text:
Mob boss Thomas Gioeli files premises liability claim after fall
On behalf of Coughlin & Gerhart, LLP posted in Premises Liability on Thursday, November 16, 2017.
Property owners in New York and elsewhere are always responsible for the safety of other people who move about their premises. This also applies to facilities such as detention centers and prisons. Inmates who suffer injuries that result from unsafe or dangerous surroundings might have grounds to pursue recovery of damages through a premises liability lawsuit.
A 65-year-old mob boss who is serving a 19-year prison sentence recently filed a premises liability lawsuit against the government. The suit claims the prison staff neglected their responsibility to clean the shower area and keep the floor dry. According to court documents, the plaintiff claims he slipped and fell while playing ping-pong in the detention center in 2013. He apparently missed when trying to hit the ball, and then went to retrieve it from the shower area where it landed.
The claim further states that Gioeli suffered a fractured kneecap, which led to surgery and subsequent physical therapy. He also alleges his numerous complaints about slippery areas were ignored. However, the Assistant U.S. attorney says that the claim should be dismissed because the plaintiff was well aware of the risks when he played ping-pong in an area in which he might encounter wet and slippery floors.
The claim is scheduled for trial next month. Those in New York who get hurt on the premises of others due to the property owners' negligence may have grounds to pursue claims for financial relief in civil court. Discussing the circumstances that led to the injuries with an experienced premises liability attorney is a good first step. The attorney can provide the necessary support and guidance throughout any ensuing legal proceedings.
Source: New York Daily News, "Colombo mob boss who filed slip-and-fall suit knew of Ping-Pong dangers, feds say", Andrew Keshner, Nov. 9, 2017
Tags: Premises Liability
Related Posts: Premises liability claims prevalent in the New York winter, Premises liability: What to do if the elevator stalls, Premises liability suit filed by injured Costco customer, Premises liability: How safe will trick-or-treating be this year?


I need to create my own DzDrawStyle in which I can use my own GLSL shader code. Extending DzDrawStyle is straight forward enough, but I don't see where I can pass in my own GLSL vert/frag shader. Calling DzDrawStyle::shader() returns null for the various DrawStyle-derived classes I've tried extending.
I see GLSL shader methods in DzOpenGLShader, but I'm not sure how to connect it to my custom DzDrawStyle. Can someone point me in the right direction here?
Yeah...that's an oldie. That's from back in DS3 times.
mjc1016, do you mean its no longer possible to use custom GLSL shaders in the viewport?


text:
Q: Gradle with non-standard named source sets - how do I make them available to the test classes? I have a (legacy) Java project which I'm re-configuring to build with Gradle. The build should, eventually, output a number of jar archives, so I've divided to split up the source into source sets that correspond to the subdivision of the output into archives.
The file tree looks something like this:
- project root
    - src
        - setOne
             - java
                  - ...
             - resources
                  - ...
        - setTwo
             - java
                  - ...
        - setThree
             - java
                  - ...
             - resources
                  - ...
        - test
             - java
                  - ...

    - build.gradle

and in build.gradle I have the following:
apply plugin: 'java'

sourceSets {
    setOne
    setTwo {
        compileClasspath += setOne.output
    }
    setThree

    test
}

dependencies {
    setOne group: 'foo', name: 'bar', version: '1.0'
}

// Setup dependencies so that compileJava compiles all source sets
// while avoiding cyclic dependencies for main and test
sourceSets.matching { ss ->
    !(ss.getName().contains('test') || ss.getName().contains('main'))
}.each { ss ->
    compileJava.dependsOn ss.getCompileJavaTaskName()
}

When I try to build this, I get a bunch of warnings from the compileSetTwoJava target about some classes not being resolved - referring to classes from the foobar library imported to setOne. I assume this is because Gradle only gives setTwo access to the classes built in setOne - but why isn't it able to resolve the dependencies for the classes imported from setOne in the process?
How do I set up this correctly?

A: It turns out this was just as easy as I thought it ought to be - if you just start out the right way. Definining
setTwo {
    classPath += setOne.runtimeClasspath // instead of setOne.output
}

solves the problem.
UPDATE:
It seems even better to do it among the dependencies, where one can do
dependencies {
    setTwo sourceSets.setOne.output
}

and get it working.

redpajama_set_name: RedPajamaStackExchange


The Dakota Access Pipeline (DAPL) has become a hot issue for liberals, since it's a perfect mix of hot-button issues: race (Native Americans), environmental concerns (water pollution, oil spills), climate change, and evil big corporations against the little guys.
What started out as a small protest in Standing Rock, North Dakota, has now gotten a lot of national coverage and attention. Bernie Sanders, Jill Stein and many celebrities have spoken against the pipeline or have gone there to protest, and liberals on social media are shedding virtual tears. And, oh, Donald Trump signed the executive orders to move the project forward!
But there is a lot of misunderstanding and propaganda regarding this whole issue.
There are also benefits to pipelines: they are more effective, cost-saving and even environmentally friendlier than alternative modes of transportation such as tanker trucks and freight trains. Trucks and trains, of course, run on … diesel, a byproduct of petroleum (oil). Thus, trucks and trains mean more pollution, more oil consumed (bigger carbon footprint) and more greenhouse gases.
Now, let's move on to the specifics of DAPL and its problems. First, it's a 1,000-mile long pipeline and more than 90% has been completed. The only problem is in the land of Sioux tribe in a Native American reservation called Standing Rock in North Dakota. Note that there are only about 8,000 people who live in an area of 3,600 square miles.
And the pipeline only goes through a very tiny piece of land that belongs to Standing Rock. Some sources claim that the pipeline never touches Standing Rock and is actually about 1/2 mile away. Either way, the entire length of the pipe in that region is less than 40 miles.
And guess what? That 40-mile strip is a private land and really doesn't even belong to Standing Rock.
The claims of the opponents are two fold: one, the pipeline runs through sacred sites protected by a treaty; two, the pipeline is close to water sources and hence a spill in the future could harm the people living there.
Sacred Sites: This is a bogus reason contrived by liberal groups who dug up a treaty from 1850 or so. The treaty has been disputed many times and it was actually between the U.S Government and another tribe (Great Sioux Nation).
Also, the pipeline company requested feedback from the tribe back in 2014 and there was no response. In fact, the Army Corps of Engineers tried to meet with the tribe more than dozen times but couldn't. Two years later, suddenly sacred sites have become an issue.
Furthermore, there is another pipeline – Northern Border Pipeline, built in 1982 – that runs parallel to DAPL. How come nobody had problems with that one?
Future Spill: This is an important issue and a real concern. But turning this fear into a sole decision factor means no pipeline can be built at all.
So why all this unnecessary drama? One, green energy activists/companies are funding the protests and even bribing some of the leaders of Standing Rock. Two, Warren Buffett and others have huge investments in freight trains and trucks which will lose business because of this pipeline.
Fact is that many Native Americans in Standing Rock couldn't care less about DAPL. They are sick of all these white people coming in from all over the world to protest an issue for ulterior motives and using the Native Americans as a pawn.
So, go home, hipsters and celebrities! Trump will let the pipeline move forward, but has insisted that the pipeline be built with steel made in America.


The development has already been recognised by the architecture industry and praised by tenants. In May 2018, it was an Auckland NZIA Award winner and in June the project won a merit in the Property Council awards. Now the project has been shortlisted for a national NZIA Award in the multi-unit housing category.
Convenor of the awards jury, Richard Goldie, singled out the project, saying he is pleased that a Housing New Zealand development is on the awards shortlist.
The Jennings Jersey homes, ranging from two to four bedrooms, are contemporary in design and embody the type of medium density housing encouraged via the Auckland Plan and the Unitary Plan.
The project's architects at Monk Mackenzie say award winning design should be the norm for new state housing.
Designing state houses for Housing New Zealand in Mount Albert was new territory for architecture studio Monk Mackenzie. Known for innovative projects, such as the bright pink cycleway, Te Ara I Whiti/Lightpath in Auckland and the giraffe house at Auckland Zoo, designing 18 new homes on a 3649 square-metre site on the corner of Jennings St and Jersey Ave was viewed as an exciting challenge by the practice.
Monk MacKenzie's Sean Flanagan says one key to the project's success was the minimal palette of materials used. The variation and dynamism is added by the tenants when they move in, he says.
Housing New Zealand tenant Pauline Otunuku moved into one of the four-bedroom homes last December. "This home is helping us to live our lives. My kids are settled and I love it here. It's great; I like everything about this house."
Flanagan says it is a thrill for the Jennings-Jersey redevelopment to be recognised with awards because a lot of thinking and effort had gone into the design – by the architects, the wider consultant team, the builders, and Housing New Zealand.
However, Flanagan stops short of saying it was great for state housing in particular to be awarded.
The perception that Monk Mackenzie is hoping to change with this and future projects is that medium-density housing is detrimental for existing neighbourhoods.
But more than buildings, Flanagan says, it's the people who move into a neighbourhood who have the greatest potential to enhance it.
Adhering to Housing New Zealand's philosophy, Flanagan says that increased density means greater numbers of people, which can lead to livelier streets, busier parks, and safer neighbourhoods. A growing population becomes the justification for investment in better amenities, including public transport, more vibrant town centres and better equipped parks and playgrounds.
Flanagan says the design team was also conscious of the project's impact on the immediate neighbourhood. When density increases, the quality of the design of both the new homes and streetscapes can aid acceptance amongst the community.
Flanagan says he lives in the vicinity of the Jennings-Jersey redevelopment and kept a close eye on the neighbourhood Facebook page during the construction.


