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Conversations | Oren Rudavsky on "Joseph Pulitzer: Voice of the People"
New documentary, which highlights Pulitzer's legacy in the newspaper industry, will make its television premiere on PBS on Friday, April 12.
Joseph Pulitzer: Voice of the People follows the famed newspaper publisher's legacy in the industry, foregrounding his commitment to freedom of the press. The documentary film, directed by Oren Rudavsky and Fiscally Sponsored by The New York Foundation for the Arts (NYFA), followers Pulitzer's beginnings in journalism while exploring the professional and personal trials he faced throughout his journey. It answers the question: "How did Joseph Pulitzer, once a penniless young Jewish immigrant from Hungary, come to challenge a popular president and fight for freedom of the press as essential to our democracy?"
Joseph Pulitzer: Voice of the People will be screened at The Morgan Library & Museum on Friday, March 29 at 7:00 PM. Rudavsky will be in attendance to introduce the film, which will be followed by a discussion with historian David Nasaw. The documentary will also make its television premiere on Friday, April 12 at 9:00 PM on PBS (check local listings) and on American Masters beginning Saturday, April 13.
NYFA had the opportunity to speak with Rudavsky about his inspiration and process behind Joseph Pulitzer: Voice of the People. Read the interview below:
NYFA: What sparked your interest to direct a documentary about the life of Joseph Pulitzer?
Oren Rudavsky: In 2013, Bob Seidman (the film's co-writer and producer), whom I have previously worked with on a film, approached me with the idea of making a film about Joseph Pulitzer. All I knew about Joseph Pulitzer was that he had created the Pulitzer Prizes. When I started to dig into who Joseph Pulitzer was, I realized that he was not only a really interesting guy, but that he was quite relevant to today's America, living in a country run by the Trump Administration. Pulitzer published everything he thought was news and didn't care who he harmed, making him an equal opportunity offender and critic of the way things are in the world. He was just a fascinating person to make a film about.
NYFA: Working on this documentary must've brought along some notable anecdotes. Are there any you wish to share?
OR: One of the joys of working on this film was working with the incredible talent brought to bear. This involved working with Adam Driver as the narrator as well as other voice actors (Liev Schreiber, Tim Blake Nelson, Rachel Brosnahan, Lauren Ambrose, Hugh Dancy, Billy Magnussen, Sebastion Stan, Ryan James Hatanaka) whom we got to share some time with. Each actor brought their own talents to the table such as their accents and acting styles of all sorts. These folks were all professionals and knew how to deliver. The other aspect of this film that was spectacular was finding a period boat up in Maine to shoot the boat sequences offshore, through fog and waves. My favorite moment was when Bob Seidman drifted off in a rowboat with our talent. They drifted off into the thick fog and we thought we'd never see them again. Luckily we had a motor boat that went after them, but that disappeared as well. After a heart-pounding 15 minutes, they reappeared and production was saved.
NYFA: Your documentary brings forth a prime example of aggressive journalism and freedom of the press during the late 19th and early 20th centuries. What from Pulitzer's legacy do you feel has bears the most weight in today's journalism?
OR: One thing primarily relevant about Pulitzer today has to do with what's going on politically with a president who seems to disrespect the news media, and that is identical to the conflict between presidents and the press in Pulitzer's era. He had to take on Teddy Roosevelt over improprieties having to do with the building of the Panama Canal. Those were stories that Pulitzer delved into. Because this was infuriating to Teddy Roosevelt, his administration created a smear campaign against Pulitzer. Sounds a little familiar? But Pulitzer took Teddy Roosevelt to the Supreme Court, and it was a remarkable time.
NYFA: Did you encounter any surprises while gathering archival information on Pulitzer's life and newspaper companies? If so, was there anything you wish you could've added to the film?
OR: Though not shown in the film, one tragedy I came to realize was coming across libraries that have systematically destroyed the originals of newspapers in favor of microfilm, which just simply does not preserve the tactile or visual quality of those newspapers. At Duke, however, I was able to see the original newspaper prints in its best-preserved quality making one see the history of those newspapers, the beauty of the illustrations and the typography, and you can't really understand it until you have a newspaper in your hands. I could've spent hours flipping through every page because it was just filled to the brim with interesting stories, and through my archival digging I understood immediately why Pulitzer was so fabulously successful before internet and TVs.
Why did you choose NYFA Fiscal Sponsorship?
OR: The staff at NYFA is extremely responsive and helpful in helping with submission of grant proposals and funding issues. They are lovely people and that is one key reason I work with NYFA. The system works very well. I know I am working with highly-responsible and competent people.
-Interview conducted by Eleysha Sajous, Fiscal Sponsorship Intern
Are you an artist or a new organization interested in expanding your fundraising capacity through NYFA Fiscal Sponsorship? We accept out-of-cycle reviews year-round. No-fee applications are accepted on a quarterly basis, and our next deadline is March 31. Click here to learn more about the program and to apply. Sign up for our free bi-weekly newsletter, NYFA News, for the latest updates and news about Sponsored Projects and Emerging Organizations.
Images: Courtesy of Oren Rudavsky
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Algerian Olympic Committee (COA) President Mustapha Berraf has claimed widespread doping in the country has enabled athletes to compete at and qualify for major international sports events.
Berraf, one of the highest-ranking sports officials in Africa, also alleged that he had previously raised concerns about doping in the nation but they had been ignored.
The Algerian, a candidate to become President of the Association of National Olympic Committees of Africa, made the staggering revelations in a video interview with Ennahar-TV.
He said Algerian athletes use banned substances at national-level competitions and tournaments to help them qualify for international events.
Berraf added that their lack of success at global level was further proof that they were cheating but did not disclose what sports were involved.
"Algerian athletes are not working, but they are doping to achieve results at the national level to qualify and compete in high-level international competitions, which explains the lack of results at the international level," he said.
Berraf claimed he had twice reported his suspicions to the Directorate General of National Security, who he says have so far failed to investigate the allegations.
His suggestions mark a rare case of a high-ranking sports official making accusations of cheating in their own country.
The revelations come after claims of extensive doping in Algerian football surfaced in 2016.
Three players - Kheireddine Merzougui, Youcef Belaili and Rafik Boussaid - were given lengthy bans from football after they tested positive.
Algeria international Belaili and Rafik Boussaid tested positive for cocaine, while a sample provided by Merzougui was found to have contained the banned stimulant methylhexaneamine.
Olympic silver medallist Ali Saidi-Sief - stripped of the 5,000 metres silver medal he claimed at the 2001 World Championships after he failed a drugs test - three-time African pole vault champion Larbi Bourrada and former African 800m champion Zahra Bouras are among notable Algerian competitors to have served drugs bans.


text:
declare module "json-stringify-pretty-compact" {
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    export = stringify;
}

