fusion, themes and plays.
Odishee was the only Indian dance form present in Michael Jackson's 1991 hit single Black or White.
History.
The foundations of Odishee are found in "Natya Shastra", the ancient Hindu Sanskrit text of performance arts. The basic dance units described in Natyashastra, all 108 of them, are identical to those in Odishee.
"Natya Shastra" is attributed to the ancient scholar Bharata Muni, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters. The text, states Natalia Lidova, describes the theory of Tāṇḍava dance (Shiva), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances. Dance and performance arts, states this ancient text, are a form of expression of spiritual ideas, virtues and the essence of scriptures. The Natya Shastra refers to four "vrittis" (methods of expressive delivery) in vogue – "Avanti", "Dakshinatya", "Panchali" and "Odra-Magadhi"; of these, the "Odra" refers to Odisha.
More direct historical evidence of dance and music as an ancient performance art are found in archaeological sites such as caves and in temple carvings of Bhubaneswar, Konark and Puri. The Manchapuri cave in Udayagiri shows carvings of and musicians, and this has been dated to the time of Jain king Kharavela in the first or second century BCE. The Hathigumpha inscriptions, also dated to the same ruler, mention music and dance:
(he [the king]) versed in the science of the "Gandharvas" (i.e., music), entertains the capital with the exhibition of "dapa", dancing, singing and instrumental music and by causing to be held festivities and assemblies (samajas)...
— "Hathigumpha inscription, Line 5", ~ 2nd-1st century BCE
The musical tradition of Odisha also has ancient roots. Archeologists have reported the discovery of 20-key, carefully shaped polished basalt lithophone in Sankarjang, the highlands of Odisha, which is dated to about 1000 BCE.
Medieval era.
The Hindu, Jain and Buddhist archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odishee-like postures. Historical evidence, states Alexandra Carter, shows that Odishee "Maharis" (Hindu temple dancers) and dance halls architecture ("nata-mandap") were in vogue at least by the 9th century CE.
According to Kapila Vatsyayan, the "Kalpasutra" of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses – such as the "Samapada", the "Tribhangi" and the "Chuaka" of Odishee. This, states Vatsyayan, suggests that Odishee was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text. However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the "Abhinaya Chandrika" and "Abhinaya Darpana" provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanãs mentioned in "NãtyaShãstra". Similarly, the illustrated Hindu text on temple architecture from Odisha, the "Shilpaprakãsha", deals with Odia architecture and sculpture, and includes Odishee postures.
Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odishee dance. This is evidenced in Jagannatha temple in Puri, as well as other temples of Vaishnavism, Shaibism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.
The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired "Gitagovinda" by 12th century Jayadeva influenced the focus and growth of modern Odishee. Odishee was performed in the temples by the dancers called "Maharis", who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services.
Mughal and British period.
After 12th-century, Odia temples, monasteries and nearby institutions such as the Puspagiri in eastern Indian subcontinent came under waves of attacks and ransacking by Muslim armies, a turmoil that impacted all arts and eroded the freedoms previously enjoyed by performance artists. The official records of Sultan Firuz Shah Tughlaq's invasion in Odisha (13601361 CE), for example, describe the destruction of the Jagannath temple as well as numerous other temples, defacing of dancing statues, and ruining of dance halls. This led to a broad decline in Odishee and other religious arts, but there were some benevolent rulers in this period who supported arts particularly through performances at courts. During the Sultanate and Mughal era of India, the temple dancers were moved to entertain the Sultan's family and courts. They became associated with concubinage to the nobility.
The Odishee dance likely expanded in the 17th century, states Alexandra Carter, under King Ramachandradeva's patronage. This expansion integrated martial arts ("akhanda") and athletics into Odishee dance, by engaging boys and youth called "Gotipuas", as a means to physically train the young for the military and to resist foreign invasions. According to Ragini Devi, historical evidence suggests that the "Gotipuas" tradition was known and nurtured in the 14th century, by Raja of Khordha.
During the British Raj, the officials of the colonial government ridiculed the temple traditions, while Christian missionaries launched a sustained attack on the moral outrage of sensuousness of Odishee and other Hindu temple dance arts. In 1872, a British civil servant named William Hunter watched a performance at the Jagannatha temple in Puri, then wrote, "Indecent ceremonies disgraced the ritual, and dancing girls with rolling eyes put the modest worshipper to the blush...", and then attacked them as idol-worshipping prostitutes who expressed their devotion with "airy gyrations".
Christian missionaries launched the "anti-dance movement" in 1892, to ban all such dance forms. The dancers were dehumanized and stigmatized as prostitutes during the British period. In 1910, the British colonial government in India banned temple dancing, and the dance artists were reduced to abject poverty from the lack of any financial support for performance arts, combined with stereotyping stigma.
Post-independence.
The temple dance ban and the cultural discrimination during the colonial rule marshaled a movement by Hindus to question the stereotypes and to revive the regional arts of India, including Odishee. Due to these efforts, the classical Indian dances witnessed a period of renaissance and reconstruction, which gained momentum particularly after Indians gained their freedom from colonialism.
Odishee, along with several other major Indian dances gained recognition after efforts by many scholars and performers in the 1950s, particularly by Kavichandra Kalicharan Pattanayak, an Odia poet, dramatist and researcher. Pattanayak is also credited with naming the dance form as "Odishee".
Repertoire.
Odissi, in the classical and medieval period has been, a team dance founded on Hindu texts. This drama-dance involved women ("Maharis") enacting a spiritual poem or a religious story either in the inner sanctum of a Hindu temple, or in the "Natamandira" attached to the temple. The Odissi performing "Maharis" combined pure dance with expression, to play out and communicate the underlying text through "abhinaya" (gestures). The performance art evolved to include another aspect, wherein teams of boys – dressed as girls – called "Gotipuas" expanded the Odissi repertoire, such as by adding acrobatics and athletic moves, and they performed both near the temples and open fairs for general folksy entertainment. In the Indian tradition, many of the accomplished "gotipuas" became the gurus (teachers) in their adulthood. Modern Odissi is a diversified performance art, men have joined the women, and its reconstruction since the 1950s have added new plays and aspects of other Indian dances.
Love is a universal theme and one of the paradigmatic values in Indian religions. This theme is expressed through sensuous love poems and metaphors of sexual union in Krishna-related literature, and as longing eros ("Shringara") in its dance arts such as in Odissi, from the early times. Hinduism, states Judith Hanna, encourages the artist to "strive to suggest, reveal or re-create the infinite, divine self", and art is considered as "the supreme means of realizing the Universal Being". Physical intimacy is not something considered as a reason for shame, rather considered a form of celebration and worship, where the saint is the lover and the lover is the saint. This aspect of Odissi dancing has been subdued in the modern post-colonial reconstructions, states Alexandra Carter, and the emphasis has expanded to "expressions of personal artistic excellence as ritualized spiritual articulations".
The traditional Odissi repertoire, like all classical Indian dances, includes "Nritta" (pure dance, solo), "Nritya" (dance with emotions, solo) and "Natya" (dramatic dance, group). These three performance aspects of Odissi are described and illustrated in the foundational Hindu texts, particularly the "Natya Shastra", "Abhinaya Darpana" and the 16th-century "Abhinaya Chandrika" by Maheshwara Mahapatra of Odisha.
Odissi dance can be accompanied by both northern Indian (Hindustani) and southern Indian (Carnatic) music, though mainly, recitals are in Odia and Sanskrit language in the Odissi Music tradition.
Sequence.
Traditional Odissi repertoire sequence starts with an invocation called "Mangalacharana". A "shloka" (hymn) in praise of a God or Goddess is sung, such as to Jagannath (an avatar of Vishnu), the meaning of which is expressed through dance. Mangalacharana is followed by "Pushpanjali" (offering of flowers) and "Bhumi Pranam" (salutation to mother earth). The invocation also includes "Trikhandi Pranam" or the three-fold salutation – to the Devas (gods), to the Gurus (teachers) and to the Lokas or Rasikas (fellow dancers and audience).
The next sequential step in an Odissi performance is "Batu", also known as "Battu Nrutya" or "Sthayee Nrutya" or "Batuka Bhairava". It is a fast pace, pure dance ("nritta") performed in the honor of Shiva. There is no song or recitation accompanying this part of the dance, just rhythmic music. This pure dance sequence in Odissi builds up to a Pallavi which is often slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end.
The "nritya" follows next, and consists of "Abhinaya", or an expressional dance which is an enactment of a song or poetry. The dancer(s) communicate the story in a sign language, using "mudras" (hand gestures), "bhavas" (enacting mood, emotions), eye and body movement. The dance is fluid, graceful and sensual. Abhinaya in Odissi is performed to verses recited in Sanskrit or Odia language. Most common are Abhinayas on "Oriya songs" or "Sanskrit Ashthapadis" or "Sanskrit stutis" like "Dasavatar Stotram" (depicting the ten incarnations of Lord Vishnu) or "Ardhanari Stotram" (half man, half woman form of the divine). Many regionally performed Abhinaya compositions are based on the Radha-Krishna theme. The Astapadis of the Radha-Krishna love poem "Gita Govinda" written by Jayadeva are usually performed in Odisha, as part of the dance repertoire.