text:
Best European Business Schools In 2019—According To The Financial Times
European MBAs continue to be on the rise in 2019. But who have been ranked among the best European business schools this year?
Written by Simon Lovick
Best European business schools: HEC Paris is ranked the best business school in Europe this year, clinching top spot from LBS
The ranking of the best business schools in Europe has been released by the Financial Times (FT). HEC Paris claims top spot, overtaking London Business School, which has held the top spot for the last five years, sitting in second place in this year's ranking.
The good news for HEC Paris comes in the same year that the FT knighted its Executive MBA program as the best in the world, the first European school to hold the top spot in this category since 2015.
Rising from sixth place to a podium finish in this year's European business school ranking is Italy's SDA Bocconi School of Management, which takes third place. The University of St Gallen retains its fourth place ranking from 2018.
The Financial Times European Business School Ranking, ranking 95 European schools overall, takes into account the ranking of each school's MBA, Executive MBA, Master's in Management, and two non-degree Executive Education rankings produced by the FT throughout the year.
The UK and France boast some of the best business schools in Europe
Overall, French schools have a strong showing in 2019's ranking, with six schools finishing in the top 20, and 26 schools featuring overall. INSEAD and Essec Business School place well in fifth and seventh position respectively, while EMLYON, EDHEC, and ESCP Europe also slot into the top 20.
This comes in the face of considerable public funding cuts to French business schools, who must look elsewhere to sustain their accounts.
EMLYON Business School this year announced a restructuring of their financial model, selling off stakes to private investors in a plan to raise $110 million to reduce its reliance on the publicly funded chambers of commerce and industry (CCIs). Their top twenty ranking suggests a bright future for the school.
In the face of Brexit and political uncertainty, UK business schools have continued to perform strongly in the European business school ranking. The UK equals France with six schools in the top 20, and has 21 schools featured overall.
The University of Oxford's Saïd Business School comes in at 10th, with Cambridge Judge (16th), Warwick (17th), Imperial College Business School (18th), and Cass Business School (19th) finishing close behind.
Germany also has much to celebrate, with ESMT Berlin in ninth place, becoming the first German school to finish inside the top 10.
Best Business Schools In The US, Europe, Asia-Pacific & Canada—Ranked By Bloomberg Businessweek
Posted on December 11, 2019 13:20 | 0 comments
Posted on December 9, 2019 16:00 | 0 comments
MBA Rankings: 6 Things You Should Know

redpajama_set_name: RedPajamaCommonCrawl


text:
Nanny State Bag Fee, Now In Big D
Ross Kecseg | March 27, 2014
Dallas is commonly referred to as a transplant city, with many Americans from across the country relocating here for promising career opportunities. Now it appears that nanny-state regulations, and not merely people, are also finding solid footing in the metroplex.
In a hotly contested 8-6 vote, the Dallas City Council approved an environmental fee for the use of paper and plastic bags, settling a yearlong debate at City Hall. Interestingly, a News 8 online poll showed only 38% of respondents supported a partial ban or related fee, while 61% opposed a partial ban.
The previously proposed "bag-ban" was rejected. Retailers will, instead, be forced to impose a five cent fee for each bag given to consumers, with the City of Dallas taking 90% of revenue generated.
Beginning in 2015, retailers will need to adopt systems to track bag usage, and report usage to the government.
City officials supporting the ordinance claim the new measure will "reduce pollution" in the city. It begs the question, how likely will a five cent fee deter usage of disposable bags? Furthermore, isn't pollution in the city more about citizens littering in general, and less about what type of litter they throw out the car window?
Critics claim the ordinance places burdensome compliance costs on consumers and businesses, reducing already razor thin retailer margins. They cite compelling evidence that the ordinance will not reduce pollution, littering, or "protect" the environment.
To enforce the new ordinance, $250,000 in P.R. will be set aside to promote propaganda supporting the measure, while estimates predict up to twelve new bureaucrats could be hired to manage enforcement of the program. In other words, every time Dallas residents spend money at retailers, they'll be paying the government to promote public messaging that reinforces the claim that levying the fee is "saving the environment".
We've previously discussed the alleged merits of such a policy and found them to be, not only dubious at best, but carry potentially harmful, unintended consequences.
Hopefully, well-intentioned policy blunders like this will inspire more liberty-loving residents to engage their local officials.
Only time will tell.
Ross Kecseg
Ross Kecseg was the president of Texas Scorecard. He passed away in 2020. A native North Texan, he was raised in Denton County. Ross studied Economics at Arizona State University with an emphasis on Public Policy and U.S. Constitutional history. Ross was an avid golfer, automotive enthusiast, and movie/music junkie. He was a loving husband and father.


BME,LLC IS A MUSIC AND ENTERTAINMENT SITE FILLED WITH MUSIC SERVICES AND RESOURCES FOR ANYBODY WHO CAN RELATE.
SOLOMON CHILDS is SUPASTARS Certified!
If you aren't up on this Iconic New York City super star, you need to do your homework. Reppin' Staten Island, Ny to the fullest, Solomon Childs is well renown as an affiliate with the Wu Tang Camp! Childs been dropping rhymes well over 10yrs with a serious dynamic range in audiences worldwide. According to multiple news sources, late 2016 SolomonChilds sustained gunshot wounds to his neck and back by unknown assailants on Forest Ave in Staten Island, Ny. The attackers are still on the run, however that incident has not hemorrhaged Solomon's movement and creative ability. He's back, better than ever powered by Bullz Eye Enterprises Power-House PR (BullzEyeEnt.com) and under new management!
Solomon Child's "My Baby" is 2017 thrown back into genuine well crafted Hip Hop of the 90s. Do not have me mistaken, this track is fresh, hip and cool. A bold display that SolomonChilds won't be hindered by a few gunshot wounds.
View the track below & ENJOY!
Check out the NEW drama web series "What About Your Friends?" available to stream on youtube at the link below.
Labels: What About Your Friends?
After having a very successful first US screening at the Venezuelan Film Festival in New York, experimental film "Ann" is now an Official Selection into the 41st Atlanta Film Festival in which it'll compete amongst projects from all over the world. The film already opened at the Social Machinery Film Festival and The Euro-Mediterranean Festival both in Italy where its lead actor Carlos Antonio Leon won the Best Protagonist Award. "Ann" has already screened in festivals in Ecuador and Germany.
Directed, written, and produced by Venezuelan Carla Forte (Berlinale Talents 2017), "Ann" illustrates the story of Ruben, a sculptor whose life became meaningless. Looking for a way to scape reality he creates a parallel world called Imagimundo in which he finds solitude but must detach from everything that connects him to the real world. In a way, Ruben is exorcising his own ego. His wife Ann tries to understand him to no avail thus falling into a chaotic situation that separates the lovers. To make matters worse, Ruben creates an entity called Ana Angel that comes to push their relationship into a spiral of madness with terrible consequences.
Ron Wave has developed quite a buzz over the past few months as he has accumulated over 100,000 plays on his Soundcloud page. The Baltimore artist proves that his wave is only growing with his latest release, "20 Hunnit" produced by Jon Boy Ice. Ron Wave has created a refreshing new sound and has delivered consistent heat in 2016. We look forward to watching him in 2017 and will keep you posted about the release date of his debut project, "Icey 1996."
While he might have spent a bit of time in sunny California growing up – make no mistake, Ron Wave IS Baltimore to the very core. Born to entertain – he grew up acting in commercials and TV-shows before making the most serious move of his entire career with a transition into music and straight to the mic.
Somewhere around his sophomore year, he made changes from being the crazy-guy to getting serious & studying the frequencies and vibrations we all vibe on collectively. Learning the importance of energy its karmic relationship between humanity and life all around us – Ron's rhymes also began to take on noticeable positivity and an authentic approach to unifying the people through music.
A true voice for the voiceless – Ron Wave sets the example for balance in life and leads the way to a brighter tomorrow for us all through the lyrics he writes. A champion of the underdog and tireless enthusiast – Ron makes music to inspire the leaders of tomorrow every bit as much he does to create something big & ballin' to listen to. Also affiliated with the high-energy crew LOCVLS Only – Ron Wave is one of the hardest-working, dedicated & driven artists making real change within the rap/hip-hop scene…he isn't just here to spit more rhymes at ya – he's here to make a difference in this world.
True artistry comes with innovation, and with that comes a talent that's been making noise since the 90's, Natalac. With hip hop in his blood, the veteran emcee wanted something more from his rhymes and thus – pimp hop was born. Since it's birth, pimp hop has led this rapper on one wild ride that's had him everywhere from BET to an animated hit series.
Those interested in hearing more from Natalac can check him out online.
Dj DB405 named this album Lapwing Rd. after the street he grew up in Edmond, OK, a small city in Oklahoma City's metro area." a press release states. "This is the place where he first fell in love with music, where it all began before being in the streets selling mixtapes and DJing nightclubs around OKC at the age 16. But now, he is promoting music that's gonna help and not hurt people and hopes to do that with the Lapwing Rd."
Labels: DJ DB405, Lapwing Rd.
Muvi allows you to launch your own multi-screen OTT Video On Demand (VOD) Platform instantly! Includes Hosting, CDN, Video CMS, Transcoding, DRM, Online Video Player, Website and Apps for Mobile and TV. No coding required. All inclusive. Fully managed.
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Muvi offers you complete control over your brand name, get a website on your own domain name (www.yourbrandname.com) instead of www.xyz.com/channel and display your logo to your audience! Stop driving traffic to 3rd party sites by spending your own monies, drive traffic to your own business and get an opportunity to own and capture all the data and statistics. Launch Mobile and Smart TV apps under your brand name, the apps are published under your account so all your audience sees is YOU and not Muvi anywhere, Muvi works silently in the background while you take all the credit!
With Muvi, your subscribers are more than just a number or statistics. Muvi lets you access all of your subscriber data including their names and email addresses and export the data to your favourite mail client so that you can engage with them further and drive better results with your marketing campaigns. Muvi also lets you take control of the registration form and define what fields you want to capture, integrate with Social Media Logins and pull Social Data of all your subscribers to your business. With Muvi, the amplification you get via access to your Subscribers lets you effectively take charge of your business, marketing and make effective analytical decisions that work in your favour!
Sports teams and Leagues can now launch their branded sports on demand or sports event's live streaming Multi-Screen platforms or any event owners can go live instantly, in just at one click. Muvi's Live Streaming engine brings a host of features and options for event organizers allowing them to live stream their events live and monetize beyond borders of geographic restrictions. Music events and festivals can now be streamed across the entire world at the click of a button and reach out to an amplitude of audience offering various monetization options.
Broadcasters, TV Networks, TV Channels and Multi-Service Operators (MSOs) are racing up today to get ahead in VOD Space and release their own video streaming platform to gain a big number of viewers. Traditionally setting up a Multi-Screen Video Platform came with a huge cost and a go-to-market timeframe of 12-18 months! Both these factors combined would mean that your competition in the meantime would ramp up its numbers and your viewers will get habitual to another platform, thus making you lose on potential audience. With Muvi's cloud based offering, it's very easy and quick to launch your own branded Multi-Screen Internet TV Service similar to HBO Go, instantly! Just upload your template, add your videos, set your revenue model and go live. Its that simple and easy for anyone to launch.
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text:
Кодерка́си (, ) — присілок у складі Чебоксарського району Чувашії, Росія. Входить до складу Атлашевського сільського поселення.