redpajama_set_name: RedPajamaGithub


text:
Free Kindle books & bargains for Monday, March 30, 2015
by Steve Weber on March 30, 2015
Author: Whitney Gracia Williams
As a high profile lawyer, I don't have time to waste on relationships, so I fulfill my needs by anonymously chatting and sleeping with women I meet online.
My rules are simple: One dinner. One night. No repeats.
This is only casual sex. Nothing more. Nothing less.
At least it was , until "Alyssa"…
She was supposed to be a 27 year old lawyer, a book hoarder, and completely unattractive. She was supposed to be someone I shared law advice with late at night, someone I could trust with details of my weekly escapades.
The Straw Man and a Murder – A Horror Thriller
Horror > Occult
Author: Jeff Menapace
A ten-year-old boy finds solace from his abusive father in the cornfields where his 'friends' reside. One of these friends is a scarecrow. The others are crows.
When his father's violence goes too far, something must be done, and before the night is up, the wicked will learn that vengeance comes in many shapes and sizes.
The Lean Indian Cookbook: Delicious, Healthy, Low Fat, Fast & Easy
Cookbooks, Food & Wine > Asian > Indian
Author: Smitha Patel
What ever happened to good old-fashioned home cookin'? Canned foods, boxed mixes and frozen dinners have created a new convenience that many of us have come to depend on. All of our most cherished foods come ready-made, like ice cream, mayonnaise and bread, and we hardly ever realize that such things can be made at home.
In recent years, people have become more conscious of health and fitness, partly to cure some of the problems that such food has produced, and partly because of the culture. It's often a "quick fix" for the problems associated with our sedentary lifestyles in the work place and at home. In theory, such lifestyles are great, but, in practice, they become much more difficult to maintain.
In our Lean Series of cookbooks, we sought to make some of the most culturally-iconic dishes healthy again.
Staged to Death (A Caprice De Luca Mystery Book 1)
Author: Karen Rose Smith
Welcome to Kismet, PA, where home stager Caprice De Luca helps her clients shine in a lackluster real estate market–and where someone may only be in the market for murder. . .
Caprice De Luca has successfully parlayed her skills as an interior designer into a thriving home staging business. So when her old high school friend Roz Winslow asks her to spruce up her mess of a mansion to perk up a slow buyer's market, Caprice is more than happy to share her skills. But when Roz's husband Ted is found skewered by one of his sword room's prized possessions, it appears the Winslows may have a few skeletons in their palatial closets. With the stage set for murder, Caprice will discover she can track down an antique tapestry and a cold-blooded killer with equal aplomb–as long as she's not the next victim. . .
Deadly Décor (A Caprice De Luca Mystery Book 2)
Quiet Kismet, Pennsylvania, may look like any other small town, but as a home stager, Caprice De Luca can see behind closed doors–and it seems someone has designs on murder. . .Life is a full house for Caprice these days. She's dating, she's rescuing adorable cocker spaniels, and she's decorating the roomy interiors of Kismet's most well-heeled residents with fun fantasy themes. But she's worried about her pregnant sister. Bella's marriage is coming apart like a bad wallpaper job, and to make matters worse, she's decided to meet up with a former flame Bob Preston, a house painter Caprice frequently employs.
Talk Dirty to Me (Plum Orchard Book 1)
Author: Dakota Cassidy
Former mean girl Dixie Davis is back in town and it's payback time. Literally. Dixie is flat broke and her best—make that only—friend, Landon, is throwing her a lifeline from the Great Beyond. Dixie stands to inherit his business…if she meets a few conditions:
She's got to live in Landon's mansion. With her gorgeous ex-fiancé, Caine Donovan. Who could also inherit the business. Which is a phone sex empire.
Yesterday's Kin
Science Fiction > Post-Apocalyptic
Author: Nancy Kress
Aliens have landed in New York. After several months of no explanations, they finally reveal the reason for their arrival. The news is not good.
Geneticist Marianne Jenner is having a career breakthrough, yet her family is tearing itself apart. Her children Elizabeth and Ryan constantly bicker, agreeing only that an alien conspiracy is in play. Her youngest, Noah, is addicted to a drug that keeps temporarily changing his identity. The Jenner family could not be further apart. But between the four of them, the course of human history will be forever altered.
Sewing 101: Master Basic Skills and Techniques Easily
Needlecrafts & Textile Crafts > Sewing
Author: Editors of Creative Publishing
Written with the absolute beginner in mind, this book teaches all the basics for machine sewing with step-by-step instructions and photographs. Sewing skills are learned by working on projects, beginning with something very easy and getting progressively more difficult as the reader works through the book. New skills are explored in depth as they are introduced. The projects are divided into two sections: garment sewing and home decor/accessory sewing, making this the most comprehensive beginner's book available.
Quilting 101: Master Basic Skills and Techniques Easily
Needlecrafts & Textile Crafts > Quilts & Quilting
Written with the absolute beginner in mind, this book teaches all the basics for machine quilting with step-by-step instructions and photographs. Quilting skills are learned by working on projects, beginning with something very easy and getting progressively more difficult as the reader works through the book. New skills are explored in depth as they are introduced. The introductory section covers all the basics of quilting-choosing fabric, quick cutting techniques, sewing seams, completing a quilt top, layering and basting, and both hand and machine quilting methods-making this the most comprehensive beginner's book available.
Waiting to Be Heard: A Memoir
Author: Amanda Knox
Amanda Knox spent four years in a foreign prison for a crime she did not commit. In the fall of 2007, the 20-year-old college coed left Seattle to study abroad in Italy, but her life was shattered when her roommate was murdered in their apartment.
After a controversial trial, Amanda was convicted and imprisoned. But in 2011, an appeals court overturned the decision and vacated the murder charge. Free at last, she returned home to the U.S., where she has remained silent, until now.
The Plum Tree
Fiction > Historical > Jewish
Author: Ellen Marie Wiseman
A deeply moving and masterfully written story of human resilience and enduring love, The Plum Tree follows a young German woman through the chaos of World War II and its aftermath."Bloom where you're planted," is the advice Christine Bölz receives from her beloved Oma. But seventeen-year-old domestic Christine knows there is a whole world waiting beyond her small German village. It's a world she's begun to glimpse through music, books–and through Isaac Bauerman, the cultured son of the wealthy Jewish family she works for.
Author: Frances Mayes
Frances Mayes—widely published poet, gourmet cook, and travel writer—opens the door to a wondrous new world when she buys and restores an abandoned villa in the spectacular Tuscan countryside. In evocative language, she brings the reader along as she discovers the beauty and simplicity of life in Italy. Mayes also creates dozens of delicious seasonal recipes from her traditional kitchen and simple garden, all of which she includes in the book. Doing for Tuscany what M.F.K. Fisher and Peter Mayle did for Provence, Mayes writes about the tastes and pleasures of a foreign country with gusto and passion.
Sixteen Brides
Christian Fiction > Historical > Western & Frontier
Author: Stephanie Whitson
Sixteen Civil War widows living in St. Louis respond to a series of meetings conducted by a land speculator who lures them west by promising "prime homesteads" in a "booming community." Unbeknownst to them, the speculator's true motive is to find an excuse to bring women to the fledging community of Plum Grove, Nebraska, in hopes they will accept marriage proposals shortly after their arrival! Sparks fly when these unsuspecting widows meet the men who are waiting for them. These women are going to need all the courage and faith they can muster to survive these unwanted circumstances especially when they begin to discover that none of them is exactly who she appears to be.
Deck Z: The Titanic: Unsinkable. Undead
Historical Fiction > Fantasy
Author: Chris Pauls, Matt Solomon
Imagine being trapped aboard the doomed Titanic on an icy Atlantic. . . with the walking dead. This fast-paced thriller reimagines the historical events of the fateful Titanic voyage through the lens of zombie mayhem. Captain Edward Smith and his inner circle desperately try to contain a weaponized zombie virus smuggled on board with the 2,200 passengers sailing to New York. Faced with an exploding population of lumbering, flesh-hungry undead, Smith's team is forced into bloody hand-to-hand combat down the narrow halls of the huge steamer.
Curious George Visits the Dentist
Children's Books > Classics
Author: H. A. Rey
When George bites into a shiny apple made of wax, his tooth begins to hurt. The next morning George shows his wiggly tooth to the man with the yellow hat, who takes him to the dentist. George is nervous about his first visit to the dentist, but overcomes his fear and learns about better dental hygiene—with a little good-natured mayhem on the side!
River Jordan
Women's Fiction > Friendship
Author: Augusta Trobaugh
Sometimes a family grows from the most unlikely of friends.
A lonely little girl living with a strict stepfather and mother. A woman just released from prison, seeking a job and a new purpose for her life. An aging matriarch with a sense of humor and a compassionate heart. Sit a spell by the gentle river of their merged lives.
Later, at the Bar: A Novel in Stories
