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Supplication of Arafa by Imam al-Husayn (a)
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This article is an introduction to the Supplication of Arafa by Imam al-Husayn (a); to read its text see text:Supplication of Arafa by Imam al-Husayn (a).
Kumayl • Al-Tawassul • Al-Iftitah • Abu Hamza • 'Arafa • Al-Nudba • al-Simat • al-Faraj • Khamsa 'ashar • Al-Sha'baniyya
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al-Sahifa al-Sajjadiyya • Mafatih al-jinan • Misbah al-mutihajjid • Iqbal al-a'mal • Miftah al-falah
Laylat al-Qadr • 15th Sha'ban • 'Arafa • Ramadan • Rajab • Dhu l-Hijja
The supplication of 'Arafa by Imam al-Husayn (a) (Arabic: دعاء الإمام الحسين يوم عرفة) is one of Shi'a supplications which was composed and recited by Imam al-Husayn (a) on the Day of 'Arafa in the desert of 'Arafat. The du'a is usually recited by Shi'a on the same day. This supplication contains some of the highest theological and spiritual teachings. Considering its valuable content, Shi'a scholars and narrators deem the supplication as being reported from Imam al-Husayn (a); however, there is a disagreement among scholars regarding its ending part and some have attributed that part to some Sufi figures. Because of its importance and significant position among Shi'a, some scholars have written translations and expositions for it.
2 Authenticity
2.1 Authenticity of the Final Part
3 Content
4 Translations and Expositions
Iranian pilgrims reciting the supplication of Imam al-Husayn (a) in the day of 'Arafa, in 'Arafat desert, September 2015.
The supplication of 'Arafa by Imam al-Husayn (a) is the most important Shi'a supplication that is recited on the Day of 'Arafa. This supplication contains some of the highest theological and spiritual teachings and it was first recited by Imam al-Husayn (a) along his companions on the Day of 'Arafa, in the desert of 'Arafat out of their tents. Bishr and Bashir, two sons of Ghalib al-Asadi, have narrated that: during the last hours of 'Arafa, we were with Imam al-Husayn (a). Among a group of his family members, relatives and his Shi'a, the Imam (a) came out of the tent, and with the utmost humility and obeisance, he stood on the left side of the mountain, turned his face toward the direction of Ka'ba, raised his hands toward the sky in front of his face and started this supplication.[1] In the report of al-Kaf'ami, the supplication ends with this sentence:
" لااِلهَ اِلاّ اَنْتَ وَحْدَکَ لا شَریکَ لَکَ لَکَ الْمُلْکُ وَلَکَ الْحَمْدُ وَاَنْتَ عَلی کُلِّ شَیْءٍ قَدیرٌ یا رَبُِّ یا رَبُِّ یا رَبُِّ"
"There is no god but You, You alone; there is no partner for You, to You is the kingdom and to You is all praise, and you have power over all things. O my Lord! O my Lord! O my Lord!"
However, according to the report of al-Sayyid b. Tawus in Iqbal al-a'mal the supplication continues therefrom with this phrase:
"إلهی أنا الفقير في غناي فکيف لا أکون فقيرا في فقري... و أنت الرقيب الحاضر انّک علي کل شيء قدير و الحمدلله وحده."
"O my God, I am needy despite my wealth, how can I not be needy when I am needy...; and it ends with this phrase: You are the watcher (over all things) and the Present (at all times). Verily you have power over all things. All praise be to Allah alone."
In some Islamic countries like: Iran, Iraq, Afghanistan, and Pakistan this supplication is recited in groups. Sometimes, especially during Hajj period and in the desert of 'Arafat, thousands of people recite this supplication together.
Al-Kaf'ami in al-Balad al-amin and al-Sayyid b. Tawus in Misbah al-za'ir have narrated this supplication. After them, it's been reported by al-Majlisi in Bihar al-anwar and Shaykh 'Abbas Qummi in Mafatih al-jinan. Regarding the two narrators of this supplication, that is: Bishr and Bashir, Ayatollah Khoei writes: these two brothers are the sons of Ghalib al-Asadi al-Kufi. Bishr was a companion to both Imam al-Husayn (a) and Imam al-Sajjad (a) but Bashir has only narrated from Imam al-Husayn (a).[2] Some respected Muhaddiths (experts in the science of Hadith) are not sure about the chain of narration for this supplication; however, according to the well-known principle: "the implication of its content is enough" sometimes the implication and content of a given narration is so much great and in accordance with the principles, that it does not need any explicit mention of a particular chain of narration. It is self-evident that the type of teachings in this supplication, which is rich in Islamic spirituality and wisdom, cannot be said by anyone other than great prophets or Infallible Imams (a).[3]
Authenticity of the Final Part
Since the final part of the supplication has only been narrated by al-Sayyid b. Tawus in his book: Iqbal al-a'mal, and he himself does not mention this part in his other book: Misbah al-za'ir -neither do al-Kaf'ami and al-'Allama al-Majlisi; al-Majlisi doubts its authenticity as being actually narrated from Imam al-Husayn (a). He suggests that it might have been added later by some Sufi figures, either it was added in early manuscripts and the author of Iqbal, al-Sayyid b. Tawus, relied on those manuscripts thus presumed the whole as being original, or that al-Sayyid b. Tawus had only narrated the original supplication –without the final part- but it was added later in the manuscripts of Iqbal; of these two possibilities, the latter seems more likely.[4]
Husayni Tihrani, the author of: Ruh-i mujarrad (the immaterial spirit) and Jalal al-Din Humayi attribute this part to Ibn 'Ata' Allah Iskandarani, the famous mystic in the 7th/15th century, and believe this very part exists in the old manuscript of the book: al-Hukm al-'Ata'iyya.[5] Also, Ayatollah Shubayri Zanjani does not regard this part as being narrated from Imam al-Husayn (a).[6]
Relying on its content and meaning, Ayatollah Jawadi Amuli doubts the non-infallible (Sufi) origin of the final part, and believes that in analyzing the chain of narration for reports, what counts is the certainty about the origin of the report as being from an Infallible Imam, that is, a researcher in the science of Hadith must reach the level of certainty that one particular report has been narrated to us from an Infallible Imam. Sometimes such certainty is acquired by analyzing the honesty, originality and reliability of the narrator, sometimes by analyzing the quality of the content and its richness, and sometimes by considering other textual or contextual indications. Hence, analyzing the chain of narration for any Hadith is important because it is a way to acquire such certainty; technically speaking, it is the way, not the goal.[7]
The supplication of 'Arafa by Imam al-Husayn (a) comprises of different teachings, some of the most important main topics include:
Knowing God and counting divine attributes, reestablishing the covenant with God. Knowing the Prophets and renewing the spiritual relation with them. Remembering the Day of Judgment and expressing the beliefs in heart.
Reflecting on and remembering limitless bounties given by God to human beings and thanking and praising God for them.
Expressing humility and confessing to the sins, making repentance and return from them, asking for forgiveness and a move toward acquiring praised virtues and good deeds.
Making different requests which starts by sending salutation to Prophet Muhammad (s) and his pure progeny (a) and then asking for forgiveness, the light of guidance, mercy, blessings, abundant Rizq, reward in hereafter and...
Translations and Expositions
Because of its spiritual and rich content, the supplication of 'Arafa by Imam al-Husayn (a) has always been at the center of scholars' attention. There are different books and treatises on its translation and exposition. Some of these works are as follows:
Mudhhir al-ghara'ib, by Sayyid Khalaf b. 'Abd al-Muttalib. The author is a contemporary of Shaykh Baha'i; he has written this exposition following the demand of his friend in the desert of 'Arafat, on the day of 'Arafa.
Commentary on supplication of 'Arafa by: Shaykh Muhammad Ali b. Shaykh Abi Talib Zahidi.[8]
Hidayat al-mustabsirin dar sharh-i do'a-i 'Arafa, written by: Mirza Ahmad b. Sultan Ali Sadr al-'Afadil.
Commentary on supplication of 'Arafa by Sayyid Majid b. Ibrahim Husayni Kashani.
The translation of supplication of 'Arafa by Shaykh Abu al-Hasan Sha'rani.
Niyayish-i Husayn (a) dar 'Arafat, by Ayatollah Lutf Allah Safi Gulpayigani.
Niyayish-i Husayn (a) dar sahra-i 'Arafat, by 'Allama Muhammad Taqi Ja'fari.
The commentary on Imam al-Husayn's supplication of 'Arafa, by Muhammad Baqir Mudarris Bustanabad.
For the full text, see text:Supplication of Arafa by Imam al-Husayn (a).
↑ Qummi, Mafatih al-jinan, p.363
↑ Al-Khoei, Mu'jam, vol.3 p.320,330
↑ Ja'fari, Niyayish-i Imam Husayn (a), p.29
↑ Al-Majlisi, Bihar al-anwar, vol.95 p.227
↑ Husayni Tihrani, Allah shinasi, vol.1 p.272; Humayi, Muwlawi nama, vol.2 p.18
↑ Shubayri Zanjani, Jur'a-yi az darya, vol.3 p.256
↑ Miqat-i hajj, num.42, p.184
↑ Tihrani, al-Dhari'a, vol.13 p.258
Husayni Tihrani, Sayyid Muhammad Husayn. Allah shinasi. Intisharat-i 'Allama Tabataba'i, 1418 AH.
Humayi, Muwlawi nama
Ja'fari, Muhammad Taqi. Niyayish-i Imam Husayn (a). Nashr-i Kiramat, 1378 Sh.
Khoei, Abu l-Qasim al-. Mu'jam rijal al-hadith.Beirut: Dar al-Zahra li-l-Tiba'a wa l-Nashr, 1409 AH.
Miqat i hajj mag. No. 42.
Majlisi, Muhammad Baqir al-. Bihar al-anwar. Beirut: Dar Ihya' Turath al-'Arabi, 1403 AH.
Qummi, 'Abbas. Mafatih al-jinan
Shubayri Zanjani, Sayyid Musa. Jur'ii az darya. Qom: Mu'assisa Kitabshinasi Shi'a, 1393sh
Tihrani, Aqa Buzurg. Al-Dhari'a.
Mafatih al-jinan • Al-Sahifa al-Sajjadiyya • Misbah al-Kaf'ami • Misbah al-mutahajjid • Muhaj al-da'awat • Iqbal al-a'mal • Zad al-ma'ad • Al-Balad al-amin • Misbah al-za'ir • Falah al-sa'il • Al-Sahifa al-'Alawiyya wa al-tuhfa al-murtadawiyya • Jumal al-usbu' • Miftah al-falah • 'Uddat al-da'i • Al-'Udad al-qawiyya
Supplication of Kumayl • Supplication of 'Alqama • Supplication of Abu Hamza • Al-Jawshan al-Kabir Supplication • Al-Jawshan al-Saghir Supplication • Al-Tawassul Supplication • Al-Iftitah Supplication • Makarim al-Akhlaq Supplication • Al-Nudba Supplication • Al-Sabah Supplication • Al-Sahar Supplication • Al-Simat Supplication • Al-'Ahd Supplication • Al-Faraj Supplication • Al-Hazin Supplication • al-Nur Supplication • Ya 'uddati Supplication • Ya mafza'i Supplication • Yastashir Supplication • Al-'Asharat Supplication • Al-Mashlul Supplication • Al-Mujir Supplication • Al-'Adila Supplication • Al-Sha'baniyya Supplication • Supplication of 'Arafa by Imam al-Husayn (a) • Umm Dawud Practices • Umm Dawud supplication • Yamani Supplication • Supplications of the Days of Ramadan • 'Arafa Supplication by Imam al-Sajjad (a) • 'Aliyat al-Madamin Supplication • Khamsa 'Ashar Supplication • Supplication of Imam 'Ali (a) in the Mosque of Kufa • The fiftieth supplication of al-Sahifa al-Sajjadiyya
Fulfillment of Supplications • Hirz • Ta'widh • Istighfar • Repentance • Mosque • Mihrab • Tasbih • Worship
Hajj and 'Umra
al-Tamattu' • al-Ifrad • al-Qiran
'Umra
'Umrat al-Tamattu' • al-'Umra al-Mufrada
al-'Umra al-Mufrada
Presence at Miqat • Ihram • Talbiya • Tawaf al-Ziyarah • Salat al-Tawaf • Sa'y • Halq or Taqsir • Tawaf al-Nisa' • Salat al-Tawaf
'Umrat al-Tamattu'
presence at Miqat • Ihram • Talbiya • Tawaf al-Ziyarah • Salat al-Tawaf • Taqsir
Hajj al-Tamattu'
Ihram • Talbiya • Staying in 'Arafat • Staying in al-Mash'ar • Ramy al-Jamarat • Sacrifice • Halq or Taqsir • Stay at Night in Mina • Tawaf al-Ziyarah • Salat al-Tawaf • Sa'y • Tawaf al-Nisa' • Salat al-Tawaf
Miqats
Dhu l-Hulayfa Mosque • Al-Juhfah • Wadi l-'Aqiq • Qarn al-Manazil • Yalamlam • Adna l-Hill • Mecca
Al-Masjid al-Haram • Ka'ba • The Black Stone • Hijr Isma'il • Maqam Ibrahim (a) • al-Safa • al-Marwa • al-Mas'a • Zamzam • Arafat • Muzdalifah • Mina • Haram of Mecca • Jabal al-Rahma
2015 Mina Tragedy • Incomplete Hajj of Imam al-Husayn (a) • Umrat al-Qada' • Siqayat al-Hajj • 1987 Bloody Hajj • Istilam al-Hajar • Sura al-Hajj • Al-Hajj Verse • Foundational elements of Hajj
Imam al-Husayn (a)
Muhammad b. 'Abd Allah • 'Ali b. Abi Talib • Fatima bt. Muhammad (a)
Sayyid al-Shuhada' • Thar Allah • Qatil al-Abarat • Abu Abd Allah
Rabab bt. Imri' al-Qays • Umm Ishaq • Shahrbanu • Layla bt. Abi Murra
Imam al-Sajjad (a) • 'Ali al-Akbar • 'Ali al-Asghar • Sukayna • Fatima • Ruqayya
Sermon in Mina • Sermon in the Day of 'Ashura • Supplication of 'Arafa • Mawsu'a kalimat Imam al-Husayn (a) • Hayhat minna al-dhilla