Населення — 277 осіб (2010; 294 у 2002).

Національний склад:
 чуваші — 95 %

Джерела

Примітки

Посилання
 На Вікімапії

Населені пункти Чебоксарського району
Присілки Чувашії

redpajama_set_name: RedPajamaWikipedia


text:
Uncharted Books
A rare and used bookstore in Chicago. In better times, we are also a secret club, event space, and cool place for dogs.
Closed due to pandemic.
Curbside pickup Mon, Thurs, and Sat 11-7.
Adventurers Club
COWMAN, Mrs. Chas E. [Lettie Cowman]
Los Angeles: Oriental Missionary Society, 1945. 24th printing. Hardcover. 8vo. Faux-leather. 378 pp.
Minor shelf wear. Previous owner's inscription on front free endpaper.
This is an influential devotional by evangelical Christian missionary Lettie Cowman (1870-1960). Streams in the Desert is her best known book, reprinted many times, inspired by her mission work in Southeast Asia. The Oriental Missionary Society (now called the One Mission Society), which the Cowmans co-founded in 1901, remains an influential evangelical organization, with branches in 77 countries and claiming to open over 6000 new churches every year. Very good. Item #2016
See all items in Christianity, Philosophy, Religion, & Esoterica
See all items by Mrs. Chas E. COWMAN, Lettie Cowman
5140 N. Clark St.
© 2021 Uncharted Books. All rights reserved. Site Map | Site by Bibliopolis


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34711 apartments are generally unfurnished, and are more budget friendly than apartments in other areas of Orlando. Floor plans vary, but 2 bedrooms are very common in the area. The space in the apartments ranges from 600 to 1000 square feet, but are designed around their compactness without infringing upon the comfort of its residents. The units make use of carpet, wood, and tile flooring throughout the rooms and also have plenty of extra storage space and walk-in closets. Apartments in 34711 generally are handicap accessible as well.
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The Weekend Today Show will be crossing from ANZ Stadium on the morning of the 2011 NRL Telstra Premiership Grand Final and they want Sea Eagles and Warriors some fans to show support for their team.
Fans of both clubs are invited to join Weekend TODAY weather presenter Emma Freedman as she previews the huge day ahead, with ANZ Stadium set to provide free bacon and egg rolls to get Grand Final day started in style.
Meet at Gate C or D at ANZ Stadium at 8.15am on Sunday to be part of the Weekend Today Show program and show Sydney who has the most passionate supporters.


