Classical music: Was Bernard Herrmann's love theme in Alfred Hitchcock's "North by Northwest" influenced by Antonin Dvorak's "American Suite"?
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The Ear spent an interesting and enjoyable Fourth of July holiday weekend.
Two of the most enjoyable things seemed to overlap unexpectedly.
On Wednesday night, I tuned into Turner Classic Movies. That's when I watched, once again and with great pleasure, Alfred Hitchcock's masterful "North by Northwest (1959."
The next morning, on Independence Day, I tuned in to Wisconsin Public Radio and heard a lot of music by American composers and by composers who were inspired by America.
That's when I heard the "American Suite" (1895) by Czech composer Antonin Dvorak (below), who directed a conservatory in New York City and liked to spend summers in a Czech community in Spillville, Iowa, where he was captivated by American music of Native Americans and African-Americans.
What overlapped was the music, the love theme between Cary Grant and Eva Marie Saint — called "Train Conversations" — by Bernard Herrmann (below) in the film and the opening of the suite by Dvorak.
But The Ear needs a reality check: Is the Ear the only one to hear striking similarities between the two?
Take a listen to the two works in the YouTube video below, decide for yourself and let us know if you hear the same influence.
To be sure, The Ear is not saying that Herrmann – a sophisticated American composer who knew classical music and who is perhaps best known for his edgy score to "Psycho," which is often played in concert halls – completely lifted the music or stole it or plagiarized it.
But it certainly is possible that Herrmann was influenced or inspired by Dvorak – much the same way that Leonard Bernstein's song "Somewhere" from "West Side Story" seems remarkably close to an opening theme in the slow middle movement of the Piano Concerto No. 5 – the famous "Emperor" Concerto — by Ludwig van Beethoven. The same goes for Sir Andrew Lloyd Webber, who, some say, borrowed tunes more than once from Franz Schubert.
Well, if you're going to borrow, why not do it from the best? And Dvorak was among the great melodists of all time, in company with Johann Sebastian Bach, Wolfgang Amadeus Mozart, Franz Schubert, Frederic Chopin, Robert Schumann, Peter Ilyich Tchaikovsky, Sergei Rachmaninoff, Maurice Ravel and Francis Poulenc, to name a few of the best known.
Anyway, listen to the two scores and let us know what you think.
Can you think of other music that was perhaps influenced by a work of classical music? If so, leave a comment, with YouTube links if possible, in the Comment section.
The Ear wants to hear.
Tags: #AlfredHitchcock, #AllTime, #AmericanComposer, #AndrewLloydWebber, #AntoninDvorak, #BernardHerrmann, #BlogPost, #BlogPosting, #BroadwayMusical, #CaryGrant, #ConcertHall, #Czechcomposer, #EvaMarieSaint, #FacebookPost, #FacebookPosting, #FilmMusic, #FilmScore, #FilmSoundtrack, #FourthofJuly, #FrancisPoulenc, #FranzSchubert, #FredericChopin, #IndependenceDay, #JamesMason, #JohannSebastianBach, #LeonardBernstein, #LoveTheme, #LudwigVanBeethoven, #MartinLandau, #MauriceRavel, #MiddleMovement, #NewYorkCity, #NorthbyNorthwest, #PeterIlyichTchaikovsky, #PianoConcerto, #RealityCheck, #RobertSchumann, #SergeiRachmaninoff, #SergeiRachmaninov, #SlowMovement, #TheEmperor, #TurnerClassicMovies, #WestSideStory, #WisconsinPublicRadio, #WolfgangAmadeusMozart, #YouTubevideo, Alfred Hitchcock, all time, American, Andrew Lloyd Webber, Antonín Dvořák, Arts, Bach, Beethoven, Bernard Herrmann, Bernstein, blog, borrowed, Cary Grant, check, Chopin, Classical music, comment, community, composer, Concert, concert hall, conservatory, conversation, Czech, decide, drama, Dvorak, edgy, Emperor Concerto, Eva Marie Saint, Facebook, film, Film score, film soundtrack, forward, Fourth of July, Francis Poulenc, Franz Schubert, Frédéric Chopin, Holiday, Independence Day, influence, inspiration, inspire, interesting, Iowa, Jacob Stockinger, James Mason, Johann Sebastian Bach, Leonard Bernstein, lift, like, link, listen, Love, love theme, Ludwig van Beethoven, Martin Landau, masterful, Maurice Ravel, melody, middle movement, movie, Mozart, Music, musical, new, New York City, North by Northwest, opening, Orchestra, overlap, performer, Peter Ilyich Tchaikovsky, Piano, Piano concerto, plagiarize, play, pleasure, Psycho, reader, reality, reality check, Robert Schumann, Schubert, Schumann, score, Sergei Rachmaninoff, Sergei Rachmaninov, share, Slow movement, Somewhere, song, sophisticated, spend, Spillville, spread, steal, stole, subscriber, Suite, summer, suspense, symphony, tag, Tchaikovsky, TCM, terror, theme, time, train, tune, Turner Classic Movies, United States, watch, weekend, West Side Story, whole, wisconsin public radio, Wolfgang Amadeus Mozart, YouTube
Classical music: Saturday afternoon, Live From the Met in HD closes this season with an acclaimed production of "Dialogues of the Carmelites." Here is a background story, two rave reviews, and next season's 10 operas
ALERT:The Brass Choirs of the Wisconsin Youth Symphony Orchestras will present an afternoon of brass music this Saturday afternoon, May 11, at 2:30 p.m. in Mills Concert Hall, 455 North Park Street, in Madison. Directed by Tom Curry, the program features brass musicians from WYSO's Concert, Philharmonia and Youth Orchestras. The concert is FREE and OPEN TO THE PUBLC. Music to be played is by Johann Sebastian Bach, George Frideric Handel, Giovanni Gabrieli, Charles Gounod, Edward Elgar, Paul Hindemith, Alan Hovahaness and Karel Husa.
CORRECTION: The Madison Youth Choirs will perform its "Legacy" concerts this weekend in the Capitol Theater of the Overture Center on Saturday and Sunday — NOT Friday, as mistakenly listed and then corrected in the original post, which is below: https://welltempered.wordpress.com/2019/05/08/classical-music-the-madison-youth-choirs-will-explore-the-theme-of-legacy-in-three-concerts-this-saturday-and-sunday-in-the-capitol-theater-of-the-overture-center/
This Saturday afternoon, May 11, the last production of this season's "Live From the Met in HD" series, broadcast worldwide via satellite to cinemas, is Francis Poulenc's "Dialogues of the Carmelites."
By all accounts, it would be hard to end on a higher, stronger or more darkly dramatic note, given the outstanding music and performance of the score as well as the superb acting. (There is a brief preview of short scenes in the YouTube video at the bottom.)
The world premiere of the opera took place in 1957 at La Scala in Milan, Italy. One of the most successful operas of the later decades of the 20th century, "Dialogues of the Carmelites" is a rare case of a modern work that is equally esteemed by audiences and experts, according to program notes from the Metropolitan Opera.
The opera focuses on a young member of the order of Carmelite nuns, the aristocratic Blanche de la Force, who must overcome a pathological timidity in order to answer her life's calling. The score reflects key aspects of its composer's personality: Francis Poulenc (below) was an urbane Parisian with a profound mystical dimension, and the opera addresses both the characters' internal lives and their external realities.
The opera takes place between 1789 and 1794 in Paris and in the town of Compiègne in northeastern France, the site of the Carmelite nuns' convent.
Its historical basis is the martyrdom of a group of 16 Carmelite nuns and lay sisters from Compiègne, who chose to offer themselves as victims for the restoration of peace to France during the French Revolution.
The Met uses the classic John Dexter production of Poulenc's devastating story of faith and martyrdom.
Mezzo-soprano Isabel Leonard (below right) sings the touching role of Blanche and soprano Karita Mattila (below left), a legend in her own time, returns to the Met as the Prioress.
The conductor for the performance is the Met's highly acclaimed new music director Yannick Nézet-Séguin, who also leads the Philadelphia Orchestra and the Metropolitan Orchestra of Montreal.
The high-definition broadcast of the live performance from the Metropolitan Opera (below) in New York City starts at noon and runs until 3:10 p.m. with two intermissions. (It will also air at noon on Wisconsin Public Radio.)
The encore HD showings are next Wednesday, May 15, at 1 p.m. and 6:30 p.m.
The opera will be sung in French with supertitles in English, German and Spanish.
Tickets for Saturday broadcasts are $24 for adults and $22 for seniors and children under 13. For encore showings, all tickets are $18.
The cinemas where the opera can be seen are two Marcus Cinemas: the Point Cinema on the far west side of Madison (608 833-3980) and the Palace Cinema (608 242-2100) in Sun Prairie.
Here is a link to the Marcus website for addresses and more information. You can also use them to purchase tickets:
https://www.movietickets.com/movies
Here is a link to the Metropolitan Opera's website where you can find the titles, dates, casts, production information and video clips of all 10 productions this past season — PLUS an announcement, with dates and titles, for next season's 10 productions (which feature five new productions but no Verdi):
https://www.metopera.org/season/in-cinemas/
Here is a background story that focuses on the French-Canadian conductor Yannick Nézet-Séguin, who leads the orchestra in this production and is the new music director of the Metropolitan Opera:
https://www.nytimes.com/2019/05/02/arts/music/met-opera-dialogues-des-carmelites.html
Here is a rave review of "Dialogues of the Carmelites" by senior classical music critic Anthony Tommasini for The New York Times:
https://www.nytimes.com/2019/05/05/arts/music/dialogues-des-carmelites-met-opera-review.html
And here is another rave review from New York Classical Review:
http://newyorkclassicalreview.com/2019/05/met-closes-season-with-a-riveting-devastating-carmelites/
Here are links to a synopsis and program notes:
https://www.metopera.org/discover/synopses/dialogues-des-carmelites/
https://www.metopera.org/season/2018-19-season/dialogues-des-carmelites/
And here is a Wikipedia history of the hi-def broadcast series that gives you more information about how many cinemas it uses, the enormous size of the worldwide audience – now including Russia, China and Israel — and how much money it makes for The Met.
