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text:
package co.edu.sena.programming.lesson11;

import java.nio.charset.Charset;
import java.util.Map;

public class Ejemplo05 {
    public static void main(String[] args) {
        Map<String, Charset> listadoCharset = Charset.availableCharsets();

        for (String nombreCs:listadoCharset.keySet()
                ) {
            System.out.println("key: "+nombreCs);
            System.out.println("value : "+listadoCharset.get(nombreCs));
        }
    }
}

redpajama_set_name: RedPajamaGithub


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This was a placebo-controlled, randomized, phase Ⅲ double-blind, comparative study (parallel-group comparison) that investigated the efficacy and safety of Lusefi in patients with type 2 diabetes whose glycemic control was inadequate despite diet / exercise therapy. Lusefi 2.5 mg or placebo was administered orally once daily before breakfast for 24 weeks.
Statistically significant reductions in HbA1c in the Lusefi 2.5 mg versus the placebo group were observed as early as Week 2 and were sustained throughout the study period. The LS mean of the change in HbA1c from baseline to end of treatment was -0.63% and 0.13% in the Lusefi and placebo groups, respectively.
Statistically significant reductions in fasting plasma glucose in the Lusefi 2.5 mg versus the placebo group were observed as early as Week 2 and were sustained throughout the study period. The LS mean of the change in fasting plasma glucose from baseline to end of treatment was -28.3 mg/dL and -0.8 mg/dL in the Lusefi and placebo groups, respectively.
The change of 2 hour postprandial plasma glucose at end of treatment was -55.8 mg/dL in the Lusefi 2.5 mg group, while it was 1.1 mg/dL in the placebo group, with a significant difference being recognized.
Statistically significant reductions in body weight in the Lusefi 2.5 mg versus the placebo group were observed as early as Week 2 and were sustained throughout the study period. The LS mean of the change in HbA1c from baseline to end of treatment was -2.70 kg and -0.93 kg in the Lusefi and placebo groups, respectively.
Statistically significant reductions in HbA1c and fasting plasma glucose in the Lusefi 2.5 mg versus the placebo group were observed as early as Week 2 and statistically significant reductions in 2 hour postprandial plasma glucose were observed. In addition to, statistically significant reductions in body weight in the Lusefi 2.5 mg versus the placebo group were observed as early as Week 2.


During the summer of 1866, Pleas Boyd was herding cattle about two miles south of Lipan, when several savages charged upon him. He was armed with a six-shooter, only two chambers of which would shoot; and the pony he was riding was not exceptionally fast. As a consequence, in his race for life, Pleas Boyd was soon killed.
A short time afterwards, Bidge Gilbert and Frank Hill, who were going to a roundup on the Divide between the Kickapoo and Paluxy, found Pleas Boyd dead and scalped.
Note: Author interviewed: Geo. Hill, James Newberry, and others.
Further Ref: History of the Regulators and Modulators, by Jno. W. Middleton, Archives in the State Library at Austin.


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You can expect a lot from the 2016 Honda Pilot. Under the hood you'll find a 6 cylinder engine with more than 270 horsepower, providing a smooth and predictable driving experience. This model accommodates 8 passengers comfortably, and provides features such as: leather upholstery, front and rear reading lights, a built-in garage door transmitter, a power rear cargo door, lane departure warning, remote keyless entry, and the power moon roof opens up the cabin to the natural environment. Back seat passengers will appreciate the rear audio controls, allowing them to make easy adjustments to the stereo system. Rear LCD monitors provide entertainment that your passengers will appreciate no matter how far the drive. Honda ensures the safety and security of its passengers with equipment such as: head curtain airbags, front side impact airbags, traction control, brake assist, a panic alarm, and 4 wheel disc brakes with ABS. All wheel drive enhances stability in unpredictable circumstances. This vehicle has achieved Certified Pre-Owned status, by passing Honda's comprehensive certification process, including an exhaustive 150-point inspection! Our knowledgeable sales staff is available to answer any questions that you might have. They'll work with you to find the right vehicle at a price you can afford. We are here to help you.


text:
Cloud Portal - 01633 255755 - admin@jptaccountant.co.uk
Government sets out tax details on TAM Day
The UK government has marked the inaugural Tax Administration and Maintenance (TAM) Day with the release of 30 papers covering a wide range of tax issues.
Chancellor Rishi Sunak made the commitment to have a TAM Day in the Autumn Budget. The aim was for a dedicated day for the administration and maintenance of the UK tax system. The 30 publications released by the government on TAM Day include Calls for Evidence, Draft Regulations, Policy Papers and Corporate Reports.
The government has set out further detail on the conclusions to its review of business rates, including more frequent revaluations, improvement relief, exemptions for green technology, and administrative reforms.
A report on Research and Development (R&D) tax reliefs was published, providing further details on announcements made at the Budget which included refocusing relief in the UK; targeting abuse; and supporting innovation by expanding qualifying expenditure to capture cloud and data costs.
Additionally, an update on reforms to Small Brewers' Relief was published, which will see the government invest around £15 million of additional funding into the craft brewing sector.
Jim Harra, HMRC's First Permanent Secretary and Chief Executive, said: 'As we continue our work to improve the tax system for UK taxpayers and clamp down on avoidance and evasion, we know that an open dialogue with our stakeholders is vital.
'With thanks to the tax profession for their views, we can now announce the next steps for how we will simplify the legislative framework and raise standards in the tax advice market. We are also announcing new areas on which we are inviting views, including reforming Income Tax Self-Assessment registration for the self-employed.'
Study finds 82% of business owners suffered from poor mental health in pandemic
A study carried out by insurer Simply Business has found that 82% of business owners suffered from poor mental health during the coronavirus (COVID-19) pandemic.
Treasury writes off £4.3 billion in Covid payments lost to fraud
HMRC expects to recover only a quarter of the total £5.8 billion lost to fraudulent claims and mistaken payments from the coronavirus (COVID-19) support schemes.
UK inflation rises at fastest pace for 30 years
The cost of living rose at its fastest pace in nearly 30 years in the year to December, according to the latest figures from the Office for National Statistics (ONS).
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redpajama_set_name: RedPajamaCommonCrawl


text:
Auckland To Hit The Road At Great Edinburgh Run
Written by runABC Scotland on Tue 7 Apr 2015
After her cross country heroics on the world and European stage, Rhona Auckland is set to test her road-running skills in more familiar surroundings as she takes on the Morrisons Great Edinburgh Run on Sunday 19 April. The 21-year-old University of Edinburgh student backed up her European Under 23 cross country victory in Samakov, Bulgaria in December with a top 20 placing at the IAAF World Cross Country Championships in Guiyang last weekend.
Running against formidable East African opposition in the senior women's race, Auckland finished 19th in China - just one place behind British team-mate Gemma Steel, the reigning European senior cross country champion.
The Banochry Stonehaven Athletics Club runner plans to test herself over ten miles at the Morrisons Great Edinburgh Run. Auckland has not raced farther than 10km (6.2 miles) before, so the race will be a step into the unknown for her.
She said: "It's part of my preparation for the summer. I'm hoping to focus on 5,000m and 10,000m on the track but I'm also working towards running a half marathon on the road. That's something I'd like to do at some stage, so ten miles will be a good stepping stone towards that.
"I do love running in Edinburgh so it's an ideal race for me. I've been told that the course is hilly and not to worry too much about the time but I'm really looking forward to it."
Entries for the Morrisons Great Edinburgh Run are still open at the event website.
Rhona Auckland
Great Edinburgh Run
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On Wednesday, the Grant Park Orchestra under former principal conductor Hugh Wolff gave an estimated 13,000 listeners at Millennium Park a bracing shot of new American music that included the Chicago premiere of John Adams' "The Dharma at Big Sur," a wondrous concerto for amplified violin and orchestra.
"Dharma at Big Sur" is a lyrical, ecstatic homage to the West Coast beat culture of Jack Kerouac, with the electric fiddle hammering away at irregular phrases like Pacific waves smashing the California shore, over a busy orchestra alive with gnarly rhythmic textures suggesting an Indian raga.
It got a terrific performance from Leila Josefowicz, playing from memory, pulling sounds from her six-string fiddle ranging from subterranean growls to spiraling, seagull-like cries.