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Category: Georgians
ALERT: A mezzo Cesare coming up
Britain's Opera North recently announced the 19/20 season and whaddaya know: a mezzo Cesare is in the offing, that precious and almost extinct species.
This fall, the northern four-city opera is reviving Tim Albery's 2012 Cesare, which also starred a mezzo in the title role, Pamela Helen Stephen (below). This year, the role goes to Lithuanian mezzo Justina Gringyte alongside Sophie Bevan's Cleopatra.
Pamela Helen Stephen in Opera North's 2012 production of Giulio Cesare in Egitto. Photo: Tristram Kenton
By Definitely the Operain Baroque, Georgians, Handel, Mezzo, Mezzos with Sopranos, Opera, trousers February 25, 2019 83 WordsLeave a comment
Barbara Hannigan conducts the TSO
Barbara Hannigan and the TSO. Photo: Jag Gundu
The concert started with the lights down and a Debussy flute solo, Syrinx, by Kelly Zimba placed not on the stage but up on the centre-mezzanine. The three-minute piece led uninterrupted into Hannigan conducting and singing Sibelius's Luonnotar for soprano and orchestra. The work uses the first poem from Elias Lönnrot's nineteenth-century epic cycle Kalevala, on the female nature-spirit of the air who comes down to the water and… interacts with the elements to create the universe. So we start with nothing less than the creation of the universe. The Sibelius tone poem sounds much later than mid-19th–it sounds in fact early modernist with unRomantic, unmelodic, not straightforwardly emo orchestral colours and vocal material for the soprano and with a kinda overall abstractness. We tend to (well, I do) paint the nineteenth with the same brush, but that's where modernism started–Turner was already painting, Debussy composing, and Baudelaire, Rimbaud, Mallarmé and Emily Dickinson writing poems. Hannigan added her Hannigan performing magic to the poem and melded singing and conducting into singer-conducting, and this sometimes meant she wasn't going to turn to the audience but sing facing the orchestra. It made perfect sense in the context.
Off we went, with a halved orchestra, to Haydn't upbeat Symphony 86, a delight in all its four movements. I think I heard La Hannigan intone the first bars to the orchestra before the second, Largo, movement, and that too felt perfectly fine. A singer is conducting, why wouldn't she hum at some point or other?
After the intermission, Alban Berg's Symphonic Pieces from the Opera Lulu, which clocks at about 30 min, was the chunkiest chunk on this eclectic menu. The moods of the Rondo, Ostinato, the song, the variations and the Adagio are diverse enough to keep you involved, and while the orchestral forces are considerable, they did not trundle but dance. Midway in, the singing returns, and Hannigan turns around and sings the Lied der Lulu with a fresh, girly voice.
The George Gershwin suite from the musical Girl Grazy, arranged by Hannigan and Bill Elliott and orchestrated by Elliott, concluded the set. The four songs were flowing into one another, without interruptions for applause (excellent decision), and for this performance the singer was miked (logical as she, for the most part, did not sing in operatic voice and the brass section can get intense). I would probably describe this arrangement as a touch Bergian: Gershwin meets Berg in 'But not for me', 'Strike up the band', 'Embraceable you' and 'I Got Rhythm'. Hannigan had the men of the TSO sing a section of 'Embraceable you' and now we know they can definitely carry a tune. Get that hidden choir out for a walk more frequently, conductors.
Hannigan has nothing left to prove as a musician at this point and if orchestras are asking her to conduct and program, more power to her and them. I was skeptical at first–there are a lot of women who have undergone long/endless training to be conductors for whom these doors remain closed shut, and Hannigan's celebrity certainly precedes her. But so does her musicianship and artistry, which are undeniable. So after initial misgivings I am now completely favour of the already established singers switching to conducting (like Nathalie Stutzmann, and Hannigan herself). Whoever's in position to make a crack in that stubborn glass ceiling, I'll celebrate it. Sometimes it will be musicians who have had a career in another area, and that is fine.
As Hannigan's singer-conducting programs with the TSO and other orchestras show, she can be an innovative programmer and innovative performance director. She may become even freer and more experimental as her reputation as a conductor grows, and I'll be curious to see where La Ha and partner orchestras will take the concert format in the future.
There's one more performance tonight
Top and bottom: Hannigan with the TSO. Both photos by Jag Gundu.
By Definitely the Operain Georgians, Romantics, Twentieth Century, twenty-first century February 14, 2019 February 14, 2019 675 Words1 Comment
I have seen the future of the baroque concert, and it is programmed by Alison Mackay.
Safe Haven / Tafelmusik. Photo by Jeff Higgins
I've read good things about Tafelmusik's multi-media, through-themed concerts, but did not know how special they are until I finally went to one this Friday. Safe Haven, programmed again by Tafelmusik's double-bassist Alison Mackay, takes on the theme of refugees and immigration this time. Pitfalls are many around the topic – sentimentality, didacticism, forced parallels, the idea that it's incumbent upon art to fix historical injustices – but they were masterfully avoided. The multi- in its multi-media nature came from the video and lights (Raha Javanfar, projections & Glenn Davidson, lighting) and spoken text (researched and written by Mackay), with musical pieces tailored in.
Mackay spins the main thematic thread across the countries and continents while also remaining faithful to the orchestra's preferred musical era, roughly the baroque style era between Lully on the one end (d. 1687) and Vivaldi (d. 1741) on the other. An extraordinary number of composers are on the program, many more than can be heard during regular Tafelmusik concerts because in most cases, single movements are played rather than the pieces in entirety. (And why not; didn't, as Lydia Goehr argues, the 'musical work' as we understand it today emerge at around 1800 with Beethoven?) There are a few forays into our own time and among our contemporaries. A photo or two early on (the US-Canadian border crossing under snow, say), a recurring quote ("no one puts their children in a boat / unless the water is safer than the land", the verse by Warsan Shire, young Somali-British poet), and at the very end the true story of a Newfoundlander who rescued a boat full of Tamil refugees thirty years ago.
The program itself is knitted into an almost narrative, pieces of music woven into the historical episodes described, often directly tied to the specific people named. The Huguenots had to leave France for England for reasons of religious persecution, the Jews had to leave Spain for The Netherlands, Catholics had to leave England and Scotland for Poland, the Roma had to keep moving through Europe even then, and all the while the slave trade is happening across the Mediterranean and the Atlantic. Africa is here important part of the narrative and is given voice in the musical program, with Diely Mori Tounkara's solos on the multi-string plucked instrument from Mali called kora, which sounds a bit like a love child between cello and harp. Plus, the knockout lady percussionist Naghmeh Farahmand added beat to some of the western pieces, and absolutely blew the roof off with her solo on the Iranian daf.
Reading the script was the singer Maryem Tollar. She also sang the two vocal pieces on the program, "Or sus, serviteurs du seigneurs" by Goudimel and Bourgeois in old French and "A la salida de Lisboa" in Portuguese. The voice is non-operatic, which is exactly what was needed in the context – she naturally switched from the speaking mode to singing as a cabaret mezzo. It was simple, and intimate, and right. The only thing that perhaps wasn't ideal is that during the reading segments she would overemphasize most of the adjectives and add dramatic enunciation to her words where this wasn't called for. But not too big a deal, ultimately — and not everybody is a trained actor, c'est pas grave. She aptly navigated the microphones, the bows, the chairs and the other musicians–the narrator moves around a lot–and also played the tambourine in the final number with everybody taking part.
Which was Corelli's legendary Allegro from Concerto grosso in D Major, except rearranged as a jam session between the instruments of the west, east and south with the percussion coming in loud and clear (Toller and Farahmand). A total burst of joy, ear-to-ear-grin ending to an emotional evening that was poignant and playful in turns and so smartly plotted out.
There's one more performance left – at the big hall of the Toronto Centre for the Arts on Tuesday, January 23. Unmissable.
Safe Have – Tafelmusik. Photo by Jeff Higgins.
By Definitely the Operain Bach, Baroque, Georgians, twenty-first century, Vivaldi January 21, 2018 January 22, 2018 686 Words1 Comment
The Messiah, liberated
Karina Gauvin, Krisztina Szabó, Frédéric Antoun, Joshua Hopkins, Matthew Halls, TMC, TSO. Photo by Jag Gundu/TSO
British conductor Matthew Halls was unknown to me until last night, but I'll be following his career from now on with interest since he liberated Toronto's biggest Messiah from Andrew Davis' vision and made it exciting again. Thanks also go to those who booked Halls for this run of The Messiah concerts in December (there are four left to go) and to whoever decided–I expect it was Halls himself–to move the Toronto Mendelssohn Choir from the crescent of the back balcony down to the concert stage. Five rows of about 28 singers each are a concentrated, powerful force. The inner intricacies of the sound sculpting among the voices are much more easy to follow too, and the contrasts are easier to spot. After this experience, I can't see why any conductor would put the choir anywhere but on stage.
Halls also reduced the orchestra to the Mozart era size and skipped all the extraneous instruments that Davis is so fond of. The choir never overpowered the instruments, however. Balance was good throughout. There was the odd moment when this or that soloist was being covered by the orchestra, but they didn't last long and the scale settled back into balance quickly.
There was opera and mélodies in Karina Gauvin's solo arias. I don't think Come unto Him and How beautiful are the feet ever sounded that lush and sensuous–more like Les chansons de Bilitis than religious worship, but you didn't see me objecting for one second. Mezzo Krisztina Szabo was most impressive in He was despised, which more than made up for the occasional drops in volume power earlier in the oratorio. Tenor Frederic Antoun had the volume and coloratura galore, and an unusually dark timbre to boot–or did I get used to the thinned out near-falsetto hautes contres tenors that keep being asked to sing this? Another welcome change, in any case. Bari Joshua Hopkins completed this quartet of capable soloists that left nothing to be desired.
An even bigger draw for me have always been the choruses, and I can report that my favourites (And He shall purify, For unto us, His yoke, Behold the Lamb, All we like sheep, He trusted in God, The Lord gave the word, and Amen — ok, just about all by three) have been handled well. Well worked out tempi, nothing bizarre; limpid sopranos, velvety altos, bright tenors and dark but not too heavy as to sound Orthodox church basses were on at all times. Sometimes the middle alto-tenor section get smudged in complex choruses, but none of that here. (Noel Edison is the TMC's artistic director and I presume he rehearsed the TMC until it was time for the tutti rehearsals.)
Continues today, tomorrow, Friday and Saturday and definitely worth catching.
By Definitely the Operain Baroque, dance, Georgians, Handel December 19, 2017 December 19, 2017 486 WordsLeave a comment
Zing-Along Messiah mit Herr Handel at Massey Hall: Instructions for Use
Tafelmusik with conductor Ivars Taurins (as Handel) and the audience in a sing-along Messiah at Massey Hall. Photo credit Gary Beechey.
I am happy to report that I finally experienced my first Tafelmusik Sing-Along Messiah in which the audience too sings the choruses (grazie, Luisa!). The 30-year-old event has a cult status and is sold out every year; there were people there who have been coming every year for 10, 20, 30 years. (Conductor Ivars Taurins, he under the Handel costume and wig, asked for the show of hands last night for each of the decades.) The full libretto can be downloaded beforehand or picked up at the Massey Hall. The soloists that Tafelmusik brings for the Messiah series each December–all concerts of that series but one are performed traditionally, without audience participation, and in a smaller hall–tend to be international HIP stars, and always a good mix of familiar and new-to-Toronto singers.
Since it's a big, potentially unwieldy, practically pop concert, you should know what to expect from the Sing-Along (or Zing-Along, as Taurins/Haendel called it), and come prepared.
+ Avoid the gallery like the plague. I arrived 30 min before start time and the parterre and the mezzanine were already full so we were directed to the galleries. The seats are wooden there, without any upholstery, and with no leg room. I am not exaggerating: those with sensitive knees should think twice. There's no room for the jacket behind your back, no room for a bag, let alone a backpack. In the course of the concert you are asked to rise and sit down multiple times. You will know your four neighbours N-S-E-W very closely by the end of it. How do you avoid the gallery? Come earlier, but if you come too early, there will be a long queue to join in the cold. There's got to be a time when you arrive just as the queue starts being let in? Toronto practices long queues during Tiff, so treat this is a Tiff-size event. Come early.
+ OK so you ended up in the gallery. If you spot any free seats in the mezzanine during the first half, you can at least move down and take 'em during intermission. It's general seating, so you're more than welcome to. Mezzanine and parterre seats are actually decent. This is what I did.
+ It's a family-friendly event, so there will be children. Toddlers and babies too. Some of them will sit on their parent's lap and be shown how to follow the score, maybe for the first time in their wee lives. So: don't be a grump. [It takes one to know one.] These are future classical music audiences and performers. It's all good. And they tend to be really well-behaved.
+ What I didn't know was how ethnically diverse the Sing-Along audience is becoming. Lots of Asian families, multi-racial couples, black Canadians, together with the usual hardcore WASP contingent. It wasn't entirely as diverse as Toronto Islands of a weekend, but it's definitely getting there.
+ The Sing-Along is not primarily a music experience, necessarily. Let me explain what I mean. If you like the choruses of The Messiah, you may feel shortchanged, because what you will hear around you will not be particularly pleasant. You won't be able to hear the choir on stage at all, and depending on what section you're in, your experience of the choruses may range from OK (the Altos area) to ugh (the Mixed section, where I spent the first half). There will be a lot of smudged coloratura, missed notes and creative tempo-keeping around you. This was particularly the case in the Mixed voices area, with two very loud elderly sopranos behind me, a quiet alto to the left, a guy who sang I've no idea what voice part to the right. When I moved to the last row of the Mezzanine Altos, it was like being within a gentle wave of alto base that included me (when I could find it, tonally) or left me alone, whichever I preferred in any given moment.
+ Oh yes: find an edge seat, a top row seat. That way, if you don't want to get up for every chorus, you won't attract attention. There were a few of us scattered who sang while remaining seated. It wasn't unusual.
+ There may be people around you who will quietly "join" the soloist while s/he's singing. This behaviour is deserving of a glare. Again, I heard it in the Mixed area from two of the sopranos, and there was some arm chair conducting from the guy to the right, but down among the altos, nothing of the sort. While the opposite does happen occasionally, your enjoyment of the soloists will for the most part be undisturbed. Amanda Forsythe's laser-sharp coloratura stunned everybody into silence last night. (There's an added task for the soloists here: stun the unruly audience into shutting up.) Tenor Colin Balzer ("Ev'ry valley" kicked the entire engine into motion) and baritone Tyler Duncan (whose "Trumpet will sound" closed it with a glorious clarity of tone) were just as good, and Krisztina Szabó got to shine in "O Thou that tellest" with the chorus/audience coming in at the end.
+ In conclusion, I think my next Messiah will be of the traditional sort. I like my choruses cleanly sung. (You should have heard what dog's breakfast we all made of "Amen". Or rather you shoudn't.) But the Zing-Along has its own culture, its own following and–judging by the diverse multigenerational audience–a very bright future. And there's room for both forms of concerts, and for some new forms to boot. Could a baroque concert in which the audience are allowed to dance be far behind? I see your sing-along, and I raise you dance, Tafelvolk.
By Definitely the Operain Baroque, Georgians, Handel, Toronto town December 20, 2016 December 20, 2016 969 Words1 Comment
The sapphic of history: Susan Lanser's groundbreaking book
My interview with Professor Susan S. Lanser just came out on DailyXtra. It's a much condensed and edited version of the director's cut below, which is way more fun and twice the length. Do dive in, let me know what you think.
When was the last time an academic book made you tremble with excitement? Made you talk to it out loud, interrupt your reading to run and tweet about it feverishly? You can't recall? Pick up Susan S. Lanser's The Sexuality of History: Modernity and the Sapphic, 1565-1830 (University of Chicago Press) the soonest, then.
The 2014 book by the Brandeis University Prof will likely become a game-changer in the fields of literary history and queer studies. The research focuses on the huge increase in textual representation of the female same-sex relations—be that fiction, proto-anthropology, poetry, drama, travelogues, political theory, court trial records, medical treatises–and the fuss that some of the most developed Atlantic economies were beginning to kick up about the girl-on-girl and girl-with-girl from about 1600s on. She argues that modernity itself spoke through the phenomenon of the sapphic—that the female homosociality and homosexuality and their cultural representations were crucial for the emergence of human rights, equality before law, social experimentation, and even the novel as an art form.
There is a whole lot of good news and bold erudite hypothesizing in this book. We managed to cover some of the ground in our recent Skype chat with Prof. Lanser.
This term that you use, 'sapphic', is a gift that keeps giving. A lot of the queer history are investigations into whether A and B 'really did it' and whether a piece of writing really is about sexual practices, but you offer a way out of that impasse. The sapphic is a sort of a continuum.
Sapphic is a wide umbrella for female intimacies, as I use the word. I also agree with Martha Vicinus and other theorists who argue that same-sex relations should not be held to a higher evidentiary standard (i.e. proof that someone engaged in certain practices or even acknowledged certain forms of desire) than that to which we hold heterosexual relationships. And we have to put historical pressure—and cross-cultural pressure—on words such as "chaste" and "innocent."
What's also interesting is your thesis about how the sapphic worked in conjunction with modernity. Let's see if I got it correctly: the sapphic in culture was a way for the modernity to voice itself. It was a "prospect of political levelling" much more radical than man + man.
Yes, engaging the sapphic was a way in which the culture grappled with some of the most radical challenges of modernity-in-the-making. When I say that the prospect of levelling embodied in the sapphic is more radical than "man + man", I do not mean to suggest some kind of sanction for male-male relations; men were far more likely than women to be prosecuted for sodomy—but that the idea of relations between women radically challenged a set of assumptions about the hierarchical social order on which traditional societies were built. In a sense, the sapphic exposes the centrality of women's subordination in the construction of social and cultural systems.
If a woman had a passionate friendship with another woman, her attention would be taken away from the marriage and the household, her primary duties.
Absolutely. And any kind of primary relationship between women stood as an implicit claim that a woman did not need to be under the legal and social rule of a man, whether husband, father, or brother.
Some of those early narratives that you analyze, I think just around the 1600, involve bonding across class too–there are maids and noblewomen pairings. And some of the utopias of 1700s go across classes.
Yes. Cross-class relations are threatening, of course, whether they involve men, women or male-female couples. But it's significant that the sapphic becomes a site where the dangers (and sometimes the benefits) of relations across class are so frequently explored. Scholars have sometimes argued that gender and class can function interchangeably in the early modern imagination. I also think that the loosening of hierarchy implied by female-female relationships raises the spectre that relations between women will undo all social hierarchies. One the other hand, there is certainly elitism in many of the representations I study.
There were periods, as you show, when the sapphic was a tale of how things are done in some other places–whatever the other of the day was, for whatever national culture. It's something done in France, or in Spain, or very frequently in Ottoman Empire.
This recognition that the sapphic is tied up with other social phenomena is really at the heart of the book. The language that pervades sapphic representations in the early modern period is language shared by other discourses— whether about governance, difference, status, the place of the individual in a community, etc. That pulls the sapphic into the mainstream of history and indeed explains the reversal of terms that shaped my title and indeed shaped the book as a whole. When I started working on this project, I was looking for representations of the sapphic but I hadn't yet recognized the potential to turn the history of sexuality into what I call the sexuality of history—i.e., not just to uncover a history of sapphic texts but to see that those sapphic texts were serving larger purposes not necessarily tied to the sexual in an obvious way. It was an exciting moment indeed when the project made this flip of the coin.