The Five (a) • Ashab al-Kisa' • Al-Tathir Verse • Al-Mubahala Verse • Al-Mawadda Verse • Al-It'am Verse • Sura al-Insan • Hadith al-Kisa'
Al-'Abbas (a) • Qasim b. al-Hasan • Ja'far b. 'Aqil • 'Abd al-Rahman b. 'Aqil • Habib b. Muzahir • Muslim b. 'Aqil → Others
Nafas al-mahmum • Al-Luhuf • Maqtal al-Husayn (a) • 'Ashura Encyclopedia → Others
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Ziyarah al-Warith • Ziyarah 'Ashura' • Ziyarah al-Nahiya al-Muqaddasa • Ziyarat al-Arba'in • Al-Ziyarah al-Rajabiyya li-l-Imam al-Husayn (a)
Uprising of Imam al-Husayn (a) • Battle of Karbala • Holy Shrine • Karbala •Al-Ha'ir al-Husayni •Turba • Mubahala • Ahl al-Bayt (a) • Al-Hasanayn (a) • Hadith al-Qarura
Companions of Imam al-Husayn (a)
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"United in life and death": Thoughts on the ROH's haunting Forza
Published on 14 April, 2019 14 April, 2019 by Rachel Anne Murphy4 Comments
I couldn't resist jotting some thoughts on my reaction to the recent and much-anticipated Royal Opera House production of La forza del destino, starring Jonas Kaufmann, Anna Netrebko, Ludovic Tézier, and Ferruccio Furlanetto, even though I'm not very familiar with this opera. When I first became infatuated with opera, I saw a recording of the Kaufmann/Harteros/Tézier version from Munich of several years ago, but that was the only complete version I've seen. I was intrigued, but a little confused by what seems a fairly simple story. Perhaps it was some directorial choices that made certain things unclear, whereas many who saw it were probably well familiar with the story from other versions and had no trouble following along.
Charles Lecocq, c. 1870, in the public domain, https://en.wikipedia.org/wiki/La_forza_del_destino
In essence–SPOILER ALERT–the story begins in the home of the Marquis of Calatrava, who believes that his daughter Leonora has gotten over her infatuation with the foreigner, Don Alvaro (an Incan prince from the Americas). In reality, they've planned an elopement, and Don Alvaro shows up that very night, and overcomes the reluctance of Leonora to fulfill their plan. They are caught, however, by the Marquis, accompanied by the pursuing "destiny theme" in the music, and provoke a fight with Alvaro, who has tried to take the blame on himself. Alvaro, in trying to hand over his gun, accidentally shoots the Marquis—who, with his dying breath, curses his daughter. Both Leonora and Alvaro flee the same night, but not together; she believes he has escaped, perhaps gone back to his homeland. After overhearing her brother's plan to find and kill his sister in order to avenge the family honor, Leonora begs Padre Guardiano to let her follow in the footsteps of another unhappy woman, and to commit herself to the life of a solitary anchoress in a cave near the friary. After some resistance, Guardiano agrees to support her. Meanwhile, after having sought Leonora for a year and now believing her dead, Alvaro joins the fight for Italy against the Germans. Rising in the ranks, he ends up—under another name—saving his foe, Don Carlo (who is also going by another name), and the two swear eternal brotherhood. Alvaro, having become mortally wounded, gives Carlo the key to a box that he keeps, revealing his identity, and asks Carlo to burn the contents. Carlo finds out the identity of Alvaro, and is eager that he should be healed–which is what happens–in order that he may kill him himself. Carlo reveals to Alvaro that Leonora is alive, but will die by his hand. After presumably both time and a game of cat-and-mouse searching have passed, Don Alvaro ends up committing his life to the friary in order to expiate the misdeeds of his past, and is much beloved by the populace. Finally, his whereabouts are discovered by Carlo, who provokes the dormant ire of the now-nonviolent Alvaro; they duel, ending up disturbing the peace of the nearby (dying) anchoress Leonora; Alvaro strikes a mortal blow at Carlo, and as the latter is dying Leonora and Alvaro recognize one another, and the dying Carlo, unrepentant still, kills his sister. During her final, peaceful passing, Alvaro finds in the situation and in her words assurance of his own redemption in spite of the brutal force of destiny.
In Charles Osborne's book, The Complete Operas of Verdi, I was surprised to read that La forza, based on a play by Angel Saavedra and on a scene from Schiller, was first composed for a Russian audience and performed at St. Petersburg at the Imperial Theatre. The original ending was even more Russian, dark, and Dostoyevskian, coming directly from the play:
"Riva's play ends, after the duel and the death of Leonora, with Alvaro's suicide. He rushes to the cliff edge as the Father Superior and the monks appear on the scene. When the Father Superior calls him by his monastic name, Rafaele, he cries: 'You can search for Father Raphael, you fool. I am a messenger from hell. I am the spirit of destruction….Hell, open your mouth and swallow me. Let the heavens collapse! Let mankind perish!' And, with a final shout of 'Extermination, Annihilation", he flings himself over the cliff….The gentler ending as we know it today stems from the Milan revision of 1869" (Osborne 336).
Anna Netrebko as Leonora
Anna Netrebko's low, melancholy soprano and the passionate but sadly tormented demeanor are a great fit for Leonora, and although Jonas is the only Don Alvaro I've seen, he fits the role beautifully with his winning charisma as well as his dark and dusky tenor voice and his phenomenal acting ability revealing the character's guilt-ridden torment.
Don Carlo, Don Alvaro, "united in life and death"
Ludovic Tézier is a brilliantly cold Don Carlo, whose rich baritone mingles so beautifully with Jonas in their scenes together; the two always have the most compelling chemistry. Theirs is the friendship that might-have-been; it is for me possibly the greatest tragedy in the story. The extent of Don Carlo's need for revenge goes beyond any kind of bounds of honor; it becomes sheer passionate excess; but one sees, in the budding friendship before he realizes the identity of Alvaro, the potential that this character has. The gorgeous friendship duet, "Solenne in quest' ora," is breathtaking.
Furlanetto as Padre Guardiano, with Leonora
And Ferruccio Furlanetto's Padre Guardiano is spot-on; the beauty of Furlanetto's voice, so brilliantly preserved and rich, is always a sheer delight to listen to, and he plays the role with the appropriate complexity; he clearly admires Leonora but doesn't know what to make of the whole situation. And, like a well-meaning but possibly quite misguided Friar Lawrence in Romeo and Juliet, allows her to persuade him to an extreme course of action. (His voice sometimes made me weepy just with the sheer beauty of it.)
A friendship that might-have-been…
I liked the simple staging and updated dress, whose time period was a little hard to pin down. The glimpse into Leonora's childhood with an abusive brother, which we witness during the overture, makes an imaginative and helpful background for Carlo's fanatical, Javert-like pursuit of his sister and her would-be lover. Thankfully, Christof Loy's direction is neither overly-symbolic nor unnecessarily ambiguous; any interpretation that can be attached to it is something that one considers only in hindsight—at least, this was my experience—because the drama takes precedence. In Loy's use of the background film projections of close-up, exaggerated reactions of the prinicpal characters, generally in slow-motion, I was reminded, as was my friend Viv whose review I would love to link here if I can find it on a public site, of the Warlikowski Don Carlos of Paris, 2017, though I don't believe Loy's was as creative and inspired as the latter overall. Another curious stage choice was that, whether in the Calatrava household or later in the friary, we seem to be in the same "setting"–a dining room of sorts—and I couldn't help but wonder if the director wanted us to believe that Leonora was simply exchanging one kind of submission (that of a daughter to an overbearing father) for another (that of an anchoress to a religious father). I appreciated the "deeper logic" that the director was trying to get at in the staging, with the recurring room perhaps more reflective of Leonora's consciousness and her tormented memories, than the real setting itself.
In terms of direction, the only thing I had a negative reaction to–because it took me "out" of the drama, as not entirely making sense except in terms of directorial imposition–was the scene where the friars are accepting their new "charge," their new anchoress who will dwell in the cave, after Leonora has persuaded Padre Guardiano to allow her this chance. At a certain point, the mood of the scene changes from the somewhat daunting, somber and inspired piety of the action, to one where Leonora seems to have a last-minute change of mind, but the monks physically force her to stay and she ends up in a restraint position on the ground. Here again, I felt a little bit of the director's imposition: the idea that she has merely exchanged one form of submission for another. To me, this undermines the strength of the love-sacrifice of the story, and the strength of Leonora's character. After all, however misguided Padre Guardiano was in agreeing to it, it was her request and her resolve that won the day, and I think we need to respect that in the storyline, as it shows no little strength of character. We are dealing with people of a different time and different ideals, including those of the Romantic—often to the point of melodramatic—19th century stage here, and, in my opinion, the piece is more poignant if played straightforwardly and as though the characters are acting out of their authentic convictions, and not with our own 21st-century abhorrence for the extreme choices of cloistered, consecrated, or eremetic life, with the added submission to authority that is inherent in such a choice. So, while I see what the director was saying, it was, for me, a momentary misstep.
I do want to give a special mention to the fabulous supporting cast. In particular, for me, Alessandro Corbelli gave us some welcome comic relief with his wonderful Fra Melitone, and Robert Lloyd was both haunting and intimidating as the Marquis…such a key role and a key scene in the psychology of Leonora, and of her sad destiny. Veronica Simeoni did a fine job in the role of Preziosilla, though hers was overall, for me, not as strong a performance as the others. (This may be my own unfamiliarity with the opera and the character's role in the drama, and having nothing to compare with.)
The last duel…
In terms of Pappano's brilliant conducting and the beauty of the orchestration, nothing could be better. The thrilling final scenes, the Don Carlo/Alvaro duel, and the heartbreaking look on Jonas' face which brought tears to my eyes—all made for a brilliant finale.
My next Forza, I think, will be the 1958 video recording with Corelli, Bastianini, Tebaldi, and Christoff…and very much looking forward to it!
But I also look forward to revisiting this one; I very recommend this production, which was a good vehicle for an excellent cast and orchestra of this strange and poignant opera.
Categories (blog), News and Upcoming..., Uncategorized, with opera•Tags anna netrebko, antonio pappano, ferruccio furlanetto, jonas kaufmann, la forza del destino, ludovic tezier, ROH in cinema, royal opera house, verdi
Month #1 of (mostly) Met-on-Demand
Published on 12 November, 2016 13 November, 2016 by Rachel Anne MurphyLeave a comment
*Note #1: if we're friends on Facebook, you've probably seen these notes already…
**Note #2: These are very informal–and too lengthy–impressions from an opera newbie!
***Note #3: "Cliff's Notes" Version of this post: Please see the 2011 Don Giovanni and the 2007 Eugene Onegin, if I absolutely must narrow it down. Also, fell head-over-heels with three bass singers: René Pape, Štefan Kocán, and John Relyea! (Already loved bass Ildar, of course!)
Oscar Wilde said that "the only way to get rid of temptation is to yield to it". Well, apparently I've been following this advice with the opera addiction. The subtitle to this post might be: "Or, How I Learned To Stop Worrying and Give into My Met-On-Demand Addiction". (It might also be subtitled: "The Month of the Bass and Baritone".)