https://en.wikipedia.org/wiki/Metropolitan_Opera_Live_in_HD
Tags: #20thCentury, #AlanHovhaness, #AlbanBerg, #AnthonyTommasini, #BaroqueMusic, #BaroqueOpera, #BlogPost, #BlogPosting, #BlogReview, #BrassChoir, #BrassMusic, #CapitolTheater, #CatholicReligion, #CharlesGounod, #ChinaBroadcast, #ChristianReligion, #DialoguesoftheCarmelites, #EdwardElgar, #EnglishLanguage, #FacebookPost, #FacebookPosting, #FrancisPoulenc, #FrenchCanadian, #FrenchLanguage, #FrenchMusic, #FrenchRevolution, #GaetanoDonizetti, #GeorgeFridericHandel, #GermanLanguage, #GiacomoPuccini, #GiovanniGabrieli, #GiuseppeVerdi, #Hi-Definition, #HomeWebsite, #IsabelLeonard, #JohannSebastianBach, #JohnDexter, #JulesMassenet, #KarelHusa, #KaritaMattila, #LaScala, #LiveFrom the MetinHD, #LivePerformance, #MadamaButterfly, #MadisonYouthChoirs, #Marcus, #MarcusTheaters, #MarcusTheatres, #MetLiveinHD, #MetropolitanOpera, #MetropolitanOperaLiveinHD, #MetropolitanOrchestraofMontreal, #Mezzo-sopranoSinger, #MilanItaly, #MontrealCanada, #MovieTheater, #MusicCritic, #MusicDirector, #MusicEducation, #NewMusic, #NewYorkCity, #NewYorkClassicalReview, #OperaMusic, #OvertureCenter, #PalaceCinema, #ParisFrance, #PaulHindemith, #PhiladelphiaOrchestra, #PhiladelphiaPennsylvania, #PhilharmoniaOrchestra, #PhilipGlass, #PointCinema, #PorgyandBess, #ProgramNotes, #RichardWagner, #RomanCatholicism, #SopranoSinger, #SpanishLanguage, #SunPrairie, #TheFlyingDutchman, #TheMet, #TheNewYorkTImes, #VocalMusic, #Wikipediaentry, #WisconsinPublicRadio, #WisconsinYouthSymphonyOrchestras, #WorldPremiere, #YannickNezet-Seguin, #YouthOrchestra, #YouTubevideo, 20th-century, address, afternoon, Agrippina, air, Alan Hovhaness, Alban Berg, alert, Anthony Tommasini, aristocratic, Arts, aspect, audience, background, Baroque, basis, blog, brass, brass choir, Broadcast, calling, Capitol Theater, Carmelite, cast, Charles Gounod, China, choral music, Christian, Christianity, cinema, classic, Classical music, composer, conductor, convent, correction, dark, darkly, date, decade, devastating, dialogue, Dialogues of the Carmelites, dimension, Donizetti, drama, dramatic, Edward Elgar, encore, end, English, enormous, equal, esteem, expert, experts, external, Facebook, faith, forward, France, Francis Poulenc, free, French, French language, French Revolution, French-Canadian, georgegershwin, German language, Gershwin, Giovanni Gabrieli, global, Handel, HD, hi def, high, historical, History, information, inner, intermission, Isabel Leonard, Israel, Jacob Stockinger, Johann Sebastian Bach, John Dexter, Karel Husa, Karita Mattila, key, La Scala, language, last, lay, legend, like, link, Live From The Met in HD, live performance, Madama Butterfly, Madison, Madison Youth Choirs, Manon, martyr, martyrdom, Massenet, member, Met Live in HD, Metropolitan Orchestra of Montreal, Mezzo-soprano, Milan, modern, money, Montreal, more, Movie theater, Music, music critic, Music director, Music education, mystical, new, New York City, New York Classical Review, New York Times, Nobel Peace Prize, noon, note, nun, opera, Orchestra, order, outer, outstanding, overcome, Overture Center, Palace Cinema, Paris, Parisian, pathological, Paul Hindemith, peace, Pennsylvania, performer, personality, Philadelphia, Philadelphia Orchestra, Philharmonia, Philip Glass, Point Cinema, Porgy and Bess, preview, prioress, production, profound, program notes, public, Puccini, purchase, rave, realities, reality, Religion, restoration, review, role, Roman Catholicism, Russia, satellite, satellite broadcast, Saturday, scene, score, Season, share, short, showing, sisters, size, soprano, Spanish, story, strong, successful, Sun Prairie, sung, superb, supertitle, synopsis, tag, The Flying Dutchman, the Met, The New York Times, theatre, time, timid, timidity, title, Tosca, touching, Turandot, United States, urbane, Verdi, victim, victims, vocal music, Wagner, Website, Wikipedia, Wisconsin, wisconsin public radio, Wisconsin Youth Symphony Orchestras, work, world premiere, worldwide, Wozzeck, Yannick Nézet-Séguin, you, young, Youth Orchestra, YouTube
Classical music: Sunday brings the winners' concert of the UW Concerto and Composition Competition plus a harpsichord recital
Two more noteworthy concerts will take place this coming Sunday, March 10.
UW-MADISON CONCERTO AND COMPOSITION COMPETITION
On Sunday night at 7:30 p.m. in Mills Hall, the annual winners' concert of the UW-Madison Concerto and Composition Competition will take place.
The concert features the UW Symphony Orchestra (below top) under conductor Chad Hutchinson (below bottom) with four instrumentalists, one singer and one composer. All are current students at the University of Wisconsin-Madison's Mead Witter School of Music.
Admission is $12, but free to students, children, music majors, faculty and staff.
Well-know works on the program include: Adalia Hernandez Abrego and Jiawan Zhang playing the Concerto for Two Pianos in D minor by Francis Poulenc; Richard Silvers playing the first two movements of the Violin Concerto in A minor by Antonin Dvorak; soprano Cayla Rosché singing the first and third songs of the "Four Last Songs" by Richard Strauss; and Chia-Yu Hsu playing the Concertino for Bassoon and Orchestra by Marcel Bitsch. In addition, there will be the world premiere of "Fanfare for Orchestra" by student composer Anne McAninch.
To learn more about the concert, and to see photos and videos of the performers who discuss themselves and the works they will play, see the YouTube video below and go to:
https://www.music.wisc.edu/event/symphony-showcase-concerto-winners-solo-with-the-uw-madison-symphony-orchestra/
HARPSICHORD RECITAL
Earlier on Sunday afternoon is a concert that should appeal to early music fans: At 3 p.m. the First Unitarian Society of Madison, 900 University Bay Drive, will present the fifth Annual Mark Rosa Harpsichord Recital.
The performance features harpsichordist Jason J. Moy (below), with special guests bass violist Katherine Shuldiner and baroque violinist Kangwon Lee Kim.
The all-French baroque program is called "The Angel, The Devil and The Sun King: Music and Rivalry in the Court of Louis XIV" and features works by Marin Marais, Antoine Forqueray, Jacques Duphly and Jean-Philippe Rameau.
Tickets will be available at the door: $20 for general admission, $12 for seniors, students and veterans.
Moy is director of the Baroque Ensemble and a harpsichord instructor at the DePaul University School of Music. He has performed across the United States, Canada and Europe, including every Boston Early Music Festival since 2013.
One of Chicago's most sought-after early keyboard specialists, Moy was recently named artistic director of Ars Musica Chicago. He also plays as part of the Dame Myra Hess International Concert Series at the Chicago Cultural Center. Madisonians may be familiar with his playing from his appearances with the Wisconsin Chamber Orchestra.
You can hear him discuss playing the harpsichord and talk about its modern history in the YouTube video below. For more information, go to: www.jjmoy.com
Kangwon Lee Kim (below) is a versatile violinist on both baroque and modern violins. She is familiar to Madisonians as the concertmaster and assistant artistic director of Madison Bach Musicians. She has also given recitals throughout the U.S. and in Korea, Canada, Puerto Rico, Switzerland, Norway and the Czech Republic.
Katherine Shuldiner (below) graduated from the Oberlin Conservatory in viola da gamba. She performs regularly with other early music specialists, and ensembles such as the Bach and Beethoven Experience, VOX3 Collective and the Newberry Consort. She has taught at the Whitewater and Madison Early Music Festivals. www.kateshuldiner.com
Tags: #AdaliaHernandezAbrego, #AnneMcAninch, #AntoineForqueray, #AntoninDvorak, #ArsMusicaChicago, #ArtisticDirector, #BaroqueEnsemble, #BaroqueMusic, #BassoonConcerto, #BassoonMusic, #BassViol, #BlogPost, #BlogPosting, #BostonEarlyMusicFestival, #BostonMassachusetts, #CaylaRosché, #ChadHutchinson, #ChicagoCulturalCenter, #ChicagoIllinois, #ConcertoCompetition, #CzechRepublic, #DePaulUniversity, #FacebookPost, #FacebookPosting, #FirstUnitarianSocietyofMadison, #FourLastSongs, #FrancisPoulenc, #FrenchMusic, #HarpsichordMusic, #JacquesDuphly, #Jason Moy, #JasonMoy, #Jean-PhilippeRameau, #JiawanZhang, #JohannSebastianBach, #KangwonKim, #KatherineShuldiner, #LouisXIV, #LudwigVanBeethoven, #MadisonBachMusicians, #MadisonEarlyMusicFestival, #MarcelBitsch, #MarinMarais, #MarkRosa, #MeadWitterSchoolofMusic, #ModernHistory, #MusicMajor, #MyraHess, #NewberryConsort, #OberlinConservatory, #PianoConcerto, #PuertoRico, #RichardSilvers, #RichardStrauss, #SchoolofMusic, #Sundayafternoon, #SunKing, #TheAngel, #TheDevil, #UnitedStates, #UniversityofWisconsin-Madison, #UniversityofWisconsin-Whitewater, #UWSymphonyOrchestra, #VioladaGamba, #ViolinConcerto, #WhitewaterEarlyMusicFestival, #WisconsinChamberOrchestra, #WorldPremiere, #YouTubevideo, Adalia Hernandez Abrego, admission, adult, afternoon, angel, Anne McAninch, annual, Antoine Forqueray, Antonín Dvořák, Ars Musica Chicago, Artistic director, Arts, audience, Bach, Baroque, Baroque Ensemble, bass viol, Bassoon, Beethoven, blog, Boston, Boston Early Music Festival, Canada, Cayla Rosché, Chad Hutchinson, Chamber music, Chia-Yu Hsu, Chicago, Chicago Cultural Center, children, Classical music, composer, Composition, Concert, concertino, concertmaster, concerto, conductor, court, current, Czech Republic, DePaul University, Devil, discuss, Early music, Europe, Facebook, faculty, fanfafe, First Unitarian Society of Madison, forward, Four Last Songs, Francis Poulenc, French, harpsichord, History, instrumentalist, Jacob Stockinger, Jacques Duphly, Jean-Philippe Rameau, Jiawan Zhang, Johann Sebastian Bach, Kangwon Kim, Katherine Shuldiner, Keyboard, Korea, like, lnk, Louis XIV, Ludwig van Beethoven, Madison, Madison Bach Musicians, Madison Early Music Festival, Madisonian, major, Marcel BItsch, Marin Marais, Mark Rosa, Mead Witter School of Music, modern, Music, music major, Myra Hess, Newberry Consort, Norway, noteworthy, Oberlin Conservatory, Orchestra, performer, photo, Piano, playing, post, posting, Puerto Rico, Richard Silvers, Richard Strauss, rivalry, School of Music, share, sing, singer, song, soprano, specialist, staff\, Student, students, Sun King, Sunday, Switzerland, symphony, tag, talk, teach, two-piano, U.S., United States, University of Wisconsin-Madison School of Music, University of Wisconsin-Whitewater, University of Wisconsin–Madison, UW Symphony Orchestra, UW-Madison, Veteran, veterans, video, viola da gamba, Violin, WaterwaterWisconsin, well-known, Whitewater Early Music Festival, Wisconsin, Wisconsin Chamber Orchestra, word, work, world premiere, YouTube, Zhang
Classical music: This Saturday the acclaimed German tenor Jonas Kaufmann returns to the Metropolitan Opera in Puccini's "Girl of the Golden West. It's the second "Live from The Met in HD" production this season
FORWARD A LINK TO IT OR SHARE IT (not just "Like" it IF YOU LIKE A CERTAIN BLOG POST, PLEASE") ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.