Author: Rebecca Barry
Lucy's Tavern is the best kind of small-town bar. It has a good jukebox, a bartender with a generous pour, and it's always open, even in terrible weather. In the raw and beautiful country that makes up Rebecca Barry's fictional landscape, Lucy's is where everyone ends up, whether they mean to or not.
There's the tipsy advice columnist who has a hard time following her own advice, the ex-con who falls for the same woman over and over again, and the soup-maker who tries to drink and cook his way out of romantic despair. Theirs are the kinds of stories about love and life that unfold late in the evening, when people finally share their secret hopes and frailties, because they know you will forgive them, or maybe make out with them for a little while.
Swan Place
Women's Fiction > Literary
Dove, Molly, Little Ellis and Crystal are runaways with nowhere to turn and no one they can trust until they arrive at a secret sanctuary called Swan Place, where they are taken under wing by a remarkable group of women.
Heaven Lake: A Novel
Author: John Dalton
Vincent Saunders has graduated from college, left his small hometown in Illinois, and arrived in Taiwan as a Christian volunteer. After opening a ministry house, he meets a wealthy Taiwanese businessman, Mr. Gwa, who tells Vincent that on his far travels to western China he has discovered a beautiful young woman living near the famous landmark Heaven Lake. Elegant, regal, clever, she works as a lowly clerk in the local railway station. Gwa wishes to marry her, but is thwarted by the political conflict between China and Taiwan.
Play Nice, Hercules! (Mini Myths)
Children's eBooks > Growing Up & Facts of Life
Author: Joan Holub, Leslie Patricelli
Hercules is not as interested in "playing nice" as he is in playing strong! But when one feat of strength destroys his little sister's 12-piece tower, he must use his powers for good to restore the tower and seek her forgiveness. She forgives him indeed, and then shows her own strength by gleefully knocking down the stacked blocks herself! Joan Holub's expertly focused text pairs perfectly with Leslie Patricelli's famously humorous illustrations. Includes a summary of the original Hercules's Twelve Labors myth at the end.
The Unseemly Education of Anne Merchant: Book One of the V Trilogy
Children's eBooks > Science Fiction, Fantasy & Scary Stories
Author: Joanna Wiebe
So many secrets for such a small island. From the moment Anne Merchant arrives at Cania Christy, a boarding school for the world's wealthiest teens, the hushed truths of this strange, unfamiliar land begin calling to her—sometimes as lulling drumbeats in the night, sometimes as piercing shrieks.
One by one, unanswered questions rise. No one will tell her why a line is painted across the island or why she is forbidden to cross it. Her every move—even her performance at the school dance—is graded as part of a competition to become valedictorian, a title that brings rewards no one will talk about.
Thrillers > Psychological
Author: Mary Kay Andrews
Take a splash of betrayal, add a few drops of outrage, give a good shake to proper behavior and take a big sip of a cocktail called…Ladies' Night!
Grace Stanton's life as a rising media star and beloved lifestyle blogger takes a surprising turn when she catches her husband cheating and torpedoes his pricey sports car straight into the family swimming pool. Grace suddenly finds herself locked out of her palatial home, checking account, and even the blog she has worked so hard to develop in her signature style.
The Lost Fleet: Dauntless
Military > Space Fleet
Author: Jack Campbell
Captain John "Black Jack" Geary's legendary exploits are known to every schoolchild. Revered for his heroic "last stand" in the early days of the war, he was presumed dead. But a century later, Geary miraculously returns from survival hibernation and reluctantly takes command of the Alliance Fleet as it faces annihilation by the Syndic.Appalled by the hero-worship around him, Geary is nevertheless a man who will do his duty. And he knows that bringing the stolen Syndic hypernet key safely home is the Alliance's one chance to win the war.
The Jesus I Never Knew
Christian Living > Personal Growth
Author: Philip Yancey
Philip Yancey helps reveal what two thousand years of history covered up What happens when a respected Christian journalist decides to put his preconceptions aside and take a long look at the Jesus described in the Gospels? How does the Jesus of the New Testament compare to the "new, rediscovered" Jesus—or even the Jesus we think we know so well?
Philip Yancey offers a new and different perspective on the life of Christ and his work—his teachings, his miracles, his death and resurrection—and ultimately, who he was and why he came. From the manger in Bethlehem to the cross in Jerusalem, Yancey presents a complex character who generates questions as well as answers; a disturbing and exhilarating Jesus who wants to radically transform your life and stretch your faith.
The Last Kiss Goodbye (Dr. Charlotte Stone Book 2)
Romance > Paranormal
Author: Karen Robards
Dr. Charlotte "Charlie" Stone has dedicated her career as a psychiatrist to exploring the darkest territory of all: the hearts and minds of serial killers. It's a job she's uniquely suited for, thanks to the secret talent that gives her an uncanny edge—Charlie can see dead people, whose tormented spirits cry out to her for the justice only she can provide. This blessing—or curse—gives Charlie the power to hunt down and catch madmen and murderers.
How Hard Can It Be? (Handcuffs and Happily Ever Afters Book 1)
Author: Robyn Peterman
What happens when an accountant decides to grab life by the horns and try something new? Apparently a pirate named Dave, a lot of pastel fleece, and blackmail–just to start with. . .
Visualize and succeed, Oprah said. I was sure as hell trying, even if my campaign to score a job as the local weather girl had ended in a restraining order. Okay, TV was not my strength. But a lack of talent has never stopped me before. Which is why I've embarked on a writing career. I mean, how hard can it be to come up with a sexy romance?
Leave it to me to wind up in a group of porno writing grannies who discuss sex toys and apple cobbler in the same breath.
The Morning After (Savannah Book 2)
A woman is frantic as she awakens in a dark, closed space. From above her comes the muffled sound of cruel laughter, followed by the hard splatter of dirt. Pure terror takes over as she realizes she's being buried alive–and her last breath is a scream that no one but a sadistic killer will hear. . .
To journalist Nikki Gillette, this disturbing story is a ticket out of small-town Savannah and on to the big time. She's already given the killer a nickname–The Grave Robber–and she's spending every minute dogging tough cop Pierce Reed's investigation, trailing him through Savannah's deep thickets and crumbling cemeteries. . .even though she's starting to wonder about the secrets he's keeping. . .
Darkness Haunts: Book 1 (Sensor Series)
Horror > Dark Fantasy
Author: Susan Illene
Melena Sanders faced her fair share of danger with insurgents and terrorists when she served in the U.S. Army, but now she is about to go up against a new threat. Her best friend, Aniya, has disappeared while on a trip to Fairbanks, Alaska—a supernatural haven. Most humans have no idea darker races lurk amongst them. Mel knows better. If she wants to get her friend back, she's going to have to go in alone—but not unarmed.
Melena has a few special skills the Army didn't provide, but the odds are still against her. She's got to come up with a plan fast that doesn't involve her, or her friend, dying. But danger likes to play it rough.
The Disappearing Girl
Author: Heather Topham Wood
Last year, Kayla's world imploded. Her beloved father died, leaving her alone with a narcissistic mother who is quick to criticize her daughter's appearance. During her winter break from college, Kayla's dangerous obsession with losing weight begins.
Kayla feels like her world changes for the better overnight. Being skinny seems to be the key to the happiness she has desperately been seeking. Her mother and friends shower her with compliments, telling her how fantastic she looks. Kayla is starving, but no one knows it.
Kiss This (The McCallans Book 1)
Romance > New Adult
Author: Hadley Quinn
22-year-old Camryn Jacobs lost the love of her life once and vows to never kiss another guy unless she's in love with him. When she meets Teague, their attraction to one another is off the charts, and for the first time in two years, she wants to disregard her rule.
But Camryn makes a bet that he can't go just one week without kissing her. She's protecting her own fragile heart, but her wit and smart mouth end up driving Teague crazy.
Wicked Game (WICKED Book 1)
Author: Lisa Jackson, Nancy Bush
Twenty years ago, wild child Jessie Brentwood vanished from St. Elizabeth's high school. Most in Jessie's tight circle of friends believed she simply ran away. Few suspected that Jessie was hiding a shocking secret-one that brought her into the crosshairs of a vicious killer…
Two decades pass before a body is unearthed on school grounds and Jessie's old friends reunite to talk. Most are sure that the body is Jessie's, that the mystery of what happened to her has finally been solved. But soon, Jessie's friends each begin to die in horrible, freak accidents that defy explanation…
Sushi for One? (Sushi Series Book 1)
Author: Camy Tang
Sports-crazy Lex Sakai isn't too worried about "winning" the unofficial family title "Oldest Single Female Cousin" when her cousin Mariko marries in a few months. Her control-freak grandma is easy to ignore, until Grandma issues an ultimatum–if Lex can't find a date for Mariko's wedding, her ruthless Grandma will cut off funding to the girls' volleyball team that Lex coaches.
Lex isn't about to look desperate by dating every player in the dugout. She comes up with a stringent list of requirements from her Ephesians Bible study in her search for The Perfect Man.