The "natya" part, or dance drama, is next in sequence. Usually Hindu mythologies, epics and legendary dramas are chosen as themes.
A distinctive part of the Odissi tradition is the inclusion of "Moksha" (or "Mokshya") finale in the performance sequence. This the concluding item of a recital. Moksha in Hindu traditions means “spiritual liberation”. This dance movement traditionally attempts to convey a sense of spiritual release and soul liberation, soaring into the realm of pure aesthetics. Movement and pose merge in a fast pace pure dance climax.
Basic moves and mudras.
The basic unit of Odissi are called "bhangas". These are made up of eight "belis", or body positions and movements, combined in many varieties. Motion is "uthas" (rising or up), "baithas" (sitting or down) or "sthankas" (standing). The gaits or movement on the dance floor is called "chaalis", with movement tempo linked to emotions according to the classical Sanskrit texts. Thus, for example, "burhas" or quick pace suggest excitement, while a slow confused pace suggests dejection. For aesthetics, movement is centered on a core, a point in space or floor, and each dancer has her imaginary square of space, with spins and expression held within it. The foot movement or "pada bhedas" too have basic dance units, and Odissi has six of these, in contrast to four found in most classical Indian dances.
The three primary dance positions in Odissi are:
"Mudras" or "Hastas" are hand gestures which are used to express the meaning of a given act. Like all classical dances of India, the aim of Odissi is in part to convey emotions, mood and inner feelings in the story by appropriate hand and facial gestures. There are 63 "Hastas" in modern Odissi dance, and these have the same names or structure as those in the pan-Indian Hindu texts, but most closely matching those in the "Abhinaya Chandrika". These are subdivided into three, according to the traditional texts:
The Mudra system is derived from the "Abhinaya Darpana" by Nandikeshavara and the ancient "Natya Shastra" of Bharata Muni.
Costumes.
The Odissi dancers are colorfully dressed with makeup and jewellery. The Saree worn by Odissi dancers are brightly coloured, and usually of local silk ("Pattasari"). It is worn with pleats, or may have a pleat tailor stitched in front, to allow maximum flexibility during the footwork. These sarees have traditional prints of Odisha with regional designs and embellishments, and may be the Sambalpuri Saree and Bomkai Saree.
The jewellery includes silver pieces, a metal favored in regional tradition. The hair is tied up, and typically drawn into an elaborate bun resembling a Hindu temple spire, and decorated with "Seenthi". Their hairstyle may contain a moon shaped crest of white flowers, or a reed crown called "Mukoot" with peacock feathers (symbolism for Lord Krishna). The dancers forehead is marked with "Tikka", and adorned with various jewelry such as the "Allaka" (head piece on which the tikka hangs). The eyes are ringed with Kajal (black eyeliner).
Ear covers called "Kapa" or ear rings decorate the sides of the head, while necklace adorns the neck. The dancer wears a pair of armlets also called "Bahichudi" or "Bajuband", on the upper arm. The wrist is covered with "Kankana" (bangles). At the waist they wear an elaborate belt which ties down one end of the Sari. The ankles are decorated with a leather piece on top of which are bells ("ghungroo"). The dancer's palms and soles may be painted with red coloured dye called the "Alta".
Modern Odissi male performers wear "dhoti" – a broadcloth tied around waist, pleated for movement, and tucked between legs; usually extends to knee or lower. Upper body is bare chested, and a long thin folded translucent sheet wrapping over one shoulder and usually tucked below a wide belt.
Music and instruments.
Odissi dance is accompanied by the traditional classical music of the state of Odisha, Odissi music. The primary Odissi ragas are "Kalyana", "Nata", "Shree Gowda", "Baradi", "Panchama", "Dhanashri", "Karnata", "Bhairavee" and "Shokabaradi".
Odissi dance, states Ragini Devi, is a form of "visualized music", wherein the "Ragas" and "Raginis", respectively the primary and secondary musical modes, are integrated by the musicians and interpreted through the dancer. Each note is a means, has a purpose and with a mood in classical Indian music, which Odissi accompanies to express sentiments in a song through "Parija". This is true whether the performance is formal, or less formal as in "Nartana" and "Natangi" used during festive occasions and the folksy celebration of life.
An Odissi troupe comes with musicians and musical instruments. The orchestra consists of various regional musical instruments, such as the "Mardala" (barrel drum), harmonium, flute, sitar, violin, cymbals held in fingers and others.
Styles.
The Odissi tradition existed in three schools: "Mahari, Nartaki", and "Gotipua":
Schools, training and recognition.
Odissi maestros and performers.
Kelucharan Mohapatra, Gangadhar Pradhan, Pankaj Charan Das, Deba Prasad Das and Raghunath Dutta were the four major gurus who revived Odissi in the late forties and early fifties. Sanjukta Panigrahi was a leading disciple of Kelucharan Mohapatra who popularized Odissi by performing in India and abroad. In the mid-sixties, three other disciples of Kelucharan Mohapatra, Kumkum Mohanty and Sonal Mansingh, were known for their performances in India and abroad. Laximipriya Mohapatra performed a piece of Odissi abhinaya in the Annapurna Theatre in Cuttack in 1948, a show upheld as the first classical Odissi dance performance after its contemporary revival. Guru Mayadhar Raut played a pivotal role in giving Odissi dance its classical status. He introduced "Mudra Vinyoga" in 1955 and "Sancharibhava" in the Odissi dance items, and portrayed "Shringara Rasa" in "Gita Govinda Ashthapadis". His notable compositions include "Pashyati Dishi Dishi" and "Priya Charu Shile", composed in 1961. Odissi and Kathak exponent and researcher Parwati Dutta has contributed towards research and revival of lesser-known or lost aspects of Odissi like Odissi Taal system, Vadya Pallavi , Buddhist and Shaiva period Odissi. She has also pioneered in introducing and nurturing Odissi in Marathwada region of Maharashtra, India through Mahagami Gurukul and has introduced a complete module of learning by combining the Dance-Gurukul with a school and a University so as to cater to a range of learners and aspirants.
In the evolution of Odissi Dance from its traditional format to contemporary shape, Kasturi Pattanaik, a leading exponent of Odissi Dance, has played a major role. Through her new creations in Odissi Dance, she has left deep artistic impact in the evolution and growth of Odissi Dance. She has introduced new concepts, new techniques and new themes in Odissi Dance repertory. Her choreographies provided linkages with the evolution of Odissi Dance from its formative Mahari, Gotipua to its current version. Being an accomplished Odissi musician, she has a distinct contribution in integrating the pure Odissi music in Odissi Dance, thereby enhancing the classicality of Odissi Dance in its contemporary format.
Schools.
Srjan (Guru Kelucharan Mohapatra Odissi Nrityabasa) is a premier Odissi dance school & training institution founded by Guru Kelucharan Mohapatra in Bhubaneswar, Odisha in 1993. Now run by his son & disciple, Guru Ratikant Mohapatra, Srjan is committed to preserving and popularizing the rich culture of Odissi by maintaining high standards of performance & professionalism. Regular dance classes for local students & special classes for foreigners are augmented by summer workshops, performances, new choreographies & dance and music Guru Kelucharan Mohapatra Award festival organizing since 1995.
MOPA (Masako Ono Performing Arts) was established in 2010 by International Odissi dancer Masako Ono. Masako started dancing at the age of 4 and in 1996 she joined NRITYAGRAM, the dance village started by the noted Odissi dancer, late PROTIMA GAURI BEDI, and won a scholarship for her studies. Subsequently, she has been living in Orissa where she received further training in Odissi from GURU KELUCHARAN MOHAPATRA and many more. She is the only Japanese Odissi dancer, an empanelled Artist of ICCR, Indian Council for Cultural Relations, Govt. of India. She has been selected as one of the 100 most respected Japanese in the world by the Newsweek Japan in 2008.
IIT Bhubaneswar.
Odissi has been included in Indian Institute of Technology Bhubaneswar's BTech syllabus since 2015 as the first Indian national technical institute to introduce any classical dance in syllabus.
In Guinness World records.
Guinness World Records has acknowledged the feat of the largest congregation of Odissi dancers in a single event. 555 Odissi dancers performed at the event hosted on 23 December 2011, in the Kalinga stadium, Bhubaneswar, Odisha. The dancers performed the "Mangalacharan, Battu, Pallavi, Abhinay" and "Mokshya" dance items from the Odissi repertoire.
More than 1000 Odissi dancers performed at the World Cultural Festival March 12, 2016. This is till date the largest congregation of Odissi dancers in a single event.
Odissi Centre at Oxford University.
An Odissi dance centre has been opened from January, 2016, at the University of Oxford. Known as Oxford Odissi Centre, it is an initiative of the Odissi dancer and choreographer Baisali Mohanty who is also a post-graduate scholar at the University of Oxford.
Beside holding regular Odissi dance classes at its institution, the Oxford Odissi Centre also conducts Odissi dance workshops at other academic institutions in the United Kingdom.
University Degrees and Gurukul Training in Odissi
MAHAGAMI GURUKUL has been offering training in Guru-Shishya tradition in Odissi since 1996 and is the first in Maharashtra state in India to offer University Degree programs in Odissi. MAHAGAMI is led by eminent Odissi and Kathak artiste Parwati Dutta who is Director of the Gurukul and Dean of MGM University, Performing Arts Faculty.