Moreover, the colonial project seems to me of specific importance to representations of the sapphic in a somewhat more oblique way: the rise of colonialism and the rise of the sapphic share cultural space. It's also illuminating to see the repeated association of the sapphic with Turkey and other near-East societies as a sign not simply of orientalist connections with the "harem" but as a site of anxiety about competing empires and especially about Ottoman power.
And sometimes the sapphic is indeed tied to the sexual directly. Nicholas Rowe's 'Song' for example. That poem is ahead of our time, let alone its. The female intimacy in which the ruler and the ruled change roles freely–where everybody is both the top and the bottom, to put it in contemporary parlance–as a vision of a non-hierarchical society.
You're right about that one! Each one is "fierce Youth and yielding Maid," and since both are women, we're definitely in a gender-queer space. And without suggesting that early modernity is some kind of golden age for queerness—we know better!—Rowe's "Song" is by far not the only text that plays with gender in this way.
I have to bring in the sapphic apostrophe. You describe those poems as 'incredibly intense' but I'll be the brat and say that they are incredibly hot. Though you do show later in that chapter that if the apostrophe was between two ladies, chastity was presumed.
Yes, and as you see from that chapter (though this idea may get me intro trouble), I don't think the intensity is entirely due to personal desire: I think there's a feminist project here in which same-sex desire is helping to produce female subjectivity. As for hot: that chastity is presumed doesn't mean it existed, and in any case what do we mean by chastity? There is erotic intensity in these poems whatever the acts or even desires of their authors. (And we should not forget poems by men—for example, John Donne's "Sapho to Philaenis" which you might also consider "hot". Do you?).
OMG yes. But where was I? As we approach the French Revolution, the sapphic begins to acquire some sinister traits—a presumed secrecy, an aristocratic pedigree, anti-maleness, an anti-republican spirit.
The sapphic has both positive and negative valance for much of the early modern period. But yes, at a certain point, for a certain period, it is so tightly associated (especially but not only in France) with negative figures, forces, and values that it is not available for some of its more positive purposes. Yet in a somewhat transmuted and domesticated form, female intimacy later becomes a Romantic embodiment of the utopian.
Perhaps because the republican clubs are largely masculine, and the Enlightenment philosophes are for the most part anti-feminist? What was it that expelled women from the public life and moreover relegated them to the reactionary corner?
That's a large and controversial question. Scholars disagree about whether the French Revolution opened or foreclosed opportunities for women. The answer depends to some extent on where one looks—that is, on where one locates public power. Certainly there was a backlash against women influencing the political order and little interest among the revolutionaries (with a few exceptions such as Condorcet, and that was early in the Revolution) in giving women formal political power. On the other hand, French women were better able, in the wake of the Revolution, to bring legal suits, and the historian Carla Hesse has argued that more works by women were published during and after the Revolution than before. In England, patriotism, as Linda Colley has argued in Britons, became a way for women to exercise increased public-sphere power in the Revolutionary period. But we can heed the lesson of the French Revolution that women's rights is in no way a linear struggle and that advocating for rights for other groups does not necessarily entail advocating for women's rights. And that, again, is evidence of how critical the subordination or domestication of women has been to the social order.
By the end of the eighteenth, you write, the "explicitly sexual representation are more or less foreclosed from polite discourse." Would you say the nineteenth century in Europe and in North America turned out to be more puritan, private, with gender roles more ossified, nuclear family-centered time than the two centuries preceding?
If we follow an argument like that of Thomas Laqueur's Making Sex there emerges by the end of the eighteenth century a biological legitimation for sexual difference that does ossify gender roles as a way of preserving them. What I mean (and he means) is that the old hierarchies of male-over-female are reimagined as putatively equal-but-different–and of course we know that equal but different is never equal. So instead of arguments that women aren't, say, intelligent enough to vote, we get the argument that the corrupt world of politics will taint women and make them unfit for motherhood. Or the theory that nourishment drawn to the brain by intense study will deprive the uterus of necessary nourishment for a fetus. But I think there is something of a split in culture in the nineteenth century—we see it in the Romantic period and later in the avant-garde movements of the fin-de-siècle—in which the rigidified gender roles of the bourgeois social imaginary find their antithesis in radical challenges including challenges to the status quo of both gender and sexuality.
Did the long nineteenth century ever end? It often feels like we're still in it.
I'm not sure at any century ever ends: we are heirs to our past and that past also keeps revising itself as we revisit it. In at least that sense, we always live in queer times. We might also recall the first words of Dickens' Tale of Two Cities: it was 1775, and yet so far like the present period: "It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way – in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only."
At the same time, things change, and I would not have been able to write this book (or to be legally married, for that matter) if modernity had not been in some important sense sapphic.
By Definitely the Operain Georgians, queer history June 19, 2015 2,087 Words6 Comments
And may they offer unto the audience all kinds of Messiahs
What perhaps impressed the most last night, on the first night of Tafelmusik's series of period Messiahs, was the subtlety of the choral work. There were many faces in the chorus last night that we know from solo performances elsewhere: sopranos Lesley Bouza (who recently solo'd in Toronto Mendelssohn Choir's Mozart and Haydn extravaganza) and Michele DeBoer (who often signs with Toronto Masque Theatre), baritone Keith Lam (recently seen in When the Sun Comes Out), and conductor/countertenor Peter Mahon (artistic director of the Tallis Choir) and that's just naming four. All of these individual artists showed a different side to their talent as choral singers last night. Both the band and the choir performed Handel's most popular creation alongside their long-time choral conductor Ivars Taurins countless times, but there were no signs of routine last night: the choruses were tremendously accomplished, and the modest size of the ensemble allowed for an easier discernment of the nuances and the dynamic shifts.
If I were to find a quibble or two, I would have preferred a numerically heftier, more female alto section. Too, some of the tempi were a fraction too brisk. "And he shall purify", "O thou that tellest good tidings to Zion", "For unto us a child is born" all ended too speedily. (And even so, "He trusted in God" was as superb as it can possibly ever get, anywhere, HIP or not.) The soprano air "Rejoice greatly" was almost too fast for Lydia Teuscher, who however did survive and did not short-change on any of the coloratura. It's in the slower movements that you could really notice the blend, the togetherness, yet also the many subtle differentiations within the Tafel-band sound. The bass was particularly remarkably blended; there were moments when the three cellos and the double bass sounded like a single instrument. Across the floor among the violins, Christopher Verrette was the reliable Concertmaster heading a group of a dozen seasoned string players. (The more I hear from and by this musician, the more I'm interested in hearing. He was very eloquent at an after-concert talk that I attended some months ago: perhaps he and a few of his colleague should start an informal edu-tainment salon so the conversations of this kind could continue?)
The movement most illustrative of what kind of delicacy of sound the choral Tafelians are capable of was probably the Amen. All the weaving and interweaving was there, and Taurins not only took time and took time to play with colours and shades, but slowed down into almost a fade-out towards the end of the work. Jubilant works always end on a bombastic tutti, and this was a most welcome twist—ending contemplatively, rather than on a rah-rah note.
Soloists, interestingly, were mixed. Originally, Julie Boulianne was booked to sing the all-important alto airs, but she cancelled (to sing Annio in Paris, is it happens: you can watch her in this role live at the TCE starting 1:30 EST today here). Countertenor James Laing was engaged to sing instead. There were some problems with the purity of tone last night, especially in the lower notes, which I hope are corrigible and will be fixed for the remaining performances.
It's good to hear new artists debuting in Toronto, and kudos to Tafel for debuting international soloists, instrumental and vocal, fairly frequently. Enter young German soprano Lydia Teuscher, who's received remarkable notices in NYC recently, in Emmanuelle Haim's concert rendition of Acis, Galatea e Polifemo. Her bell-like, silvery timbre is very appealing, but perhaps due to nerves, the accentuating was a little unpredictable last night—many of the high syllables would get unusually high in volume too, which gave to the text a certain bumpy mapping. The diction also got a little fuzzy up high. However, sometimes an artist wins you over with vulnerability and rawness rather than the cool mastery.
Speaking of mastery, Colin Balzer (he of the chest even more magnificent than Michael Schade's) has a gorgeous tenor and was the rock solid soloist of the four last night. Nevermind the odd thinning of the high "dash" in the otherwise exquisite "Thou shalt break them with a rod of iron": his tone was overall smooth, even, well-controlled; diction excellent; inflections in harmony with the meaning of the text. Baritone Brett Polegato was also good, but the occasional detachment from the text was evident; there was many a broad smile and a lot of acting in "The trumpet shall sound" where none at all was needed, and possibly distracted a little.
Koerner Hall was packed last night, which proves again that some like their Messiah chamber and intimate. But the either-or narrative that the media are giving to the Messiahs this season is ridiculous: it's not modern, stonking vs HIP, intimate: it's both-and. RTH for the spectacle, Koerner for a more intimist rendition. Let's not forget the sing-along version and the staged versions (which are bound to come). I just wish the dance-hall version existed too; the danciness of much of the score sometimes makes sitting still in your seat a real challenge. Whoever picks up the idea first in this Messiah-crazed town—count me in.
The Tafelmusik Messiah at Koerner Hall continues Dec 18, 19, 20. Sing-along is on Dec 21 at the Massey Hall
By Definitely the Operain Baroque, dance, Georgians, Handel December 18, 2014 December 18, 2014 891 Words4 Comments
From the desk of Helena Whitbread: Anne Lister's Georgian Christmases
In England during the Georgian era, the spirit of Christmas varied from region to region and even from family to family. In some places, the religious rites associated with the birth of Christ were rigidly observed with all indulgences, such as rich food and other festive trimmings, strictly excluded, whilst in others there was a judicious mix of religion and merrymaking. As one writer put it: "One half of Yorkshire behaved as if there had never been a hint of [religious] reform, with all the joy and merriment of the 'Old Christmas'; the other half fought against all but the meanest acceptance of the birth of Christ as a reason to rejoice.' It rather appears that the Listers fell into the latter category.
From the evidence available in the journals of Anne Lister Christmas at Shibden Hall, then, was a sober affair with attendance at church on Christmas day the focal point of the day. Virtually nothing is recorded by Anne about anything remotely festive. The selection below, taken from the pages of her journal, is some indication of her Christmas experiences.
Christmas night, 1810, found Anne writing a wistful letter to her new love, Isabella Norcliffe, in which she imagines her lover dancing the night away at the Assembly Rooms in York.
"Perhaps my dear girl at this moment whilst my thoughts are all yours, you are gaily winding through the mazes of the dance, or led by some stupid senseless coxcomb gasping for breath among the careless crowd."
Sat at home, far away from the York revelries, Anne's melancholy mood deepened as she allowed her imagination to conjure up seasonal ghosts and spirits to haunt the 'midnight dances' in which she fancied Isabella was indulging.
"'Tis then the hour when sprites and witches go abroad and "thin shiv'ring ghosts from yawning charnels throng and dance with silent sweep the shaggy vaults along."
She cheered up a little when she remembered that, as it was Christmas night, the Assembly Rooms would be closed, but still, her own Christmas festivities of burning the 'yewl log', eating rich food and playing cards with the family 'from conformity rather than inclination' were no compensation for the absence of Isabella.
In 1822, we find that even in the town, life went on in a very workaday fashion. On Christmas Day the shops were open and the postman was on his rounds – i.e. '…As we were going to church, met the postman. A letter from Isabella Norcliffe'. Although Anne's father, Captain Jeremy Lister, and her sister Marian called at Shibden Hall later in the day (they were living at Northgate House), there is no mention of an exchange of presents or what we now regard as a traditional Christmas dinner. It appears, when compared with other sources where the Georgian Christmas is shown as a truly festive occasion, that the Listers' Christmasses must have been relatively austere, according to Anne's journal entry for the day. '…Went to morning church…all 3 [herself, her aunt and her uncle] staid the sacrament [sic].' From then on the day progressed normally with Anne visiting her horses and writing letters.
For a number of years, the one bright gleam for Anne in any Christmas spent at Shibden was the prospect of her married lover, Mariana Lawton, coming to stay. In the year 1817, Christmas Day itself was passed, as usual for the Listers, in churchgoing in the morning and prayers at home in the afternoon. However, the following day, breaking her journey from her parents' home in York to her own home, Lawton Hall in Cheshire, Mariana arrived at Shibden, bringing with her her new cook, Elizabeth, whom she had hired in York. She was also the bearer of gifts. Her sister, Anne [Nantz] Belcombe had sent Anne, 'a pair of cambric muslin sleeves, with broad wristbands, to be worn as linings, which she (Nantz) had made…& a Saffic [Sapphic]seal – new moon rising over the sea – motto – je ne change qu'en apparence' – a covert message of love to Anne, reminding her of their affair earlier that year. It is intriguing to note that the wax seals of those days had many covert and overt uses – money could even be concealed beneath the wax e.g. in 1810 Eliza Raine (Anne's first lover) wrote to Anne and told her that 'You will find half a guinea in the seal for my shoes' [Eliza Raine to Anne Lister. 27.4.1810.]
As the years went on, Christmas for Anne took on different forms, not least when she was in such exciting places as Paris and Moscow but the ones I have chosen do give us a glimpse into what Christmas must have been like for her in the fastness of her medieval family home in the small provincial north of England town of Halifax.
Helena Whitbread
By Definitely the Operain Georgians, queer history December 18, 2013 November 14, 2015 808 WordsLeave a comment
Talisker Players and the City of the Mind – Bonus Material
There's a little thing that I wrote about Erin Bardua & Vicki St. Pierre's upcoming performance with Talisker Players (pictured above) in Daily Xtra today: CLICK. I was only given 500 words, so this questionnaire alas did not make it:
THREE FAVOURITE CITIES AND WHY YOU LOVE THEM
Erin Bardua
Victoria, BC I miss a lot of things about it and always dream about going back. It's beautiful, the weather's great, people are casual and friendly, and wonderful music is being made there. Plus, it's where I started my serious musical education, so I love it for the memories and opportunities I had.
Paris I mean… IT'S PARIS.
New York Since I'm thinking about this programme, New York City is the city-est place I can think of. I've visited a few times, and travelled there as a student doing auditions, and even on a student budget it's a blast.
Vicki St Pierre
Paris (I've been told that if I don't write this as my number one choice, I'm getting a divorce) Because my wife and I went there on our honeymoon in 2009. It's a gorgeous, vibrant city, full of art and culture and fantastic food.
Sendai, Japan I met some extremely interesting people and enjoyed the city and surrounding areas very much. Sadly, much of it was destroyed in the earthquake and tsunami of 2011.
Fredericton, NB I spent many summers of my childhood with my grandparents and extended family in Fredericton. The warmth of the east coasters and the beauty of the scenery are unrivalled. The drive from Edmundston to Fredericton through the St. John river valley is, in my mind, the most beautiful drive in the world.
IF TORONTO WAS A PIECE OF MUSIC, WHAT WOULD IT BE?
I'm picturing something like Ravel's Bolero, but with layers upon layers of distinct material from every part of the world and every walk of life. It would probably end up sounding like an insane gamelan orchestra.
Vicki St. Pierre
A big Vaudeville show, chock-full of variety — from gaudy, raunchy numbers about sex and the seedy side of life, to poignant, touching numbers about love and pain and hope and community. And a puppet. There should always be a puppet.
By Definitely the Operain Georgians, Mezzos with Sopranos October 23, 2013 October 24, 2013 383 WordsLeave a comment
From the desk of Helena Whitbread: Anne Lister at a Georgian music fest
Miss Stephens, one of the vocalists at the festival, drinks hard, they say, & is kept by the editor of the Times.
From Helena Whitbread:
In writing the biography of Anne Lister there are times when I get really carried away with various topics which arise in the course of my research. The most recent instance concerns the four-day Grand Musical Festival held at the York Minster in September 1823, the aim of which was to raise money for the York County Hospital, a charitable institution for the relief of the poor people of the city who could not afford private care in times of illness. Anne attended each day of the Festival along with her many friends in that city. Both Anne Lister's account in her journals and John Crosse* in his exhaustive analysis of the event, are fascinating, not least because of the little social details which their observant eyes and ears pick up on.
Crosse is almost as deeply interested in the beauty of the women and their dress as he is in the music. He writes of how the number of '…beautiful and elegantly attired females' filled the gallery and centre seats, giving an added lustre to the occasion despite the management's request to refrain from wearing high head-dresses. The aisles, which were only moderately full, did not, said Crosse, who obviously had a penchant for female glamour, '…afford equal gratification to the eye.' It is to be hoped the modest caps worn by Anne's party and the sombre black of Anne's own clothes did not trouble the fastidiously discerning eye of Mr Crosse to any great extent.
There was a disturbing note in Anne's account of the Festival when she noted that pickpockets were busy at their nefarious trade among the people crowding the Minster. '…Pick-pockets in the gallery. Dr Blomberg told us this evening at the concert it was true – he had his pocket picked in the gallery of £20. It is said 2 or 3 suspicious people have been taken up.' Tidbits of scandal also went the rounds. Miss Stephens, one of the vocalists at the festival, '…drinks hard, they say, & is kept by the editor of the Times.'
Around 4,000 people attended each day's performance and the entire 'band', as Crosse called the orchestra, consisted of over 450 'performers'. To open the proceedings '…the Bishop rose from his seat in the front of the gallery and signified, by the waving of his hat, that the performance should begin'. An encore was signalled by the dean of the Minster hoisting a white handkerchief.
The four evenings of the Festival were filled with entertainments at the Assembly Rooms, which were given over on alternate nights to concerts, where Madame Catalani and other Festival singers once more gave of their best, and to celebratory balls attended by some 1600 people. John Crosse was at hand again to express his appreciation of the glamour of the occasion. '…Long as these rooms have been appropriated to uses of this nature, on no preceding occasion were they ever filled with so brilliant an assembly of rank, fashion and beauty, as was now presented to the delighted eye. The dresses of the ladies were many of them exceedingly magnificent, and the display of diamonds was splendid beyond any former precedent within those walls. For some time the room was too crowded to admit of dancing, which did not commence until a late hour, and was confined chiefly to quadrilles…'
Meanwhile, at the York Theatre, for the whole week there was a full programme of Shakespearean drama. Such a week of culture perhaps would never again be visited upon the 'antient city' in the Georgian era – and we are fortunate to have both John Crosse's and Anne Lister's eye-witness account of these events.
* An Account of the Grand Musical Festival, Held in September, 1823, in the Cathedral Church of York; for the Benefit of the York County Hospital, and the General Infirmaries at Leeds, Hull, and Sheffield: To which is Prefixed, a Sketch of the Rise and Progress of Musical Festivals in Great Britain: with Biographical and Historical Notes, 1825, the original of which is held in the Bavarian State Library. It was, however, digitalised on 18th June 2010 and is available online.
By Definitely the Operain Georgians, queer history October 21, 2013 December 18, 2013 712 WordsLeave a comment