redpajama_set_name: RedPajamaCommonCrawl


Since the Carols & Cocoa event was cancelled due to weather, we will gather for a simpler Christmas songfest in the Sanctuary. No cocoa or cookies, but lots of joyful singing. The whole family is welcome!
As a congregation we are invited to pray and fast in solidarity with our brothers and sisters in Congo (DRC) on the eve of their national elections. Please pray that the elections will be peaceful, fair, and just and that God would raise up godly leaders who would do what is right. We would like to have people signed up to pray every hour on December 22.
Sign up here to pray.
Pray for the presidential election on Dec. 23. Pray that it would be peaceful and fair.
Pray that leaders would emerge who will serve the people of Congo and not their own greed or power. Read this news link.
Pray for political, social, and economic stability throughout the country.
Pray for the Ebola crisis to be contained quickly and for protection for the health workers. Read this news link.
Pray for continued violence particularly against the most vulnerable in Beni and neighboring town of Oicha (David Kasali's hometown). Read this news link.
Pray for UCBC's "City Campus" project - UCBC has moved the campus into Beni to provide a secure environment for their students. School officially began on November 26 with only a 10% decrease in enrollment.
Pray for the students at UCBC, for their safety and pray that they would have a Kingdom impact on Beni.
Pray for the Bethesda Counseling Center as they provide counseling for health workers and others who are victims of trauma. Pray for Noe Kasali as he leads this ministry while being dislocated in Uganda.
Meet our newest members, read Bev Iber's conversion experience, and David Dunderdale's reflection on hope and waiting during the season of Advent.
Due to winter weather, Blacknall will only have the 11 a.m. worship service on Sunday, December 9. There will be no 8:30 a.m. service, Sunday School, or other scheduled afternoon or evening activities. We regret to cancel our annual Carols & Cocoa service!