Gevolt

Gevolt is an Israeli metal band, founded in 2001. The band is known as the pioneers of Yiddish metal. They were the first band who combined traditional Yiddish music with metal.
History.
The band was formed in Israel in 2001 by Anatholy Bonder (vocals), Yevgeny Kushnir (guitars), Oleg Szumski (drums) and Max Mann (bass guitars).
In 2005 Marina Klionski (violins) joined.
In 2006, Gevolt self-released their debut full-length album "Sidur" in Russian language.
After the release Oleg Szumski left the band and was replaced by Vadim Weinstein, and Dmitry Lifshitz (synths) joined the band.
Gevolt started recording of their second album in 2005, and released the 2-track promo single "Yiddish Metal" in 2007.
In this single the band changed their concept and started singing in Yiddish, covering classic Yiddish songs.
In 2008 "Sidur" had a US/Canadian re-release by Renaissance Records/Koch Entertainment Distribution.
At the same time Marina Klionski left the band and Gevolt had two violinists, Anna Agre and Eva Yefremov. Anna Agre left the band after a year.
In 2009, Yevgeny Kushnir left the band and was replaced by Michael Gimmervert.
In 2010, Max Mann left and was replaced by Mark Lekhovitser.
In February 2011, Gevolt released their second full length album, "AlefBase". "AlefBase", the first metal album fully with Yiddish lyrics, was released to positive reception and received media coverage in "Die Welt", "Jerusalem Post", and "The Forward".
In 2012, Mark Lekhovitser left Gevolt.
In 2013, Michael Gimmervert left the band and new guitar and bass players Vadim Raitses and Anton Skorohodov joined.
In 2013 the band performed at Folk-Fest Israel on one stage with Korpiklaani and Týr.
Gevolt released a Nu Klezmer Metal single "Khokhotshet" was released in March 2015.
Vadim Raitses and Anton Skorohodov left after releasing the single "Khokhotshet" in 2015.
In 2016, Gevolt had a mini tour in China where it performed in two major events, Taihu Midi Festival and Dream Sonic Festival. For this tour the band formed a new line up with the return of Michael Gimmervert and including Alex Zvulun (Bass), Marianne Tur (Violin), and Dror Goldstein (Drums).


Seufzer-Galopp

Seufzer-Galopp ("Sighing"), opus 9, is a galop composed by Johann Strauss I. It first appeared in print in December 1828. It was written during the years in which Josef Lanner and Strauss for the moment competed with each other with an ensemble of a handful of musicians, each at the head of a small band.