This Saturday, Oct. 27, the second production of this season's "Live From the Met" in HD series will be broadcast worldwide: It is Puccini's "La Fanciulla del West" (Girl of the Golden West), his last work that, for some reason, has never achieved the popularity of "La Boheme," "Tosca," "Madama Butterfly" and "Turandot."
The production features acclaimed superstar German tenor Jonas Kaufmann (below top), who is returning to the Met stage after four years. Soprano Eva-Maria Westbroek (below bottom) plays the gun-slinging title role.
The hi-definition broadcast of a live performance from the Metropolitan Opera (below) in New York City starts at 11:55 a.m. and runs until 4 p.m. with two intermissions.
The encore showings are next Wednesday, Oct. 31, at 1 p.m. and 6:30 p.m.
The opera will be sung in Italian with supertitles in English, German, Spanish and Italian. (You can see the trailer preview in the YouTube video at the bottom.)
Tickets are for Saturday broadcasts are $24 for adults and $22 for seniors and children under 13. For encore showings, all tickets are $18.
The cinemas where the opera can be screened are two Marcus Cinemas: the Point Cinema on the west side of Madison (608 833-3980) and the Palace Cinema (608 242-2100) in Sun Prairie.
http://www.marcustheatres.com/movies/met-aida-live
Here is a link to the Metropolitan Opera's web site where you can find the titles, dates, casts, production information and video clips of all 10 productions this season, which includes operas by Bizet, Wagner, Donizetti, Saint-Saens, Puccini, Cilea and Poulenc plus a new work, "Marnie," by Nico Muhly:
Here is a review from The New York Times, which right now has a technical glitch that makes loading it difficult (the Times said the problem should be fixed soon):
https://www.nytimes.com/2018/10/18/arts/music/review-jonas-kaufmann-met-opera-puccini-fanciulla.html
And here is a more positive review from Opera Wire:
http://operawire.com/metropolitan-opera-2018-19-review-la-fanciulla-del-west-jonas-kaufmann-edition/
Here is a link to a synopsis and cast list:
https://www.metopera.org/globalassets/season/in-cinemas/hd-cast-sheets/fanciulla_1819_hdsynopsis.pdf?performanceNumber=15221
Here is a link to other information about the production of "Girl of the Golden West," including photos and audiovisual clips:
https://www.metopera.org/season/2018-19-season/la-fanciulla-del-west/
And here is a Wikipedia history of the broadcast series that gives you more information about how many cinemas it uses, the size of the worldwide audience – now including Russia, China and Israel — and how much money it makes for The Met.
Tags: #BlogPost, #BlogPosting, #CamilleSaint-Saens, #ConcertSeason, #EnglishLanguage, #Eva-MariaWestbroek, #FacebookPost, #FrancisPoulenc, #GaetanoDonizetti, #GeorgesBizet, #GermanLanguage, #GiacomoPuccini, #GirloftheGoldenWest, #Hi-Definition, #ItalianLanguage, #JonasKaufmann, #LaBoheme, #LaFanciulladelWest, #LiveFromtheMetinHD, #MadamaButterfly, #MarcusTheatres, #MetropolitanOpera, #MetropolitanOperaLiveinHD, #MusicReview, #NewYorkCity, #NicoMuhly, #OperaCast, #OperaMusic, #OperaWire, #PalaceCinema, #PointCinema, #RichardWagner, #SpanishLanguage, #SunPrairieWisconsin, #SuperstarTenor, #TechnicalGlitch, #TheMet, #TheNewYorkTImes, #TheWest, #TitleRole, #Wikipediaentry, #YouTubevideo, admission, adult, Arts, Baroque, Bizet, Broadcast, cast, Cello, children, China, choral music, Cilea, cinemas, Classical music, composer, date, Donizetti, encore, English, Eva-Maria Westbroek, Facebook, fix, Francis Poulenc, German, Girl of the Golden West, gun, hi def, History, intermission, Israel, Italian, Jacob Stockinger, Jonas Kaufmann, La bohème, La Fanciulla del West, Live From The Met in HD, Madama Butterfly, Madison, Marcus Theatres, Metropolitan Opera, Music, music review, new, New York City, New York Times, Nico Muhly, notes, opera, Opera Wire, Orchestra, Palace Cinema, performer, Point Cinema, Poulenc, problem, production, Puccini, Russia, Saint-Saens, Saturday, Season, senior, showing, singer, Singing, soprano, Spanish, stage, star, stars, Sun Prairie, superstar, synopsis, tenor, the Met, The New York Times, title, title role, Tosca, Turandot, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, vocal music, Wagner, web site, Website, Wednesday, west, Wikipedia, Wisconsin, worldwide, YouTube
Classical music: The 13th season of "Live from The Met in HD" opens this Saturday with Verdi's opera "Aida" starring Anna Netrekbko
PLEASE FORWARD A LINK TO IT OR SHARE IT (not just "Like It") IF YOU LIKE A CERTAIN BLOG POST ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.
This Saturday, Oct. 6, the new 10-opera season of the series "Live From the Met in HD" starts with Giuseppe Verdi's popular late masterpiece and epic opera "Aida."
The hi-definition broadcast of a live performance from the Metropolitan Opera (below) in New York City – which is a revival production with the superstar Russian soprano Anna Netrebko — starts at 11:55 a.m. and runs until 4:13 p.m. The encore showings are on next Wednesday, Oct. 10, at 1 p.m. and 6:30 p.m.
The opera will be sung in Italian with supertitles in English, German, Spanish and Italian.
Tickets are for Saturday broadcasts are $24 for adults and $22 for seniors. For encore showings, all tickets are $18.
The cinemas where the opera can be seen are two Marcus Cinemas: the Point Cinema on the west side of Madison and the Palace Cinema in Sun Prairie.
Here is a link to the Marcus website for address and more information:
Get out your datebooks!
Here is a link to the Metropolitan Opera's web site where you can find the titles, dates, casts, production information and video clips of all 10 productions in the 2018-19 season, which include operas by Bizet, Wagner, Donizetti, Saint-Saens, Puccini, Cilea and Poulenc plus a new work, "Marnie," by Nico Muhly. (You can also see and hear the season trailer in the YouTube video at the bottom.)
Here is a link to a very positive review of "Aida" — Anna Netrebko as Aida is on the left in the photo by Sara Krulwich for The New York Times — by senior music critic Anthony Tommasini that appeared in The New York Times:
https://www.nytimes.com/2018/09/27/arts/music/anna-netrebko-aida-met-opera-review.html
Here is a link to a synopsis and cast list, which can be printed out:
https://www.metopera.org/globalassets/season/in-cinemas/hd-cast-sheets/aida_1819_hdsynopsis_global_nodates.pdf?performanceNumber=15145
Here is a link to other information about the production of "Aida," including photos and audiovisual clips:
https://www.metopera.org/season/2018-19-season/aida/
And here is a Wikipedia history of the successful broadcast series that gives you more information about how many cinemas it uses, the size of the worldwide audience – now including Russia, China and Israel — and how much money it makes for The Met.
Tags: #AncientEgypt, #AnnaNetrebko, #AnthonyTommasini, #BlogPost, #BlogPosting, #ChineseCinema, #DialoguesoftheCarmelites, #DieWalküre, #FacebookPost, #FrancisPoulenc, #FrenchLanguage, #GaetanoDonizetti, #GeorgesBizet, #GermanLanguage, #GiacomoPuccini, #GirloftheGoldenWest, #GiuseppeVerdi, #HiDef, #ItalianLanguage, #LaTraviata, #LiveFrom the MetinHD, #LivePerformance, #MarcusTheatres, #MetropolitanOpera, #MetropolitanOperaLiveinHD, #MusicCritic, #MusicReview, #NewMusic, #NewYorkCity, #NicoMuhly, #PalaceCinemas, #PointCinemas, #PucciniOpera, #RevivalProduction, #RichardWagner, #SamsonandDelilah, #SatelliteBroadcast, #SpanishLanguage, #SunPrairie, #TheMet, #TheNewYorkTImes, #TheRingCycle, #TheValkyries, #Wikipediaentry, #YouTubevideo, afternoon, Aida, ancient, Anna Netrebko, Anthony Tommasini, Arts, audience, audiovisual, Bizet, blog, Blog post, blog posting, Broadcast, Carmen, cast, China, choral music, Cilea, cinema, Classical music, composer, conductor, date, datebook, Dialogues of the Carmelites, Die Walküre, Donizetti, Egypt, encore, epic, Facebook, famous, Francis Poulenc, Girl of the Golden West, information, Israel, Jacob Stockinger, La Traviata, late, link, live performance, Madison, march, Marnie, masterpiece, Metropolitan Opera, Metropolitan Opera Live in HD, money, Music, music critic, music review, New Music, New York City, New York Times, Nico Muhly, night, open, opera, Orchestra, Palace Cinemas, photo, Point Cinemas, print, production, Puccini, Richard Wagner, Ring cycle, Russia, Russian, Saint-Saens, Samson and Delilah, satellite, Saturday, Season, showing, sing, size, soprano, sung, superstar, supertitles, symphony, synopsis, the Met, The New York Times, The Valkyries, titles, trailer, triumph, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Verdi, Viola, Violin, vocal music, Wednesday, Wikipedia, Wisconsin, world, worldwide, YouTube
Classical music: University Opera's updated Hollywood production of Verdi's "Falstaff" proves a triumph on all counts. Plus, FREE Opera Scenes concert is Tuesday night
Here is a guest review by The Opera Guy of Giuseppe's Verdi's "Falstaff" as staged by the University Opera. Performance photos are by Michael Anderson.
By Larry Wells
In the past few years I've seen Verdi's "La Forza del Destino" set in the Spanish Civil War, Wagner's Ring cycle re-imagined as the history of cinema, and Puccini's "Turandot" presented as a performance by a traveling circus.
Thus, Verdi's 'Falstaff' set in 1930's Hollywood seemed a reasonable reinterpretation, and so it proved at its final performance Tuesday evening by University Opera.