text:
4 missteps that doom companies to irrelevance
Even for popular brands, steaming toward a particular objective requires careful navigation and clear vision at the helm.
By Larry Light
The whirlpool can suck a brand down rapidly.
Some months ago The Limited shut down its 250 clothing stores; not long after that, the women's apparel chain announced it was filing for bankruptcy protection.
Just like that, a company that had been a mainstay of shopping malls across America disappeared from the retail front.
Several factors came into play, including an inability to compete with "fast fashion" stores that rush the latest fashions into consumers' hands, as well as the chain's sale several years ago to a private equity firm that cut costs but couldn't find a buyer.
However, analysts also suggested that, like many retailers, The Limited failed to keep up with dramatic changes in shopping habits and quick-changing fashion sensibilities, making it less relevant to its target consumers.
Though it's not unusual for brands to eddy toward irrelevancy, it's also not inevitable.
A company can innovate itself out of a death spiral. Just as an example, IBM may have lost its relevance in computers and laptops, but it saved itself by focusing on servers, information and cloud computing.
Some insist that all companies eventually will go through a natural life cycle from birth to death, but that's not always the case. Some can live forever—if they're properly managed. Too often businesses get into trouble due to the self-inflicted actions of their owners.
Here are four ways to botch a business brand:
1. The loss of relevance. Staying relevant entails staying aware of changes to the landscape, the customers, the competitive brands and your brand. Understanding what your audience needs and how they obtain their products and services is essential to remaining relevant.
2. The lack of a coherent plan to win. Having a strategy that aligns employees and outside partners accomplishes a lot on the way to positive performance, but the plan needs the clear, consistent, visual and verbal support of leadership. It also must contain the vision for the organization and the plan to achieve this vision. It's a top-down strategy. Without a clear and vibrant plan to win, a company will simply drift.
3. The lack of a balanced brand-business scorecard. A brand-business scorecard enables leaders to view the indicators necessary to create growth that is both profitable and enduring, rather than one or the other. Such a scorecard reinforces the importance of producing a proper balance between both business and brand results. Using measurable milestones—such as sales, profits, price and promotion—it evaluates whether the brand leadership is doing the right things in the right way.
4. Disregard for the changing world. Technology changes, demographics change, and so do other factors that can affect a brand. Although it's impossible to predict the future, business leaders must keep their eyes, ears, mind and heart open to what may be possible and to what is happening around them.
Some businesses can pull out of the downward spiral, but it's best to avoid becoming a troubled company in the first place.
Larry Light is the CEO of Arcature.
(Image via)
Topics: Crisis Communications


text:
Q: How many ways to colour a $4 \times 4$ grid using four colours subject to three constraints In how many ways can a $4 \times 4$ square grid be coloured using four different colours so that no colour is repeated in any row, column, or along the two main diagonals. For clarity, one valid solution to this problem is shown below.

I am after unique solutions, so:

*

*rotations of the grid through angles of $90^\circ, 180^\circ$, and $270^\circ$, and

*reflections about the horizontal, vertical, and the two main diagonals

are not considered different.
I am guessing this problem is perhaps well known, so I apologise in advance, but have not been able to make much progress towards its solution. It may even go by a well known name, making it easier to identify, and if this is indeed the case I would be interested in knowing what it is called.

A: Your requirements for the placement of colors is equivalent to the requirements for a diagonal Latin square, or as it used to be called, a double diagonal Latin square. According to OEIS, there are just $48$ diagonal Latin squares of order $4$, i.e. of size $4$ x $4$.
As @Arthur pointed out, if rotations and reflections are not considered distinct, we must divide this number by $8$. Hence, there are just $6$ distinct solutions.
EDIT
Just made a brute force program to check that I was right, and it gave the answer $12$, not $6$. Manual checking of the program's answer seems to show the program is correct. Here is the program's answer:

None of these appear to be rotations or reflections of each other. What did I miss?
EDIT 2
As @omegadot points out, the solutions above include reflections about the main diagonals. Removing these cases gives the following:

redpajama_set_name: RedPajamaStackExchange


text:
Real estate Sector
To transform Indian real estate sector into the best paradigm in the world is vision 20-20" said Mr Anuj Puri, Conference Chairman & Chairman and Country Head, Jones Lang LaSalle Meghraj at the Conference on Indian Real Estate 20-20 organised by the Confederation of Indian Industry (CII)
Ashiana Housing To Mark Big Presence In South India
General | By mahendra | 2010 Trackbacks (0) Add comment
Normal 0 false false false EN-US X-NONE X-NONE MicrosoftInternetExplorer4
With the success of its Utsav brand of retirement resorts in northern parts of the country, Ashiana Housing Ltd is now taking the concept down south. The real estate company has identified around seven locations in South India for setting up retirement homes after a survey and will start operations in four places soon. "We will start with Bangalore, Chennai, Hyderabad and Kochi and move to other locations like Coimbatore, Mysore, Vizag later,'' Mr Ankur Gupta, executive director, told ET.
At present, Ashiana Housing has Utsav retirement resorts at Bhiwadi, Jaipur and Lavasa with over 750 functional apartments. The company is targeting ten locations by 2013 and a total of 1300 units by 2013 with an outlay in the range of Rs 75 to 100 crore. Apart from South India, the company is looking at Mumbai, Pune and Kolkata as well. Mr Gupta said the company is in discussion with local land bankers and developers for joint ventures in key locations in South India. The size of the projects would range from 10 acres to 30 acres. "We will bring in our expertise in construction and post maintenance in the construction,'' he said.
The resorts have been designed keeping in mind the requirements of the senior citizens and have facilities for social, medical, spiritual activities and recreation. To make life easier for old people there are emergency switches at different places, big sized switches in red colour, inbuilt night lamp, anti skid tiles and bathrooms equipped with arthritis friendly handles, Mr Gupta points out.Ashiana Housing, which also does regular housing projects, has completed 90 lakh sq ft in the last 30 years. Almost 55 to 60 % of its total projects, in fact, belong to the regular housing category while the rest is accounted by the retirement resorts, which was started by the company around six years ago. In the next 2 to 3 years, the company wants 50 % of its projects in the Utsav category.The company is expecting an investment in the range of Rs 350 to 400 crore in the real estate sector in the next five years as the prices have stabilized and the realty sector is looking up. It has targeted Rs 250 crore turnover in the current year with increased thrust on the housing sector.
for more details log on to http://www.maaproperties.com
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The Opera Queen
Tag: Royal Philharmonic Society
Allan Clayton: "I Don't Know What To Do With My Days If They Don't Have Music In Them"
By Catherine Kustanczy
In classical, interviews, opera, voice
Photo © Sim Canetty-Clarke
Speaking with someone before a global pandemic and again after (or more accurately during) it is a very interesting experience. All the formalities drop away; the predictable edges of topics become rounded, blending into one another. The optimism and hope, gleaming like jewels in sunlight, have, over the past three weeks or so, been burnt into ugly despair, that gleaming dulled into desperate, leaden sadness. Everyone is hoping for a swift resumption to normal activity, but of course, the question right now, more obvious than ever, is what "normal" might look like then – indeed, one wonders now, in the thick of it, what "normal" is and what it means for life both in and outside the classical realm. We are all adjusting ideas, expressions and experiences, as creative pursuits, social activities, and bank accounts yawn steadily open.
Allan Clayton had been set to make his role debut as the angry Laca Klemeň in a new production of Leoš Janáček's most famous opera, Jenufa, at the Royal Opera House Covent Garden (ROH) earlier this week; roughly ten days before opening, the production (and all ROH activity) was shut down. The tenor's next engagements – in London, New York, Madrid – are still on the books, but as with everything in the classical world right now, giant question marks hang like immense, heavy clouds over everyone. On March 30th, Wigmore Hall cancelled the rest of its season; Aldeburgh, for which Clayton was to serve as Artist-In-Residence this year, is likewise shuttered. It remains to be seen if Clayton will get to sing a role he's become associated with, that of Hamlet. in Brett Dean's 2017 opera of the same name; performance is still set for June with the Radio Filharmonisch Orkest under the baton of Markus Stenz. "To be or not to be" indeed.
Clayton has a CV that leans toward the dramatic, as befits his equal gifts within the realms of music and theatre, with experience in Baroque (Handel), French (Berlioz), German (Wagner), and twentieth-century work (Britten), alongside an admirable and consistent commitment to concert and recital repertoire. His varied discography includes works by Mendelssohn, Mozart, and of course, his beloved Britten, with his album Where 'Er You Walk (Hyperion), recorded with Ian Page and The Orchestra of Classical Opera, released in 2016. It is a beautiful and uplifting listen. A collection of Handel works originally written by the composer for tenor John Beard, Clayton's voice carries equal parts drama and delicacy. As well as the music of Handel, the album features lively, lovingly performed selections from the mid 18th-century, including William Boyce's serenata Solomon, John Christopher Smith's opera The Fairies, and Thomas Arne's opera Artaxerxes.
On the album's first track, "Tune Your Hearts To Cheerful Strains" (from the second scene of Handel's oratorio, Esther), the scoring features voice and oboe gently weaving their way in, around, and through one another in beads of polyphonic perambulation. Clayton's timing, pushing sound here, pulling it back there, moving into blooming tenorial splendor before trickling watchfully away like a slow exhale, is artistry worth enjoying over several listens. Equally so the aria "As Steals the Morn", taken from Handel's pastoral ode L'Allegro, il Penseroso ed il Moderato (The Cheerful, the Thoughtful, and the Moderate Man), which is based on the poetry of John Milton. The graceful call and response of the instruments is echoed in the gentle if knowing exchange between vocalists, in this case Clayton and soprano Mary Bevan, their poetic, deeply sensitive vocal blending underlining the bittersweet truth of the text, with its tacit acknowledgement of the illusory nature of romance. The work is set within a wider contextual framework extolling the virtues of moderation, but Clayton and Bevan inject the right amount of wistful sadness the whispering kind, with Clayton a burnished bronze tonal partner to Bevan's delicate glass. Theirs is a beautiful pairing, and one hopes for further collaborations in the not-too-distant future.
As well as early music, Clayton's talents have found a home with twentieth century repertoire, and he's been able to exercise both at the Komische Oper Berlin, a house he openly (as you'll read) proclaims his affection for. In spring 2018 Clayton performed as Jupiter in Handel's Semele, and later that same year, made his role debut as Candide in Leonard Bernstein's work of the same name, with Barrie Kosky at the helm. Clayton returns to the house for its 2020-2021 season, as Jim Mahoney in Aufstieg und Fall der Stadt Mahagonny (The Rise And Fall Of The City Of Mahagonny) by Kurt Weill, another role debut. Clayton has also appeared in Rameau's Castor and Pollux at English National Opera (his performance was described by The Arts Desk as "astounding, his piercingly ornamented aria, "Séjour de l'éternelle paix", one of the highlights of the evening") as well as Miranda, a work based on the music of Purcell, at Opéra Comique, under the baton of Raphaël Pichon and helmed by Katie Mitchell. And, lest you wonder if he works only at opposite musical poles of old and new, consider that Clayton, who started out as a chorister at Worcester Cathedral, has also given numerous stage performances as David in Wagner's Die Meistersinger von Nürnberg, both at the ROH, under the baton of Sir Antonio Pappano, and at Bayerische Staatsoper, with Kirill Petrenko. November 2018 saw the release of his album of Liszt songs, recorded with renowned pianist Julius Drake.
And yet, as mentioned earlier, Hamlet is still arguably what Clayton is best known for. The opera, by Brett Dean, with libretto (based on Shakespeare) by Matthew Jocelyn and presented at the 2017 Glyndebourne Festival, featured a stellar cast including Sarah Connolly (as Gertrude), Rod Gilfry (as Claudius), Barbara Hannigan (as Ophelia), Kim Begley (as Polonius), and Sir John Tomlinson (as the Ghost of Hamlet's father). Clayton,who made his debut at the Festival in 2008 (as the title role in Albert Herring), gave us a Hamlet that was the veritable eye of the hurricane as well as a tornado of energy himself. There was no perceptible line between the worlds of vocalism and drama in the slightest; the performance, matching the opera as a whole, was a perfect fusion of the varying art forms opera encompasses. Dean's hotly dramatic scoring and Jocelyn's musically rhythmic libretto provided a whole new window into the world of the gloomy Danish Prince, one divorced from the arch world of hollow-eyed, sad-faced, skull-holding clichés, but sincerely connected to truly felt, deeply experienced aspects of human life: what it is to love, to lose, to grapple with notions of shifting identity and an unknowable present. The work carries extra poignancy in these times and remains a strong personal favorite.
In 2018 Clayton was the recipient of both the Royal Philharmonic Society Singer Award as well as the Whatsonstage Award for Outstanding Achievement in Opera. 2019 proved just as busy and inspiring, with, among many musical pursuits, including much time with the music of Berlioz – at Glyndebourne, as the lead in La damnation de Faust, and then as part of the oratorio L'enfance du Christ (The Childhood of Christ), presented first at the BBC Proms with conductor Maxime Pascal, and later at Teatro Alla Scala, with conductor John Eliot Gardner ). In September Clayton travelled to Bucharest to premiere a new song cycle by Mark-Anthony Turnage at the Enescu Festival before presenting it shortly thereafter in London, where the work was performed along with related pieces by Benjamin Britten, Oliver Knussen, and Michael Tippett; The Guardian's Andrew Clements later wrote of the concert that Clayton's voice "wrapped around all of (the compositions) like a glove, with perfect weight and range of colour and dynamics." Clayton and Turnage are two of four Artists in Residence (the others being soprano Julia Bullock and composer Cassandra Miller) at this year's edition of the Aldeburgh Festival, set to run June 12th to 28th. Founded in 1948 by composer Benjamin Britten, tenor Peter Pears, and librettist Eric Crozier and spread across various locales in Suffolk (with the converted brewery-turned-arts-complex Snape Maltings being its hub), Aldeburgh offers performances of everything from early music to contemporary sounds, and attracts a heady mix of audiences just as keen to take in the gorgeous landscape as to experience the wonders of the festival. Clayton is presenting two concerts which will feature the music of Britten Turnage, Ivy Priaulx Rainier, and Michael Berkeley (a world premiere, that) as well as perform as part in a performance of Britten's War Requiem with the City of Birmingham Symphony Orchestra, led by Mirga Gražinytė-Tyla. It all remains to be seen, of course. As pianist Stephen Hough wrote in The Guardian, "it's impossible at this point to say where this will end" – it is equally impossible at this point to say where things will begin, too.
I've presented this interview in two parts, as you'll see, which act as a sort of yin and yang to one another for perspectives and insights into an oft mentioned, rarely-explored world that makes up opera, that of the rehearsal. As you'll see, Clayton speaks eloquently about its various moving parts (particularly, in this case, linguistically-related) and the weeks of preparation that go into a new production, the fruits of which, like so many in the oprea world right now, will not be enjoyed by any. It's tempting to write such effort off, to say it was in vain, but my feeling is that the best artists, of which Clayton certainly is, have taken their bitter disappointment and turned in inside-out, finding new energy for forging creative new paths; they are roads which, however unexpected, are yielding their own sort of special fruit in some surprising ways. Clayton's mix of playfulness, curiosity, and earthiness seem to be propelling him along a route showcasing his innate individualism and artistry. I am looking forward to the results, to say nothing of the cross stitch projects promised herewith.