Michael Lindsay-Hogg videography


Anglo-Danes


Orion (Lacoste)

Orion is an opera by the French composer Louis Lacoste on a libretto by Joseph de Lafont and Simon-Joseph Pellegrin. It was first performed at the Paris Opera (at the time known as "Académie royale de Musique") on 19 February 1728 and was performed for the last time on 12 March 1728. The reduced score was printed "in quarto" by Christophe Ballard. "Orion" only received a modest success and was never staged nor performed again for another season. However, extracts have already been played by the ensemble Fuoco e Cenere in 2019.
A libretto by La Font, "Hypermnestre", won considerable success in 1716 with the music of Charles-Hubert Gervais. Pellegrin has made himself known in 1713 with the tragédie lyrique "Médée & Jason" (music by François-Joseph Salomon) but his most brilliant success would be "Jephté" in 1732 (music by Michel Pignolet de Montéclair), followed by "Hippolyte & Aricie" in 1733 (music by Jean-Philippe Rameau). La Font died in 1725 before the completion of "Orion"'s libretto, which Pellegrin took care of. It was the second and final collaboration between Lacoste and Pellegrin, the first was "Télégone" (1725).
Mythology.
The plot is based on the ancient myth of Orion. A son of Neptune and Euryale, daughter of Minos, he was born in Boeotia. This handsome giant was on the island of Chios when he fell in love with Merope, daughter of Oenopion. That king promised her to him in condition that he gets rid of the wildlife from his island. Orion fulfilled the request but the king rejects his promise. Thus, Orion tried one night to rape Merope and was punished by her father by being blinded. It was only thanks to the blacksmith Cedalion that Orion regained his sight.
The goddess Diana managed to convince him to become her hunting partner. Apollo, fearing that his chaste sister might fall in love with Orion, sent a monstruous scorpion to kill him. Orion plunged into the sea to swim to Delos. However, Apollo designated the swimming giant to Diana as Candaon, a wicked monster who seduced Opis, one of her hyperborean nymphs. Unbeknownst to the goddess, Candaon was Orion's name in Boeotia and so she struck him down with one of her arrows.
When she realised what she's done, Diana implored the gods to revive Orion. Jupiter, unfazed by her wish, torched his body with lightning before he could be resuscitated. Thus, Orion was placed among the stars as a constellation. In other versions of the myth, he was killed due to either loving Diana or trying to rape Opis.
Before Lacoste's "Orion", this myth was already adapted to the opera genre. Known examples include Francesco Cavalli's dramma per musica "L'Orione" (1653), Christian Ludwig Boxberg's "Orion" (1697) and Gottfried Heinrich Stölzel's "Orion" (1713).
Plot.
Joseph de La Font left the libretto unfinished with its first three acts, to which Simon-Joseph Pellegrin added the prologue and the last two acts. Lafont makes Orion a follower of Diana, who was banished from her presence after the hunter offended her with his love for her. He was pardoned by saving Alphisa (named "Opis" in the mythology), a nymph of Diana. Orion and Alphisa love each other but Diana, this time in love with Orion, opposes to their union.
Prologue.
"The Theater represents the avenues of Cythera, where the Arts finish raising a Throne for Cupid"
Venus calls for Lovers, Pleasures, Graces and Arts to honor Cupid (“"Hâtez-vous, préparez ces lieux"”) (1). Other deities descend, ballet for Jupiter and Cupid (2). Minerva approves that her followers be subjected to Love. Behind the theater, Diana's followers declare war on Cupid. Venus and her son swear revenge against Diana (""Que ce superbe cœur...") (3).
Act I.
"The Theater represents a Countryside, covered with Flowers; we see the Statue of Memnon, turned towards the East; The city of Thebes is revealed. Orion is lying on a bed of greenery in his Hunter outfit, his Bow & his Arrows at his feet."
Palemon discovers Orion agitated by a dream. Orion tells him that he saw in his dream his beloved nymph threatened by Diana ("Je goûtais le repos...") (1). Pallantus, from Scythia, enters and declares to Orion that he is in love with a nymph of Diane and that the goddess, forced by fate, must today grant her nymphs the opportunity to choose a husband. Orion tells him about his dream and informs him that the statue of Memnon, the son of Aurora, animated by the return of his mother, will shed light on their fate (2). Phosphorus comes with Thebans and asks them to pay homage to Memnon ("Joignez les Tambours"), ballet (3). Aurora descends and calls on the oracle of her son (4). Memnon informs Orion and Pallantus that one of them will be blessed with immortal glory and that the other one will perish (5).
Act II.
"The Theater represents a Forest."
Orion expresses heartwrenching horror in regards to the oracle of Memnon and the dream he made ("Pourquoi, faut-il, hélas !..."). The horns signal Diana's approach (1). Orion sees Alphisa, the nymph he met in his dream, looking for Diane with whom she is hunting a monster. The latter appears and attacks Alphisa but is defeated by Orion. The hunter declares his love for Alphisa but she rejjects him (2). Diana comes and discovers that Orion saved Alphisa. After the nymph has left, she gives thanks to him and invites her to celebrate her triumph ("J'ai triomphé d'un Monstre affreux"), ballet (3). Pallantus is seen by Diana. Orion explains that he has come to find the nymph that he adores. Pallantus then confesses to Diane that he would like to have the love of Alphisa. Orion is struck by this confession while Diane consents to his love (4).
Act III.
"The Theater represents the opening of the Nile: this River is surrounded by Rocks."
Alphisa who believes that Diana still disdains Orion, expresses her love for the latter despite her duty as a nymph ("Qu'ai-je entendu ?..."") (1). Orion arrives and announces that "a King" loves her. The nymph reminds him of his former love for Diana and doubts that Orion can love her. She finally gives in and confesses her mutual love to him. Orion assures that Diana will be favorable to their union (2). Alphisa goes out. Orion, torn between friendship and love, decides to betray Pallantus. (3). Exit of Orion and entry of Diana. The troubled goddess feels subjected to the powers of Cupid (""Vas-tu m'abandonner...") (4). Alphisa enters. Diana confesses to the nymph that she is in love with a mortal and tells her that Orion has told her about her love for someone, which she is in favor of. Alphisa, believing that Diana wants to grant her Orion, accepts Diana's proposition. She is struck by surprise when she learns that it is Pallantus (5). Left alone, Alphisa has no doubt that the mortal that Diane loves is Orion and laments ("Objet de tous mes vœux...") (6). Pallantus arrives and tries to court the nymph (7). Scythian ballet for Alphisa. Alphisa goes out to join Diana. Pallantus informs her that a party is being prepared for their marriage (8).
Act IV.
"The Theater represents the Temple of Diana: We can see the attributes of the Goddess & those of Cupid, combined together: a Throne is raised in the middle."
Orion regrets having supported Pallantus' love while he prepares the marriage of his rival with Alphisa ("Que tu me fais souffrir...") (1). Alphisa enters, she informs him that Diana loves him. Orion is shocked and confesses to her that he helped Pallantus to confess his love. The two lovers hope that Cupid will be supportive of their forbidden relationship ("Vole, Amour, viens nous secourir"") (2). Alphisa exits. Diana enters and announces to Orion that she is no longer opposed to his love. Orion pretends to not understand her. Offended, Diana orders him to go out whilst hiding her sadness (3). Alone, Diana laments Orion's indifference and suspects that she has a rival (“"Fatal Auteur de mes alarmes") (4). Pallantus, Orion, shepherds and nymphs enter and celebrate the wedding organized by Diana, ballet. Alphisa refuses to marry Pallantus by saying that she wishes to stay with the goddess. Diana orders everyone to leave but retains Alphisa (5). She is not fooled and reveals to the nymph that she is aware of her love with Orion through the gazes that they exchanged during the party. Thus, she orders Alphisa to marry Pallantus or to be sacrificed ("Tremblez, l'Amour jaloux...") (6).