"Falstaff," drawn from three plays by Shakespeare, is Verdi's final opera and a rare comedy. More importantly, gone are his familiar forms of a recitative followed by an aria with lots of oom-pa-pa orchestral accompaniment, now replaced with a conversational style that to me shows Wagner's influence. It just doesn't sound like Verdi, but it certainly sounds good.
I felt that the whole evening was a triumph.
The sets were beautifully dressed, the costumes were excellent and the lighting was effective.
The UW Symphony Orchestra, conducted by James Smith, played wonderfully, although from where I sat the sound was occasionally muffled.
Thank goodness a new music building is being built, and I trust that there will be a theater within it that will accommodate operatic performances. The current Music Hall has its limitations, one being that much of the orchestra was playing underneath the stage and another being that for some reason the theater's temperature cannot be controlled. It was stiflingly hot during the performance.
As for the singing and acting, the cast I saw was uniformly strong. Falstaff, performed by UW-Madison faculty member Paul Rowe (below), was very robust and was particularly affecting during his act III soliloquy. The Ear mentioned to me his Oliver Hardy mannerisms, and once I noticed that I was constantly amused.
Yanzelmalee Rivera as Alice was hilarious in her seduction scene and really came alive in Act III. Courtney Kayser as Meg was a compelling comic actress. Rebecca Buechel's Mistress Quickly was an equally adept comic actress and had an excellent voice. Emily Weaver as Nannetta was a beautiful singer who shone in her third act moments as Queen of the Fairies. These four women had some outstanding ensemble moments, and I was constantly diverted by their antics as they outwitted the men.
Among the hapless male characters, Brian Schneider was a standout as Ford and the deep voice of Benjamin Schultz (below left, with Paul Rowe and Jiabao Zhang) made the minor character Pistola noticeable whenever he was on stage.
But the voice of the evening belonged to tenor José Daniel Muñiz (below right) as Fenton. He excelled not only in his solo moments but blended extremely well with his paramour Nannetta (Claire Powling, below left).
The outstanding ensemble work exhibited throughout the opera culminated in the grand fugue at the end of the opera, and the nearly full-house audience was blown away by those final moments. (You can hear the fugal finale, conducted by Sir George Solti, in a YouTube video at the bottom.)
The 1930's Hollywood concept worked well. It seemed completely fitting and was undoubtedly more amusing than it would have been had the opera been set in the time of Henry IV.
"Well done" to the University Opera's new full-time director David Ronis (below center) for his imagination and direction. I look forward to his production of Benjamin Britten's "Turn of the Screw" in early March.
And since this University Opera production and other events are being presented to commemorate the 400th anniversary of Shakespeare's death and the exhibition of a First Folio at the Chazen Museum of Art, I want to put in a plug for Ralph Vaughan Williams' "Sir John in Love" which has almost exactly the same plot as "Falstaff" and is woefully underperformed.
I also want to draw your attention the FREE Opera Scenes concert by University Opera that will be presented this Tuesday night, Nov. 22, at 7:30 p.m. in Music Hall. Featured are singers, with piano accompaniment, in scenes from: Charles Gounod's "Faust"; Claudio Monteverdi's "The Coronation of Poppea"; Giacomo Puccini's "La Rondine"; Leonard Bernstein's "Trouble in Tahiti"; Gioacchino Rossini's "The Barber of Seville"; Dominick Argento's "Postcard From Morocco"; and Marc Blitzstein's"Regina."
Tags: accompaniment, Arts, Barber of Seville, Beethoven, Benjamin Britten, Charles Gounod, Chazen Museum of Art, choral music, Christina and Michelle Naughton, cinema, circus, Civil War, Classical music, concerto, Dominick Argento, Edo de Waart, Falstaff, Faust, Francis Poulenc, fugue, Giacomo Puccini, Gounod, Hollywood, Igor Stravinsky, Jacob Stockinger, La Forza del Destino, La Rondine, Laurel and Hardy, Leonard Bernstein, Ludwig van Beethoven, Madison, Marc Blitzstein, Milwaukee Symphony Orchestra, Monteverdi, Music, Oliver Hardy, opera, Orchestra, Piano, Postcard From Morocco, Puccini, Ring cycle, Rossini, scenes, Shakespeare, Sir John in Love, Solti, Spain, Spanish Civil War, symphony, The Coronation of Poppea, Trouble in Tahiti, Turandot, Turn of the Screw, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, University Opera, vaughan williams, Verdi, Wagner, wisconsin public radio, YouTube
Classical music: Two FREE concerts of wind and choral music take place Sunday at the UW-Madison. Plus Wisconsin Public Radio will air a live broadcast by the Milwaukee Symphony Orchestra
ALERT: Tomorrow, on Sunday afternoon from 2:30 to 4 p.m., Wisconsin Public Radio will broadcast a live performance by the Milwaukee Symphony Orchestra under its outgoing music director Edo de Waart.
The program features works by Igor Stravinsky, the Symphony No. 4 by Ludwig van Beethoven and the Concerto for Two Pianos by Francis Poulenc, with the Madison-born twin sisters Christina and Michelle Naughton as soloists.
With less than a month left in the first semester's concert schedule, the performances are really starting to pile up.
Tomorrow, on Sunday, Nov. 20, five groups will perform two FREE concerts at the University of Wisconsin-Madison School of Music:
Tomorrow at 2 p.m. in Mills Hall is a joint concert by the Women's Chorus (below), the Master Singers and the University Chorus.
The program includes music by Giuseppe Verdi, Arvo Part, Gustav Holst, Leonard Bernstein, George Frideric Handel and Wolfgang Amadeus Mozart.
For more information and the complete program, go to:
http://www.music.wisc.edu/event/joint-concert-womens-chorus-masters-singers-university-chorus/
Tomorrow at 5 p.m. in Mills Hall there is a joint concert by the UW Wind Ensemble (below) and the Winds of Wisconsin.
The program includes "Grand Pianola Music" (982) by the contemporary American composer John Adams. (You can hear the first part of the work in the YouTube video at the bottom.)
For more information and the full program, go to:
http://www.music.wisc.edu/event/uw-wind-ensemble-wow-joint-concert/
Tags: Arts, Arvo Part, Baroque, Beethoven, Chamber music, choral music, chorus, Christina and Michelle Naughton, Classical music, concerto, Early music, Edo de Waart, Francis Poulenc, George Frideric Handel, Grand Pianola Music, Gustav Holst, Igor Stravinsky, Jacob Stockinger, John Adams, Leonard Bernstein, Ludwig van Beethoven, Madison, Master Singers, Milwaukee Symphony Orchestra, Mozart, Orchestra, Piano, symphony, United States, University Chorus, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, UW Wind Ensemble, Verdi, Viola, Violin, vocal music, winds, Winds of Wisconsin, Wisconsin, wisconsin public radio, Wolfgang Amadeus Mozart, women, women's chorus, YouTube
Classical music: Violinist Katie Lansdale performs a solo recital sponsored by Suzuki Strings this Saturday afternoon. Plus, a FREE recital of art songs is at noon on Friday. And pianist Martin Kasik plays Beethoven, Ravel and Prokofiev on Saturday night at Farley's House of Pianos.
This week's FREE Friday Noon Musicale, to be held from 12:15 to 1 p.m. in the Landmark Auditorium of the Frank Lloyd Wright-designed Meeting House of the First Unitarian Society of Madison, 900 University Bay Drive, will feature contralto Allissane Apple and pianist Jane Peckham in music of Leonard Bernstein, Hugo Wolf, Francis Poulenc, William Bolcom, Aaron Copland and Peter Warlock.
Czech pianist Martin Kasik (below) will perform a recital on Saturday night at 7:30 p.m. at Farley's House of Pianos, located at 6522 Seybold Road on Madison far west side near West Towne. The program includes works by Ludwig van Beethoven (the "Les Adieux" and "Moonlight" Sonatas), Maurice Ravel and Sergei Prokofiev. For more information, go to: http://salonpianoseries.org/concerts.html
The Ear has received the following announcement:
Violinist Katie Lansdale (below), assistant professor of violin at the Hartt School at the University of Hartford, will present a recital of works for solo violin on this Saturday afternoon, April 18 at 1:30 pm in the sanctuary of Covenant Presbyterian Church, 326 South Segoe Road in Madison.
The recital is sponsored by Suzuki Strings of Madison and a $5 donation is suggested for attendees.
The program will include a selection of Sonatas and Partitas for Solo Violin by Johann Sebastian Bach, Etudes Caracteristiques by Edward Elgar and Cleopatra by Fazil Say.
Lansdale is an active recitalist and chamber musician in Europe and the United States. Lauded for her wide interests and repertoire, she has a particular passion for solo Bach, often performing the complete works in concert.
A champion of new music, she has collaborated with a number of leading composers internationally, as a member of both the Lions Gate Trio, and as a member of the Locrian Ensemble. She has recorded for the Triton and Centaur labels — most recently a double CD of duos and trios by Robert Schumann (below).
Lansdale's awards have included the Schlosspreis for the performance of solo Bach at the Salzburg Mozarteum, the grand prize winner at both the Yellow Springs and Fischoff National Chamber Music competitions, and awards for both Outstanding Violinist and Outstanding Participant at Tanglewood's Fellowship Program.
Lansdale received her B.A. cum laude in humanities from Yale University, a Master of Music degree and an Artist Diploma from the Cleveland Institute of Music, and a D.M.A. from Manhattan School of Music. She has studied with Josef Gingold, Felix Galimir, Ronda Cole, Donald Weilerstein and Mitchell Stern.
In 2001, Lansdale (seen below with two students) initiated a school outreach program called Music for 1,000 Children. She challenged her studio to play for 1,000 children, promising to play for another 1,000 herself. Her studio then joined with the Hartt student chapter of the American String Teachers' Association to challenge other groups in North America to play for 1,000 school children. Responses were highly enthusiastic, and in the end, musical performances were brought to 13,000 children from Quebec to Texas.
Tags: Aaron Copland, art song, Arts, Bach, Baroque, Beethoven, Chamber music, Classical music, Compact Disc, Edward Elgar, Europe, Fazıl Say, First Unitarian Society of Madison, Fischoff National Chamber Music Competition, Francis Poulenc, Frank Lloyd Wright, Hartt School, Hugo Wolf, Jacob Stockinger, Johann Sebastian Bach, Katie Lansdale, Leonard Bernstein, lieder, Ludwig van Beethoven, Madison, partita, Peter Warlock, piano trios, Presbyterian, Ravel, Robert Schumann, Salzburg Mozarteum, Sergei Prokofiev, solo, Sonata, song, strings, Suzuki Method, Tanglewood, Unitarian, United States, University of Hartford, University of Wisconsin–Madison, Violin, vocal music, WILLIAM BOLCOM, Yale University
Classical music education: The Ear takes the "Cello Cure" at the University of Wisconsin-Madison and now can't wait for another "treatment" next summer.