What enabled me to watch an unusual amount of recorded opera this month is that I happened to be, at several points, involved in an aspect of my sewing work which is too rare: that which allows for multitasking! (Mostly the hand-sewing part, which alone took a good 18 hours lately. YES!) So…here goes! Not necessarily in the order in which I watched them.
Don Giovanni (Met, 2011)
Thanks to my friend and enabler, Viv, and partly inspired by seeing the recent HD cinema showing of the current Don Giovanni with Simon Keenlyside–which I had mixed feelings about overall, but enjoyed, particularly Simon himself–I finally watched the 2011 Don Giovanni (same set/production) with Mariusz Kwiecien, Luca Pisaroni, Štefan Kocán, Marina Rebeka, Barbara Frittoli, and Ramón Vargas.
Oh my. I have fallen in love with this opera all over again, and simply cannot get it out of my head. Mariusz is a most charming, seductive Don, and what shall we say of Luca? I see why he is a legend in this role of Leporello ~ vocally, it just doesn't get better, but added to that is an impeccable comic timing and complete naturalness in the role. I particularly loved the way Mariusz and Luca play off one another ~ I have never seen a production which captures so well the relationship between Giovanni and Leporello, love-hate though it is, as Luca has expressed his interpretation in a recent interview…however much they may betray one another, is not unlike a dysfunctional married couple, each knowing the other so well. There are even moments of tenderness. When the Don makes his final act of defiance to agree to come to dinner with the Commendatore, there is a moment of farewell between them, which I have not quite seen anything like. (And indeed, Luca's Leporello looks somewhat lost without his villainous master in the final minutes…)
This production captured the comedy of this incredible opera, and both the direction and the conducting–Fabio Luisi–kept a sprightly pace. In fact, the whole production felt sprightly and energetic! The Anna–dang, she's great!–Elvira, Masetto, and Zerlina were also wonderful. I went from moments of irrepressible laughter–such as when Leporello imitates the Don in seducing Donna Elvira–to tears, as in Mariusz's "deh vieni alla finestra"…yes, that charming Don manages to seduce his audience every bit as much as he did the 1800+ ladies.
Then, there was the new-to-me discovery of the glorious bass Štefan Kocán, the Commendatore! Wow! (Thank you, Gabriela, you were so right!!) It was some time before I could move on to the rest of the opera after the Commendatore's death in the opening, so beautiful was his final minute of singing with Giovanni and Leporello that I had to rewatch it again and again. (By this point I must have watched that moment probably two dozen times altogether.) And of course, at the end, he returns in a most gloriously haunting finale…
All this, in a production that was done only 2 weeks after Mariusz had back surgery! Amazing. Needless to say, I highly recommend it. If you haven't already fallen in love with this opera, this production will probably do the trick. 🙂
Il Trovatore (Met, 2015)
Be prepared for tears on this one. Not so much due to the operatic tragedy of the story, as the reception by the Met audience and orchestra of beloved Dmitri Hvorostovsky, who returned to his role of the Count di Luna after the announcement of his brain tumor and the months of chemotherapy that followed. (Just wait until the final bows and curtain calls…have tissues handy!)
This was only the second time I've seen a recorded production of this opera. I marvel at the vocal gymnastics that are required of our leads, and Anna Netrebko had me breathless as Leonora, particularly in her Act IV arias…dang! Dmitri, of course, shone as the Count di Luna, with such a powerful stage presence alongside the extraordinary bass Štefan Kocán as Ferrando…amazing! Dolora Zajick was a wonderful Azucena, and I very much liked Younghoon Lee as Manrico ~ very dynamic.
Loved the Goyaesque set and the period costume. Overall, a beautiful production.
Now looking forward to seeing the earlier Trovatore, from 2011…!
**Movie Break!** (Not from the Met:) Kenneth Branagh's The Magic Flute, 2006
So…now for The Magic René–oops, I mean, The Magic Flute.
Okay, I actually watched this one before most of the others, and it's not Met, but I thought it worth a mention, as I've become so hopelessly enamoured of René Pape. I've been remotely following him for months, but was utterly smitten after his performances in both Parsifal (Met, 2013) and his King Marke in the Met Live in HD Tristan und Isolde in early October.
I have never seen a production of Mozart's Die Zauberflöte…nor Der ZauberRené for that matter ~ so, please take this with a grain of salt, but I thoroughly enjoyed Branagh's quirky, random humor transposed into a fantastical World War I setting with an anti-war focus. Not to mention the Gilbert-and-Sullivanesque English libretto by Stephen Fry. Joseph Kaiser (Tamino), Amy Carson (Pamina), and glorious, mesmerizing magician-bass René Pape (Sarastro) led the cast. (Yes, as much as I adore Branagh, I daresay you know who was the magician that drew me to THIS movie…) The CGI effects are pretty cheesy in spots, but it's somehow in keeping with the magical, goofy oddity of the whole.
Le Nozze di Figaro, Met, 2014
Another lighthearted moment was the Met's Le Nozze di Figaro from the 2014-15 season (available on Met on Demand), with Ildar Abdrazakov, one of my favorite bass voices! Again, as familiar as much of the music is to me, I'd never seen a production and didn't know how delightful and hilarious it is! I loved it. Ildar, as the witty servant Figaro, couldn't be more adorable if he tried, and Peter Mattei (wow, another beautiful voice, and a new favorite!) as the womanizing Count Almaviva was just fantastic. The whole cast was delightful, and had me laughing up in the workshop…
Il Trovatore, Met, 2011
After the wonderful 2015 Il Trovatore that I watched the previous week, I watched the same wonderful David McVicar production–with some of the same cast, notably Dmitri Hvorostovsky, Štefan Kocán, and Dolora Zajick–in their earlier 2011 production, and was intrigued and delighted with the similarities and differences. It's really hard to choose overall.
In both, Dima shines as the Count di Luna, Štefan Kocán is an irresistably ruthless bass Ferrando, and Dolora Zajick strikes me as a master of the gypsy Azucena. But here we have a different Leonora and Manrico, sung in 2011 by Sondra Radvanovsky and Marcelo Alvarez. While I thoroughly appreciated the Netrebko/Lee combination of 2015, and vocally it is really hard to choose–and I am naturally a little more drawn to Netrebko's vocal quality–yet I must say Sondra really won me over in this role, and particularly the chemistry between her and Marcelo, who was also a very endearing and strong Manrico. The character interpretation of Leonora was less melancholy than Netrebko's, and one really gets behind Sondra, whose expressive face and adoring love for Manrico are so evident. I thoroughly enjoyed both, but I must give the edge to the Radvanovsky/Alvarez combination for our two leads. (That being said, if one has time for only one of the two productions, I might choose the 2015 if for nothing else than the beautiful reception for Dima, and the endearing and heart-wrenching applause and roses for him at the end…)
Eugene Onegin, Met, 2007 and 2013
A real highlight of this past opera week for me was the new-to-me discovery of Tchaikovsky's opera Eugene Onegin, another which I did a double header on, seeing both the 2007 production with Dmitri Hvorostovsky, Renée Fleming, and Ramón Vargas, as well as the more recent production with Mariusz Kwiecien, Anna Netrebko, and Piotr Beczala. I had not known this story previously ~ about inaccessible love, haughty rejection, and the pride that destroys friendships and romantic love ~ based on the verse-novel by Alexander Pushkin. Okay, so I do have a tendency to love anything 19th century anyway, but I was captivated by these characters, and utterly loved it. It is *quintessentially* 19th century in its themes, with an ending I wouldn't have expected in an opera. I won't say more, but I'd like to write a more fleshed-out post on this opera alone at some point, rather than just pointing out a few highlights of these productions.
Both Anna and Renée are absolutely luminous in the role of the shy but stronger-than-she-appears Tatiana, and I really cannot choose between the two whose interpretation I prefer. (But I was more invested in Renée's struggles, perhaps because it was my first Eugene, and I loved the whole production so much altogether.) Piotr and Ramón were both wonderful as the honorable, lovable, but almost irrationally-jealous Lenski…it was my first time seeing Piotr in anything and I was so impressed! For Eugene, I would be hard pressed to give a preference as to their vocal beauty in the role; but in terms of interpretation and sheer force of presence, undoubtedly, Dmitri has the commanding, striking haughtiness that instantly catches one off guard, as this character does Tatiana. He is positively statuesque. I mean, this Eugene really out-Darcys Mr. Darcy, and is more aimless and cynical than a Eugene Wrayburn. Unquestionably, I would choose Dima for the role, if I were forced to choose. (But I would very highly recommend both.)
Visually, both productions are luscious, and the costumes stunning. The 2013 is quite glorious to look at. My own preference, though, is decidedly in favor of the earlier 2007 production with Dima and Renée: it is utterly magical in its stark simplicity. A very minimalist set with a slightly "boxed-in" look (thematically in keeping with the bounded-in-a-nutshell situation of the characters…), but with the most stunning colors–I'd like to create a photo collage of the different scenes–and falling leaves, as though reflective of the beauty of romantic love even in it's autumn…when it is rejected and inaccessible.
Both are so beautifully and feelingly conducted by Valery Gergiev, and there is a wonderful behind-the-scenes mini-documentary on this after the 2007 stream.
I will be rewatching both versions again and again no doubt, but particularly the 2007 version, which will probably go down as one of my favorite opera productions. 💙 💔
Of course, Eugene Onegin will be live in the cinemas from the Met in April of 2017, again with Dmitri, in combination with Anna Netrebko and Štefan Kocán…I absolutely cannot wait!
Now that I've practically written a novel of notes, I thought I'd also mention that these are only a few of the opera beauties I've heard and seen this month, which includes a live-stream with Mariusz of Donizetti's La Favorite, and the Met Live in HD Tristan und Isolde with Nina Stemme and René.
A few radio highlights include a really marvelous radio transmission of a Don Carlo with René (Philip II), Mariusz (Rodrigo), and Michael Fabiano (Carlo) from the San Francisco Opera of June 2016; also, another Don Carlo audio with René and Dima from the Met-on-Demand (audio only)…both stunningly beautiful. Also, it's been great fun to experience, via radio, this year's Met production of Guillaume Tell, with Gerald Finley (Tell), Marina Rebeka (Mathilde) and another magician-bass, John Relyea (the evil Gessler! A new bass love!!). Then, this past week, another live radio broadcast of the Met's Don Giovanni, this time with Ildar Abdrakazov in the lead! A most marvelous Don…perfect! And this has not remotely covered it all.
It's a huge joy to be part of the Sirius Opera Fans group and Met Opera Live in HD Fans group (both on Facebook), which have been such inspiring places to discuss opera love, to learn, and to share insight. (And to find more opera-enablers!! 😉 )
Categories (blog), Uncategorized, with opera•Tags anna netrebko, dmitri hvorostovsky, dolora zajick, don carlo, don giovanni, eugene onegin, fabio luisi, guillaume tell, il trovatore, ildar abdrazakov, la favorite, live streaming opera, luca pisaroni, marcelo alvarez, marina rebeka, mariusz kwiecien, met live-in-HD cinema, Met on the radio, met-on-demand, metropolitan opera, michael fabiano, mozart, nozze di figaro, opera, opera in the movies, opera on the cheap, opera on the radio, peter mattei, ramon vargas, rene pape, renee fleming, simon keenlyside, sondra radvanovsky, stefan kocan, tchaikovsky, the magic flute, valery gergiev, verdi