Act V.
"The Theater in the following Act represents the interior part of the Temple of Diana. We see there an erected Altar, on which we put on one side, the torch of the god Hymen; & on the other, a deadly knife. "
Diana declares her revenge against Cupid and only lets Hatres fill her heart ("Amour, redoutable vainqueur") (1). Orion discovers the altar Alphisa's sacrifice. Diana swears to kill her and Orion swears to defy the goddess to save his beloved (2) ("Transports de haine & de rage"). Enter Alphisa and Pallantus. Diana orders the nymph to make her choice. Alphisa decides to kill herself but Pallantus snatches the knife from her and sacrifices himself (3). The goddess is horrified and touched by the death of Pallantus and thus realises her cruelty. She reunites Orion and Alphisa and renounces her unrequited love ("L'Amour m'a soumise à sa loi""). Alphisa honors the glory of Diana and Orion orders the Thebans to celebrate his triumph aswel as Diana and Cupid's (4). Ballet of Thebans and Nymphs. Diane calls on Hymen to descend (5). Hymen descends and the characters celebrate the wedding of Alphisa and Orion who receive their apotheosis as constellations in the sky (6).
Conditions of performance and critical reception.
First scheduled for February 17, 1728, the first performance of "Orion" at the Opera took place on February 19. During the premiere, "the Assembly was very crowded and quite tumultuous." The theater was no less full during the performances that followed. However, they were quieter.
"Orion" finished its run on March 12 of the same year, after its fourteenth performance. It was replaced with "Bellérophon" by Jean-Baptiste Lully. The Prince of Monaco Antoine Ier evoked the failure of "Orion" in a note addressed to the Marquis of Grimaldi: "It pleases me to hear from you that the actors of the Opera are patching things up, and that we will compensate the public for the failure of "Orion" with "Bellérophon", since Lully is always needed in such an occasion."
Music and libretto
Some vocal pieces were applauded, such as the duet between Orion and Alphisa (""Vole, Amour, viens nous secourir", Act IV, Scene 2) and the one between Orion and Diana ("Transports de haine & de rage"", Act V, Scene 2), which was “the greatest beauty” of the scene. The scene 5 of Act III in which Diana reveals to Alphisa that she's in love with Orion was hailed as "one of the most well written" scenes of the opera.
The libretto by Lafont and Pellegrin received mixed reviews and two opposing camps were formed. Their debate revolved around:
Staging and choreography
The scenery of Act III had greatly pleased the spectators: The cascade which formed the fall of the Nile was "very ingeniously invented" and the sky, painted manually entirely by Giovanni Niccolò Servandoni, was highly applauded. The decoration of the temple of Diana was already used in 1726 for the palace of Ninus in "Pyrame & Thisbé" by François Francœur and François Rebel. It was "more beautiful than ever".
The ballet, choreographed by Louis Pécour (who died a year after "Orion"'s performances), was much appreciated. The "pas de trois" danced by Marie-Anne de Camargo and her two colleagues Michel Blondy and Antoine Bandieri de Laval in act III were particularly noticed.
Literary analysis.
Thematic.
A durable tradition.
 "Orion"'s libretto has a typical plot of a tragédie lyrique:
Two young protagonists love each other (Orion and Alphisa). However, they both have romantic rivals that act as obstacles to their romance (Diana and Pallantus), at least one of them is the main antagonist. This general structure is firmly established since the first operas of Lully, in particular:
It remains permanently in the repertoire after the death of Lully and Quinault, e.g.:
We thus find in "Orion" recurring themes in previous libretti:
The comparison with "Atys".
Orion owes much of its literary influence to "Atys". It is even relevant to say that its main characters are based on those of Quinault:
The goddess, once proud and indifferent in regards to love, also falls in love with the young man. But when she discovers that her feelings are not mutual, Diana decides to take revenge on her rival. The "Mercure de France" even noted a comparison between Diana and female antagonists of previous operas: Medea and Cybele.
Despite these great similarities, Orion can still be distinguished from "Atys" by:
- Orion and Alphisa, strangers until act II, only confirm their mutual love in act III, while Atys and Sangaride, childhood friends, confess theirs to each other in act I.
- By saving Alphisa, Orion, once rejected and banished by Diana, makes himself adored by her. On the other hand, Atys never had eyes for Cybele, who fell in love with him before the start of the opera.
- The celebratory ballet that forms the happy end of "Orion" is in opposition to the tragic end of the two lovers in "Atys".
- Instead of praising the French regent, the prologue announces the subject of the story.
- The confidants/servants and the secondary storylines, inherited from venetian operas, disappear or are reduced in favor of the main plot.
Adaptation of the myth.
Torn between two registers.
According to musicologist Cuthbert Girdlestone, the mixed reception of "Orion" was due to its dramatically inconsistent libretto: According to him, Simon-Joseph Pellegrin, who added the prologue and the acts IV and V to complete the work, combined hardly harmoniously his style and conception of the myth with Joseph de La Font's. For this, Girdlestone qualifies the subject as “without interest” and the structure as “very weak”. The musicologist Thomas Leconte furthers this idea by qualifying the first three acts as light and more suitable for a pastorale héroïque. Pellegrin's final acts, on the other hand, heighten the violence, where the inevitable loss of the young lovers can be felt.
The pastoral tone
The pastoral subject is a recurring theme in french literature between of the XVIth and the XVIIIth centuries, but was already present since the medieval period (e.g. "The Game of Robin and Marion"). Jean-Baptiste Lully's first opera also features the subject, by the insertion of secondary characters. It soon became the principal theme of an opera with the first pastorale héroïque: "Acis & Galatée" (1687). The mythological choice of Lafont gives this opera the touches of a typical pastorale héroïque:
The tragic tone
Until the end of act III, the opera is loaded with ballets and on the dramatic level, the characters evoke more the pains of love than the fatal dilemma of the work. The frightening vision of Orion and the deadly oracle of Memnon leave a less important trace in act I than the act's ballet and are rarely mentioned in acts II and III.
The fatal reminder only prominently comes back in act IV, during which the dialogue between the two lovers recalls the death of Orion or Pallantus and the violence of Diana. Diana afterwards, rejected by Orion, expresses her dilemma in "Fatal Auteur de mes alarmes" and later unleashes her fury against Alphisa to complete act IV.
The act V amplifies the darkness of the plot with Diana's anger against Cupid and her confrontation with Orion. The sacrifice of Pallantus only makes the scene more heartwrenching. Nevertheless, after Diana's remorse, the opera ends well by reuniting the two young lovers.
Dramatic treatment of the characters.
Diana
The character of Diana, introduced only in the middle of act II, is undoubtedly the most complex character. A typical example of an enchantress in love, known as a "rôle de baguette" (wand role) (e.g. Armida, Circe, Alcina), the goddess goes through episodes during which her state of mind undergoes a clear evolution in all of its polarity. It is especially in the last two acts that the character of Diana is developed.
Diana's entry into act II acts as a trigger for the ballet, which depicts the "glory" and "victory" of the goddess. Recognized for her inflexible defense against love, Diana is in act III torn between her pride and her attraction to Orion. The virgin deity feels robbed from her heart "the innocent pleasures" which define her chastity. Despite her resistance, she lets herself be overcome and swept away by love when she confides her secret to Alphisa. In act IV, Diana, believing that Orion still loves her, is now confronted with his indifference. Her disappointment with this new dilemma grows to become fury when she discovers her rival. In the final act, Diana complains of the insulting torture which Cupid subjects her to. She finally gives in to her "motions of hate and rage" and only aspires to take revenge. Nevertheless, she lets herself be moved by the sacrifice of Pallantus. Thus, Diana recognizes her loss against Cupid but regains her honor by yielding Orion to her rival: "Love has triumphed over me; I triumph over Love itself".