Last Saturday night, for the first time ever, I went to the free public concert put on every June by the National Summer Cello Institute, which takes place each summer at the University of Wisconsin-Madison School of Music.
The NSCI is under the direction of University of Wisocnsin-Madison cello professor Uri Vardi (below top) and his wife Hagit Vardi (below body), who works with the UW-Madison Institute of Integrative Medicine and emphasizes the use of the Feldenkrais Method to help performers in workshops called, fittingly, "You Body is Your Strad."
Here is a link to a previous post about the cello institute, with still other links to even earlier stories:
https://welltempered.wordpress.com/2014/06/11/classical-music-a-free-cello-choir-concert-will-take-place-this-saturday-night-at-the-university-of-wisconsin-madison-it-features-new-music-and-works-by-villa-lobos-poulenc-j-s-bach-cesar-frank/
The event proved so thoroughly enjoyable and so deeply pleasurable, and put me in such a great mood and frame of mind, that a close friend referred to the experience as the "Cello Cure."
I won't argue because it sure did feel curative.
But then I find that experiencing great beauty often feels that way.
One came away from the concert -– which included a cello choir of 16 undergraduate, graduate and professional cellists, selected by audition, from around the nation and perhaps even the world –- completely understanding why the cello, with its human voice-like singing tone, is the favorite instrument of so many listeners. (For The Ear, the cello ranks right up there, just below the piano and alongside the violin and the oboe.)
One thing The Ear liked was the lack of purism. Enjoyment was the goal of the evening, and so the program featured some simply gorgeous isolated single movements from sonatas and concertos, and NOT the entire pieces. The Great Hits format worked exceptionally well. And so was featuring soloists, and not just ensembles, for the first time.
And on top of all the cellos, The Ear also had two special and bonus experiences: He heard Anna Whiteway, a fabulously talented undergraduate soprano at the UW-Madison, and he heard what sounds like an eminently listenable contemporary composer, Kyle Price, who will be attending the UW-Madison for a graduate degree.
So here are the highlights with photos and not a lot of commentary except to say I found excellence from everyone and disappointment from no one.
The concert opened up with UW-Madison conductor James Smith (below right) leading the famous "Bachianas Brasileiras" No. 5, with its soaring and lyrical soprano aria or wordless vocalise, by Brazilian composer Heitor Villa-Lobos. In it and the other similar suites, the composer attempted to adapt and update the musical style of Johann Sebastian Bach to his native country's indigenous folk melodies and dance rhythms.
Here are members of the cello choir, which wouldn't fit well in a single photo.
And here is Anna Whiteway, who got enthusiastic applause from the cellists and the woefully small audience of several dozen listeners. No wonder. She is The Real Deal. She possesses beautiful tone, big volume, pleasant and modest vibrato, excellent diction and a thoroughly confident stage presence:
Here is Brian Klickman and pianist Claire Mallory in the poignantly moving Cavatina movement from the Cello Sonata by Francis Poulenc.
Here is that wonderfully tuneful last movement from Cesar Franck's Violin Sonata transcribed for cello and played by Cordula Aeschbacher with pianist Claire Mallory:
Then Aleks Tengesdal played the impressively turbulent first movement of the Cello Concerto No. 1 by Finnish composer Einojuhani Rautavaara, with piano accompaniment.
Julian Mueller closed out the first half with the gorgeous Andante Cantabile by Peter Ilyich Tchaikovsky, who, it seems, was never at a loss for a beautiful, bittersweet melody. (You can hear it played by superstar cellist Yo-Yo Ma in a YouTube video at the bottom):
The second half opened with seven cellists playing the Recitative and Meditation movements from the young contemporary American composer Kyle Price's "Requiem in Memory of Connie Barrett." The Ear found it a very promising and appetizing foretaste of what sounds like a listener-friendly composing style, something too often missing from new music:
Then came back-to-back performances by father and son cellists.
Son Andrew Laven played three movements –- the Bourees 1 and 2 and the Gigue -– from the Suite No. 4 for Solo Cello by Johann Sebastian Bach:
Father Steven Laven, with pianist Christina Lalog, played "The Tears of Jacqueline" by Jacques Offfenbach, a work he said he first heard when it was dedicated to the late great British cellist Jacqueline du Pre. You understand the dedication because the piece is appropriately lyrical in its lament:
And then the concert closed as it opened, with the music of Villa-Lobos. But this was a work The Ear didn't know, the "Bachianas Brasileiras" No. 1, which has a lovely and soulful slow movement and catchy fugal finale:
As an encore, the cello choir demonstrated an improvisational exercise that it used during the two-week workshop. It involves a conductor using unusual and unpredictable hands movements that are unrelated to a particular score or piece of music, and to which the cellists must each respond as they desire or hear is necessary. To The Ear, it sounded a bit like the famous simultaneous, full-orchestra crescendo in the Beatles' "A Day in the Life" song from "Sgt. Pepper's Lonely Hearts Club Band" album.
Uri Vardi graciously thanked the small but very appreciative audience that rose to its feet and added: "See you next year."
Indeed, he will.
He will almost certainly see The Ear, although I hope the NSCI can find a way to avoid a conflict with a concert on the same night by the popular Bach Dancing and Dynamite Society. Audiences shouldn't have to choose between two such deserving groups.
And Vardi should also see a full house in Mills Hall.
The Cello Choir concert is that good and that lovely, that beautiful and, yes, that curative.
Tags: Andante Cantabile, Arts, Bach, Bachianas Brasileiras, Baroque, Beatles, Brazil, Brazilian, cavatina, Cello, Cello Concerto, Cello Sonata, Cesar Franck, Chamber music, Classical music, concerto, Einojuhani Rautavaara, Feldenkrais Method, Francis Pou, Francis Poulenc, Heitor Villa-Lobos, Jacob Stockinger, Jacques Offenbach, Johann Sebastian Bach, Madison, Music, New Music, Oboe, Offenbach, Piano, Poulenc, Requiem, Sargeant Pepper's Lonely Hearts Club Band, Sgt. Pepper's Lonely Hearts Club Band, Singing, Solo Cello Suites, Sonata, song, Suite, Tchaikovsky, The Beatles, transcription, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Violin, Violin Sonata, Wisconsin, Yo-Yo Ma, YouTube
Classical music: A FREE Cello Choir concert will take place this Saturday night at the University of Wisconsin-Madison. It features new music and works by Villa-Lobos, Francis Poulenc, J.S. Bach, Cesar Franck, Tchaikovsky and others. Plus, hear a clip of the Fusions Continuum art music concert with cello and oud to promote understanding and peace between Israelis and Arabs.
Concerts of chamber music by the Madison-based Bach Dancing and Dynamite Society aren't the only classical music events happening this weekend.
This week has also seen the annual National Summer Cello Institute (NSCI), which features master classes and performances plus sessions about using Feldenkrais Method and relaxation techniques to best employ one's physical body to make music through the cello.
For more information about the Institute, here is a link to its home website:
http://www.yourbodyisyourstrad.com/main/2014_National_Summer_Cello_Institute.html
Here is a link to a previous post about the Institute on this blog:
https://welltempered.wordpress.com/2012/05/29/classical-music-news-for-the-next-two-weeks-madison-will-again-become-the-summer-capital-of-cello-world-and-this-time-the-public-is-invited-to-participate/
A fine musician and good friend of the blog, Professor Uri Vardi (below) teaches cello at the University of Wisconsin-Madison School of Music. Along with his wife Hagit Vardi and some others, Uri Vardi runs the NSCI and sent this message:
Dear Jake,
The 2014 National Summer Cello Institute is ending on this Saturday, June 14, with a public FREE concert in Mills Hall at 8 p.m.
The concert will include "Bachianas Brasileiras" No. 5 (with soprano Anna Whiteway, below top) and No. 1 by Heitor Villa-Lobos. Both pieces will be played by the NSCI Cello Choir, conducted by Professor James Smith (below bottom) of the University of Wisconsin-Madison School of Music.
The program will also include new music: two movements of a "Requiem for 6 Cellos and Double Bass" by former NSCI participant (and future UW-Madison Master's of Music student) Kyle B. Price in memory of his aunt Connie Barrett (a 2010 NSCI participant).
Other solo pieces are by the following composers: Francis Poulenc, Cesar Franck, Einojuhani Rautavaara, Peter Tchaikovsky, Johann Sebastian Bach and Jacques Offenbach.
I hope you will be willing to let your blog audience know about this."
Vardi also took part this past season in a Fusions Continuum Concert that mixed the Western cello and the lute-derived Arabic oud (below) with the purpose of using different kinds of art music to promote peace and understanding between Israelis and Palestinians.
Adds Vardi: "Also, I thought you might be interested in a 17-minute YouTube clip of Fusions Continuum:"
Tags: Arab, Arabic, aria, Arts, Bach, Cello, cello choir, Cesar Franck, Chamber music, Classical music, conflict, Einojuhani Rautavaara, Feldenkrais Method, Francis Poulenc, Franck, Heitor Villa-Lobos, Israel, Israeli, Israeli–Palestinian conflict, Jacob Stockinger, Jacques Offenbach, Johann Sebastian Bach, Madison, Music, Offenbach, oud, Palestine, Palestinian, peace, Peter Tchaikovsky, Poulenc, relaxation, Requiem, Singing, song, soprano, Tchaikovsky, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Villa-Lobos, YouTube


Carson, Michaels, Goyette among Griffin nominees
The Griffin Poetry Prize finalists were announced today, revealing a strong all-female Canadian shortlist that includes two McClelland & Stewart authors and a third from Nova Scotia's Gaspereau Press. Poet Jeramy Dodds, a finalist for the prize in 2009, presented the Canadian and international shortlists alongside prize founder Scott Griffin at a press conference in Toronto.
The Canadian shortlist is made up of Susan Goyette's fourth collection, Ocean (Gaspereau); novelist and poet Anne Michaels' Correspondences (M&S); and Anne Carson's Red Doc> (M&S), the sequel to her 1998 poetic novel, Autobiography of Red. Goyette and Michaels are nominated for the first time, while Carson was the winner of the inaugural Griffin in 2001 for Men in the Off Hours.
Griffin himself says he is pleased with the shortlist. Particularly on the Canadian side, the finalists are very strong this year, he says. The presentation of these books is beautifully done, too.
M&S senior vice-president and publisher Ellen Seligman says she is absolutely thrilled with the two nominations and to be in the company of such an extraordinary list across the board. She adds that the nominations come on the heels of the press's relaunch of its poetry program, which includes the appointment of a new poetry board comprised of Ken Babstock, Dionne Brand, and Kevin Connolly.
The timing of this shortlist is really wonderful, she says. The poetry relaunch is bringing a lot of attention to an already celebrated program, and I think this helps highlight that.