redpajama_set_name: RedPajamaCommonCrawl


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CARGO TRANSPORTATION ALONG DNIPRO RIVER 22.6% UP THIS YEAR
Cargo transportation along the Dnipro River in January-October 2019 increased by 22.6% compared to the same period a year earlier, to 9.655 million tonnes.
According to the Ukrainian Sea Ports Authority, the number of trips on the Dnipro River during this period decreased by 30.7%, to 9,972.
Transportation of metal products increased by 24.1%, to 1.374 million tonnes, grain doubled, to 3.916 million tonnes. At the same time, transportation of construction materials and other goods fell by 5.4%, to 4.328 million tonnes, petroleum products by 37.6%, to 37,400 tonnes.
As reported, in 2018 river transportation in Ukraine amounted to 16.5 million tonnes of cargo.
The volume of traffic along the Dnipro River last year increased by 22.4% compared to 2017 and amounted to about 9.9 million tonnes.
According to the Ministry of Infrastructure of Ukraine, for 2016-2018 the volume of grain transportation along the Dnipro River rose by 180%, construction materials by 130%.
In 2018, the volume of traffic by inland waterways increased by 112% compared to 2013-2015 and amounted to 9.9 million tonnes.
CARGO, DNIPRO, RIVER, TRANSPORTATION
RESTORING NAVIGATION ON PRYPIAT RIVER WILL REVEAL TRANSIT POTENTIAL OF UKRAINE IN CORRIDOR BALTIC SEA – BLACK SEA
The restoration of navigation on the Prypiat River will make it possible to reveal the transit potential of Ukraine through the development of a river transport corridor from the Baltic Sea to the Black Sea, Head of the Ukrainian Sea Ports Authority Raivis Veckagans has said in an interview with Interfax-Ukraine.
"At the initiative of the Ministry of Transport and Communications of the Republic of Belarus, and also with the support of the European Bank for Reconstruction and Development, Royal Haskoning DHV in May of this year completed a survey of navigable hydraulic structures of the E-40 waterway, connecting the Baltic Sea and the Black Sea through the Wisla River, the Zakhidny Bug (the Western Bug), the Prypiat River and the Dnipro River, in the territory of Belarus. In the near future, a working group with the participation of specialists from the Ukrainian Sea Ports Authority, the Dredging Fleet branch of the authority, and the State Hydrographic Service will conduct similar work on the Ukrainian stretch of the Prypiat and Dnipro rivers," he said.
BALTIC SEA, BLACK SEA, CORRIDOR, NAVIGATION, POTENTIAL, PRYPIAT, RIVER, TRANSIT
FREIGHT TRANSPORTATION ON DNIPRO RIVER INCREASES BY 42%
Freight transportation on the Dnipro river in January-June 2019 increased by 42% compared to the same period in 2018, to 4.2 million tonnes.
As the Rivers of Ukraine Association reported on Facebook with reference to the Sea Ports Authority of Ukraine, the number of ship passages along the Dnipro decreased by 23%, to almost 4,500 voyages.
Transportation of metals in January-June increased by 45%, to 647,000 tonnes, grain shipments rose by 115.2%, to 1.722 million tonnes, those of building materials and other goods by 7.5% to nearly 1.819 million tonnes. At the same time, fuel transportation decreased by 51%, to 13,000 tonnes.
As reported, 16.5 million tonnes of freight was transported by river in Ukraine in 2018. Freight traffic on the Dnipro last year increased by 22.4% from 2017, to about 9.9 million tonnes.
In 2016-2018, transportation of grain freight across the Dnipro grew by 180% and that of construction freight by 130%, according to the Ministry of Infrastructure of Ukraine.
The volume of traffic by inland waterways in 2016-2018 increased by 112% compared with 2013-2015, to 9.9 million tonnes in 2018.
DNIPRO, FREIGHT TRANSPORTATION, RIVER


Based on a 5 year average and a race date of May 20th, Exeter, NH can expect temperatures between 54℉ and 70℉ with humidity around 62% and precipitation of 0".
Race director for Get Fit in May 5K?
Raceentry.com also cannot attest to the validity of individual Get Fit in May 5K reviews. All of the information about the race has either been supplied by the event staff or can be modified at any time by their race management. 2019 Get Fit in May 5K registration details are only as accurate as the event has made them.


Due to an issue with our WEB Server, all inquiries submitted through our website from August 8th through August 23rd were not received.
We deeply apologize to anyone who sent an inquiry to us during the above mentioned period and we ask that you resubmit your inquiry to us through our website.
Once again, we sincerely apologize for any inconvenience caused by this incident.


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2019 Tribeca Film Festival
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New doc coming on Steve Madden, dynamic shoe impresario portrayed in 'The Wolf of Wall Street'
Ben Patterson directed Maddman: The Steve Madden Story: 'He just has this level of honesty. He can't be anything but himself.'
This fall has brought two documentaries on leading shoemakers: Manolo: The Boy Who Made Shoes for Lizards, about the remarkable Manolo Blahnik and now Maddman: The Steve Madden Story, about an entrepreneur who made a fortune catering to a less monied clientele than Blahnik.
Madden built his empire only to see it threatened with collapse after he was convicted on stock manipulation and securities fraud charges as part of the government investigation into the high-flying brokerage firm Stratton Oakmont, founded by Jordan Belfort and Danny Porush. Madden was portrayed by Jake Hoffman in Martin Scorsese's The Wolf of Wall Street.
What I admire about him is he's like he just has this level of honesty. He can't be anything but himself.
--Director Ben Patterson on Steve Madden, the subject of his documentary Maddman
Ben Patterson directed the documentary, which will hold its New York premiere November 11 at DOC NYC. It becomes available on digital platforms December 1. The filmmaker showed Maddman to an audience at the iPic Theaters in West L.A. on Wednesday, a screening we attended.
"Steve... was sort of the embodiment of the good and the bad of the American entrepreneur and a guy so driven to succeed," Patterson told Nonfictionfilm.com. "Simultaneously [that] was something that brought him great happiness, great wealth, great success, but at the same time compromised sort of the basic things in life. For me there was a fascinating insight to a universal story just as told through Steve."
Director Ben Patterson at a screening of his documentary "Maddman: The Steve Madden Story" at the iPic Theaters in West Los Angeles. Wednesday, November 1, 2017. Photo by Matt Carey
On why he wanted to make the film, Patterson added, "He had this sort of cultural equity as a guy who is an artist but also a businessman and a great capitalist."
The film shows how Madden's apprenticeship in a shoe store led him to found his own company, and the drive, energy and marketing savvy that made it a resounding success. We asked the director what he admired about his subject.
"He just has this level of honesty. He can't be anything but himself. He really really can't and that gets him in trouble sometimes but not really necessarily in a bad way. It's just in a way that you have to accept him for what he is," Patterson said.
Madden, like others shown in The Wolf of Wall Street, led a fast life fueled by Quaaludes and alcohol. He eventually got clean, and the prison term he served for his securities conviction seemed to help him rededicate himself to his business, which has flourished since his release.
Patterson said Madden was motivated to do the documentary in part to share what he's learned the hard way.
"He's a guy that really believes in second chances. I think his experience in prison, his experience with drugs and on the other side of that knowing that there's light and that's there wisdom that can be taken and applied," Patterson told us. "I see his motive [as being] that his story can help people and inspire people.
An image from "Maddman: The Steve Madden Story" directed by Ben Patterson. Photo courtesy Onslot Films
Matthew Carey is a documentary filmmaker and journalist. His work has appeared on Deadline.com, CNN, CNN.com, TheWrap.com, NBCNews.com and in Documentary magazine.