Alphisa
The nymph Alphisa, like the goddess Diana, was not introduced until act II where her presence was brief. Nevertheless, Lafont devotes the majority of act III to develop her character through several states of mind. Pellegrin also gives her importance in act IV.
When she met Orion, Alphisa was not charmed by the young man. She did not remain insensitive for long after he courageously saved her. The nymph refused his advances, but secretly recognized in her the love that arises: "Alas! the more I see him, the more I fear to see him". In act III, love takes hold of her against her will. Alphisa finally her love to Orion but nevertheless fears Diana. When she discovers that the goddess too is in love, Alphisa tries to keep her cool when she thought that Diana was going to grant her Orion: "I can hardly accept him; But he must be dear to me when he comes from thee". Her mood changes when the ambiguity is clarified. In her poignant monologue which follows, she echoes the verse "Mon cœur trop plein de ce que j'aime" (My heart too full of what I love) as a reference to "Bérénice" by Jean Racine: "Mon cœur trop plein de votre image".
In act IV, Orion worries about the danger of his beloved, but Alphisa convinces him to rest his faith on Cupid, which "will dictate her answer" when she will be forced to tell Diana the truth. Convinced of her death, Alphisa will answer that she wants Diana to save Orion. Her fidelity is further recalled in act V, "I cannot be with whom I love; I should only seek death".
Orion
The authors reserve to the character of Orion various dramatic moments. As the titular character, he appears in every act. Nevertheless, the development of his character is mainly done in the first two acts.
The original placement at the beginning of act I of Orion's Sleep, which alarms him with a nightmare, serves to expose the drama and build the character of a reckless and gallant young lover, typical in the genre (e.g. Cadmos, Perseus, Athamas). In act II, Orion showcases his horror at the fatal oracle of Memnon. Convinced of his death, he expresses his bravery by begging that the gods to spare the life of his lover. This heroism is physically depicted through his onscene fight against the monster to save Alphisa. Act III shows Orion's resolution to betray his friend Pallantus in favour of love.
The monologue of Orion that begins act IV marks a shift of the libretto to a darker tone, while the hunter prepares the "sad and pompous Celebration" of the marriage of his "Rival". In act V, the horror that Orion feels when looking at the altar of sacrifice is overcome by his desire to "defy even Jupiter". This aspect also appears in the title-character of "Persée" who, faced with difficult trials, confronts and triumphs over his obstacles with courage (although in the character of Perseus, courage manifests itself more by action than by speech). Thus, his ascent with Alphisa to the stars is reminiscent of that of Perseus and Andromeda's in Lully's opera.
Pallantus
The character of Pallantus, king of the Scythians, is the only character invented by the authors. The warning included in the book justifies the choice to make him king of the Scythians by the intention of putting him more out of reach for having dared to love Alphisa. In mythology, the Scythians live in a world dominated by frimats and are warriors who bear little mind to love in favor of glory. This soldier-like dimension has already been exploited in French opera (Orlando, Hercules or Tancred). Pallantus indeed represents the antithesis of this model, affirming throughout the tragedy his love for Alphisa.
Moreover, his character which was "too tender for a Scythian", coupled with his lack of or limited character dimension may relegate him to the secondary rank. Although he expressed his submission to the "victorious traits" of love in act I, it was not until the end of act III that he declared his love to Alphisa. His confession, however, was split between the nymph's dialogue with him and the ballet. During the party, the librettist entrusts the expression of love not to the king, but to a Scythian who can be considered as his double.
Until the end of act IV, the optimist king hoped to be "the happiest of Mortals". Pellegrin manages to make his character more dramatic by his sacrifice in act V, one of the touching moments of the libretto. While retaining his faithful love, Pallante finally succeeds in death to move Alphisa: "With my blood, I see your tears flowing; My fate is too happy. I die".
Literary posterity: Diana and Cupid.
The conflict between Diana and Cupid will be used again by Simon-Joseph Pellegrin in his libretto for "Hippolyte & Aricie" by Jean-Philippe Rameau. Lucian of Samosata evokes this opposition in his "Dialogues of the Gods" (IInd century CE) during a discussion between Venus and Cupid. In this dialogue, Cupid evokes his fear towards Minerva, who has "Eyes like Lightning, and wears upon her Breast a Gorgon's Head, with Snakes for Tresses, that frights me out of my Wits". Ironically, Minerva in the prologue of "Orion" is in favor of Cupid. Diana in the dialogue is mentioned as being more concerned about her love for hunting, which takes place in her forests where Cupid struggles to follow her. However, Diana shows a violent and jealous love in "Orion", justified by the librettists by quoting Noël le Comte. Indeed, the grammarian (also known as "Tyrannion the Younger") reports that Diana would have liked to marry Orion.
In "Hippolyte & Aricie", Jupiter and Cupid appear again in the prologue, with Diana as the main character. This time it's Diana's place of worship which is invaded and challenged by Cupid. The goddess implores Jupiter to support her, but as in the prologue of "Orion", he is favorable to Cupid and justifies himself with the edict of destiny. So, we find again Diana who grants her nymphs the freedom to love and the ballet dedicated to Cupid. The goddess swears to protect Hippolytus and Aricia, but refusing to "lower her pride", does not stay to observe the party. Throughout the opera, she plays the role of protector of love while remaining indifferent to that feeling.
Musical analysis.
Unlike most of his contemporaries, like Toussaint Bertin de la Doué, Charles-Hubert Gervais or André Campra, Louis de La Coste rejects Italianism in his music and pays homage to the traditional French style that Jean-Baptiste Lully upheld and monopolized. However, he reappropriates this aesthetic while deploying he originality through a "very fine and characterized" instrumental composition style throughout his career. The vocal composition in "Orion" differs from Lacoste's first four operas at the Académie de musique by being more virtuoso and lyrical (an approach that dates back to 1725 with "Télégone").
Instrumental music.
Use of traditional forms
Most of the time, "Orion"'s instrumental composition respects the conventions of a tragédie lyrique: Lacoste shows his understanding of several genres of dance to support the highly developed ballet of the opera: Sarabande, Bourrée, Menuet, Passepieds, Gigue, Chaconne, Passacaille, March.
The tonalities are simple but varied: The ballet of the prologue is bathed in two colours, one in the tones of G, the other in C major. That of act I is in the luminous tone of C major, which contrasts with the C minor of the oracle following the ballet. The contrast between homonymous tones also appears in act III by the modulation from A major to a minor in the "Chaconne". Respectively, the ballets of act II and that of act IV are generally in D major and in G minor, tones which according to Jean-Philippe Rameau are "of softness and tenderness". That of act V is entirely in F major.
The composer also uses ritornelli or preludes to introduce airs or characters. The French Overture of the opera also corresponds to the AABB-type structure of two movements: Slow (A) then fast (B).