text:
Home MUSIC casey: winter 2023
casey: winter 2023
the garage (london, england)
We had the chance to catch Casey's intimate U.K. and Germany tour on the first of two London dates! The band had been on a performing hiatus for 4 years, and this show was definitely worth the long wait.
Casey is a Welsh rock band that was formed in South Wales, United Kingdom, in 2014. Originally, the group formed as a studio band under the name "Well Wisher," but later on evolved into Casey; their group name is derived from both lead singer Tom Weaver's love of the album Casey by The Rise of Science, and also lead guitar Liam Torrance's tribute to the late Hawthorne Heights guitarist, Casey Calvert.
In December of 2018, the band released a statement explaining that they decided to disband, following a final U.K./European tour and a one-off headline show in the United States in 2019. After 4 long years without Casey, fans had nearly given up any hope of them returning. That was until the band began posting on their Instagram account again this past November. With black screens that only read "www.abandcalledcasey.com," fans went wild with emotions. The comments were filled with hysterical stans, begging the band not to play around with their feelings. A few days later, the band posted again, captioning the photo, "For a long time we weren't sure we'd ever write or say this again, but we're happy to be returning as a band called Casey... To keep it brief, after a lot of individual reflection we came to the agreement that some of the best times of our lives were spent in this silly little band – and would be naive to say we don't miss it. We're coming back with a fresh perspective on the music we've made and experiences we've shared. And we're excited to be back creating new memories with each other, and with all of you too." Not long after, Casey announced a five-date tour of Europe starting in January 2023 along with some incredible single drops: "Great Grief" and "Atone."
Casey has always given a melancholic but warm feel, the same feeling that made them acclaimed between their audience and the alternative music scene. The band was welcomed back to London with the warmest and most emotional audience imaginable. Opening with their two newest singles and sprinkling in some fan favorites throughout the set, it was a real treat for everyone in the room. One word to describe Casey would be "intentional" – the details of the show encapsulated their energy perfectly, from the flowers on their microphone stands, the lighting design, and the way each song was strung together into the perfect setlist.
photos & review by Ilaria Iannarilli
malevolence: winter 2023