text:
package org.apache.hedwig.client.netty.impl.simple;

import java.util.HashMap;
import java.util.Map;

import org.apache.hedwig.client.conf.ClientConfiguration;
import org.apache.hedwig.client.handlers.AbstractResponseHandler;
import org.apache.hedwig.client.handlers.CloseSubscriptionResponseHandler;
import org.apache.hedwig.client.netty.impl.AbstractHChannelManager;
import org.apache.hedwig.client.netty.impl.ClientChannelPipelineFactory;
import org.apache.hedwig.client.netty.impl.HChannelHandler;
import org.apache.hedwig.protocol.PubSubProtocol.OperationType;

public class SimpleSubscriptionChannelPipelineFactory extends ClientChannelPipelineFactory {

    public SimpleSubscriptionChannelPipelineFactory(ClientConfiguration cfg,
                                                    SimpleHChannelManager channelManager) {
        super(cfg, channelManager);
    }

    @Override
    protected Map<OperationType, AbstractResponseHandler> createResponseHandlers() {
        Map<OperationType, AbstractResponseHandler> handlers =
            new HashMap<OperationType, AbstractResponseHandler>();
        handlers.put(OperationType.SUBSCRIBE,
                     new SimpleSubscribeResponseHandler(cfg, channelManager));
        handlers.put(OperationType.CLOSESUBSCRIPTION,
                     new CloseSubscriptionResponseHandler(cfg, channelManager));
        return handlers;
    }

}


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The entertainment industry is extremely difficult to break into, and even once you've got your foot through the door, staying relevant is a battle on its own – and not everyone comes out a winner.
Sometimes our favourite celebs seem to walk into an "entertainment Bermuda Triangle" – they just disappear.
Here are 5 celebrities, who just vanished from our radars.
He dropped onto the music scene in 2005 with his hit single, Pitch Black Afro. His look? A pitch black afro – it just made sense! We loved singing along to this kwaito star's tracks (there was more than one, right?), but his fame was short-lived.
Backstage first hit our TV screens in 2000, and we immediately fell in love. The show gave us celebs like Somizi, Lorcia Cooper and Clint Brink. But have you ever wondered what the heck happened to the rest of the cast? There were some really talented people there who had us convinced they would be in it for the long run. What we're trying to say is, we want Ziggy back!
Remember when Mzekezeke first hit the music scene? The mysterious musician (we all knew it was DJ Sbu. Sshhh, don't tell anyone), dressed in a ski mask and orange jumpsuit, brought so much joy to our lives. And then… gone, just like that!
Okay, we're convinced that music contest winners in South Africa probably end up in the same place missing socks go. Seriously, where on earth is 101, Ghetto Lingo, Heinz Winkler, Sasha-Lee Davids, Anke, Jody Williams, and Jason Hartman?
Is there a doctor in the house? There was last time we checked, but we have no idea what happened to him. Michael Mol was first introduced to us as the hunky presenter on Top Billing. Later on the presenter/doctor got his own medical/health show on SABC 3, but that didn't last very long.


text:
Bhakti Mathur's Books Introduce Religions To Children In A Non-preachy Way
by	Amrita Paul
In December 2010, when Holi was around the corner, Bhakti Mathur was looking for a good book to explain the festival to her older son who was two-year-old then. She couldn't find anything that she liked and ended up writing one herself. She decided to turn it into a self-published series called Amma Tell Me. Mathur's new book series Amma Take Me attempts to introduce children to the plethora of Indian religions and faiths through their important places of worship. The books are styled as the travelogues of a mother and her two young boys, Shiv and Veer. They link history, tradition and mythology to bring alive the major temples, churches, mosques and mausoleums of India in an engaging, interactive and non-preachy way. Her book Amma, Take Me to the Golden Temple, which released this month is an interestingly written and illustrated account of the Golden Temple in Amritsar.
Amma Tell Me, Holi, Pic Credit: Bhakti Mathur
Born and brought up in Delhi, the author who had been a banker for 22 years, says that she inherited her love for mythology from her grandmother and her nanny – "They both used to tell me stories from the two major Indian epics, the Ramayana and Mahabharata every day after I came back from school. That was the best part of my day. Those stories took me to far-off places. I remember, how much I loved listening to those fascinating tales about myriad Hindu Gods, of great kings and heroes and their triumphs over the most evil of adversaries.
"As a mother of two hyperactive young boys, who otherwise cannot sit still for a minute, I know that the only way I am going to hold their attention is with a good story."
As a mother of two hyperactive young boys, who otherwise cannot sit still for a minute, I know that the only way I am going to hold their attention is with a good story. And stories from Indian mythology never fail me in this regard. How can they? Which modern tale can boast characters of the stature of mythological ones – the gods incarnate, the mighty kings, the learned sages, and the fearsome demons, placed among the most memorable and momentous of settings? Or match the substance of the plots that invariably involve a challenge faced, an obstacle overcome or a difficult question resolved? These are perfectly crafted stories as otherwise they would never have survived the ages, passed on by generation, many a time in warm beds similar to ours, for thousands of years."
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Cover of the book Amma Take Me To Golden Temple
She says that she finds herself going back to Indian mythology because the stories serve as a wonderful parenting tool to highlight the values that most parents want their children to imbibe. These are the universal values of courage, determination, perseverance, generosity and morality, of what is right versus wrong. And these stories are equally applicable to adults who are so consumed by life's routine that they fail to think about what really matters.
"I wanted my successes to be my own and my failures to be mine too. The motivation for writing the books was my children, it was and is a labour of love and I wanted to do it my way."
Around the time that she started writing, Mathur read a lot about the self-publishing industry. She decided to publish her books because she wanted to have full control over the creative content – the writing, the design, the pricing and all the other aspects involved.
A;so Read: Meet the Writers: Anuja Chandramouli on Mythology and the Divine Feminine
Mathur herself grew up reading Enid Blyton, the Nancy Drew series, Agatha Christie, Arthur Conan Doyle and JRR Tolkien among others. But she says her favourite stories are from Indian mythology. She doesn't find writing for children very difficult because her two sons are quite the critics. A lot of her time was spent on research which was quite an important and fun process. She adds, "Once the research is done, I write an outline of the story. For the Amma Tell Me series, which is written in rhyme, the challenge was getting the rhythm and the meter correct. For the Amma Take Me Series it was important to write the story in a fun, interesting way so that both parents and children will be able to relate to it. I go through numerous drafts; it's a lot of re-writing, re-writing and then re-writing some more. The final story looks very different from what I started out with."
Bhakti Mathur is also a long distance runner. She finds it relaxing and therapeutic. It gives her time to be with herself and enjoy the moment. She says on a lighter note, "I don't know how much it helps with the writing but it certainly makes me feel more at peace and sleep better!"
In the next five years, the author hopes to be still writing and running and probably going a bit crazy handling her children who will be teenagers then!
Also Read: Two Much: Twins in Mythology – Kavita Kane's Column For The Geminis
Read More by Amrita Paul
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Bhakti Mathur
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Popular Haryanvi Folk Dancer And Singer Sapna Chaudhary Joins BJP (18)July 8, 2019