Instrumental airs.
A varied instrumentation
Lacoste employs an instrumentation that gives the opera a rural atmosphere to match the pastoral context of the libretto. Thus, one can spot multiple uses of the oboe, particularly two in a trio ("Prélude pour Vénus" - prologue; "Marche pour Diane" - act II). The bassoon's upper register is used often as a solo timbre, distinguished from the basso continuo ("Chaconne" - act III).
The composer uses the traverso to cultivate ornate melodies to give character to the torments of Diana ("Ritournelle" - act V) or of Alphisa ("Prélude" - act III). It is also found as a solo voice with basso continuo in a more celebratory context of ""Triomphez puissante Déesse" in act V.
The natural trumpet is integrated into the prologue in the "Prélude pour Minerve", but it is especially present in the dances of act I ("Marche"; "Gigue") or in the choir "Reçois nos chants de victoire", to which timpanis are also added. We also find in act II the hunting horn which plays a theme which will be echoed frequently in the act (sort of a leitmotif).
Lacoste specifies for several pieces the use of the timbre of the violin and does not hesitate to use the mute ("Deuxième Air" - act IV). The violin is also used as the bass voice in trios, while two winds take the upper voices.
Harmonic language and melodic composition
The trio "Sommeil d'Orion" (act I) is an example of musical painting. To depict the dream, the composer entrusts the soft and reduced orchestration (traverso, violin, bassoon) a rhythmic ostinato composed of half and eighth note values. In addition, glissandi and changes in the dynamics characterize Diana's violence. Finally, to add anxiety to this figuralism, the composer spices up the orchestra with some chromaticisms (see audio).
Harmonically, "Orion" generally remains conservative and simple. Modulations commonly go towards the minor or major relative, the 5th, 4th or 2nd degree. However, Lacoste sometimes uses chromatism as well as prepared sevenths or ninths to give more expressiveness to the orchestra. These methods are more present in the accompaniment parts of vocal airs than in purely instrumental ones ("Que tu me fais souffrir"; "Fatal Auteur de mes alarmes" - act IV).
The pastoral ballet of this opera is also an opportunity to insert drone basses. From a functional point of view, we note that the bass in the air "Joignez les Tambours"" (act I) and the "Troisième Air" (act III) alternates between the harmony of the tonic and that of the dominant.
Lacoste also plays with intervals through jumps of sixths and octaves, particularly in the "Premier Air en Passacaille" (act IV). He also uses the diminished third in the bass of Memnon's oracle ""Le Destin dont je suis l'interprète" (act I) to signify death, a metaphor that Marc-Antoine Charpentier also attributes to this interval.
Prologue
Act I
Act II
Act III
Act IV
Acte V
Vocal music.
A developed demonstration of polyphonic composition
Lacoste's approach to counterpoint in the choirs of "Orion" is more developed than in the operas of Lully and his initial successors. He is not unique in this case: we can see that since the XVIIIth century, this style becomes crystallized with composers like André Campra or André Cardinal Destouches. In 1726, the arrival of François Francœur and François Rebel at the Opéra with "Pyrame & Thisbé" elevates it to a higher level. Despite the fact that all that remains to us is a reduced score, we can see that the choir "Que du nom de Diane" (act IV), establishes a melismastic dialogue between the Dessus (Soprano) and the Basse-taille (Bass) voices. These long vocalizations are also alternated with homorythmic sections, instrumental parts and a trio with the highest voices : Dessus, Dessus 2 and Haute-contre (Tenor 1).
The fact that the libretto does not offer opportunities to have male trios (Basse-taille, Taille (Tenor 2), Haute-contre) is perhaps regrettable. The duets between Pallantus and Orion in act I, combined or not with the choir, may fill that gap. In regards to the duets, we can find one for two Nymphs, homorythmic and with light accompaniment on the violin: "Sans l'indifférence" (act II).
Exacerbated vocalists
At the start of the XVIIIth century, the French public began to clearly favor vocal virtuosity in operas, which became more and more virtuosic with a penchant for Italianism. The recruited singers receive more and more vocally demanding music. For example, in 1716, during a performance of "Ajax" by Bertin de la Doué, the Haute-contre Louis/Claude Murayre sang an aria composed for the castrato Nicolini in its original tonality.
It is therefore not surprising that Lacoste gives in to this trend, although he demands much less virtuosity and neglects the Italian influence. He especially gives the opportunity to the singer Petitpas, who is distinguished by her vocal qualities, both in operatic airs or cantatas. The air "Souveraine des Bois" (act II) allows her to show off her art of ornamentation, while "Digne Sœur du Père du jour" (act II) and "Dieu d'Hymen, après mille peines" (act V) demonstrates her coloratura abilities. The main actress Marie Antier and her double Julie Eeremans also find moments to showcase their vocal skills. The first employs her lower register and several glissandos in the air "J'ai triomphé d'un Monstre affreux" (act II). The second showcases the lightness of her voice through the developed vocalizations of the air "Tout rit" and "Battez Tambours" from act I.
On the men's side, Denis-François Tribou, a traditional Haute-contre singer, receives heroic vocalizations in his recitative "Je goûtais le repos..." (act I) and the air "Fille du Dieu puissant..." (act IV). Claude Chassé also finds occasions to demonstrate his vocal range and flexibility with vocalizations and ornaments in the air "Ô Vous que le Destin..." (prologue) and "Unissez vos voix" (act III).
Lacoste also employs this slightly more melodic and virtuoso compositional style in duets, like in the duet between Orion and Alphisa "Vole, Amour..." (act IV), remarkable for its attacks in the higher register and melodies in triplet.
The art of singing in support of the art of theater
The airs that Lacoste provides to the singers also make it possible to reinforce the dramatic qualities of the characters:
As the sole Tenor of the distribution, the role of Orion receives various big and small scale vocal pieces under multiple forms: For example, the recitativo secco "Mon bonheur passe mon attente" (act III) which, by the absence of complex ornaments and the changes of metrics, is an occasion for Tribou to focus more on declaiming the text, rather than singing it. As for the accompanied air "Amour si la Beauté..." (act I) which echoes the air "Bois épais..." from "Amadis" by its AABB structure, it expresses the character's tenderness through trills or "ports de voix", which can be varied in the reprises.
The role of Diana is also musically well taken care of. Her pain is expressed in the Rondeau "Fatal Auteur de mes alarmes"" (act IV) by the intervals of sixths or fourths, violently attacked or by the metaphorical "coulés" and "chutes de voix" on the word "couler" (to flow). She also expresses her fury in her duet with Orion “"Transports de haine & de rage"” (act V), a syllabic and well-marked air, punctuated with rapid vocalizations.
The roles of Alphisa and Pallantus have fewer opportunities to express the dramatic quality of the libretto in their airs, more focused on the singing aspect. Nevertheless, through Alphisa's trills and ascending lines, Lacoste depicts her ardent love for Orion in her monologue ""Qu'ai j'entendu..." (act III) while Pallantus expresses his torment between his tenderness for the nymph through "ports de voix" and his violence against the gods through attacks in the higher register in his final recitative in act V.
Vocal airs.
Due to the reduction of the work, some vocal airs published in the score were not sung during the performances of the opera, something which the libretto testifies. The accompanied recitative "Je goûtais le repos..." and "L'effroi qu'un songe affreux m'inspire" (I, 1) and the air "Fille du Dieu puissant..." (IV, 5) of Orion, as well as the accompanied air "C'est trop à ma fierté..." (III, 5) of Diana are not listed as airs in the score, despite their distinct form.
Prologue
Act I
Act II
Act III
Act IV
Act V