For his part, Gaspereau publisher Andrew Steeves is glad to see Goyette getting recognition for Ocean, the Halifax author's first collection with the press.
I think you [work] with the people that understand what you're trying to do, wherever they are, and it's really special when they're in your own neighbourhood, he says. For me, Sue is part of the day-to-day life of the region I live in and is a recognized and valuable contributing player in the literary life of the [East Coast].
Goyette's nomination is the second for Gaspereau, following Jan Zwicky's Griffin nod for Forge in 2011. The Griffin is the only one of the ˜G' prizes we haven't won yet, Steeves says, referring to the press's 2001 Governor General's Literary Award win for George Elliott Clarke's Execution Poems and its 2010 Scotiabank Giller Prize win for Johanna Skibsrud's The Sentimentalists.
Steeves says he isn't worried about anything like a Griffin effect with the new nomination. Being on the shortlist, there's not much of an impact to sales, he says. Winning is maybe a little better for sales " maybe you'd sell 400 [additional] copies, but for a lot of poetry books that could double your sales.
He adds that Ocean is already in its second printing. Sue is out there all the time, just being a poet " like George Elliott Clarke " and that always helps to sell books, he says.
The shortlist for the international Griffin comprises Rachael Boast's Pilgrim's Flower (Picador), Brenda Hillman's Seasonal Works with Letters on Fire (Wesleyan University Press), Carl Phillips's Silverchest (Farrar, Straus and Giroux), and Colonies (Zephyr Press), written in Polish by Tomasz Różycki and translated by Mira Rosenthal.
Of the eight writers who made the Canadian and international shortlists, women outnumber men six to two.
It's interesting because I think 15 or 20 years ago it would have been the other way around, says Griffin. I don't know whether you can read too much into it, because it just happens now that one year is stronger [with women] than another, but it goes to show that definitely poetry is not gender related.
A three-member jury comprising Robert Bringhurst, Jo Shapcott, and C.D. Wright selected the shortlists from 539 books from 40 countries. The winners will each be awarded $65,000, while the seven finalists will receive $10,000. The winners will be announced at a private event on June 5, following a reading by the shortlisted authors at Toronto's Koerner Hall on June 4.
Dean Jobb, Sue Goyette, Elisabeth de Mariaffi among East Coast Literary Award nominees
By Julie Baldassi
Tagged with: Awards, poetry


Press Release #16-004 - Camp Pendleton Annual Mud Run June 2, 2016 — The World Famous Mud Run will take place this weekend June 4 and 5 marking the 23rd time the event MORE
Press Release #16-003 - Camp Pendleton to Hold Annual Wildland Firefighting Exercise April 29, 2016 — A wildland firefighting exercise involving aviation and ground units from Camp Pendleton, 3rd Marine MORE
Press Release #16-002 - Camp Pendleton to Conduct Force Protection Exercise, Semper Durus 2016 April 25, 2016 — Marine Corps Installations West-Marine Corps Base Camp Pendleton is scheduled to conduct a MORE
Press Release #16-001 - Camp Pendleton Hosting Marine West 2016 Expo January 29, 2016 — The 2016 Marine West Expo will be held here on February 3 at the Pacific Views Event Center with a MORE
Press Release #15-016 Noise levels may increase in the vicinity of Camp Pendleton September 18, 2015 — Artillery units are scheduled to conduct 24-hour live-fire training exercises that will involve MORE
Press Release #15-015 - San Onofre area beach utilized during Exercise Dawn Blitz '15 September 4, 2015 — Green Beach, located in the northern training area of Camp Pendleton, will be utilized for the first MORE
Press Release #15-014 Noise levels may increase in the vicinity of Camp Pendleton August 14, 2015 — Artillery units are conducting 24-hour live-fire training exercises that will involve firing on the MORE
Press Release #15-013 Noise levels may increase in the vicinity of Camp Pendleton August 7, 2015 — Artillery units are conducting live-fire training exercises that will involve firing on the Whisky MORE
Press Release #15-011 Noise levels may increase in the vicinity of Camp Pendleton June 18, 2015 — Artillery units are conducting live-fire training exercises that will involve firing on the Whisky MORE


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The amazing thing about orthodontics is that it harnesses the body's natural ability to remodel its own tissue. With the application of light, constant force, orthodontic appliances gently reshape bone and move teeth into better positions. Some examples of these appliances are traditional metal braces, inconspicuous clear or tooth-colored braces, and clear aligners, a relatively new option for adults and teens.
Bite Problems and How to Fix Them
Orthodontic treatment can resolve a number of bite problems, which often become evident by around age 7. These include underbite, crossbite or excessive overbite, where upper and lower teeth don't close in the proper position; open bite, where a space remains between top and bottom teeth when the jaws are closed; and crowding or excessive spacing, where teeth are spaced too close together or too far apart.
To correct bite problems, teeth need to be moved — but doing that isn't as hard as you might think! Teeth aren't fixed rigidly in their supporting bone; instead, they're held in place by a hammock-like structure called the periodontal ligament, which is very responsive to forces placed on the teeth. Orthodontic appliances move teeth by careful application of light, constant pressure. This force can be applied via metal wires that run through small brackets attached to the teeth (braces), or via the semi-rigid plastic of clear aligners.
Orthodontics is for Children — and Adults
Having orthodontic treatment in childhood is ideal in order to take advantage of a youngster's natural growth processes to help move the teeth into proper alignment. Like the rest of the body, the teeth and jaws are now changing rapidly. So at this time it's possible (for example) to create more room for teeth in a crowded mouth by using a "palatal expander" to rapidly widen the upper jaw. This phase of growth modification can shorten overall treatment time and ensure the best result if additional orthodontic appliances are needed.
But remember, healthy teeth can be moved at any age, so you've never "missed the boat" for orthodontic treatment. In fact, about one in five of today's orthodontic patients is an adult. Several new technological developments — including tooth-colored ceramic braces, clear aligners and invisible lingual braces — have made orthodontic appliances less evident, and enhanced the treatment experience for grown-ups. Before treatment, adults are carefully examined for signs of periodontal (gum) disease, which will be brought under control before treatment begins.
When you imagine someone wearing braces, you probably picture small metal brackets bonded to the front of the teeth, with a thin wire running through them. This time-tested style remains very popular — but it's no longer the only option. Clear braces use brackets made of ceramic or plastic which, except for the slim archwire, are hardly visible. Lingual braces are just like traditional metal braces — except they're bonded to the back of your teeth (the tongue side) so that no one can see them.
Removable clear aligners are an alternative to fixed orthodontic appliances. They consist of a series of clear plastic "trays" that fit over your teeth exactly; each one moves your teeth a little bit, until they are in the proper position. Whether fixed or removable, each type of appliance may have advantages or disadvantages in particular situations. After a complete examination, the best treatment options for you will be discussed.
Retention & Post Orthodontic Care
Once your orthodontic treatment is completed, it's extremely important to wear a retainer as directed. That's because teeth naturally tend to drift back to their original locations — which is the last thing you want after you've gone to the trouble of straightening them! Wearing a retainer holds your teeth in their new position long enough for new bone and ligament to re-form around them, and helps keep your gorgeous new smile looking good for a lifetime.
Orthodontics for the Older Adult Healthy teeth can be moved at any age, so there's no such thing as "too old" for braces. In fact, nowadays about one out of every five orthodontic patients is an adult. Yet this figure represents only a small portion of adults who could actually benefit from orthodontic treatment... Read Article
Clear Aligners for Teenagers Teens who regard traditional braces as restrictive, confining, and obstructive to their lifestyles now have another choice for orthodontic treatment: clear aligners. This advanced dental technology, originally geared toward adults, has recently evolved to treat a greater variety of bite problems in younger people. These improved orthodontic appliances can help teens function normally during a difficult phase of life... Read Article
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Office Evolution Finalist: 100 Colorado Companies to Watch
Office Evolution ranked in the Top 100 Colorado Companies to Watch, making us a finalist for the Top 50 Colorado Companies to Watch award!
Every year, about 1,000 local companies are nominated for the Colorado Companies to Watch award. Nominees are narrowed down to the Top 100 and the finalists are invited to the Governor's Mansion to celebrate. The judges will then choose the Top 50 winners and announce them later this month.
Last week, the Top 100 Finalist Reception was held at the Governor's Mansion and Emily Romero, Office Evolution Franchise Development Manager attended!
"I had the honor in representing Office Evolution at the finalist reception, recognizing Colorado's entrepreneurial community and companies fueling our state's economic growth," said Romero.
About Colorado Companies to Watch
Colorado Companies to Watch works to empower second stage companies that fuel the economic fire in Colorado. They are a statewide awards program that want to recognize the entrepreneurial community in Colorado that's been built from scratch. The reason they exist is to offer recognition, support and build a community for the entrepreneurs of Colorado.
Why Office Evolution Ranked
"What sets us apart from other Colorado companies is our commitment to represent those who try, those who believe in their own talents, those who dream of a better life, those who say, 'I can do this!'," said Mark Hemmeter, Office Evolution Founder and CEO. "We are committed to serving Colorado business owners and to providing them with a place to do their thing."
Office Evolution was the only company in the coworking industry nominated as a finalist for the award. We made it into the running because we've sustained economic growth in Colorado over time. Our roots are deeply connected within the Colorado community since we opened our first location in Boulder back in 2003. We just celebrated our 16th birthday this month and now have 13 Office Evolution locations open throughout the Front Range and 62 nationwide.
About Office Evolution
The Office Evolution mission is to help entrepreneurs realize their dreams through shared workspace and coworking. We're making a difference in our community and in the industry by continuously focusing on people first. We're all about the Ohana culture at our company, which is why we invest so much into our franchisees and members.
If you're interested in becoming an Office Evolution franchise owner, then don't hesitate to reach out to us at info@officeevolutionfranchise.com.
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Here are the HIFF40 Honorees!
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// Free Films/Events, HIFF Talk Story, HIFF40, I ♥ HIFF, Programming Updates
HIFF40 presented by Halekulani (November 5-29) is honored to announce this year's honorees:
Halekulani Career Achievement Award:
Ann Hui: The winner of three Golden Horse awards and six Hong Kong Film Awards (HKFA) for best director, Ann Hui is one of the most talented filmmakers of her generation. She is known for her films about social issues in Hong Kong including three films that we are screening from her filmography–BOAT PEOPLE (1982), SONG OF THE EXILE (1990) and A SIMPLE LIFE (2011). For HIFF40, it is with great pleasure to bestow Hui with this year's recipient of the Halekulani Golden Maile for Career Achievement. Director Hui is also this year's Hong Kong Filmmaker in Profile in the SPOTLIGHT ON HONG KONG presented by the Hong Kong Economic & Trade Office in San Francisco.