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Home Headlines & Breaking News WATCH: First Israeli Pitcher In MLB Beats Yankees in His Debut
Headlines & Breaking News
YWN Videos Of Interest
WATCH: First Israeli Pitcher In MLB Beats Yankees in His Debut
September 9, 2020 7:45 am
Israeli citizen Dean Kremer was the first Israeli to be drafted by a major league baseball (MLB) team and on Sunday, became the first Israeli ever to pitch and win a game, and he did it on his debut against the famed New York Yankees.
On Saturday night, Orioles general manager Mike Elias and manager Brandon Hyde called Kremer, at the time, an Orioles' pitching prospect, and asked if he wanted to pitch the next day against the Yankees. Kremer responded in the affirmative and the result was history in he making.
Kremer made a stunning debut and became the first Israeli to ever pitch in an MLB game and also the first Israeli to win a game. But he did more than simply win, he dominated a tremendous team.
Kremer outpitched New York's two-time All-Star Masahiro Tanaka over the course of 6 innings. He surrendered only one hit and one run with three walks and seven strikeouts against a hard-hitting lineup.
https://www.theyeshivaworld.com/wp-content/uploads/2020/09/WhatsApp-Video-2020-09-08-at-8.31.53-AM.mp4
Kremer struck out the Yankees leadoff batter DJ LeMahieu as well as their home run leader Luke Voit. He then retired veteran Brett Gardner for a perfect 1-2-3 opening frame. In the bottom of the first, Baltimore's DJ Stewart lined a two-run homer off Tanaka and gave Kremer the lead which he would then never lose.
Kremer, "It's a dream come true. We practice every day for years to get to this point. Just to have had it is a dream come true."
In his first major league outing, Kremer threw 88 pitches and led the Orioles to a series win over the Yankees.
While Kremer is the first Israeli citizen to be drafted in baseball and the first one to pitch in the majors, he is not the first Israeli citizen to play in the majors. That designation belongs to Ryan Lavarnway, who obtained Israeli citizenship in November in order to play for Team Israel at the Tokyo Olympics this year. The Olympics, however, were postponed to next summer due to the coronavirus. Lavarnway was called up to the Miami Marlins in August, making him the first Israeli to play, but he was later designated for assignment.
According to a report in the CBS affiliate in Baltimore, Kremer told reporters that he takes his Jewishness seriously and would not pitch on Yom Kippur.
(YWN Israel Desk – Jerusalem)
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Poch854
shuali September 9, 2020 8:40 am at 8:40 am
And we're happy, encouraged, comforted, proud about this because?
YW fan September 9, 2020 9:00 am at 9:00 am
LET'S GO O'S!!!
dullradiance September 9, 2020 9:41 am at 9:41 am
Nice payos. He needs to work on his beard though.
akuperma September 9, 2020 10:55 am at 10:55 am
He's an American born in the United States to Israeli parents and brought up in the United States.
There are many attempts to introduce baseball in Israel, but they focus on hiring Americans to play in (or for) Israel, rather than starting with building up youth leagues. When you have a player who was raised in Israel, and learned baseball playing in Israel, who then enters professional baseball, you can claim there is an Israeli major league player (something unlikely since increasing young Israelis are likely to be Shomer Shabbos, which precludes playing American-style professional baseball, but that's another matter).
kinsler September 9, 2020 11:33 am at 11:33 am
Thank you so much YWN. Such Chizuk before the 'Heiliger Teg'.
gitt September 9, 2020 1:39 pm at 1:39 pm
ONLY YWN WOULD POST SUCH A POST. Y DOES A HIMESHE YID NEED TO HER ALL THIS DISSECTING NEWS ????
Derekh_Eretz_Kadmah September 9, 2020 10:21 pm at 10:21 pm
I don't see why this would be of particular interest to Torah-observant Jews. The Zionists usurped the holy name Israel and established their blasphemous state in defiance of what was an overwhelming consensus of the foremost rabbinic sages.
KGN September 10, 2020 11:44 am at 11:44 am
This has nothing to do with Yiddishkeit or Politics that affects Yidden.
EmunaLivesWithin September 10, 2020 4:47 pm at 4:47 pm
Very nice!! Enough with all the hate. If it doesn't interest you skip it and go to the next article.
J92 September 10, 2020 6:03 pm at 6:03 pm
i think its just funny ywn only got around to writing about the game 3 days after:)
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Navigating your dental claim isn't as hard as it may seem.
What is a dental claim?
After you visit the dentist for a checkup or service, the dentist will submit a claim form to your dental insurance carrier requesting payment. The dental claim outlines the services and procedures the dentist or his staff performed at your visit. Delta Dental of Arizona then determines how much of the claim is covered by your dental plan.
Once Delta Dental of Arizona pays the claim, we send an Explanation of Payment to the dental office and an Explanation of Benefits to you (the patient).
A claim is the formal payment request submitted by your dental care provider to us. We then determine how much of the claim is covered by your plan. Avoid surprises by logging in to the Member Connection to review your benefits coverage before you go to the dentist. You can also this information when you receive your EOB to get a better understanding of why we paid the claim the way we did.
Signing in to the Member Connection at deltadentalaz.com/member.
Downloading the Delta Dental Mobile App (iTunes or Google Play). In addition, our app has a cost estimator tool that can give you an idea of what your dental visit may cost before you go.
You don't have to be fluent in insurance lingo to understand your claim! Your EOB will break down your claim to include: the costs of your treatment, what your plan covers, and how much you may owe after coverage. We also have a handy guide to understanding your EOB available on our website.
Still have questions about your dental claim or EOB? We're here to help. Just contact a member of our customer service team.


This chalet cuckoo clock is a loving ode to the some of most memorable characters in the world-renown children's novel Heidi by Swiss writer Johanna Spyri.
'Grandfather's Chalet' presents a scene where the bright and ever-cheerful Heidi stands next to her beloved grandfather as she cuddles a kid in her arms. Off to the right of scene is Peter, the goatherd, tending to two adorable goats under his care. The bold red eaves serve as a striking counterpoint to the rich brown color of the chalet's timber edifice. The windows are cut-through, lending the scene a bit more texture and inviting admirers to wonder—what's going on inside?
Ornaments : Some ornaments are hand-made, which makes each one of them original and unique.


text:
package com.wci.umls.server.model.meta;

/**
 * Enum for {@link TermType} name variant types.
 */
public enum NameVariantType {

  /** The lexical variant. */
  LEXICAL_VARIANT("Lexical variant (synonym)"),

  /** The sfo. */
  SFO("Short form (synonym)"),

  /** The ab. */
  AB("Abbreviation or acronym (synonym)"),

  /** The expanded. */
  EXPANDED("Expanded form (synonym)"),

  /** The fn. */
  FN("Fully specified name (synonym)"),

  /** The langauge variant. */
  LANGAUGE_VARIANT("Language variant (synonym)"),

  /** The common. */
  COMMON("Common, or colloquial form (synonym)"),

  /** The undefined. */
  UNDEFINED("Undefined");

  /** The description. */
  private String description;

  /**
   * Instantiates a {@link NameVariantType} from the specified parameters.
   *
   * @param description the description
   */
  private NameVariantType(String description) {
    this.description = description;
  }

  /**
   * Returns the description.
   *
   * @return the description
   */
  public String getDescription() {
    return description;
  }

}


Angelina College offers training for local businesses. Grant funding for training is available to qualified businesses in Deep East Texas. For more information, click on the link below or call (936) 633-5412.