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The president of the Nigeria Volleyball Federation (NVBF), Engineer Musa Nimrod has said Nigeria is ready to host the 2019 Africa Nations Beach Volleyball Championship.
The Africa Nations Beach Volleyball Senior Championship is scheduled to hold from April 21 to 28, 2019 at Jabi Lake Park, Abuja, Nigeria.
Nimrod, who spoke to newsmen in Lagos, said Nigeria accepted to host the competition due to it consistency in beach volleyball in the continent.
"I want to tell the world that all is set for Nigeria to host the Africa Nations Beach Volleyball Cup Seniors for both men and women.
"It is also my joy to see Nigeria host an Africa championship because Nigeria has been consistent in the beach volleyball for over a decade," he said.
He said the federation is working around the clock in order to ensure the championship is a success.


From The Portland Peace Conference to Healers Unite Magazine, Karen Monteverdi, CPC started a movement to assist healers, coaches and spiritual leaders to get in front of the world.
Our mission is to assist alternative methods of healing to become more mainstream by instructing our community with tools, techniques, and strategies to expand their reach, stay in business and become financially able to grow.
This year we are offering another opportunity through the Healers Unite TeleSummit.
The Healers Unite TeleSummit is a conference where Healers, Coaches and Spiritual Leaders have come together to teach you classes. This is not just a "get-to-know" us session, rather, we will teach you actual strategies and offer you real life experiences to prepare you to grow your business and balance your life in the process. Leading up to the conference we will send you information about why the course work would be helpful to you, and how you can become part of the Healers Unite mission.
Part One which offers a valuable treasure trove of articles, videos, audios and resources, there is no cost. However you must register before October 2nd to receive the information.
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After November 3rd the price increases to $297 and will remain at the price until next years program.