Before Jenufa's Cancellation
How are rehearsals for Jenufa going?
I'd not done any Czech opera at all and this has completely opened my eyes to the whole music I knew was there. I'd heard some things and seen the opera before at the Coliseum in that famous production in English, but the richness of the score and the music, it's so emotionally present, there's no artifice – hopefully it'll be the same live.
It's written phonetically, an approximation to match the inflections of the language…
… so how are you finding learning not only Czech, but, as a singer, matching it to the sounds in score?
Something our director Claus Guth said on our first day, with the rehearsal that afternoon, is that this something we have to create, with our own stage language, to deal with the repetition of text in a short space of time. It's not a Baroque opera where you have extended passages of five or six words stretched out; you have very important information delivered rapid-fire. (Conductor) Vladimir Jurowski said, "you have to remember this is how, coming from that region, people would talk to one another, you bark . I've been in places in Eastern Europe" – and he's speaking as a polyglot who rattled through seven languages in rehearsal – "and when you listen to them, it's like they're shouting at each other, but they're not; they're communicating in a staccato, loud, repetitive manner, so just embrace it as part of normal day life, because the piece is about routine and everyday life, and the threat from the outside to that."
And the character is tough as well. Opera has lots of characters with chips on shoulders…
… but Laca has one of the biggest and chippiest chips.
Completely, and he cannot stop it. He hates Steva. We've rehearsed the scene where the infamous cut happens to Jenufa's cheek, which is the beginning of the end of the story and we have talked about it: does he mean it? Is it intentional? In his very first scene, from the very start, he's raging at people, and he has a furious temper, which is something else we talked about, that this was Janacek's character, he could fly off the handle at any time and took badly to things, and he was tempestuous in relationships. This is something I try and embrace but not let it affect me vocally and move into shouting, because that's not nice to listen to!
It's not vocally healthy either.
You also did Candide in Berlin, which is totally different. Finding your way through extremely complex scores when it comes to new roles – what's that like?
For Candide, it was a chance to work with Barrie Kosky again, who I get on really well with – I think his approach to directing and to life is a pretty solid one, and I agree with a lot of what he says. It was also a chance to work at the Komische Oper again; I've done quite a few shows there now, it's a positive space to work in, even though it's a busy house, but it's also the chance to do something different. He said, "we're going to do it in German" and I thought, right, thanks a lot! I only speak a little German but not near enough, so learning dialogue was a challenge, but I also thought: it's a chance to do something a bit more theatrical. That was certainly what I enjoyed. The creative input I had on it was the most I've ever had, because we had a completely blank stage, and Barrie would go, "okay, we need to get from this locale to that locale in the next page-and-a-half of music; we have no set, so what do we do?" We had fun with that. I could say, "Well why don't we kick a globe around, or do a silly number with Monty Python-style soldiers?" The challenge, and the great thing with him, is always, this creative side of things.
And Barrie is so open to artistic collaboration.
He is! I've often said the best directors – and he is one of them – make you think you've come up with a great idea, which is probably what they wanted all along, but they make it feel like it's a collaboration, that you are not just a cog in a machine. Again, like Claus was saying in rehearsal he had some plans for certain scenes but the natural circumstances means the scene will go in a completely different direction – and he loves that. It's about embracing that flexibility. If you just go in there and think of yourself like a moving statue, it makes for a very long six weeks.
Some performers enjoy the predictable – it's comfortable and they say they can concentrate on their voice more that way – but for you that doesn't feel like the case; it feels like comfort is the antithesis of who you are as an artist.
Yes, and the most fun I have is in rehearsal room. The pressure is on when you do a show, in that you want the audience to be happy, you're trying to be faithful to the score and remember your words and blocking and all else, but actually being in a rehearsal room for five or six weeks with brilliant colleagues and creative minds makes it interesting, and for me that's the part of the job I enjoy. When people say, "you must be so lucky to do what you love" that's the bit I think of, because if I didn't do that, I'd be trudging out the same couple of roles and it would be boring as hell. How do you bring something different each time doing that? You fall into one production or role, like "this is my Ferando, this is my… whatever", which is so less interesting.
But it takes a lot of confidence to go into those rehearsal for the length of time you do, with the people you do, and say, openly, "I have these ideas and I want to try them."
I guess, but it doesn't always feel so, though that's also why, for me, whenever I'm speaking to casting people or my agent about future projects, my first question is always, "who's the director?" Because it's massively important – the conductor is always the second question, but if I don't feel the director is going to trust me or if I can't trust them, then I won't have the confidence to put those ideas out there and try some things. Like, this role, it's about offering things when i can and not holding up rehearsal when it's not my turn. That's part of being a team. That's part of working collaboratively.
Humility is so vital, especially in the world of classical music, where egos can get out of control so quickly.
Exactly! It's something I've not had to deal with a lot, but (that egotism) is so alien to me, I think there's less of it maybe than there used to be, or maybe the level at which I work, but it can be difficult.
Your Hamlet was very ego-free, and very beautiful.
It was such a special opera, wasn't it?
I spoke to Matthew Jocelyn when he directed Hamlet in Köln in November 2019, and he was also clear about the role of collaboration in its genesis.
Yes absolutely, I can't imagine a more perfect storm. The way Matthew and Brett got on, even if they didn't share ideas, was always dealt with in a creative and good way, and it was the same with (director) Neil Armfield and Vladimir Jurowski, and with Glyndebourne as a company as well. I can't imagine that piece working anywhere else. There was an incredible amount of people who gave above and beyond what you'd expect; it was extraordinary, and was given without a question. I don't know what it was, but every department was being collaborative, from Matthew and Brett's first jotting down which scenes they wanted to include, to the first night. Everybody was giving everything.
That generosity of spirit bleeds into the concert work I've seen you do, your 2018 performance of Spring Symphony with Sir Simon Rattle and the London Symphony Orchestra, for instance…
If I didn't keep a mix of things I'd go even more insane than I am!
Is that why you do it? Staving off restlessness?
Completely. I can't imagine that part shutting off. If I didn't do concerts or recitals, I'd be shutting off two-thirds of what can be done with this amazing, weird world we live in. I think of the music I'd be depriving myself of, so it's also a selfish thing, with recitals but also with concert work. You get to be more involved in how you present things, you have a more immediate connection to the orchestra or pianist or chamber group, which you don't get in opera because you are separated by the floor, so it's slightly more engaging for me.
You also bring an operatic approach to those formats, though, as with the Britten, you live right inside those words.
You have to with a lot of Britten – if you don't engage, you're lost. It's so dramatic, and he writes so well for the stage because he has a natural sense of drama throughout his writing, and you know, if you are just trotting it out without really going for it, it doesn't make for a good experience for the audience
But you can't do that in recitals; artists say it's like standing there naked, although Thomas Hampson said he thinks all singers should do them.
It's true, you explore so many different colors than you would in opera. It's hard, hard work to keep that concentration that long and stamina-wise. In terms of preparations you put in for the output, you might do each recital once, so it's weeks, hours, months of work to inhabit each song and try to say something fresh with it since the three-hundred-or-so odd years since it was written, but that's what makes it fun.
I would imagine you come into Jenufa rehearsals, having done your recital at Wigmore not long before, for instance, with a new awareness of what you can do with your voice.
Absolutely, yes, and it makes you more interesting for directors and conductors, because if you can offer these interesting colors they're like oh cool!" Just the other day, I was rehearsing and Vlad said to me, "Don't come off the voice there, it doesn't work" – so (responsive versatility) is an option I can offer, it's not just full-frontal sound, or one color, and that's again, about confidence. The more (varied) stuff you do, the more options you can present.
And you are Artist in Residence at Aldeburgh this year too.
It'll be great – I love that place. When I was in my first year of music college (at St. John's College and later the Royal Academy of Music) I did Albert Herring there as part of a student program, and it was seven weeks in October living in Aldeburgh, learning about the region and all the weird people from that place. It couldn't have been a better introduction to the place and what it means to not only British music but internationally as well. The residendency, well I'm so chuffed, and especially happy with the other people doing it too.
Their ten-quid-tickets-for-newcomers scheme also fights the idea that opera is elite.
It's crap, that view – but you feel like you're speaking to the wind sometimes. I was in a taxi going to the Barbican doing Elijah a few weeks ago and the driver said, "oh, big place is it, that hall?" I said, fairly big, he said, "like 300?" I said, no it's about 2000 or something, he said, "oh gosh!" I said, you should give it a go someday. He said, "I can't, it's 200 quid a ticket", and I said, no, it's five quid, and you can see lots of culture all over for that price, for any booking. I mean, it's infuriating – I took my sister and kids to see a football match recently and it cost me the best part of two grand. I mean, talk about classical being "elite"!
Baroque is a good introduction for newcomers I find, it's musically generous and its structures are discernible. You've done a good bit of that music too.
If I'm free, I say yes to doing it. That music is really cool to do, things like Rameau, which I really didn't know about, and Castor and Pollux, which blew my mind, and as you say, the music is so beautiful, it's not too strange or contemporary, so people can engage with it easily.
And it's a good massage vocally.
Yes, not crazy Brett Dean vocal Olympics!
After Jenufa's Cancellation
Sorry for the delay, I was just doing an online task with my family, it wasn't working and I was swearing and throwing things at the computer. How are you?
Trying to figure things out.
It's such a change, isn't it…
I teach as well and had my first Zoom session with my students recently.
Nobody wanted to hang up at the end – they were so happy to see each other. I wrote about that moment recently.
My youngest niece had the same thing this morning – a mum arranged a big Zoom class phone call and my sister said exactly the same thing: they just loved seeing each other.
I think everyone misses that community.