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| Concerts |
The Ten Best Concerts of the Summer
Westword Staff | October 16, 2014 | 9:17am
Red Rocks hosted the last concerts of its regular concert series a little over a week ago, signaling the official end of the summer concert season in Colorado. This week on the Backbeat blog, we're looking back at some of our favorite shows of 2014's warmest months. Note that we didn't include any festivals and that, as always, these things are of course subject to various whims and coincidences. Let us know your favorites in the comments!
See also: 50 Photos That Prove Red Rocks Is the Most Beautiful Venue on the Planet
Nas at Red Rocks Amphitheatre, June 19 Nas's presence at Red Rocks was pure magic -- the man was on. His delivery was incredible; rhymes laced over his tracks with perfect balance. He gave much love to Michael Jackson before performing the "Human Nature"-sampling "It Ain't Hard to Tell," then let the crowd take Ms. Lauryn Hill's verses on "If I Ruled the World." The audience was in heaven. The rapper found a way to bring just the right amount of banter to a set that, while packed with hits, felt way too short. -- Bree Davies Nick Cave and the Bad Seeds at the Buell Theatre, June 24 When Nick Cave and The Bad Seeds went into "Stagger Lee" from the 1996 album Murder Ballads, it was an iconic moment of an evening of music in which the band took the tradition of American folk mythology and breathed into it a larger-than-life electricity. Cave brought raging emotional intensity and dynamic outbursts, whispered statements from the devil and the seductions and outrageously compelling swaggering assertions of Stagger Lee himself. He strode well into the seating area on the first tier of the theater, standing on the backs of chairs, supported by fans. He became one of us, while effectively embodying various archetypes and reminding us that we're part of those, too. --Tom Murphy Nine Inch Nails and Soundgarden at Red Rocks, July 21 It would be easy to dismiss a show like this as something aging fans of '90s alternative rock take their kids to. But Nine Inch Nails and Soundgarden still have plenty of intellect and challenging music.
What the show proved is that bands that slightly pre-date the alternative rock era and continued through its eras collapse still have an enthusiastic audience. They can also still produce new work that pushes their existing artistic boundaries. --TM
Great White at Buffalo Rose, July 26 There were no gimmicks at the Buffalo Rose, beyond some rock theater, and none were needed. Great White, of all bands, gave us a startlingly strong rock and roll show, the likes of which isn't often seen these days. --TM Pretty Lights at Red Rocks Amphitheatre, August 9 and 10 During Pretty Lights' sold-out two-night stand at Red Rocks, members of the Colorado Symphony Orchestra joined him for the last of three sets. The first set was a solo one, the second with a live band. Then nine violinists, three cellists and an upright bassist from the CSO joined Pretty Lights for a two-hour finale. The string section brought unprecedented depth, filling out the spaces in between harmonies and melodies. -- Mary Willson Jack White at Red Rocks, August 20\ About twenty minutes before Jack White took the stage at Red Rocks, a hard rain started falling and lightning flashed to the east. Fog machines on the stage were fired up and the wind was blowing the haze, tinted hues of blue from the stage lights, around. For a moment it looked the Do Lung Bridge scene in Apocalypse Now. But instead of Randy Hansen's Hendrixian guitar work as the score, Pete Rock's "I Got a Love" was pumping on Red Rocks house system. Hell, the whole scene seemed a bit surreal, and the show hadn't even started yet. -- Jon Solomon OutKast at Fiddler's Green Amphitheatre, August 22 The curtain dropped a little past 9:30 to reveal Big Boi and André 3000 inside a massive box at the center of the stage. They started with "B.O.B.," a song that has lost exactly none of its urgency in the fourteen years since it was released, and it just got better from there. You're certainly entitled to your opinion here, but for me the best song of the night was "The Whole World," with a crowd of thousands there to sing gleefully along to that immortal chorus about our mean-ass society and Killer Mike on hand to deliver his thesis statement on the power of the English language. -- Kiernan Maletsky Future Islands at the Gothic Theatre, August 27 The way Sam Herring moves on stage can be frightening. One minute he's slashing at the air with a balled-up fist, the next he's pounding that fist into his chest with brute force. He crawls across the stage on his knees, sweating and wailing in frustration, but then he'll look up and into your eyes momentarily, and suddenly, he becomes a person you want to know. The Future Islands show at the Gothic may have been the band's best-ever performance in Colorado to date, led by Herring's ability to express the most real and raw emotions one human can pass along to a room full of hundreds of strangers. -- BD Rubedo at the hi-dive, September 12 The poster and fliers for Rubedo's show at the hi-dive featured the trio as comic-strip space explorers, holding laser guns. The fliers came with bags of crystals, and the Facebook page for the event encouraged people to bring the crystals to the show. They were both part of the theme of the evening, which band manager Annie Geimer described as "'70s retro space-apocalyptic. We're launching off." -- Gina Tron


A few pictures from the last week or so. We've all had a horrible sickness bug - one of us after the other, so there has been lots of time spent at home. It was actually quite nice to spend a couple of mornings with my girl. We painted and glued Christmassy pictures inspired by Pinterest and decorated cupcakes.
We also managed a little walk along the beach too, It felt good to get out in the lovely sunshine and fresh air after being cooped up inside. The boy was most pleased with his find of a broken paintbrush which he used to hammer pieces of driftwood.
The kids are super excited about Christmas now they have finished for the holidays - because it is only 4 more sleeps!! I'm going to take a little blogging break over Christmas while they are at home. I'll be around on Instagram and will be having a good catch up of everyone else's blogs too!
Oh poor you, that's not much fun. Hope you're all feeling completely better now. The cakes are wonderful. Nothing like cupcakes decorated by children. I'm hoping to do a gingerbread house with mine. A bit ambitious I know! Glad you got to see the nativity, it is indeed one of the most special moments of the school year. I hope you all have a great Christmas and a very happy New Year.
Those paper trees are simple and wonderful. Oh, sickness bugs are the very pits. So glad it's scarpered now.
Hope you're all feeling better! We've had some bugs too.. but we tend to just watch TV under a blanket instead of making and baking like you ;). The handprint is wreath is beautiful and such a lovely idea!
Have a lovely lovely Christmas!
I'm glad you're feeling better. Everything looks very festive at your house. I wish you all a Merry Christmas!
Beautiful! Happy to hear that you are feeling better now. Merry Christmas!
Hi Caroline - I love your Christmas makes...we will be doing nails later today!
Happy Christmas! Glad you're all better. Loving Archie's mittens by the way!


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White Knight Chronicles to Have Built-in SNS
Step aside, MySpace!
By John Tanaka
News of an online multiplayer party mode for White Knight Chronicles was one of Sony's biggest announcements at October's Tokyo Game Show. But they forgot to mention one big feature. In addition to online play, White Knight Chronicles
White Knight Chronicles International Edition - Playstation 3
will include a built-in social network service.
Announced today at a pre-launch event in Tokyo, the built-in SNS is formally known as "GeoNet." This area of the game has all the features you'd expect of an SNS, including friend lists, a journal with comment functionality, and messaging. The service also keeps track of who's reading your content, so you can see if your journal is popular.
This is just one feature of what should be a feature-rich RPG. Developer Level-5 is even giving the game content off the Blu-ray disc! Today, the White Knight site was updated with a web comic, White Knight Chronicles: Episode 0 Dogma Wars (this is an English translation of the Japanese name, Shirokishi Monogatari: Epsiode 0 Dogma Senki). This comic tells the story of a battle that took place 10,000 years prior to the game. You can see the Japanese version for yourself at the White Knight official site under the "Special" section.
White Knight Chronicle hits Japan on Christmas day. Check out the media page below for the latest screens.
Rated "T"
DeveloperLevel-5
Release DateFebruary 2, 2010
PlatformsPlayStation 3


text:
UNC defenders hoping interceptions 'catch' on this season
After finishing last season with only one interception, the fewest in the FBS, the Tar Heels' defense is putting an emphasis on creating more takeaways in 2017
August 4, 2017 Brett Friedlander Article
UNC's MJ Stewart battles Stanford's JJ Arcega-Whiteside for a pass during the Sun Bowl last December (GoHeels.com photo)
CHAPEL HILL — M.J. Stewart spent a good portion of his summer workouts catching passes from the four players battling to become North Carolina's starting quarterback.
No, he's not thinking about playing both ways in an effort to bolster the Tar Heels' graduation-depleted receiving corps. The All-ACC cornerback was simply working on improving his hands so that he and his defensive teammates can improve on a statistic that continues to haunt them.
UNC actually led the ACC and ranked 12th nationally in pass defense last season, allowing an average of just 180.8 yards per game through the air.
But that's not what people remember about the 2016 Tar Heels.
Rather, it's the fact that the finished dead last nationally with only one interception, with that coming in the 10th game against an FCS opponent, The Citadel.
"It seems so simple, but we just didn't look it in all the way and come down with the ball," said Stewart, a senior who has six career picks and led the team with 11 pass breakups a year ago. "It's not like we weren't in position and were getting burned every play. We just didn't come down with interceptions. People see only one interception, but that doesn't mean we weren't a good secondary."
And yet, UNC's defenders still find themselves having to defend themselves over their lack of takeaways last season.
It's a psychological wound that continues to sting, especially since the Tar Heels tied for the ACC lead with 17 interceptions the year before.
"Me, personally, I dropped three clean interceptions," linebacker Andre Smith said. "You can't blame that on anyone else. It's all my fault. You just have to keep working at it. That's all you can do."
Other the summer workouts with the wide receivers and a greater focus on catching the ball, the biggest thing UNC's pass defenders could have going for them this season is a change in philosophy brought about by new defensive coordinator John Papuchis.
Though most of the differences from retired former coordinator Gene Chizik are subtle, Papuchis is instilling a much more aggressive approach in his players.
"We've taken the leash off and we want to be aggressive," senior safety Donnie Miles said. "We want to get after people."
Papuchis previously served as a defensive coordinator at Nebraska before coming to UNC as linebackers coach two seasons ago as part of a defensive shakeup that centered around Chizik's arrival.
Fedora is counting on both Papuchis' familiarity with the personnel and his players' familiarity with the system to make the transition a smooth one.
"When Gene left, it was natural for JP to move into that spot," Fedora said. "We were more basic with what we did the last two years and now those guys understand the base. So now it's JP being able to expand it, to do more over there so we have more tackles for loss, more sacks, all of those things."
Including more interceptions.
Becoming more opportunistic on defense, however, isn't just a matter of pride. It might also be a necessity, especially early in the season as UNC goes up against some tough competition with an offense looking to replace its starting quarterback, top two rushers and three of its four leading receivers.
As Stewart pointed out, the defense can do its part in helping that young offense develop by wrapping up some of those interceptions and giving it a short field on which to operate.
"In years past the offense has been like the backbone of our team," Stewart said. "But I think this year is a good chance for our defense to step up and be that rock and that platform for our team. In that sense we have to create game-changing plays, which are takeaways — forced fumbles and things like that."
Andre Smith
Donnie Miles
Gene Chizik
John Papuchis
Larry Fedora
M.J. Stewart
Strong U.S. jobs report bolsters case for further Fed tightening
Penn transfer adds to Duke defense
100 in 100: Sampson County's Willie Parker, 'Fast Willie'
July 9, 2020 Brett Friedlander Article, College Football, NFL, Sports
North State Journal's 100 in 100 series will showcase the best athlete from each of North Carolina's 100 counties. From Alamance to Yancey, each county will feature one athlete who stands above the rest. Some […]
Big Four women's teams look to move up in top-heavy ACC
November 14, 2018 Shawn Krest Article
Much like their counterparts on the men's side, women's basketball teams in the ACC face a daunting challenge to reach the top tier. The ACC should once again be a top-heavy league, with defending national […]
Brown hopes Heels learn from heartbreaker
October 2, 2019 Brett Friedlander Article, College Football, Sports
Rarely has a loss represented such a major victory for a college football program as did North Carolina's 21-20 setback to defending national champion Clemson on Saturday. "I think everything came out of Saturday good," […]