I had a conversation with a friend today about how magical and wondrous everything is when you're a kid. As you grow older, that amazement seems to fade. I no longer see a sword when I walk past a stick like my kids do. Thankfully, as I see my own children explore life and experience that magic, it seems to have brought some of it back for me.
In a session that is rich with imagination and wonder, Nadia Stone photographed these three boys in South France. For Nadia, this day was about capturing "the freedom of being kids, the warm light of the end of the afternoon, and kids vs nature." She simply did what we love to see and let the kids be kids, left to wonder, imagine, and create. And what better place is there to explore than a forest, some dunes, and the ocean?
Nadia photographed this session on her Nikon d4 and Sigma 35mm Art lens. She tends to gravitate towards black and white photography but couldn't resist the amazing colors this time.


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Bravura SolutionsAbout usExecutive team
Tony Klim
CEO of Bravura and Managing Director
Based in London, Tony Klim has over 29 years of experience in international financial services and has held a number of executive and board positions with private and listed companies focused on technology and outsourcing in support of the international financial services market. He has extensive experience in mergers and acquisitions, and in a previous role he sponsored the acquisition of a leading United Kingdom financial intermediary portal, the Exchange. Over the years, Tony has been involved in the development of new products and services targeted at the independent financial adviser community.
Prior to joining Bravura in February 2008 as the CEO for EMEA, Tony was a strategic consultant in the financial services sector. He has specialised in growth businesses, and internet banking and payment systems. His track record includes a number of strategic advisory and management roles for major international banks, life companies and technology businesses.
Martin Deda
CFO of Bravura and Executive Director
Based in Sydney, Martin Deda has over 28 years of experience in senior finance and operations roles, predominately within the IT and professional services industry sectors.
Throughout his career, Martin has worked for private and public companies across Australia, Asia, the United Kingdom, Europe and the United States.
He has extensive experience in financial and management accounting and reporting, tax, treasury, commercial, mergers and acquisitions and bid and contract management, investor relations, company secretarial, facilities management, IT infrastructure, applications and support, and shared services.
Prior to joining Bravura in September 2014, Martin was the Chief Operating Officer/CFO for top tier law firm Minter Ellison. He previously held senior positions at ASX 200 listed global healthcare IT provider, iSOFT and Computer Sciences Corporation for central and eastern Europe. He has also held senior finance and operations roles at TNT and StorageTek in EMEA.
Andy Chesterton
Chief Operating Officer, Funds Administration
Based in London, Andy Chesterton has over 27 years of experience in the finance industry. Andy is responsible for the Funds Administration functions across EMEA, including product development (as well as financial messaging) globally. He has been with Bravura since it acquired the RUFUS division of The Bank of New York (now BNY Mellon) in December 2006.
Andy held various senior roles in The Bank of New York's Retail Funds Services and Retail Funds Software House divisions. Andy joined the Retail Funds Software House division in 2000 as the Head of Development. He was previously responsible for custody and treasury development teams at SG Warburg & Co.
Mike Margetts
Chief Operating Officer, Wealth Management EMEA
Based in London, Mike Margetts has over 25 years of experience in the finance and technology services industry. Mike is responsible for Wealth Management across EMEA, supporting clients through business process design, technology implementation projects and production support services. Mike joined Bravura in 2017.
Mike has held executive positions at Accenture, Xchanging and Capita, responsible for consulting, technology and line-of-business operations within financial services. Mike helped grow Xchanging as a member of the company's Executive Management Board, leading its Financial Markets division from Germany and having responsibility for the Group's Indian offshore operations.
Mike began his career at Accenture leaving as a Senior Manager having been based in London, New York and Moscow. After Accenture, Mike worked at Credit Suisse in a regional management role, responsible for the delivery of cross-functional programmes.
Jason Tong
Product & Propositions Director - APAC
Based in Melbourne, Jason Tong has more than 25 years of experience in software development and enterprise systems implementations, specifically within the financial services industry. Jason is responsible for developing, refining and executing Bravura's strategic direction for its Wealth Management product suite in APAC, with a particular focus on new market propositions and technical innovation. Prior to this role, Jason was the Director of Business Development in APAC. He was also Bravura's Chief Operating Officer in APAC for nine years, supporting the operational functions including project implementations and production support.
Jason joined Bravura in 2005 as part of the Company's acquisition of Tacit Group, where he was Chief Operating Officer.
Nick Parsons
Global Chief Technology Officer
Based in London, Nick Parsons has over 29 years of experience in the IT industry, specialising in financial sector solutions for fund managers and TPAs. Nick is Global Chief Technology Officer for Bravura, with responsibilities that include defining the Company's evolving IT vision and strategy across the product range. Nick also leads the propositions teams in the United Kingdom, tasked with identifying and developing new opportunities in EMEA. He has been with Bravura since July 2007.
Prior to joining Bravura, Nick was the Chief Technology Officer for DST Global Solutions, where he was responsible for driving technical innovation across a diverse product range and implementing a number of complex global projects.
Kirsty Worgan
Business Development Director, EMEA
Based in London, Kirsty Worgan has over 25 years of experience across the financial technology, platforms, pensions and professional services sectors. Kirsty is responsible for creating new sales opportunities and developing marketing strategies across EMEA. Kirsty joined Bravura in January 2015.
Prior to joining the Company, Kirsty worked in a number of senior roles within the industry including Head of Business Development for GBST's Wealth Management division where she helped establish their presence in the United Kingdom, and senior manager at Profund Systems where she created and ran the Consultancy division.
Jon Alder
Chief Operating Officer, APAC
Based in Sydney, Jon Alder has over 21 years of experience in the financial services and IT industries. Jon is responsible for all Wealth Management operational functions across APAC including project implementations and production support. Jon brings to Bravura Solutions a depth of knowledge in project and operational management and the ability to successfully manage client relationships.
Prior to joining Bravura Solutions in 2011, Jon was Head of Operations and Professional Services at SS&C Technologies. Jon has also held a number of strategic operational management and project delivery roles in the United Kingdom at Jupiter Unit Trust Managers and BNP Paribas, and in Australia at Mariner Financial and Challenger Financial Services.
Jon has a Masters degree in Business Administration from Charles Sturt University and has financial planning qualifications.
Richard Laidlaw
Global Head of HR
Based in Sydney, Richard Laidlaw has over 20 years' experience across APAC and Europe leading company-wide initiatives to build workforce capability, business profitability and organisational culture. Having joined Bravura in March 2017, Richard is responsible for the Human Resources function across all Bravura office locations including recruitment, remuneration, culture and capability development.
Throughout his career, Richard has worked for a variety of public and private organisations covering Professional Services, Retail, Finance, Property, Government and Not- for-Profit. He has extensive experience in human resources management, leadership, organisational development, succession planning, learning and development, diversity and employee engagement.
Richard is a Fellow of the Australian Human Resources Institute of Australia (FAHRI), and has a Masters degree in Education from the University of Technology Sydney, and a Doctor of Education from the University of New South Wales. Richard was awarded a Churchill Fellowship by the Winston Churchill Memorial Trust of Australia (1998).
Paul Dunn
Clients Relations and Sales Director
Based in Sydney, Paul Dunn has over 25 years of experience in the financial services sector – having worked for major banks, life companies and global consulting firms. Throughout his career, Paul has held senior leadership roles in business development, account management, corporate consulting and operational administration.
Paul joined Bravura in September 2018 and is responsible for leading sales growth in the APAC region across current and future customers.
Paul's previous role was with ANZ where he worked as the National Manager – Institutional Relationships, responsible for all major ANZ superannuation clients. Prior to this, Paul was the Head of Sales at ING Australia. He has considerable experience building effective teams and sales processes associated with the delivery of superannuation, investment and insurance solutions to major corporates.
Unlocking the Hidden Value in Financial Institutions
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AI starting to "streamline financial services", finds Bravura round table


From March through May 2018, monthly home prices in Echo Park have declined year-over-year, with the largest dip, 4.6%, occurring in May (the latest data available).
What gives? Are Echo Park's falling prices a sign of what's to come in NELA neighborhoods?
The answer is 'probably not.' NELA continues to show solid, if not astronomical, growth. Eagle Rock, El Sereno, Glassell Park and Highland Park all had year-over-year price growth in the low double-digits. Atwater Village and Silver Lake were also solid. Los Feliz was on a tear, up 35% compared to last year, with a median sale price of $1.7 million.
Glenn Shelhamer, a real estate agent with the Shelhamer Real Estate Group and writer of the Silverlakeblog.com, doesn't see the upward trajectory of NELA prices changing anytime soon. "We have a serious inventory shortage and everything is still very competitive," he said, citing by way of example the $1,350 price-per-square foot record set in June in Mount Washington.
But what then explains the price drops in Echo Park?
For one thing, most of the home price appreciation in Echo Park in recent years has been in locations bordering Silver Lake. As those homes have been snatched up, the inventory in the older, more central pockets of the neighborhood has proven to be a harder sell.
"Buyers are incredibly picky when spending this kind of money," said Rob Kallick, broker/owner of local real estate firm, Take Sunset. They want what he calls "quality inventory," or polished, turnkey homes that are not near the 101 freeway, on top of Dodger Stadium or on San Francisco-grade hills – three characteristics of Echo Park real estate that are hard to escape.
Baxter St. in Echo Park is a prime example of undesirable housing stock at the core of an otherwise hot market. Baxter is one of the steepest hills in the city (now one-way to reduce the number of crashes). Baxter is also jammed with homes on small lots. The combination of the steep grade and the small lots makes home renovations very expensive, which has kept flippers and other potential buyers at bay.
Another factor that keeps the lid on real estate prices in Echo Park is that there are many two-to-four unit rental buildings subject to rent control. Tenants in those apartments tend to stay put, which deters the redevelopment of the property into higher end houses-for-sale. Echo Park has one of the highest renter populations in the county, at 76%, according to the L.A. Times Mapping L.A. project.
For reasons that are unique to Echo Park, the neighborhood is experiencing a downturn in home prices. But other eastside neighborhoods, largely unaffected by Echo Park's challenges, are still testing new highs.