Yes, and especially given how close we got to opening Jenufa; tonight (March 24, 2020) would've been the opening.
I'm so sorry.
Well, thanks, but certain people are in much worse situations, so it's not the most important thing. It is a shame, though; everyone had worked so hard and put so much into a show that was going to be so good. I was chatting last night with Asmik Grigorian (who would have sung the title role), and she was saying how opera houses plan so far ahead and it's difficult to know how they'll cope with these loss of projects, whether they'll put them on in five years' time or move things back a year, but you do that and then you're messing with people's diaries in a big way. Fingers crossed people will get to see what we worked on anyway, at some point.
Some of those diaries are now big question marks.
Absolutely. I'd' written off Jenufa until Easter, and then after that I was supposed to go to London – Wigmore Hall – and then New York, then Faust in Madrid and Hamlet in Amsterdam. I've written all of them off, because I can't see things being back to normal the beginning of May, or even the end of May, when Hamlet is supposed to happen. And I've got the opera festival… I'm hoping it'll be able to go ahead, but the brain says it won't happen either, so suddenly my next job isn't until August. We'll see if things have calmed down by then.
It's so tough being freelance, there's this whole ecosystem of singers, conductors, musicians, writers, and others that audiences usually just don't see.
My sister is a baker, she has her own business; she's self-employed. And obviously all the weddings have been cancelled, and birthday parties, and all the related stuff, like cakes, musicians, planners, all these people – all cancelled. So yes, it isn't just singers in opera but people like yourself, the writers too – we're all in the same boat. We are together under the same banner of freelance and self-employed, but at the same time, at least in this country, we've been abandoned under that same banner by the government.
It was notable how loud freelancers were through Brexit about the implications to its various ecosystems.
I don't know whether it's because us freelancers spend a lot of time working on our own and are not part of a bigger company, but it's why Brexit felt so silly, because to become more isolated at a time when the world becomes less so, just doesn't seem to make any sense. You've got the rest of Europe, although it's closing its borders, it's maintaining as much community and spirit as it can, whereas little Brexit Britain is just sort of shutting down.
And in the current circumstances, literally doing so rather late. The scenes of the crowded parks this past weekend were…
It was absolutely insane.
So how are you keeping your vocals humming along?
I have a couple of projects – I did a Mozart Requiem of sorts, with Joelle Harvey and Sascha Cook, the American mezzo. She was in Texas, Joelle was in Washington I think it was, and I was in Lewes, and we did this arrangement where I did the soprano part, and Joelle sung tenor, which was pretty special. I'm doing something with the French cellist Sonia Wieder-Atherton as well – I sent her the Canadian folk song "She's Like The Swallow" recently. We'll record some Purcell later today. She's going to try to put her cello to my singing. So, little things like that going on. Otherwise, we'll see what happens really. I've got my laptop and a microphone and a little keyboard with me, so hopefully I'll do something, maybe a bit of teaching and singing as well to keep the pipes going.
A lot of people are turning to teaching now.
I wouldn't do anything seriously, I just think it's nice to be able to use what is the day job in other ways. A friend put on Facebook yesterday, "is anyone else finding the silence deafening?" I think that's apropos at the moment. We're so used to hearing music all day, to having it be part of our regular lives, six or seven hours (or more) a day, in rehearsals and at concerts, that feeling of making music together and hearing music live – it's just not the same at the moment .
Performing at the 2019 George Enescu Festival with the Britten Sinfonia and conductor Andrew Gourlay. Photo: Catalina Filip
The performative aspect too – there's no live audience. It's nice to feel somebody is out there in a tangible way.
That's the thing, it's only times like this you realize what a two-way process it is. It's so easy to think, without experiences like this, that we're on stage, people listen to us, and that's it. And it's not like that at all. The atmosphere is only created by the audience. When things were heading south at the opera house and we weren't sure what would happen, there was talk of trying to livestream a performance without any audience in Covent Garden, and we were considering that, and thinking, like, how would that work? The energy wouldn't be at all the same. It's completely intangible, but it's a vital part of the process, of what we do.
Having that energetic feedback…
Absolutely, the buzz in the room. People stop talking when the house when lights go down – it creates adrenaline for us, it creates a sense of anticipation, in us, and with the audience, of "what will we see, what are we going to hear, are we going to enjoy it and engage with it and get out of the 9 to 5 routine?" And it's the same for us: will we be able to get out of our daily commute when we step onstage and see smiling faces (or not)? All of those little interactions that we took for granted – I certainly did – well, we don't have the option anymore.
And now you have to try to adjust yourself to a different reality, like the Zoom meetings, and there is that weird community sense being together and alone at once.
Exactly, because we're all stuck in the same boat. We have to accept things like Zoom, Skype, Facetime are the only ways we'll cope, otherwise we'll all go mad. It's very well hearing one another's voices but seeing – the things we get from humans, from facial tics – that reaction is another level, and without it we'll start to go insane. I've got a Zoom pub date lined up later this week with a couple musician friends, we're going to sit and have a beer together and chat, just as a way of keeping in touch.
It makes things feel semi-normal too.
Exactly, because you know, you put yourself in their spaces, their homes, you see their living room, and given that we're all stuck in our own environments at the moment, it's very important to have as much escapism as possible.
We're getting peeks into homes, and there's a weird sort of familiarity with that because everyone's in the same boat.
I find it interesting! My sister was saying at lunchtime, remarking how interesting it is seeing journalists' living rooms, because they're broadcasting from there now, it's a peek behind the curtain, which is really quite nice.
And everyone has the same anxious expression…
… because we don't know where this is going.
Hopefully things will be clear by the time you start work on Rise And Fall Of The City Of Mahagonny at Komische Oper Berlin next season.
I love Barrie Kosky, and I've not sung Mahagonny before, so I'm looking forward, though it's a weird piece. I said to Barrie when he first offered it to me, that scene whilst Jimmy's waiting, the night before he dies, when he's praying for the sun not to come up, it's like a (Peter) Grimes monologue, it's like Billy Budd through the porthole, this really, really operatic bit of introspection.
It's also kind of like Madame Butterfly turned inside out…
Quite!
I wonder if Weill was aware of that when he wrote it.
I hadn't made that connection at all but you're absolutely right! It'll be fascinating to see what Barrie does with it.
You have lots of time to prepare now.
That, and all the other projects next year. We'll see what happens, but it'll be great to focus on those. That's what I'm having to do at the moment: focus on next year and hope what we live with now goes past us. I'm still going to prep for concerts that were set to happen, even if they don't, in New York and at Wigmore Hall. I put a lot of time into the programming, especially at Wigmore this season, and off the back of those programs I'm hoping to do some recordings, and later maybe tour the same programs, or an amalgam of them, but certainly it makes sense to keep doing it, and to satisfy the creative part of my brain. I have to be doing something like that. If I don't see any printed music, I'll go crazy; it's been my life since the age of eight, so I need it. I don't know what to do with my days if they don't have music in them. I've also taken up cross stitch, but I can only allow myself to buy cross stitch with swear words in it, so that's my next project.
Will you be sharing the fruits of these labours?
Vladimir Jurowski: "I Can Surprise People And Also Be Surprised Myself"
In classical, Europe, interviews, music, opera, symphony
Photo: (c) Simon Pauly
This year, so far, has been a busy one for Vladimir Jurowski. Since I interviewed the Moscow-born conductor about composer Claude Vivier in February, it seems he's been on a non-stop train of events, announcements, and awards. He was in the middle of a very hectic spring tour with the Gustav Mahler Youth Orchestra when news came that he'd won the Conductor of the Year at the 2018 International Opera Awards. On May 9th, he won the prestigious Royal Philharmonic Society (RPS) Music Awards for Conductor. The Awards, described as "the Oscars, the BAFTAs and the Grammys all in one" for classical music, were broadcast on BBC Radio 3 recently.
Currently in Paris preparing a new production of Mussorgsky's historical drama Boris Godunov with Belgian director Ivo van Hove, the conductor — conversational, curious, always artistically adventurous and extremely articulate — is on the cusp of entering something of a new world. It March it was announced that he'll become the next General Music Director of the prestigious Bayerische Staatsoper (Bavarian State Opera), alongside Serge Dorny (currently Director of the Opéra National de Lyon), as Intendant, from the 2021-2022 season. He'll also lead a new production of Strauss's Der Rosenkavalier, directed by Komische Oper Berlin Intendant Barry Kosky, opening at the famed Munich house in 2020.
I write "something of a new world" because, of course, Jurowski has been around this world his entire life. Raised in Moscow, the son of a conductor and hailing from a long line of artists and musicians, Jurowski and his family moved to Germany as a teenager; not long after, he made his Royal Opera House debut, with Verdi's Nabucco, in 1996. From there, Jurowski developed something of a "wunderkind" reputation, but proved, with great flair and a creative confidence that have come to be his signatures, that he was far more than a youthful flash-in-the-pan. Among many appointments, he was, from 2001 to 2013, Music Director of the Glyndebourne Festival Opera, a celebrated summer event known for its theatrical and musical adventurousness. Last year he returned there to conduct the world premiere of Hamlet — based on the famous Shakespeare work —by Australian composer Brett Dean. (I liked this.) He's made celebrated recordings and led performances of both opera and symphonic repertoire at a variety of famous houses, including numerous appearances at the Metropolitan Opera.
Lights at the Metropolitan Opera House. (Photo: mine. Please do not reproduce without permission)
In 2013, his reading of Die frau ohne Schatten (The Woman Without A Shadow) was hailed (rightly) by critics, and remains, one of my most cherished musical experiences — one that, in fact, opened the door to my hearing and feeling Strauss in a way I, being raised on a diet of melodious opera chestnuts by a Verdi-obsessed mother, hadn't dreamed could ever be possible. The opera is lengthy, but time flew by that particular evening, and I remember the mix of feelings I experienced at its end (joy, sadness, contemplation) — but mainly, I remember the wordless… ecstasy.
Whether it's Sleeping Beauty or Petrushka, Stravinsky or Prokofiev, Brahms or Bruckner, Jurowski is an artist who sees no lines between the thinking and the feeling aspects of music-making, and indeed, music experiencing. Heaven and earth, Emotion and intellect, heart and mind, flesh and spirit; these things are not separate to or within Jurowski's artistry or approach. It makes his work exciting to experience, and sometimes, even life-changing.
As such, it logically follows that he's busy. Titles include being Principal Conductor of the London Philharmonic Orchestra (LPO), Principal Artist of the Orchestra of the Age of Enlightenment (OAE), Artistic Director of both the State Academic Symphony Orchestra of Russia (Evgeny Svetlanov), and Artistic Director of the George Enescu International Festival in Romania. As of last fall, he is also Chief Conductor and Artistic Director of the Rundfunk-Sinfonieorchester Berlin (RSB), who announced their new (and very creative) season just days after we spoke in Berlin earlier this year.