Halekulani Maverick Award:
Rachel Brosnahan: Best known in her Emmy and Golden Globe winning performance as Midge Maisel in the Amazon Prime hit series THE MARVELOUS MRS. MAISEL, Rachel Brosnahan has graced the stage and major event shows in the height of "Peak TV." From her Emmy nominated recurring role in Netflix's HOUSE OF CARDS to her series lead role in the critically-acclaimed MANHATTAN on WGN, Brosnahan she started at the famed Steppenwolf Theatre in 2009. By 2016, she played Desdemona in OTHELLO alongside David Oyelowo and Daniel Craig. Brosnahan's career leap in feature films as a lead is Julia Hart's I'M YOUR WOMAN (screening at HIFF40), a gritty '70s crime drama that she also serves as producer. HIFF40 is honored to present the Halekulani Maverick Award to Rachel Brosnahan.
Dave Filoni: Dave Filoni is an American animation television director, writer and producer, who started his career started his career on such shows as KING OF THE HILL and AVATAR: THE LAST AIRBENDER. He realized a lifelong dream in 2005 when he was selected by George Lucas to help build Lucasfilm's animation studio from the ground up and create the company's first series – STAR WARS: THE CLONE WARS. Over a span of seven seasons, the Emmy Award winning and fan-favorite series pushed the boundaries of television animation, receiving acclaim not only for its technical achievements, but its complex and compelling storylines. Filoni's follow-up series, the Emmy® nominated STAR WARS REBELS, similarly received universal praise for building upon the Star Wars saga. Filoni recently finished production on the 2nd season of the Emmy award winning Disney + series THE MANDALORIAN, serving as executive producer, episodic director and writer. Millions of fans consider Filoni the rightful heir to the Star Wars Universe, as storyteller, historian, and direct line to George Lucas's original vision. Hence, HIFF40 is honored to bestow the Halekulani Maverick Award to Dave Filoni.
Steven Yeun: Best known for his roles as Glenn Rhee in the hit television series THE WALKING DEAD, where he co-starred for six seasons, Steven Yeun has crafted a versatile career that vacillates between pop mainstream entertainment the Cannes red carpet. From co-starring in the Sundance hit SORRY TO BOTHER YOU and Netflix's OKJA from Bong Joon-ho (in a role written for him), to his National Society of Film Critics nominated role as Ben in Lee Chang-dong's BURNING, as a morally ambiguous playboy, Yeun can be categorized as a global citizen of cinema. In his latest, MINARI, which is the HIFF40 Opening Night Film, Yeun stretches his acting chops in a lovely performance as a Korean immigrant father in pursuit of his American dream. The film world premiered at Sundance where it won both the Jury Grand Prize and the Audience Award. The sky is the limit for this true maverick!
Halekulani New Vanguard Award:
Lana Condor: Over the last few years Lana Condor has burst onto the scene as one of the most in-demand leading ladies in the entertainment industry, making her star turn in the rom-com film TO ALL THE BOYS I'VE LOVED BEFORE, which became a global sensation for Netflix in the summer of 2018. Condor broke the mold as the first Asian American leading lady in a YA romantic comedy. In addition to her co-starring turns in X-MEN APOCALYPSE, THE DEADLY CLASS and ALITA: BATTLE ANGEL, as well as her charity work and social media presence to promote girls education and civic engagement, HIFF is honored to bestow our first New Vanguard Award to actress and activist Lana Condor.
Pacific Islanders in Communications Trailblazer Award:
Keala Settle: Born in Laie, Keala Settle catapulted onto the Broadway stage with her powerful voice and presence in major hits WAITRESS, LES MISERABLES, and her Tony nominated portrayal of Norma Valverde in HANDS ON A HARDBODY. In 2017, she would make a global impact in THE GREATEST SHOWMAN, alongside Hugh Jackman, Zac Efron, and Zendaya. The song "This Is Me" from the film, won the 2018 Golden Globe Award for Best Original Song, and was nominated for the Academy Award for Best Original Song, where she performed to hundreds of millions of viewers. For 2020, HIFF and PIC have the great pleasure to honor our first "Trailblazer" from Hawai'i, Broadway singer and film actress Keala Settle.
Daniel K Inouye Institute Ambassador:
Phillipa Soo: Phillipa Soo is best known for originating the role of Eliza Schuyler Hamilton in Broadway's critically acclaimed HAMILTON, garnering her numerous industry awards and a Tony Award nomination. She can currently be seen in the film version of HAMILTON, on Disney+. This fall, Soo will voice a lead role in Netflix's animated film OVER THE MOON She can also be seen in Sony's THE BROKE HEART'S GALLERY and in Disney+'s THE ONE AND ONLY IVAN. She made her feature film debut in HERE AND NOW.
HIFF40 Legacy Award:
Jason Scott Lee: Hawai'i's own Jason Scott Lee bursted into the Hollywood scene as Bruce Lee in the 1993 martial arts film DRAGON: THE BRUCE LEE STORY and Mowgli in Disney's 1994 live action adaptation of THE JUNGLE BOOK. His HIFF debut was in the award winning MAP OF THE HUMAN HEART directed by Kiwi Vincent Ward. Lee is the Hawai'i actor success story, and he would garner an illustrious acting career for over two decades. Becoming mid-pacific, he would set his sights to Asia and co-star in Netflix's CROUCHING TIGER, HIDDEN DRAGON: SWORD OF DESTINY and the Kevin Costner produced RAPA NUI. He would make a return to his roots, in animated form, in the Disney hit LILO & STITCH and return to the Mouse House as the big bad in the recent live-action remake MULAN.
With the film festival being a hybrid event (virtual and select live in-person screenings), this year's honorees will be honored online and participate in live-streamed moderated conversations. Most of these conversations will be open to the general public, including Q&A sessions with these film luminaries. Plus, an added bonus, they are all free!
To read more about this year's HIFF40 Honorees, as well as their scheduled HIFF Talk Story sessions during the Festival, head over to the HIFF Awards page.
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Venom Inc. live at Somerville, MA's ONCE Ballroom
Ben Stas
Ben Stas Published: June 13, 2016
All photos by Ben Stas
One could call Venom heavy metal's answer to the Misfits. The contemporaneous early output of both the Jersey horror-punks and the British black metal progenitors was characterized by gleeful shock value, catchy songs with comically dark themes and a general disregard for musicianship. Until Danzig and Jerry Only's recent armistice, the bands also shared the unfortunate distinction of existing in iterations most fans consider incomplete. Only and a rotating cast of associates has toured and recorded as the Misfits for years, and today the band officially known as Venom consists of original vocalist/bassist Conrad "Cronos" Lant and a pair of hired hands brought on in the mid-2000s. But while the original Misfits have finally agreed to put up with each other again for at least the duration of two Riot Fest sets, the classic Venom lineup has taken the less conventional route (The Queensryche stratagem) of diverging into separate bands playing the same songs.
Enter Venom Inc., the trio composed of original guitarist Jeffrey "Mantas" Dunn, original drummer Anthony "Abaddon" Bray and 1989-1992 Venom vocalist Tony "Demolition Man" Dolan. Mathematically, Venom Inc. is more Venom than Cronos' version by a long shot--50% more Venom for your dollar. Based on recent interviews, the band would argue the same in a more spiritual sense. On June 2, the third night of a 2016 North American tour, they stopped off in Somerville, Massachusetts, to prove it.
venom-30
Celebrating their 10th anniversary, PanzerBastard Opened the night on a very greater-Boston note. Fronted by Keith Bennett, a mainstay of Boston's hardcore scene, the quartet ripped through a thoroughly earsplitting and ass-kicking set. Bennett punctuated the hammer-down thrash-punk tunes with expletive-laden shots at unenthusiastic audience members and declarations of allegiance to the Venom Inc. camp before closing with a faithful Motörhead cover and leaving the figurative smoke to clear.
New York City's Sunlord already had a tough act to follow, and a lineup that clearly didn't have a ton of rehearsal time under its belt didn't help. Vocalist/guitarist Alfonso Ferrazza shredded his hardest, and the band occasionally locked into a satisfying groove, but it wasn't quite enough to get their set off the ground.
Ohio death metal vets Necrophagia fared better in the direct support slot, with vocalist and sole founding member Frank Pucci rallying through a painful back injury to lead a strong set with his current cohorts. Pucci's animated stage presence, which included acrobatic flailing of his mic stand, cavorting with a Halloween prop severed head, and getting in the audience's collective face as much as possible, elevated the band's old-school death metal approach to true spectacle. They drew in a number of diehards who started a small but spirited pit and proudly joined in on growled singalongs.
venom-2
Mantas, Abaddon and The Demolition Man finally took the stage just after 11, and quickly erased any doubts about the validity of their claim to the throne. From "Welcome to Hell" onward, the set was an onslaught of classic Venom delivered with attitude and spark. Dolan is an immensely capable frontman, but Dunn did just as much of the band-leading, directing crowd participation and periodically reminding us how many of these songs he did in fact write. All leather-clad and sinister swagger, the pair had a clear camaraderie with the crowd and performed about as close to them as they could physically get. Bray, meanwhile, hammered away at his kit with a smile on his face from a more conventional distance.
Venom were certainly never renowned as a particularly technical band, and this set offered the songs you'd want to hear in exactly the style you'd want to hear them: fast, loose and loud. The setlist briefly dipped into material from Dolan's original tenure in the band, but mostly stuck to their exalted early years. After closing the main set with "Witching Hour" – just after midnight of course – the trio saved top-tier favorites "In League With Satan," "Black Metal" and "Countess Bathory" for last. The floor was a raging mass of bodies and flying beer cans right up to the last note.
By the night's end, a very good rock show had undoubtedly taken place, but one was still left to ponder the matter of Inc. v. Venom. The official, Cronos-fronted version has its loyalists, and the Dunn/Dolan/Bray lineup is certainly accumulating some. It's not exactly easy for many of us to even draw a direct comparison – Cronos is proudly averse to "little club tours," which amounts to a scarcity of U.S. appearances outside of major festivals. But ultimately, maybe it doesn't matter which is the One True Venom. "The songs are yours," Dolan told the crowd, commenting on the issue toward the end of the set. Whether they're the true and superior version of the band or not, Venom Inc. are doing a damn fine job of actually bringing them to us.
PanzerBastard
Sunlord
This article has been edited to more accurately reflect quotes made by Tony Dolan.
Filed Under: NECROPHAGIA, panzerbastard, sunlord, venom, VENOM INC
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Media Release by The Hon Jane Prentice MP
Grants top-up to support NDIS transition for West Australians
Hon Stephen Dawson MLC, Western Australia Minister for Environment; Disability Services
Assistant Minister for Social Services and Disability Services, Jane Prentice and Disability Services Minister Stephen Dawson has today announced a funding commitment to ensure transition to the NDIS in Western Australia is as seamless as possible.
WA will move to the federally administered NDIS on July 1 and this investment will safeguard individuals' transition.