Video: Erykah Badu "Out My Mind Just In Time"
I find it hard to imagine this was in no way influenced by the recent Pina Bausch resurgence - it's basically a solo version of Café Müller without the chairs (please go and see Wim Wenders spectacular 3D film Pina, out now). Not that I'm knocking it, quite the opposite - whatever inspired it this is gorgeous and 99% of the contemporary dancers I studied with would kill for an ounce of the charisma and presence Erykah Badu brings to this piece, and her sense of physicality and vocabulary is really impressive for someone without formal training. Where movement is concerned the emotional is far more important than the physical.


Two vendors took top honors in both product competitions at Heartland Conference 2016. BetterRest Solutions' CPAP cleaner and sanitizer SoClean and therapeutic active wear by Incrediwear tied for first place in Retail Shark Tank on June 14; the next day both were named most innovative products by a separate, secret panel of judges.
Both winners said their products provide cash revenue opportunities for HMEs, and they had the numbers ready to back up their claims when VGM's sharks grilled them.
Then an employee, Sorenson became a passionate supporter of Incrediwear because the products worked for her as she recovered from surgery.
Ben Tomaszewski of BetterRest Solutions said his company's win for SoClean is good timing for retailers: a national television advertising campaign begins soon.
The Retail Shark Tank session at Heartland was a take-off on the hit TV series Shark Tank, albeit with a few Heartland-only tweaks.
VGM's sharks named Contour Products' KABOOTI® three-in-one seat cushion as the third-place winner. Contour's Scott Davis said his product is a more attractive alternative to the traditional donut, both when displayed in a retail setting and carried by the user. "Nobody knows it's a donut ring," Davis said.
Three other products were pitched during Retail Shark Tank: from Knit-Rite, Inc., Therasport compression stockings targeting a younger, more athletic customer; Vionics' fashionable footwear for men and women designed to realign the lower leg and relieve heel pain; and from Therafin, Easy Clip Back, a no-assembly option for posture support on slingback/folding wheelchairs.
Although her company's product did not take one of the top three honors, Marie Meents of Therafin said competing brought Heartland attendees to her booth in the exhibit hall.


Daniel de Viciola produces striking visuals with a seamless blend of live action and photo-real 3D. Originally a photographer, Daniel's work is now known for its movement. One motion leading into the next. One image striking into another like dominoes.


text:
991-1000 results from 1000 for query «fire»
February 17, 2017 11:26 AM Dr Nyaho Tamakloe backs Fred Pappoe to succeed Nyatakyi
Outspoken Former Ghana Football Association chairman Dr Nyaho Nyaho Tamakloe sees Fred Pappoe as the ''Perfect man to succeed'' under-fire President Kwesi Nyantakyi. Tamakloe has backed Nyantakyi to continue as head the country's football until his tenure expires in 2019 despite calls for the latter to resign after the Black Stars failed attempt at the 2017 Africa 14
February 17, 2017 4:21 AM Robert Harward Just Gave Cover to Every Competent Professional Who Wants to Turn Down Trump
Donald Trump isn't accustomed to hearing prospective underlings say "No." So it came as a shock when retired Vice Adm. Robert Harward—his first choice to replace Michael Flynn as national security adviser—told the president he'd have to think about the offer. It must have been a double shock when, a few days later, Harward turned him down flat. The rejection 9
February 16, 2017 8:51 PM 'I Inherited a Mess,' Trump Says, Defending His Performance
President Trump responded to questions about his administration's dealings with Russia in a news conference on Thursday. WASHINGTON — President Trump dismissed reports about contacts between his advisers and Russia on Thursday and defended his performance in his first four weeks in office in a contentious news conference that showcased his unconventional 30 11
February 16, 2017 8:34 PM David Accam scores for Chicago Fire in pre-seaso
Ghana striker David Accam was on the score-sheet for Chicago Fire on Wednesday as they thrashed Montreal Impact 4-1 at the Al Lang Stadium in Tampa Bay. The Impact was off to an early mishap when Wandrille Lefèvre turned over the ball to Michael de Leeuw who gave a beautiful pass to Accam which resulted in a goal 24 seconds into the game. The Impact 7
February 16, 2017 7:04 PM IS car bomb kills dozens in Baghdad
The Amaq propaganda agency linked to the Islamic State jihadist group (IS), which has claimed nearly all such attacks recently, reported the blast and described it as targeting "a gathering of Shiites". The explosion, which sent a thick plume of dark grey smoke billowing into the sky above Bayaa neighbourhood, sowed carnage and caused extensive destruction 18
February 16, 2017 5:34 PM Huge car bomb kills at least 52 in Baghdad
A massive car bomb ripped through a used car market in the south of Iraq's capital on Thursday, killing more than 50 people in the deadliest such attack this year, security officials said. BAGHDAD: A massive car bomb ripped through a used car market in the south of Iraq's capital on Thursday (Feb 16), killing more than 50 people in the deadliest such attack 9
February 16, 2017 10:44 AM Northern Regions urged to embrace climate Adaptation Fund Project
The Chiefs and people of the Northern, Upper East and Upper West Regions have been urged to embrace the Adaptation Fund Project to help increase climate resilience and enhance sustainable land and water management in the areas. The Adaptation Fund was established under the Kyoto Protocol of the UN Framework Convention on Climate Change in 2001 to finance 26
February 16, 2017 10:30 AM ECG tells electrical wiring professionals to stop extortions
Mr Daniel Agyei-Larbi, Public Relations Officer (PRO), Electricity Company of Ghana (ECG) has warned Certified Electrical Wiring Professionals (CEWP's) to desist from extorting monies from the public over service installations. According to Mr Agyei–Larbi , the ECG was not pleased with the activities of such CEWP's, adding the ECG was going to call in the Police 14
February 15, 2017 11:48 PM Puzder's withdrawal as Labor nominee is latest Trump travail
WASHINGTON — The downfall of President Trump's nominee for Labor secretary on Wednesday was the latest setback for an administration that already had been reeling from a particularly bad week. Andrew Puzder, the fast-food magnate whom Trump had chosen to lead the Department of Labor, withdrew his name from consideration just hours after top Senate Republicans 43
February 15, 2017 11:34 PM Trump blasts intel officials, media over 'illegally leaked' info on Flynn, Russia as White House fiasco widens
WASHINGTON – President Donald Trump slammed intelligence officials and the media Wednesday over what he called "very, very unfair" treatment of his ousted national security adviser Michael Flynn and for "illegally leaked" information about reported contacts between his campaign advisers and Russian officials. Trump's comments come amid a new swirl of controversy 34


Because being in a place where you can't speak the language will make you forget what you are so you can remember what kind of person you are. So you can decide what kind of person you want to be.
Imagine, to be loved like this. The Taj Mahal is a tomb built by the Mughal emperor Shah Jahan in memory of his third wife. It took 22 years, hundreds of slabs of white marble transported from hundreds of miles away, semi-precious and precious stones from all over Asia, and thousands of artisans to complete.
I'm not sure how many moments I've had of involuntary jaw-dropped 'wow's' in my life. The goal is to have as many as possible, as often as possible. But driving up to this lake was definitely one of them.
How strange that as my two-month trip is coming to a close, I'm missing being here despite my sporadically acute but always present homesickness.
What a magical coincidence: the first day we were in Leh, we found out the Dalai Lama would be arriving the next day for a talk he was giving in two weeks. The next day, we watched his procession, along with half the population of Leh.
This is the moment I fell in love with being in a place halfway around the world unlike any I'd ever been to before, lifelong city girl that I am: warm ginger tea, the first of many 2-hour long conversations about purpose and money and love and fulfillment, and this view. Goodness, this view.
It's lonely to be in a foreign country where no one anywhere near you will wonder where you are if you go missing.
What a perfect way to spend my last day in Beijing.
As I was entering Tiananmen today I had a moment of wonderment at being halfway across the world from my life.
On the airport express to Incheon: I love this feeling of expansiveness.


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Studies on natural killer (NK) cells. II. Serologic evidence for heterogeneity of murine NK cells.
R C Burton, S P Bartlett, V Kumar and H J Winn
J Immunol November 1, 1981, 127 (5) 1864-1868;
R C Burton
S P Bartlett
V Kumar
H J Winn
NK cells are divided into 2 subclasses on the basis of cell surface antigens: NKA cells, which preferentially lyse lymphoma cells and which are readily destroyed by treatment with anti-H-2, rabbit anti-mouse, or anti-NK specific antibodies in the presence of C; and NKB cells, which preferentially lyse nonlymphoma tumor cells and which are resistant to anti-NK specific antibodies, partially sensitive to anti-H-2 specific antibodies, and only fully sensitive to rabbit anti-mouse serum and C. Thus, suspensions of spleen cells that were treated with anti-NK-1.2 antibodies and C lost virtually all lytic activity for 6 lymphoma cell lines, whereas lytic activity for 2 nonlymphoma cell lines remained largely intact. It must be noted, however, that unlike NK-1.2 expression, target cell preference is not an absolute indicator of NK cell subclass. Cytotoxic T cells were readily distinguished from NKA and NKB cells on the basis of their sensitivity to monoclonal anti-Thy-1.2 antibodies and resistance to anti-NK-1.2 antiserum and C.
You are going to email the following Studies on natural killer (NK) cells. II. Serologic evidence for heterogeneity of murine NK cells.
R C Burton, S P Bartlett, V Kumar, H J Winn
The Journal of Immunology November 1, 1981, 127 (5) 1864-1868;


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Multi-Protocol Label Switching over satellite networks
News and social wall
ETSI Headquarters, Sophia Antipolis, France – 21 October 2011
Recently published ETSI TC SES specification TS 102 856 Parts 1 and 2 describes how to support transport of Multi-Protocol Label Switching (MPLS) data and signalling flows over a Broadband Satellite Multimedia (BSM) network.
Multi-Protocol Label Switching (MPLS) is widely employed today as a solution for delivering reliable Quality of Service (QoS) on IP-based networks by providing QoS-based routing of IP traffic and other advanced capabilities. As a result, MPLS compatibility between satellite networks and terrestrial networks is an essential feature, for example to provide extensions and interconnectivity to terrestrial MPLS networks or to provide a satellite back-up for terrestrial MPLS networks.
A new technical specification has been issued by ETSI's Technical Committee for Satellite Earth Stations and Systems (TC SES) that explores the technical challenges for satellite networks to provide interworking and interoperability with standard terrestrial LSRs (label switching routers). This new specification defines the functional adaptations that are needed to enable satellite networks to support MPLS efficiently and in a standardized manner.
One of the main motives for using MPLS is to provide end-to-end quality-of-service guarantees over IP-based networks. Successful integration and interworking of satellite networks requires taking into account the specific features of satellite networks compared to terrestrial networks.
The new specification is in two parts. Part 1 defines the main architectural concepts, including the network architecture and the protocol stacks, and outlines the key QoS, traffic engineering and resiliency provisions. Several architecture variants are defined and their main characteristics are analysed, also taking into account three different broadband satellite multimedia network architectures. Part 2 of the specification defines the detailed procedures and the related signalling issues, with a particular focus on the fully integrated MPLS architecture defined in Part 1.
This 2-part specification, ETSI TS 102 856, 'Multi-Protocol Label Switching (MPLS) interworking over satellite', was developed by the TC SES Working Group on Broadband Satellite Multimedia (BSM) with funding provided by the EC and EFTA.
The Vice-Chairman of TC SES and chair of the BSM working group, Rupert Goodings, commented:
'Guaranteed Quality-of-Service (QoS) remains a major challenge for satellite network operators, and this specification is the latest in a series of ETSI specifications which focus on this challenge. This new work on MPLS is an important addition to the earlier published QoS specifications by defining a standardized framework that can be used to plan new satellite MPLS deployments.
I would like to thank the European Commission and the European Free Trade Association for their support of the project team experts that were responsible for this work."
ETSI produces globally-applicable standards for Information and Communications Technologies (ICT), including fixed, mobile, radio, converged, aeronautical, broadcast and internet technologies and is officially recognized by the European Union as a European Standards Organization. ETSI is an independent, not-for-profit association whose more than 700 member companies and organizations, drawn from 62 countries across 5 continents worldwide, determine its work programme and participate directly in its work. For more information please visit: www.etsi.org.
The ETSI logo is a trademark of ETSI registered for the benefit of its Members.
For ETSI press enquiries:
Ultan Mulligan
Events & Communications, ETSI
Tel: +33 4 92944388
Email: ultan.mulligan@etsi.org