Once I flipped through the immense program (which came bound by a plantable peppermint seed wrapper), I wanted to chat with him again, about the new season and its clear underpinnings in social consciousness – as well as about the LPO, and most especially the Munich appointment. Opera people like to talk (and/or argue) about the relative merits of updating works, the need to attract new audiences, and what role (or not) tradition might play. If you asked a classical music person what needs to happen in opera, you'd get a predictably wide array of opinions. I wanted to ask Jurowski the implications of bringing a forward-looking ethos to Munich, one of the most famous of houses, and discuss the expectations being brought to an art form that has, at various points and locales, been the antithesis of innovation.
Vladimir Jurowski leading the Rundfunk-Sinfonieorchester Berlin in September 2017 as part of Musikfest Berlin. Photo: (c) Kai Bienert
There's a real thread of social conscience in the new RSB season — the theme of "humans and their habitats" features strong ideas around nature and responsibility, both in the music and in the extracurricular programming choices. Why this theme, now?
Well, I do not believe that music can alleviate societal ills. I don't believe classical music can cure anything in society or change people We know about so many terrible human beings who were classical music fans, including Hitler, Goebbels and Stalin; they loved their classical music and it didn't make them better people in terms of their behaviour. We also know Nazi doctors had classical music playing while executing their terrible experiments. My personal feeling is that we should make classical music again become an important, ideally an indispensable, part of our communal life. Obviously we cannot quite reach the status of classical music in the 19th century, where it was the central social event, but we can at least refer back to not-so-distant past. For instance, back in 1989, when the uprising started in Eastern Germany and there was a real fear of the Eastern German government employing military force against people on the street, it was Kurt Masur who made the Gewandhaus the place of peaceful discussions — he agreed with the government and authorities that there would be no weapons used. So music can become the "territory of peace" even at times of war. The main ability of music is to establish a non-verbal communication between people and make them forget, for a while, their day-to-day existence in favour of higher realms of beauty and truth which music is able to communicate.
My main aim is to show to people that (classical musicians) can be an important part of this society, but we cannot expect people to come to us, we have to go out. That's the difference today. We have to compete on so many levels, with social media and various types of mechanical reproduction of music; musicians who create live music have to make their — our — concerts indispensable events, and one of the ways to attract audiences is pulling their attention at certain aspects of our life and society, which are not directly related to music but have a universal impact on the entire life. One of those aspects is nature; the idea to make a whole season dedicated to nature is because it is something that concerns us all, none of all can exist in this world without nature intact and functioning. Because there is so much music inspired by nature, why not try and inspire more people to be more conscious and more active in protecting the environment through the classical form?
Photo: (c) Roman Gontcharov
Your new partner in Munich, Serge Dorny, said in an interview recently that "we cannot simply experience the Arts as goods to be consumed. The Arts should oblige people to think and ask questions and maybe fundamentally change people's perceptions. It doesn't mean we give answers but I hope the way you emerge from a performance has made a difference to your life and that it has changed your perception." To my mind, that complements something Graham Vick said at the International Opera Forum in Madrid, that perceptions have to be actualized in practises, productions, and operations.
I agree in principal with Serge, and I have always been saying the same thing. I'm against the consumption of the art; I'm for the active co-involvement of the audience, because obviously that's how I've been raised myself. When listening to a concert, I participate actively via listening, feeling, and thinking. And I like Graham Vick's work a lot – I've done a lot of opera with him, and I completely share his political and social views on these things. I think there's a lot we can do if we stop seeing only the entertainment side of art. Of course there has to be the entertainment there somewhere, and there has to be a lot of beauty in what with do, but if it's only about beauty, and nothing about the truth of life, then I think there is no real way forwards.
You said in an interview last year that you hope to inspire people to think for themselves, outside of a herd mentality,away from a knee-jerk reaction. That feels as if it's reflected in your programming at both at the RSB and the LPO.
I think it's always two sides: one thing is thinking for yourself, the other is feeling for yourself. That means not coming to a concert with a programmed expectation of an ecstasy at the end. You don't know what it is — let yourself be surprised, and maybe even shocked! I think there is a real deficit of real emotion nowadays. We are dealing with so much surrogate emotion, and surrogate feeling in day-to-day life, and particularly in the mass media; it's highly important to provoke real feelings. I was speaking earlier today with Dmitri Tcherniakov, and he said, "You know, it's an exhilarating feeling when I bring to a whole audience of 2000 people an opera score they haven't heard before." He was referring to Rimsky-Korsakov's La Fille de neige which he did recently in Paris, and is still an unknown piece in France and many other countries. That's what I am hoping I can continue so long as I am actively involved in musical life, be it in concerts now in Berlin, London, or Moscow — or future opera in Munich: I can surprise people and also be surprised myself.
The exterior of the Bavarian State Opera, Munich. Photo: © Wilfried Hösl
There was so much hand-wringing over the retirement of the Schenk production of Die Rosenkavalier in Munich. It's as if people have already made their minds up about the version you'll be doing with Barry Kosky in 2020.
Yes, but it's always been like this. It's still like this with the classical ballet, in fact it's much worse in the blogs. I know that because my daughter always tells me how frustrating she finds reading those classical ballet blogs; people don't want any innovation at all, they don't want any new reading of Sleeping Beauty or Swan Lake because it would insult the gods somehow.
"I want elephants in my Aida!"
Yes! But to be fair, I also have been through this myself, because as a kid, I used to go into the Stanislavsky Theatre where my dad was conducting, and since the age of six would watch the Eugene Onegin production by Konstantin Stanislavsky from, believe it or not, 1922. So the year I was born, this production had celebrated its 50th birthday already; by the time I came to watching the production it was already approaching 60… I loved that production. It was also the only one I knew of Onegin. I watched it again on DVD (as an adult), a filming of this same later performance from the 1990s, and I couldn't watch without a smile, even where a smile was not very appropriate, simply because it suddenly felt so dated. I think it is the nature of theatre: the innovation becomes tradition and then gets old-fashioned. If we were to look at the great theatre productions of, say, Vsevolod Meyerhold or Max Reinhardt, or Giorgio Strehler or Luca Ronconi — great revolutionaries of their time — most probably we would find their productions hopelessly dated today because they were very much products of their time. It's a natural process and one has to endure a certain amount of moaning and criticism from people who don't want to see anything else; eventually they get used to it.
A scene from the Lev Dodin production of Pique Dame. (Photo: @Elisa Haberer, Opéra national de Paris, 2011-2012 season)
I remember when I conducted a staging of Tchaikovsky's Pique Dame by (director) Lev Dodin in Paris in 1999, and we were booed every night, every single night, at the Bastille. Two years later, we revived it, and there was no booing… and then this production became a fashion. Now people will be moaning if they decide to stop the production.
New theatre has to offend, insult and shock, then the audience — and critics — gets used to it and eventually becomes so dependent that would not want to see anything else — that's how it usually happens. So letting go of old theatre productions is more or less like accepting the sad truth that your older relatives, however much you love them, will age and die one day because it's a universal law. One grows to accept those things.
But I think it's hard for new and younger audiences. I asked my students what they think of when I play opera documentaries, and it's always, "Wigs! Corsets! Big dresses!" That's the automatic association with opera.
Every process of innovation takes time, but for me it's highly important that new audiences come to opera not just because they want to see elephants and camels in Aida, or the Kremlin, cossacks and the boyars' dresses in Boris Godunov — but in order to witness the human drama of two people falling in love in the middle of a war and thus becoming traitors of their people, or the struggle of a man at a peak of his power against his own conscience. (Boris Godunov) is about our times as well as about 1604, as it was about Pushkin's time when he was writing it 1825, or Mussorgsky when he was writing the opera in 1869. Times change, but peoples' characters don't change. Do people come to Shakespeare only to see the Elizabethan costumes? I hope not.
How does locale influence this kind of approach? I would think Moscow-Berlin-London have really left their mark on you as an artist.
I am highly adaptable to various cultural habitats. Obviously the fact that I left my native country at 18 has contributed partly to this adaptability and the chosen profession and all the travelling which came with it made me even more of a cosmopolitan. I enjoy learning new languages and studying people and their cultural traditions in the countries where I have lived and worked – today I could survive in almost any culture. I never prepare myself specifically for a new working situation; the only thing I study before I go to a new place is a little bit of the language and a little bit of the history. Then I simply wait for my first impressions of the place, of the new situation before I decide how to act further.
It's very similar to performing in a new hall or theatre: you play a note or a musical phrase, and then you wait for the return of the sound, for the resonance and then you react accordingly… what I can offer to any new place is my artistic vision, which is roughly always the same, but "many paths can lead to Rome" as they say, so I am prepared to amend my path if I see there is a short cut. Munich will be different to Berlin, London and Moscow, and yet, you know, we're all humans and we all love music and theatre — there is something we all have in common and we share.
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Die Zeit, die ist ein sonderbar Ding. . #study #
The crystal moon. . #moon #lookup #nofilter
Voila, les deux. . #nature #sunday #nofilter
"Wie soll ich es nennen, dies Wort... " . #f
Stillness & constellations. . #look #light #love
This big, big part of my soul. . #music #play #s
This is what happens when I listen to Furtwängler
Go. . #path #process #patience #nofilter
When in doubt, make borscht. . #food #cooking #n
Reflecting. . #mirror #pose #weekend
Allo, Luke. . #catsofinstagram #friday #nofilter
Ordnung ist gut. . #musik #collection #happy
"... it's like oil painting: when you are maki
One-step; two steps. . #explore #path #thoughts
Various positions. . #beauty #nature #nofilter
It's Friday and Mila wants tuna. . #catsofinst
She was especially good at Bach. . #tbt #memorie
Remember the poets . #12august #thoughts #russia
Inspiration. . #nature #nofilter #new
"C'est presque au bout du monde... " . #mo