An investment of more than $5.2million has been contributed by the Commonwealth and WA governments to top-up the existing round of the Information, Linkages and Capacity (ILC) Building grants.
This funding is in addition to the $3 million awarded to 27 organisations across the State in March this year and the $20.3 million set aside in the 2018-19 State Budget for a Sector Transition Fund.
The additional grants have been awarded for initiatives across four priority areas that focus on:
Improving links for people with disability to relevant mainstream and community services;
Increasing knowledge and capability within mainstream services;
Connecting people with disability and their communities; and
Supporting people with disability to engage with and navigate the NDIS
Information about the successful grant recipients is available on the Tenders WA website.
Comments attributed to Assistant Minister Prentice:
"The Turnbull Government is committed to ensuring the transfer and transition to the NDIS in WA is managed carefully and that participants, families, carers and providers are supported.
"These further ILC grants assist organisations to carry out activities that improve community inclusion; ensuring people with disability can use and benefit from the same services and community activities as everyone else."
"ILC is an important part of the Turnbull Government's commitment to improving outcomes for all people with disability, not just NDIS participants.
Comments attributed to Disability Services Minister Stephen Dawson:
"The McGowan Labor Government is committed to supporting people with disability and the disability sector throughout this critical period of change and transformation in WA.
"We've made this decision and now we need to make it work.
"I am confident that this further funding for ILC-related initiatives will help support organisations during this transition phase.
"I am especially pleased that a number of grants have been awarded to peer-to-peer support organisations."


Pittsburgh Steelers 2022 NFL Mock Draft Roundup 7.0
Throughout the year and leading up to the 2022 NFL Draft, we will update our Pittsburgh Steelers Mock Draft Roundup showing picks for the Pittsburgh Steelers from several prominent sites and draft analysts.
The following are picks in recent mock drafts for the Steelers:
20. Kenny Pickett, QB, Pittsburgh
I'd feel much more comfortable taking Pickett here than I would in the top 10. Best-case scenario is that he's Derek Carr, and his floor is as an Andy Dalton-type, which isn't a bad quarterback by any means. Pittsburgh can win with that. Still, those two were taken in Round 2 and didn't have Round 1 expectations surrounding them. If Pickett falls into the Steelers' laps here, he'd be tough to pass up. And he has a little more upside than Mitch Trubisky.
20. Zion Johnson, IOL, Boston College
I believe the Steelers were hoping that a quarterback would fall to them. But instead of trading up or over-drafting a passer, they address the offensive line.
The Steelers did a good job drafting Najee Harris, but in order for them to truly establish a running game, they need to improve the offensive line. That leads them to draft versatile offensive lineman Zion Johnson.
Outgoing general manager Kevin Colbert might be salivating over the prospects of adding Georgia defensive tackle Jordan Davis here, but Pickett is an ascending talent who could compete for a starting spot this season.
20. Matt Corral, QB, Mississippi
Even with a lack of teams who need QBs there are still tons of teams willing to reach for them. Maybe the Steelers prefer Willis, but Corral has a hose and Matt Canada loves some RPOs.
20. Malik Willis, QB, Liberty
Willis tops this quarterback class in terms of tools, as his rushing ability gives him a high floor while his big arm gives him one of the highest ceilings in the class. The Liberty product led the FBS in both PFF rushing grade (94.5) and big-time throw rate (11%) a season ago.
There are concerns about how raw he is as a passer, which makes it very possible he ends up closer to his floor in the long run. He will need to work on his decision-making, pocket presence, accuracy, timing and inconsistency within his platform. He made strides in some of those areas last season, but there is still a long road ahead.
Even after adding James Daniels in free agency, the Steelers could continue to add along the offensive line.
There hasn't been a player who I've been more impressed with throughout the pre-draft process than Johnson. With versatility at guard and tackle throughout his career, he gained experience at center during the all-star game circuit and didn't suffer any type of drop-off. He could compete with free-agent signing Mason Cole for the top center spot.
20. Treylon Burks, WR, Arkansas
Burks is a contested and high-point catch machine. Don't be fooled by his 4.55 40 at the combine -- he regularly outran defensive backs to the end zone in the SEC and that won't change in the NFL. The scariest part of his game is that he's not even close to his ceiling yet, and what better way to get there than in Green Bay. He reminds us of some combination of Anquan Boldin, JuJu Smith-Schuster and AJ Brown. The Steelers just lost Smith-Schuster and James Washington in free agency and they'll need to add some WRs in the draft. Burks isn't a bad place to start.
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Labels: 2022 NFL Draft, Pittsburgh Steelers


Original King's Canyon Map Returning to Apex Legends
Go back to where it all began with a special Genesis Collection Event.
Respawn Entertainment is going to take Apex Legends back, all the way back to the year 2019. It was in 2019 that Apex Legends was given a surprise release in early February and from there it just continued to grow into one of the most popular battle royale games around.
Over time, the game has undergone some significant changes. New characters have been introduced, maps have been heavily reworked, and all sorts of other changes have been made. Even if you wanted to, you couldn't play the original iteration of the game's main map, King's Canyon, in the present day, unless...
Starting on Tuesday, July 29th, Respawn will kick off their Genesis Collection Event, a two-week throwback to how it all began. Genesis will feature the first iteration of King's Canyon. This is before disasters, both natural and man-made, transformed the map into its 2021 iteration. Not only is King's Canyon going back to the past, but so will World's Edge. While it wasn't around for the first release of Apex, World's Edge was first introduced in Season 3 of the game, still pretty on in the game's life. It will be transformed back to the lush, green map it used to be before the whole active volcano thing happened.
Fans of the game from the start of it all will be happy to hear that Skull Town is returning, both in the original King's Canyon map and now as an Arena map.
This Genesis event will also include plenty of cosmetic throwback skins to unlock or outright purchase if you so desire. According to Respawn, there will be a new set of 24 themed, limited-time cosmetics to unlock. Unlock all 24 and you'll get the Revenant Heirloom set as a bonus. Revenant's Heirloom weapon is also making its debut. In keeping with his whole theme, his Heirloom is a big ol' scythe.
Of course, this wouldn't be an Apex Legends update if it didn't also include a ton of balancing adjustments and bug fixes. You can read the full changelog here.
Tags: apex legends, battle royale, ea, f2p, free to play, free-to-play, multi, respawn entertainment
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Singapore, 7 January 2019 – ST Engineering and Vuzix Corporation, a leading supplier of Smart Glasses and Augmented Reality (AR) technology and products, today announced the launch of the world's first Augmented Intelligence, biometric-enabled Smart Glasses platform to boost productivity of enterprise customers and, in the face of burgeoning urbanisation, enhance global public safety.
This platform as a service (PaaS), developed by ST Engineering's Electronics sector, is a new pay-per-use application integrated with Vuzix Blade® Smart Glasses, enabling hands-free and non-intrusive identification. With this subscription-based, smart glass model, enterprise customers in the healthcare, aviation, logistics and manufacturing industries can save costs without the need of additional infrastructure or hand-held devices.
The PaaS Smart Glass solution allows customisation of a number of applications including hands-free scanning of barcodes for efficient cargo loading and delivery; real-time cross-referencing against a central database of criminal offenders and displaying route maps to criminal suspects in the vicinity. At the frontline of emergencies, it enables first responders to more efficiently identify causalities or patients and obtain vital information such as medical histories of allergies and blood type. This reduces the wait time upon arrival at hospitals, allowing critical medical help to be delivered more quickly to patients.
"For decades, we have stayed committed to delivering innovative, frontier technologies that enable our global customers to stay ahead in the market and push the industry forward," said Mr Low Jin Phang, General Manager of Info-Software Systems, Electronics, ST Engineering. "Technology has created a new world of work possibilities with the application of artificial intelligence and data analytics to healthcare, aviation, manufacturing, logistics and public safety, taking on-the-job efficiency to a whole new dimension. With the Vuzix Biometric Smart Glasses, enterprises and security agencies will be able to mobilise frontline and field workers with up to 50% enhanced productivity as a result of streamlined work processes."
"Vuzix is committed to delivering innovative AR smart glass solutions that are lightweight, wearable all day and deliver information to users across the enterprise when and where they need it," said Paul Travers, President and CEO of Vuzix. "ST Engineering's biometric-enabled platform, coupled with Vuzix Smart Glasses, create a powerful tool that can boost productivity of enterprise customers and enhance public safety worldwide."
The PaaS Smart Glass solution is targeted for frontline and field-based workers in the industries of aviation, healthcare, security, manufacturing and logistics industries. It will be available for preview at CES 2019 from January 8 – 11, at the Vuzix booth #15036 at Tech East LVCC, Central Hall in Las Vegas, Nevada.
ST Engineering is a global technology, defence and engineering group specialising in the aerospace, electronics, land systems and marine sectors. The Group employs about 22,000 people across offices in Asia, the Americas, Europe and the Middle East, serving customers in more than 100 countries. Its employees bring innovation and technology together to create smart engineering solutions for customers in the defence, government and commercial segments. With more than 500 smart city projects across 70 cities in its track record, the Group continues to help transform cities through its suite of Smart Mobility, Smart Security and Smart Environment solutions. Headquartered in Singapore, ST Engineering reported revenue of S$6.62b in FY2017 and it ranks among the largest companies listed on the Singapore Exchange. It is a component stock of the FTSE Straits Times Index, MSCI Singapore, SGX ESG Transparency Index and SGX ESG Leaders Index. For more information, please visit www.stengg.com.
The Electronics sector specialises in the design, development and delivery of Information and Communications Technology (ICT) products, solutions and services addressing the needs of Smart Cities for Connectivity, Mobility and Security. Its deep technological and engineering expertise straddles business domains in Rail & Road engineering, Satellite Communications, Public Safety & Security, Cybersecurity, Artificial Intelligence, Training & Simulation, Managed Services and Defence C4ISR. It has presence in more than 30 global cities across North America, Latin America, Europe, Africa, the Middle East, China, India and Southeast Asia. For more information, please visit www.stengg.com.
Vuzix is a leading supplier of Smart-Glasses and Augmented Reality (AR) technologies and products for the consumer and enterprise markets. The Company's products include personal display and wearable computing devices that offer users a portable high-quality viewing experience, provide solutions for mobility, wearable displays and augmented reality. Vuzix holds 62 patents and 71 additional patents pending and numerous IP licenses in the Video Eyewear field. The Company has won Consumer Electronics Show (or CES) awards for innovation for the years 2005 to 2018 and several wireless technology innovation awards among others. Founded in 1997, Vuzix is a public company (NASDAQ: VUZI) with offices in Rochester, NY, Oxford, UK, Barcelona, Spain and Tokyo, Japan.
Agnes Chang
Assistant Vice President, Corporate Communications
ST Engineering
Email: chang.chehhong.agnes@stengg.com
Krystel Ee
Email: ee.zhenhui.krystel@stengg.com