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VI. THE NADIR OF THE PAPACY: 867–1049
Reform reached Rome last of all. The populace of the city had always been unmanageable, even when the Imperial eagle had wielded legions in its claws; now the pontiffs, armed only with a weak militia, the majesty of their office, and the terror of their creed, found themselves the prisoners of a jealous aristocracy, and of a citizenry whose piety suffered from nearness to Peter's throne. The Romans were too proud to be impressed by kings, and too familiar to be awed by popes; they saw in the Vicars of Christ men subject like themselves to sickness, error, sin, and defeat; and they came to view the papacy not as a fortress of order and a tower of salvation, but as a collection agency whereby the pence of Europe might provide the dole of Rome. By the tradition of the Church no pope could be elected without the consent of the Roman clergy, nobles, and populace. The rulers of Spoleto, Benevento, Naples, and Tuscany, and the aristocracy of Rome divided into factions as of old; and whichever faction prevailed in the city intrigued to choose and sway the pope. Between them they dragged the papacy, in the tenth century, to the lowest level in its history.
In 878 Duke Lambert of Spoleto entered Rome with his army, seized Pope John VIII, and tried to starve him into favoring Carloman for the Imperial throne. In 897 Pope Stephen VI had the corpse of Pope Formosus (891-6) exhumed, dressed it in purple robes, and tried before an ecclesiastic council on the charge of violating certain Church laws; the corpse was condemned, stripped, mutilated, and plunged into the Tiber.46 In the same year a political revolution in Rome overthrew Stephen, who was strangled in jail.47For several years thereafter the papal chair was filled by bribery, murder, or the favor of women of high rank and low morality. For half a century the family of Theophylact, a chief official of the papal palace, made and unmade popes at will. His daughter Marozia secured the election of her lover as Pope Sergius III (904-11);48 his wife Theodora procured the election of Pope John X (914-28). John has been accused of being Theodora's paramour, but on inadequate evidence;49 certainly he was an excellent secular leader, for it was he who organized the coalition that in 916 repulsed the Saracens from Rome. Marozia, after having enjoyed a succession of lovers, married Guido, Duke of Tuscany; they conspired to unseat John; they had his brother Peter killed before his face; the Pope was thrown into prison, and died there a few months later from causes unknown. In 931 Marozia raised to the papacy John XI (931-5), commonly reputed to be her bastard son by Sergius III.50 In 932 her son Alberic imprisoned John in the Castle of Sant' Angelo, but allowed him to exercise from jail the spiritual functions of the papacy. For twenty-two years Alberic ruled Rome as the dictatorial head of a "Roman Republic." At his death he bequeathed his power to his son Octavian, and made the clergy and people promise to choose Octavian pope when Agapetus II should die. It was done as he ordered; in 955 Marozia's grandson became John XII, and distinguished his pontificate by orgies of debauchery in the Lateran palace.51
Otto I of Germany, crowned Emperor by John XII in 962, learned the degradation of the papacy at first hand. In 963, with the support of the Transalpine clergy, Otto returned to Rome, and summoned John to trial before an ecclesiastical council. Cardinals charged that John had taken bribes for consecrating bishops, had made a boy of ten a bishop, had committed adultery with his father's concubine and incest with his father's widow and her niece, and had made the papal palace a very brothel. John refused to attend the council or to answer the charges; instead he went out hunting. The council deposed him and unanimously chose Otto's candidate, a layman, as Pope Leo VIII (963-5). After Otto had returned to Germany John seized and mutilated the leaders of the Imperial party in Rome, and had himself restored by an obedient council to the papacy (964),52 When John died (964) the Romans elected Benedict V, ignoring Leo. Otto came down from Germany, deposed Benedict, and restored Leo, who thereupon officially recognized the right of Otto and his Imperial successors to veto the election of any future pope.* On Leo's death Otto secured the election of John XIII (965-72). Benedict VI (973-4) was imprisoned and strangled by a Roman noble, Bonifazio Francone, who made himself pope for a month, then fled to Constantinople with as much papal treasury as he could carry. Nine years later he returned, killed Pope John XIV (983-4), again appropriated the papal office, and died peaceably in bed (985). The Roman Republic again raised its head, assumed authority, and chose Crescentius as consul. Otto III descended upon Rome with an irresistible army, and a commission from the German prelates to end the chaos by making his chaplain Pope Gregory V (996-9). The young Emperor put down the Republic, pardoned Crescentius, and went back to Germany. Crescentius at once re-established the Republic, and deposed Gregory (997). Gregory excommunicated him, but Crescentius laughed, and arranged the election of John XVI as pope. Otto returned, deposed John, gouged out his eyes, cut off his tongue and nose, and paraded him through the streets of Rome on an ass, with his face to the tail. Crescentius and twelve Republican leaders were beheaded, and their bodies were hung from the battlements of Sant' Angelo (998).53 Gregory resumed the papacy, and died, probably of poison, in 999. Otto replaced him with one of the most brilliant of all the popes.
Gerbert was born of lowly parentage near Aurillac in Auvergne (c. 940), and at an early age entered a monastery there. At the abbot's suggestion, he went to Spain to study mathematics; and in 970 Count Borel of Barcelona took him to Rome. Pope John XIII was impressed by the monk's learning, and recommended him to Otto I. For a year Gerbert taught in Italy, and at that time or later had Otto II among his pupils. Then he went to Reims to study logic in the cathedral school; and presently we find him head of the school (972-82). He taught an unusual variety of subjects, including the classic poets; he wrote an excellent Latin, and letters sometimes rivaling those of Sidonius. Wherever he went he collected books, and spent his funds recklessly to have copies made of manuscripts in other libraries; perhaps we owe to him the preservation of Cicero's orations.54 He led the Christian world in mathematics, introduced an early form of the "Arabic" numerals, wrote on the abacus and the astrolabe, and composed a treatise on geometry; he invented a mechanical clock, and an organ operated by steam.55 So many were his scientific accomplishments that after his death he was reputed to have possessed magical powers.56
When Adalbero died (988), Gerbert sought to succeed him as archbishop of Reims; but Hugh Capet appointed instead Arnulf, a bastard son of the dying Carolingian house. Arnulf plotted against Hugh, an ecclesiastical council deposed him despite papal protests, and chose Gerbert archbishop (991). Four years later a papal legate persuaded a synod at Moisson to unseat Gerbert. The humiliated scholar went to the court of Otto III in Germany, received every honor there, and molded the mind of the young king to the idea of restoring a Roman Empire with its capital at Rome. Otto made him archbishop of Ravenna, and, in 999, pope. Gerbert took the name of Sylvester II, as if to say that he would be a second Sylvester to a second world-unifying Constantine. Had he and Otto lived another decade they might have realized their dream, for Otto was the son of a Byzantine princess, and Gerbert might have become a philosopher-king. But in the fourth year of his papacy Gerbert died, poisoned, said Roman rumor, by the same Stephania who had poisoned Otto.
Their aspirations, and the busy politics of the world around them, show how few were the Christians who took seriously the notion that the world would end in the year 1000. At the beginning of the tenth century a Church council had announced that the final century of history had begun;57 at its close a small minority of men so believed, and prepared themselves for the Last Judgment. The great majority went on their wonted ways, working, playing, sinning, praying, and trying to outlive senility. There is no evidence of any panic of fear in the year 1000, nor even of any rise in gifts to the Church.58
After the death of Gerbert the decay of the papacy was resumed. The counts of Tusculum, in league with the German emperors, bought bishops and sold the papacy with hardly an effort at concealment. Their nominee Benedict VIII (1012-24) was a man of vigor and intelligence; but Benedict IX (1032-45), made pope at the age of twelve, led so shameful and riotous a life59 that the people rose and drove him out of Rome. Through Tusculan aid he was restored; but tiring of the papacy he sold it to Gregory VI (1045-6) for one (or two) thousand pounds of gold.60 Gregory astonished Rome by being almost a model pope; apparently he had bought the papacy in a sincere desire to reform it and liberate it from its overlords. The Tusculan house could not favor such a reform; it made Benedict IX pope again, while a third faction set up Sylvester III. The Italian clergy appealed to the Emperor Henry III to end this disgrace; he came to Sutri, near Rome, and convened an ecclesiastical council; it imprisoned Sylvester, accepted Benedict's resignation, and deposed Gregory for admittedly buying the papacy. Henry persuaded the council that only a foreign pope, protected by the emperor, could terminate the debasement of the Church. The Bishop of Bamberg was elected as Clement II (1046-7); he died a year later; and Damasus II (1047-8) also succumbed to the malaria that now regularly came out of the undrained Campagna. At last in Leo IX (1049-54) the papacy found a man who could face its problems with courage, learning, integrity, and a piety long rare in Rome.