Naomi Campbell has dispelled pregnancy rumours as she poses on board a boat in a tiny black bikini.
The supermodel was the centre of pregnancy rumours earlier this week when her partner, Skepta, posted a cryptic Instagram post of an ultrasound on Instagram.
However, it would appear from her lean figure, that the 48-year-old is not with child.
"Now she just wants to put their relationship behind her and is keen to distance herself from the whole thing," the source finished.


text:
How To Fix Dev Error Code 6146 in MW2?
By Haram Aslam
How to fix Dev error code 6146 in MW2? What triggers the error, and how does it affect your game?
Call of Duty Modern Warfare 2 is one of the most trending games of 2022. It has amassed $1 billion in ten days! So, it is the franchise's biggest-selling game to date. Unfortunately, the game has a couple of problems, with new bugs arising from time to time. While the developers are trying their best to fix these errors with updates, players are complaining about the bugs interfering with their games.
Recently, a new bug, Dev Error Code 6146, has been causing trouble and preventing players from playing MW2. If you, too, are a bug victim, then keep reading! We've covered all the ways to fix it below!
According to many users, the Dev Error Code 6146 is triggered after choosing to play either the Co-op, Multiplayer, or Campaign mode. Activision does not officially recognize the error, and there is no official fix.
However, players have shared some tips and ways to fix the error code and get their game running as usual.
Updating The Game
The game developers are constantly releasing updates to fix any bugs in MW2. So, before trying any other method, ensure you are playing the latest version of the game. If you aren't, then update the game, which might resolve the issue.
Poor Internet Connection
An unstable internet connection might make the Dev Error Code 6146 pop up! Check your Wi-Fi router and modem and ensure that your internet works properly.
How to Get and Customize an ak74u in Modern Warfare 2?
Restart Your PC or Console
Restarting the console or PC seems to work for many users.
Reinstall the Game
If none of the options mentioned above fix the Dev Error Code 6146 for you, you may have to uninstall the game and reinstall it again!
As of now, we are still waiting for Activision to address the issue and give out an official method to fix the bug.