I have to admit I'm totally off track. This is the first time I've weighed for over a week. I can tell by how I feel and how my clothes fit that I've gained weight. I haven't been getting a 2nd walk in most days (including today). Now that my "true confessions" are over (haha) here's how today went.
It's gym day so I made my standard gym-day breakfast. I had 1/2 cup of Fage 2% Greek Yogurt, 1/4 of marble-sized blueberries and 1/4 cup of a generic granola (lowest sugar I could find). I made it to the gym right at 7:00am. It's so cool these days that I have to wear a jacket while walking to the gym. Our exercises were grueling today so I warmed up quickly.
After gym I took my usual few-block walk.
I wasn't ravenous after gym but I was a little hungry. I made my usual Nutrisystem Turbo Chocolate Shake. Later I felt a little "snacky" and so I had a stick of light string cheese.
I'm trying to get back on track with portion sizes. I heated a Nutrisystem Hamburger and topped it with some mustard, tomato and red onion. I also tossed some field greens with a little olive oil, kosher salt and pepper.
I eventually had a cup of coffee with real cream. Sadly, I purchased a large can of roasted, salted peanuts the other day and I couldn't resist eating about an ounce of them.
I stuck with Nutrisystem food for dinner. I had a Nutrisystem Mushroom Stuffed Chicken Breast, another field greens salad but this time I have a few slices of beets, some green onions, sunflower seed kernels and some Bolthouse Bold Blue Cheese Greek yogurt dressing.
I really didn't "need" dessert but there is no sense in going from overeating to deprivation mode. I thawed a Nutrisystem Chocolate Cupcake, one of my old Nutrisystem favorites. They taste much better than they look.
I'm not going to belabor the fact I've been off track Instead, I'm taking steps to get back on track. The holidays are coming up so I know I'll have some "off days" but I think all will be well. I'll be trying to write more regularly again which is part of the healthy living process for me. Have a great week!


text:
Phila. developers are learning compromise can pay off
Posted: January 3, 2016 - 3:00 AM
Alan J. Heavens, REAL ESTATE WRITER
Some developers breeze into a neighborhood, with no concern whose toes they step on.
Then there's Gary A. Jonas Jr., who saw an opportunity in the Art Museum area for an apartment project but listened to the neighborhood and instead is building 10 luxury townhouses for at least $1.75 million each.
Photo Gallery: Phila. developers are learning compromise can pay off
His willingness to listen and then compromise has really paid off.
"Even before being able to finish three of our models, five were under agreement," said Jonas, a principal in How? Properties of Conshohocken, whose last project in this part of the city was apartments at 12th and Mount Vernon Streets, east of Broad Street.
The townhouse development, Green Street Estates in the 2300 block of Green Street, is on the site of St. Francis Xavier convent, which was demolished to accommodate new construction.
That wasn't the original idea, however.
"When I acquired the site, I planned to put in 50 to 60 luxury apartments," he said.
The convent, which had been closed for many years, was in the middle of the site, Jonas said, and "I thought it would be terrible to knock it down, since it might have some special meaning to neighborhood residents" - who, he acknowledged, did not seem enamored of development.
So the plan was to build around the convent.
When neighbors, including members of the Spring Garden Civic Association, asked to talk with him, "I expected them to request more parking" or something along those lines.
Instead, they told Jonas that although he had zoning approval for the rental apartments, his project "didn't fit into their vision of the neighborhood," he said.
The relationship, adversarial in the beginning, began to get friendlier when Jonas proved willing to reach a compromise.
The meeting, in August 2014, found the civic association's zoning committee and neighbors "expressing serious opposition," according to a report in the association's newsletter.
"To his credit, Gary agreed to shelve his original plans and build 10 high-end single-family houses instead, and hired an excellent architect, skilled in that type of development," the association reported.
The result of a compromise brokered by zoning committee member and architect Kevin Rasmussen, the townhouses - three on Pennsylvania Avenue and five on Green Street, satisfied abutting property owners' concerns about being "boxed in" by Jonas' original plan, the newsletter reported.
The compromise reached by Jonas and his neighbors is among several recent examples in the city, which is awash in all manner of residential projects as young professionals and downsizing baby boomers adopt the urban lifestyle.
The original plan for Ryan's Crossing's seven townhouses at North Leithgow Street and St. John Neumann Way in Northern Liberties also did not sit well with the neighbors.
But developer Callahan-Ward acknowledged that the negotiations resulted in "a better-looking project than we had originally presented," said Nino Cutrufello, a principal in the firm.
The buyers of How? Properties' Green Street townhouses are "couples ages 25 to 50, with children or planning to have them, who are already living in the city and are looking to move up," said Tom Dilsheimer of the firm's real estate division, who is selling them.
The models, which were not really needed to sell the first five townhouses, are finally up, he said.
"I just showed them to two prospective buyers, one right after the other, this morning," Dilsheimer said. One of the selling points was "big, wide-open floor plans" - key in new construction in a city of narrow rowhouses.
Jonas, who with partners Andrew Blum, Gary E. Risler and William J. McLaughlin started out in 1998 as Advanced Mortgage Concepts, focuses on "edge neighborhoods."
"My message is work the people who live there, and know what they need," Jonas said.
aheavens@phillynews.com
215-854-2472@alheavens
On the market: Quiet family home in Secane for $224,900
Shannon Rooney, For The Inquirer
Effects of gentrification on longtime residents are not as negative as typically perceived, Philly Fed says
Caitlin McCabe
In Philly's changing Grays Ferry neighborhood, a chance at preservation — and apartments — for a Catholic convent
On the market: Two-bedroom Fitler Square townhouse for $525,000
On the market: Five-story, 7,000-square-foot home on Delancey Place for $3,995,000
On the market: New Hope home with a kitchen fit for Live TV