Preliminary Ecological Appraisals (PEA) and Ecological Impact Assessments (EcIA) both typically comprise a desk study and an extended Phase-1 habitat survey, but their purposes are slightly different.
A PEA is often the first stage in evaluating a site's ecological value. Where protected or notable species or habitats are recorded, or the potential presence of protected species is identified, recommendations are made for mitigation and for further surveys where necessary.
An EcIA is used to identify, quantify and evaluate the potential effects of a development or other proposed works on habitats, species and ecosystems within the imapcted area. Increasingly, this is a prerequisite for larger developments, either independently or as part of a wider Environmental Impact Assessment (EIA) or Environmental Statement (ES).
In order to gain a greater level of information on the species and habitats present in the surrounding area, a desk study or consultation is normally undertaken. This involves EMEC Ecology consulting with local record holders (local record centre, wildlife trusts, local natural history groups) to obtain any existing records of protected and / or notable species and designated nature conservation sites, including Sites of Special Scientific Interest (SSSI) and Local Wildlife Sites (LWS). This information can then be used to further evaluate the likelihood of protected species being present, or not present, within the site itself.
This type of survey follows a standard methodology and involves systematically walking over a site and classifying each parcel of land on the basis of vegetation into one of approximately 90 habitats. Notes are made on the structure and composition of habitats and a botanical species list is also recorded. Target notes are used to record any habitats or features of particular interest and any sightings, signs or evidence of protected or notable faunal species or any potential habitat for such species. This type of survey and subsequent report is normally suitable for small to medium-scale housing developments and similar schemes.
An EcIA includes an assessment of the likley effects of the proposed works, once all mitigation, compensation and enhancement measures have been taken into account. Therefore, as part of EcIAs, EMEC Ecology will often design (and if required, implement) a wide range of mitigation and habitat creation / enhancement measures to ensure the ecological impact of the development is not considered significant. EMEC Ecology can produce 'stand alone' Ecological Impact Assessment reports or produce the Ecology Chapter for an ES or EIA to a specified format. An EcIA will normally include a desk study and an extended Phase-1 habitat survey (as detailed above), as well as a suite of specific protected species surveys, as appropriate to the site.
A report will be produced detailing the survey methodologies, results, an assessment of the ecological value of the habitats and an evaluation of any potential ecological issues which may be associated with the site. The report will also include recommendations for general mitigation measures (e.g. advice on safe working practices), consultation and further surveys as necessary.
EMEC Ecology provides Preliminary Ecological Appraisals and Ecological Impact Assessments throughout Nottinghamshire, Leicestershire, Derbyshire, Lincolnshire, the East Midlands and the rest of the UK. Each survey will be specific to a site and the costs will vary accordingly.


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Government warns visitors not to feed wild boar to stop African Swine Fever coming to the UK
Farmers and locals being urged to put up posters warning visitors feeding the boar can have deadly consequences
Janet HughesSenior Digital Reporter
Government warning
The Government has a launched a campaign to stop visitors feeding the Forest wild boar in an effort to prevent a deadly disease killing pigs across the world from entering the UK.
Experts fear that the Forest of Dean boar could fall prey to African Swine Fever that has reportedly led to Chinese farmers breeding pigs the size of polar bears.
And they have launched a campaign to stop visitors feeding the animals amid fears that if the wild pigs do catch the disease it could decimate the UK pork industry and lead to a mass cull.
|One of the posters
The campaign was revealed in the same week that it emerged that some Chinese farmers have started breeding 1,100lbs pigs as big as polar bears to address a shortage of pork in their country.
UPDATED: Forestry chiefs believe they are finally the winning boar war in the Forest - thanks to more shooters
According to global reports the swine fever epidemic has decimated the industry in China wiping out half the herd and sending pork prices surging this year.
So far the disease, which is in around 19 countries, has yet to reach British shores but many farmers fear it is only a matter of time.
Although it cannot be transmitted to humans, ASF is a highly contagious, incurable disease which can survive for months in chilled, frozen smoked and salted meat.
Policing the poachers: Meet the woman charged with stopping criminals who come to the Forest to carry out sickening sports
A worker installs a portion of a fence along the Danish border to stop wild boar from entering Denmark in the wake African Swine Fever (Image: Getty Images)
Defra fear hundreds of wild pigs in the Forest are at risk from eating contaminated meat and have created posters for people to download.
They are also worried about an epidemic of Foot and Mouth disease which wiped out the Forest's free roaming sheep nearly 20 years ago.
The posters warn visitors to let the acorn-loving pigs forage for their own meals rather than feed them human food because it is illegal to feed them kitchen scraps or catering waste.
It co-incides with plans by the Forestry Commission to increase the number of shooters to cull hundreds of the feral pigs roaming the woodlands of the Dean.
Plans for a new town in Gloucestershire are being considered to make room for more houses
Video grab of boar family
The posters being distributed by Gloucestershire trading standards officials warn that if boar become accustomed to being fed they will abandon their natural diets to raid bins and cause hazards on the roads.
The Agriculture and Horticulture Development Board (AHDB), The Department for the Environment, Farming and Rural Affairs (Defra) the National Pig Association and the National Farmers' Union and the Forestry Commission are working closely together to warn visitors not to feed the boar.
"The message is clear: don't feed wild boar human food scraps," says the message.
Barratt Homes poised to build 180 homes on a controversial farmland site in Gloucestershire two years after bitter high court battle
"The perfect boar food is plentiful and growing naturally in the forest, let them forage for their own food.
Residents and farmers in the area are being urged to download posters to increase awareness.
According to The Sun adult pigs usually range between 300 and 700lbs (317kg) but the new pigs are the size of polar bears, which weigh around 775 to 1,200lbs (544kg) on average.
Countryfile asks if wild boar in Forest of Dean should be culled to halt march of African swine fever from Europe
The country is the grip of an African swine fever outbreak which forced farmers to kill a third of their supply.
Pig farmers fear that if it comes over here it will be spread by the Forest's wild boar population and destroy the industry.


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Wet Aging Pork: Is It Possible? If So, How Do You Do It?
Does wet aging make a difference in the quality? Many barbecue aficionados are fans of the process. But when it comes to pork, is it worth it to take this step?
This guide should help you decide whether or not wet aging pork is a technique that you want to explore.
1 Wet Aging Pork
2 How Long Does Raw Pork Usually Last in the Fridge?
3 About Wet Aging
4 About Cryovac Packaging
5 Is Wet Aging Pork a Good Idea?
6 What's The Difference Between Wet Aging and Dry Aging?
Wet Aging Pork
We don't recommend wet aging pork for a couple of reasons. For one, pork doesn't age as well as beef, due to its higher moisture content. For another, the step isn't usually necessary to promote tenderness in pork, whereas cuts like beef brisket will benefit from the long storage period.
How Long Does Raw Pork Usually Last in the Fridge?
Most of the time, you should plan on cooking off any raw pork products within 3 to 4 days of bringing them home from the store. After that, the meat may begin to show signs of deterioration.
When raw pork begins to smell like rotten eggs, or if it has an unpleasant fishy odor, then it's likely begun to spoil. Pork that has outlived its freshness may also have a sticky or slimy texture or discolored flesh.
About Wet Aging
What exactly is wet aging, and how does it affect the quality of the meat?
Wet aged meat is stored in a vacuum-sealed package for an extended period of time. This is a technique that's most commonly used on beef, though some have also tried it on pork and lamb.
During the wet aging process, the natural enzymes in the meat begin to break down the protein strands, which promotes tenderness in the finished product. For brisket, the wet aging period is typically around 30 days.
In addition to promoting tenderness, wet aging gives beef a pronounced meaty taste. Some people aren't fans of the flavor, claiming that the meat tastes sour when it's wet aged for too long.
This technique has been around for about 50 years, since vacuum-sealed packaging was invented (see About Cryovac Packaging, below. Though the basic method originated in Europe, it's become popular in many other parts of the world.
It's important to get the correct "kill date" from the butcher if you're planning on dry aging your meat. While the method extends the meat's shelf life, it doesn't keep it fresh indefinitely. You should cook off wet aged beef between 30 to 60 days from the kill date.
About Cryovac Packaging
Cryovac packaging, also known as vacuum-sealed packaging, is the material that's most often used for wet aged meats. It forms a tight seal around the meat, fitting almost as closely as a layer of skin.
When the meat is sealed this tightly, less air can get inside the package. Since prolonged exposure to air is one of the primary factors in meat spoilage, this helps prevent contamination.
Cuts like beef brisket will remain sufficiently juicy when sealed in cryovac packaging. That's what makes the process so appealing for this particular cut, which can be tough and dry when it's not cooked right.
Even if you don't intend to wet age your meat, cryovac packaging can be a great asset. When you freeze meat in a vacuum-sealed container, you reduce the risk of freezer burn, since very little air is allowed inside.
Is Wet Aging Pork a Good Idea?
The general consensus among barbecue experts is that pork doesn't age the same way beef does. To put it bluntly, the meat will spoil before it can take on any of the desirable qualities that make this method popular.
Others say that lamb and pork can be stored as wet aged products, as long as you don't attempt to store them for as long as you would a cut of beef. We've even heard positive reports from pitmasters who cooked off pork butts that had been sealed in cryovac packaging for over 2 weeks.
So, should you try to wet age your pork? Our recommendation would be to err on the side of caution, and save the wet aging for brisket and other cuts of beef.
For one thing, it's difficult to determine exactly how long the pork can stay in the package before it spoils. The only way to be sure is to open the package, and once you've done that, you can't continue the wet aging process.
What's more, if you do open the package and find that the pork has gone bad, you're left with a bunch of wasted meat and nothing for dinner. Who wants to deal with that sort of disappointment?
We've also found that pork is at its best when you prepare it as soon as possible. The same holds true for chicken. Unlike beef, which can be dry aged for up to 30 days, pork's higher water content makes it more prone to spoilage.
While we're on the subject, there isn't as much benefit to wet aged pork because there are fewer variables when it comes to tenderness. Beef has certain enzymes that contribute to the tenderizing process, whereas pork tends to be tender enough on its own.
What's The Difference Between Wet Aging and Dry Aging?
Dry aging is a more traditional method and relies mainly on enzymes, whereas lactic acid bacteria plays a huge role in wet aging.
To dry age meat, butchers hang the product in a cold, well-ventilated room. During the aging process, the meat loses fluid, which gives it a more concentrated flavor. Interestingly, dry aged meat often has superior moisture-retentive qualities.
Again, since we prefer to cook pork when it's as fresh as possible, we aren't huge proponents of dry aging. If you see a dry aged pork chop advertised on a restaurant menu, go ahead and give it a try, but it's hard to replicate the process at home.
If you've ever tried wet aged brisket, you might be tempted to try the technique on your next pork shoulder or rack of ribs to see if you get similar results.
However, beef and pork have different qualities, so their preparation techniques aren't necessarily interchangeable. We would recommend that you save the wet aging method for your next brisket.
Happy grilling!
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Gwilym works outdoor coffee carts at two busy London markets. He uses coffee from East London's Square Mile Roasters.
Gwilym's winning espresso was a 50/50 blend made up of Finca San Jose Pulped Natural Red Catuaí from Erwin Mierisch and family in Nicaragua, and an El Molino de Santa Rita Washed Orange Bourbon from Jose Antonio Salaverria's farm in El Salvador.
During the the final Gwilym's espresso and signature drink attained the highest scores. The idea behind his signature drink was to enhance flavours that were already in the espresso he was working with. He created an infusion of butter, cinamon, orange peel, muscovado syrup, and dark chocolate that he added to the espresso.
Here are all the videos from the UKBC Finals.
Here's a podcast about Gwilym.
Below is a map showing the locations of Gwilym's coffee carts.
Gwilym is the odds on favourite to win WBC from Newsdesk.