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When was the last time you cleaned your makeup brushes?… Surprised?… Shocked??… Embarrassed??? Well, you should first feel GUILTY! Let me be very clear. Whether you are just an amateur who is trying to master various makeup tricks or a makeup junkie who feels confident about giving Kardashians a tough competition, you should clean your makeup brushes once every week (if not possible to clean them after every single use). It is MANDATORY! Today, we will talk about how to make cleaning sprays for your makeup brushes at home.
Say the simplest, easiest, and quickest way to keep your makeup brushes squeaky clean naturally and this formula will top the list. Although it dries out fast, you can make your brushes free from blush and eye shadow colors very effectively.
Take the funnel and pour alcohol into the empty spray bottle by using it carefully. Dilute it by adding distilled water. Also, add the fragrant essential oil of your choice in order to reduce the odor of alcohol from the spray mixture as well as increase its conditioning capabilities to a large extent. Give the bottle a good shake and mix everything well.
The practice of makeup brush cleaning and disinfecting not only saves those bristles and barrels but also saves our skin.
This is a modified version of the previous cleaning spray recipe. It uses baby shampoo as a mild surfactant in order to create a little lather while cleaning the makeup brushes. However, the use of essential oil is purely optional here.
Pour baby shampoo into the clean and empty spray bottle. Add pure ethanol and distilled water to it with the help of the funnel. Be careful about spillage during this step. Now, add your favorite essential oil and close the cap of the bottle. Shake it well to combine all ingredients nicely.
While the purpose of using essential oil in previous two recipes was cutting down the smell of alcohol, this one is totally based on its goodness. It is one of the best natural cleansing sprays that turn makeup brushes spotless by using the cleansing properties of essential oils.
Pour distilled water into the spray bottle carefully by using the funnel. Add the drops of tea tree essential oil and lavender essential oil to it. Put the cap on the bottle and give it a good shake so that a nice essential oil blend is prepared.
Shake your spray bottle before each use.
Spritz 4-5 times or more on the brushes according to their length and the volume of their bristles.
Do not forget to wipe the spray off the brushes with the help of a washcloth / paper towel / tissue.
Always dry your wet makeup brushes by hanging them upside down. It is best to keep them overnight in this position.
Store your homemade makeup brush cleaning spray in a cool dark place.
As homemade cleaning spray does not contain any preservative, do not make it in large quantity. Rather, prepare small batches every week to be on the safe side.
So, isn't it easier and faster to use a spray cleaner for makeup brushes? Have you also tried it at home?


Nur Muhammad Taraki (1917–1979) was an Afghan politician. With other people he founded the People's Democratic Party of Afghanistan, who stopped the monarchy in Afghanistan. Taraki was president of Afghanistan in 1978 and 1979. Taraki started economic reforms in mid-1978.
↑ "Nur Muhammad Taraki". Notable Names Database. Retrieved 25 March 2014.
This page was last changed on 2 June 2018, at 07:06.


The women are still there. The last two clinics served 3,000 people annually. According to the New York Times, by September, there might be as few as six clinics that perform abortions in the entire Lone Star state.


Running a small business is no easy task. Not only do you have to focus on making sure your company turns a profit, but you also have to worry about all the menial tasks that come with operating a business. One of these little tasks is making sure your office has all of the right supplies to operate smoothly.
With the right office packaging supplies, your company will be able to efficiently handle all of the day to day tasks that take up so much time. Here are some essential supplies your small business must have around the office.
Printed and Clear Tape- Every office must have printed and clear tape easily accessible. Throughout the day, you need tape for a multitude of tasks—packing items, posting signage, and securing documents. Always make sure your printed and clear tape is easy to find so that you don't waste precious time looking for it.
Bubble and Padded Envelopes- Bubble and padded envelopes are a good office supply to have on hand. These office packaging supplies protect your important documents when you put them in the mail. You can't leave the condition of your documents to chance in a thin, unprotected envelope. Always use bubble and padded envelopes to ensure the safety of the content.
Mailing Tubes- Like padded envelopes, mailing tubes are an essential office packing supply for protecting your documents in the mail. General purpose tubes can handle an array of material—from blueprints to breakable pieces.
Brochure Holders- If your office experiences foot traffic from clients and potential customers, brochure holders can be a great way to grab their attention. By placing your marketing collateral in a brochure holder on the front desk, customers will have their curiosity piqued. They'll then be interested in learning more about your company, and this can help improve customer retention.
If you need office packaging supplies for your business, we can help. We're AAA Box, a leading provider of packing solutions. Our team of experts will help outfit your company with all the equipment necessary to run your office efficiently. Contact AAA Box today for all your shipping and packaging needs!


We are almost two months into 2017, the time when most people have left their new year resolutions behind, but not in the Java Community Process (JCP program). As 2017 gets into a full swing, I would like to share my vision and priorities for the year. I have been involved with the JCP program for over sixteen years and am currently serving as the JCP Chair. It is an honor for me to serve in this capacity, and I am enthusiastic about continuing my work with the Java Community that I have been passionate about for many years. Java developers are not only one of the main reasons for the success of Java technology, but they are also are some of the best people on this planet. As I have served in various capacities within the JCP program, as a leader and international speaker traveling around the world, the thing that resonates with me the most is that regardless of which country I visit, I am amazed by the generosity, kindness and intelligence of the Java developer community. The community is the reason I have continued my work with the JCP program for many years.
It became clear to me some time ago that communities, even very technical communities, are fundamentally about people. Keeping that tenet in mind, we will continue expanding participation in the JCP program from the community, and build on the success of membership drive we had in 2016. Since May 2016, over three hundred new members joined the JCP program. We started expanding our membership following the completion of JSR 364, which brought us the latest version of the JCP program, JCP 2.10, with a goal of broadening JCP membership from corporations, individual developers and Java User Groups (JUGs). In 2017, we will also continue recognizing leadership within the community through the annual JCP Awards, Star Spec Lead recognition and the global Adoption programs - Adopt-a-JSR and Adopt OpenJDK. The heavy lifting of the JCP program happens through the community development of Java Specification Requests (JSRs). JSRs to evolve the Java platforms and the work happening in the JSR Expert Groups to complete the latest versions of the platforms, Java Standard Edition (Java SE) 9 and Java Enterprise Edition (Java EE) 8 will continue throughout the year.
In addition, after discussion with the JCP Executive Committee (EC) during the London face to face meeting hosted by EC Member, Goldman Sachs, there are three areas we identified where the JCP EC can make some improvements in the JCP program.
The relationship between the JCP and OpenJDK - look into areas where we can streamline and improve the interactions between the two groups.
The future of Java ME. Define the requirements - both the technical and the business market demands of the embedded and IoT related space.
Further changes for the JCP through the JCP.Next effort - identify areas where we can improve collaborative development within the JCP program.
These will be the areas of focus for the coming year. Please follow our discussions on the JCP Meeting Summaries and on the JCP_org twitter feed. You can also find me via my personal Twitter handle @heathervc. I will expand more on these items throughout the year. We look forward to working together with the Java developer community in 2017 and beyond.


Here's some great news for friends living on the other side of the globe but kinda crappy for us who live in the United States, ha ha! In Europe (Belgium, France, etc...) they have a Fast Food Restaurant Chain called "QUICK!".
Basically, it's a hamburger place and right now they are offering DC Comics' Superhero Meals that come with some extremely awesome promo character glasses! Shown here is an actual photo of the "Batman" Glass (Thank you Salvatore!).
Yes, you read that right, promo glasses! I grew-up with these things in the 1970's and restaurants here in the US have stopped offering these a long time ago (lawsuits probably). But it's extremely cool that all our friends overseas will get to enjoy these!
One last thing, check out this awesome TV Commercial airing over there right now!! Also, a special "Thank You" goes out to a good friend named Thierry who helped me with the official QUICK website!