Suthep Wongkamhaeng

Suthep Wongkamhaeng (, 12 May 1934 – 27 February 2020) was a Thai singer, one of the most famous male singers of the "luk krung" genre of the 1950s. He made over 3,000 recordings over a career of forty years and was named National Artist in 1990. He also worked as a columnist and politician and briefly served in the Royal Thai Air Force, reaching the rank of pilot officer.
Born in Nakhon Ratchasima Province, Suthep trained as an artist but was soon introduced to the music industry; the hit song "Rak Khun Khao Laeo" brought him fame at the age of nineteen. Widely recognized for his smooth serenading voice, he has been described as "the Frank Sinatra of Thailand".
Early life and rise to fame.
Suthep Wongkamhaeng was born on 12 May 1934, in Sung Noen District of Nakhon Ratchasima Province. He lived in an extended family, his father having abandoned them before he was born. He attended school at Marie Vithaya, Wat Samo Rai, and Sikhiu Sawadphadungwitthaya schools in Nakhon Ratchasima, before undertaking vocational training in visual arts at the Poh Chang School of Arts in Bangkok, graduating in 1950.
Suthep worked as a sign painter for about two years after graduating, until a friend invited him to voice act in a radio play he was writing. He was then introduced to composer/songwriter , and subsequently left the painting job to become Salai's apprentice. He began singing during play interludes, and became acquainted to several composers and songwriters, including , who offered Suthep his first recording opportunity with the song "Duangchai Thi Ro Khoi" (, 'Awaited Sweetheart'), and and , who wrote "Rak Khun Khao Laeo" (, 'Falling in Love with You'), the hit song that propelled Suthep to national fame in 1954, at the age of nineteen.
Career, later life and death.
Suthep enjoyed a period of great popularity, during which he made many recordings and sang live for films, television, and stage productions. However, he soon reached the age of conscription in 1955. He joined the Royal Thai Air Force, and was assigned to the Music Division, with the rank of leading aircraftman. He served his two years of conscription mostly as a singer for the Air Force's military band, and was chosen as part of a cultural exchange delegation to the People's Republic of China in 1957. However, when Sarit Thanarat took power by coup shortly after their return, the delegates became accused of being Communist supporters, and Suthep had to flee to Japan, where he attended the Tokyo University of the Arts for three years before being allowed to return and resume his singing career.
In 1967, Suthep began writing as a columnist, first about the country's music scene for "Fah Muang Thai" magazine, then expanding in 1970 to write about politics for "Thairath", "Ban Muang", "Siam Rath", and several other newspapers. When the 14 October 1973 uprising toppled the military government, he joined the New Force Party and stood for election in Bangkok's Phaya Thai District and later in his hometown, but failed to be elected both times. Following the suspension of parliament during the military government of 1976, he again stood for election in 1979, and was elected to the House of Representatives, representing Nakhon Ratchasima. He failed to be re-elected in 1983, but joined the Palang Dharma Party and successfully stood for election in 1988, representing Bangkok until the 1991 coup, after which he retired from politics.
In his personal life, Suthep married Pussadee (née Anakkhamontree) in 1967. They had one son, Ritthikrai.
Suthep remained active into his 80s, when his health deteriorated. He had a stroke in early 2019, and was admitted to Siriraj Hospital for over a month due to a blood infection. He died at home in Bangkok on 27 February 2020, aged 85.
Works and recognition.
Suthep made over 3,000 recordings of songs (5,000 by some counts) by 138 different writers over a career spanning forty years, from 1953 to 1993. He was the best known male singer (outside of the Suntaraporn band) of "luk krung" or 'urban music', a genre highly influenced by big band jazz, and has been called the "king of "luk krung"" and "the Frank Sinatra of Thailand". In addition to "Rak Khun Khao Laeo", other well known songs performed by him include "Luk Kamphra" (, 'Orphan'), "Phit Thang Rak" (, 'Wrong Way to Love'), "Thoe Yu Nai" (, 'Where Are You?'), and "Botrian Kon Wiwa" (, 'Lesson Before the Wedding'). His style of singing earned him reputation as a crooner; writer Rong Wongsawan once described his voice as smooth like "silk rubbed against beer foam". He also had acting roles in several films, and sang the title songs for many. In his retirement, he served as president of the Singers Association of Thailand.
As recognition of his contributions to the genre, Suthep was named a National Artist in performing arts (modern Thai music) in 1990. Other honours he received include five royal Golden Record awards, two Golden Radio awards, and an honorary doctorate from Ramkhamhaeng University in 2000. He was granted the military rank of pilot officer in 2005.


Diego Romero (artist)

Diego Romero (born 1964) is a Cochiti Pueblo artist living in New Mexico.
Background.
Diego Romero was born in Berkeley, California in 1964. His father is Santiago Romero, a Cochiti Pueblo Indian, and his mother is Nellie Guth, a European-American born and raised in Berkeley. Diego was also raised in Berkeley, California, but spent his childhood summers with his paternal grandparents at the pueblo in Cochiti, New Mexico. Romero's father was a traditional painter, although he had lost a hand from being wounded in the Korean War. In his youth, Diego Romero related to his tribe with difficulty. But, the Cochiti council honored him by granting him the right to occupy his grandfather's property. His brother Mateo Romero is also a notable painter. Romero's wife, Cara Romero, is a noted photographer.
Art career.
Raised in Berkeley, California, Diego Romero is a third-generation Cochiti Pueblo artist who specializes in pottery (he also does printmaking). One of his collaborators in pottery was Navajo - Hopi ceramicist Nathan Begaye (1958 - 2010).
After art school in California, Romero attended the Institute of American Indian Arts (IAIA) in Santa Fe. After one year at IAIA, he enrolled at Otis Parsons School of Design in Los Angeles, where he earned his BFA degree. He studied next at University of California, Los Angeles, where he received his MFA in 1993.
Romero's pots marry Cochiti Pueblo ceramics with his love of comic books, superheroes, mythology, and pop culture. He honors his Cochiti worldview and his ancestors' method of coiling clay but expands the tradition with imagery and painting treatments. He is a self-proclaimed "chronologist on the absurdity of human nature." He draws on prehistoric Ancestral Pueblo and Mimbres ceramics, Greek vessels, and pop culture. Romero's narratives combine humor and often-biting social commentary that communicate messages about contemporary Native American life, including difficult issues related to Native politics, history, identity, war, and alcoholism.
In the 1990s, Romero catapulted to notoriety in the American Southwest ceramics world with his "Chongo Brothers" polychromed earthenware series. A "chongo" is a Southwest Native man who wears his hair in a traditional bun. Some of the characters figured in his work reflect a Greek painting style, and portray idealized, muscular bodies. Romero's work explores gender politics, sexuality, and multifaceted identities of Native people, and all the while, relates the contemporary to the ancient.
A collection of his work toured Europe in 2006. He is represented by galleries in New York and Santa Fe, including Robert Nichols Gallery.


The Man Who Turned White

The Man Who Turned White is a 1919 American silent adventure film directed by Park Frame and starring H. B. Warner as a desert shiek. It was produced by Jesse D. Hampton Productions and distributed by Robertson-Cole Company and Exhibitors Mutual Distributing Company. It was rereleased in 1922 by Robertson-Cole.
Preservation status.
"The Man Who Turned White" is a lost film, but snippets or fragments exist at the Library of Congress.


Fatin production discography

Fatin "10" Horton, professionally known mononymously as Fatin or by his stage name 10 for the Triad (or simply 10), is an American North Carolina-based record producer affiliated with 9th Wonder's It's a Wonderful World Music Group and a member of the Soul Council production collective. He has produced songs for the likes of KRS-One, Skyzoo, Lloyd Banks, Heltah Skeltah, Jean Grae, Pharoahe Monch, Phonte, Torae and Sean Boog among others. In 2007 Horton provided additional music to the second season of adult animated sitcom "The Boondocks", and in 2014 he was a contributing music producer on the second season of adult animated sitcom "Black Dynamite".