text:
Il TROVATORE on Disc:
the Strongest Entries
REFLECTIONS ON OPERA RECORDINGS AND SINGERS | REVIEWS: BY OPERA TITLE BY COMPOSER THE COLLECTOR'S GUIDE TO BOOKS ON OPERA | FAVORITE OPERA LINKS
IL TROVATORE ON DISC: THE STRONGEST ENTRIES
1. THE TOP SETS
I've found that two sets of Il Trovatore tend to be singled out more frequently than any others, and I find myself in agreement that these two are head and shoulders over any others, fine as some of the others are.
The two are (in chronological order) a monaural set made for RCA in 1952 with Jussi Bjoerling (Manrico, the "troubadour" of the title), Fedora Barbieri (Azucena), Zinka Milanov (Leonora) and Leonard Warren (Di Luna), and a "live" performance at Salzburg from 1962, now available on DG (I have an earlier pressing on GALA), with Franco Corelli (Manrico), Giulietta Simionato (Azucena), Leontyne Price (Leonora) and Ettore Bastianini (Di Luna). Renato Cellini conducts the RCA set and Herbert Von Karajan the Salzburg DG (to be distinguished, BTW, from other studio DG sets with Bergonzi, Domingo et al).
The two sets could not draw a more striking contrast, and it's a sign of the greatness of this opera that it can accommodate two such widely different approaches. It is also a tribute to the superb conviction in both these recordings that each of them, distinct as they are, can make one forget every other interpretation while one is under either's spell. Everyone is in fine voice on both.
Where the RCA is all poetry and elegant song, the DG is all fire and passion. Where the RCA boasts utterly natural, unobtrusive conducting from Cellini that facilitates the singers projecting their lines with the ease of cultivated speech, the DG has in Karajan a veritable ringleader who charges up his flamboyant principals into feats of sheer daring and brio that take the breath away. Mystery rules on the RCA, but spontaneity wins out for DG. The RCA can make one cry. The DG can make one cheer. One is poetry, the other theater. They are perfect opposites. Typical of this is the contrast between Jussi Bjoerling's Manrico and Franco Corelli's. Bjoerling's is a considerably more lyrical sound than Corelli's, but he has a true grasp of the bel canto style and is ever the alert musician. He does not bring as personal a sense of himself in portraying the role, though. Corelli's greater vocal power may be closer to the kind of vocal persona that Verdi had in mind, and his engagement with the character is far more intense, while his musicianship and grasp of bel canto phrasing is not impeccable.
In Fedora Barbieri on the Bjoerling/Cellini and Giulietta Simionato on the Corelli/Karajan, we have the two finest Azucenas of their day, Barbieri superb at evoking the terror surrounding this character, Simionato superb at revealing its humanity. But that doesn't mean that humanity is somehow shortchanged in Barbieri or terror shortchanged in Simionato. It is simply a matter of where the chief emphasis lies in each artist. They each have the same gift of making the listener forget any other reading of the role in the way they make each moment in the music wholly theirs.
In Zinka Milanov on the Bjoerling/Cellini, we have arguably the most completely satisfying Leonora on disc. With her intrinsically caressing tones, the ease and flexibility of her singing, the radiance and amplitude throughout, the soaring top notes, the loveliness of her pianissimo and the strength of her low, this is a Leonora whom I have yet to hear equalled, let alone surpassed. But Leontyne Price's Leonora with Corelli/Karajan does come awfully close. If we except a less than telling low in Price, many of Milanov's virtues are also Price's, the lovely and puissant sounds in Price's instrument providing both a depth of human feeling and a shimmering beauty that, as with Milanov, reveal both the drama and the full beauty in Verdi's music.
Very few Verdi baritones have the richness of sound heard in both Leonard Warren on the Bjoerling/Cellini and Ettore Bastianini on the Corelli/Karajan. Di Luna's music does not strike me as being so infinitely expressive as Verdi's writing for the other principals. But what Di Luna's music does require -- rich easy legato and a ringing top, plus an ability to evoke raw power -- Warren and Bastianini each supply in abundance.
I've never been able to make a choice between these two sets, and I wouldn't want to. I'm glad I can hear both any time.
2. COMPLETER SETS
All that said, one should be aware that both these sets have certain traditional cuts that were long standard.
So if you want to have almost as compelling a set that will include much more of the music -- although not quite literally complete -- two others are worth checking out: Karajan's early mono set (EMI, 1956) with Giuseppe Di Stefano (Manrico), Fedora Barbieri (Azucena), Maria Callas (Leonora) and Rolando Panerai (Di Luna); and the best-conducted studio set of all, featuring Maestro Tullio Serafin at the podium, with Carlo Bergonzi (Manrico), Fiorenza Cossotto (Azucena), Antonietta Stella (Leonora) and Ettore Bastianini (Di Luna) (a stereo release on DG, 1962).
Vocally, neither of these are as consistently satisfying as the two "winners", but they are viable sets that are worthwhile for their clear, honest presentation of the original structure of Verdi's score.
The '56 Karajan is a dramatically engrossing heartfelt reading from everyone all the way through, and Barbieri's Azucena shows somewhat more technical authority, including the requisite trills, than on the '52 RCA, even though her general vocalism, per se, is not as fresh and sweeping.
Don't look for the vocal authority of a Bjoerling or a Corelli in Di Stefano. In fact, there are places where one can hear him straining his voice quite a bit. But he does bring extraordinary sincerity and unfailing tenderness to his music. Callas too is under some vocal strain, although she's actually in somewhat better control all the same than Di Stefano here, IMO. And interpretively, I've always found her Leonora quite the most compelling of them all. Ultimately, it is the contributions of the two divas here that put the cap on the unfailing drama of this set.
The '62 Serafin set is distinguished most by conducting that is unsurpassed by anyone but Serafin himself elsewhere (see below) and by the sheer authority of its two brothers: Bergonzi's Manrico and Bastianini's Di Luna are much more assured than their counterparts on the '56 Karajan. OTOH, the drama is not as vivid here as on the '56 Karajan, primarily because Cossotto's Azucena and Stella's Leonora do not bring the same individuality to these roles that we hear in Barbieri and Callas.
Bergonzi's vocal power is roughly equidistant between Bjoerling's and Corelli's. His scrupulous adherence to the bel canto music is striking, and his reading of the music otherwise is unusually sensitive and imaginative, IMO. For a combination of bel canto sufficiency, variety of shading, genuine Italianate warmth, and ever-alert musicianship, Bergonzi may bring together just about the most complete package heard anywhere in this role. He may not establish any benchmarks in any one area, but many would claim that his is the Manrico with the fewest flaws. Tullio Serafin leads the most imaginative, as well as the most natural and cohesive, account of the score yet heard in any high-fidelity recording. A shame that Stella's rich-voiced Leonora not only fails to match the vividness of Callas with Karajan but cannot really compete with many other better-disciplined accounts on disc. But, though Cossotto's Azucena also lacks some personality, it's intriguing hearing this sumptuously sung Azucena at a point when it was still developing into the grand imposing finished interpretation heard in the next recording.
Not quite as compelling as the '56 Karajan or the '62 Serafin but the least problematic of those few sets that are literally complete would be a certain stereo RCA set from ca. 1970: Placido Domingo (Manrico), Fiorenza Cossotto (Azucena), Leontyne Price (Leonora) and Sherrill Milnes (Di Luna). Zubin Mehta conducts.
Some fans whom I know find certain things wrong with this recording. It does not seem to have the full vividness of feeling and inner compulsion heard in the greatest Trovatores. Moreover, although its title role is sung by a very young Domingo with both the requisite darker melancholy colors needed for the part and the basic mechanical facility needed for the bel canto pyrotechnics higher up, Domingo, nevertheless, does not have, IMO, even when young, quite the kind of ringing sense of abandon that is ideal for Manrico, and which we hear somewhat more of in Bjoerling and in abundance in Corelli, nor the full variety of shading and dynamics heard in the greatest Manricos.
But this set can still be regarded as a "reference" recording musically, and I admit I will sometimes check up a certain passage in this work by cueing up this recording before others when I don't have the energy to find my score and open it up the way I should;-) That's how reliable this set is. I just know I can depend on it as a reading of Verdi's music, neat.
And in Cossotto's fully matured Azucena, we have one of the most commanding accounts of Azucena's music, all her music and nothing but her music, on disc, encompassing a ringing high C in Act II.
Then there is another set that is "completer than complete". It's on DECCA/ London, and it features Luciano Pavarotti, Marilyn Horne, Joan Sutherland and Ingvar Wixell. Richard Bonynge conducts. The chief virtues in this set lie in its respect for the bel canto aspects of the score and in the reclamation (at least in the LP edition, not certain re the CD) of the Act III ballet that Verdi wrote for the Paris revision. Not even the Mehta has this section, and even though this ballet is hardly top-drawer Verdi and is not part of the original opera, it's valuable having a well-recorded, uncut reading of this sequence.
Pavarotti's Manrico has virtues somewhat similar to Bjoerling's. At the same time, although Pavarotti brings greater warmth than Bjoerling to much of the music, that is offset by Pavarotti's tendency to less vocal resilience and energy. Also, although Pavarotti's instrument does have a somewhat warmer timbre, his musicianship isn't quite so secure. On the plus side, unlike Bjoerling (at least on the Cellini set), Pavarotti does deliver a pair of neat trills, as well as meshing well with his distinguished bel canto Leonora throughout. In fact, Sutherland's Leonora delivers the coloratura as brilliantly as anyone on disc. The same is true of Horne as Azucena.
This set does not have the kind of electricity heard in the Salzburg, nor the warmth and tenderness of the Cellini, but it occupies a niche as one of the best-mannered, vocally, of all the recordings available. One only wishes Wixell's Di Luna had a richer tone. Also, more critically, the conducting does not even have the brio or the individuality of Mehta's, let alone Cellini's or von Karajan's. (Of course, no one's compares to Serafin's.)
3. SINGER SETS
Now we come to a richly populated crop of recordings, which, for some listeners, are just as special in their way as the fine ensemble ones already cited, but which I might suggest are better for those listeners who already have a nodding acquaintance with the work from other more generally consistent performances across the board (like the above).
To understand the point of such sets, one must also understand that Trovatore is, above all, a singer's opera, and for many listeners, they will select whatever set may provide -- for them -- the single most satisfying reading of a single role. Clearly, the title role, Manrico, is a key factor. But Verdi himself regarded Azucena as the prima donna of the piece, and at the same time, many view a Trovatore as pointless unless the Leonora is utterly superb. (Even though I do view the pecking order of importance of the top three roles as being Manrico/Azucena/Leonora, most do not heed the composer and instead regard the pecking order as Manrico/Leonora/Azucena; I do concede the point that, for sheer complexity of vocalism, Leonora may well be the most bewildering to master properly.) One also needs a commanding presence at the podium, but one which will also give the singers their head at the most emotional moments. Surprisingly, this is not that easy to find, so the existence of sets distinguished most by an alert conductor are valuable and worth some scrutiny.
This "niche" class can arguably be divided into four groups: great Manrico sets, great Azucena sets, great Leonora sets (I don't know of any who stake their choice on the Di Luna, but you never know.....) and great conductor sets.
4. MANRICO SETS
Manrico requires -- ideally -- a spinto (full-bodied, ample-toned, trumpeting) kind of tenor with long breath, pealing top notes, a responsive low register and adept bel canto facility, including a good trill. The only genuinely spinto tenor of the past century who also started out with bel canto roles like Arturo in Puritani, etc., is Giacomo Lauri-Volpi of the '20s and '30s and '40s. Other than Lauri-Volpi, one either has relative lyric tenors with some bel canto finesse or true spintos who must sacrifice some of the bel canto requirements.
Unfortunately -- IMHO -- Lauri-Volpi recorded the role too late in his career to do full justice to what had evidently been an exceptional assumption during his prime. But we do have early excerpts from his prime that show convincingly just how special a Manrico this phenomenon was.
As to the two complete recordings, rather than being smack dab in the '20s or '30s, Lauri-Volpi can only be heard in the early '50s, when, among other things, his bel canto attainments seem compromised -- again, IMHO. One recording is a "live" performance opposite Callas (1951) and the other is a radio studio performance from around the same time. From the standpoint of Lauri-Volpi, the radio studio recording (it was made for Cetra, and Miriam Pirazzini and Caterina Mancini are the Azucena and Leonora, with Fernando Previtali conducting) may be somewhat preferable.
What remains special about L.-V.'s Manrico, even here, is the sheer authenticity of his sound, up to still ringing top notes even at this late stage in his career. The voice as a "face" and as an aural persona is Manrico. It's as simple as that. And when we consider that L.-V.'s training stretches back to mentors who walked the earth when Verdi still lived and influenced things, the special historic value of Lauri-Volpi's recording is readily apparent. There is nothing puny about Lauri-Volpi's recorded Manrico. It is Grandissimo (however occasionally tattered).
Other Manricos of L.-V.'s generation managed to record Trovatore while still in their prime: Aureliano Pertile and Francesco Merli. Both their recordings come from 1930. Pertile's reading is full of nuance and ferment, at times delicate and tender, at times violent and somewhat unmusical for some. He does not have the ease of vocal abundance of a Lauri-Volpi (who does?). But there are a hundred and one colors in his voice, and he uses them all. His is one of the most individual interpretations you'll ever hear. Just don't expect clean vocalism. His set is enhanced by the stunning Azucena of Irene Minghini-Cataneo and the fine Di Luna of Apollo Granforte but encumbered by a sub-par Leonora.
Merli is one of my personal favorites. Though not as richly nuanced as Pertile, he is still fully engaged in the part and somewhat more musical. And his voice is (almost) as authentic an instrument for the role as Pertile's. There is nothing, either dramatically or vocally, that is slipshod in this Manrico. He may not have the solid bel canto facility of Domingo, but he does not bend phrases out of shape the way some others do. And he projects an affecting personality throughout. This is as solid and musical a reading as we can expect from a genuinely spinto tenor who is not the young Lauri-Volpi. His colleagues, though, do not match Pertile's.
5. MANRICOS OF A LATER GENERATION
Once one understands that the choices for Manrico in later generations veer between the fuller lyrics with true bel canto facility and the spintos with (usually) deeper empathy for such a heroic role but less bel canto facility, it's easier to range some of the conflicting choices along clearer lines. Going back to the two classic sets first recommended at the top, Bjoerling is a very full lyric with impeccable musicianship, elegant and truly bel canto phrasing, while Corelli is the swashbuckling hero incarnate with a tingling sense of doom throughout and boundless heroic energy in the voice. Neither give us everything that the younger Lauri-Volpi evidently gave, but they each throw themselves into what they can do with unstinting dedication. At his best, Bjoerling sang the bel canto intricacies of the part more adeptly than anyone, IMO, while Corelli gave more of a sense of pure romance than any other spinto, IMO. They balance each other in their equal supremacy in what they, uniquely, could offer.
Yet, though both do a fine job in the two top sets cited above, their very finest Manricos are to be heard elsewhere.
For Bjoerling at his most adept, trills (absent in the classic RCA/Cellini), pianissimi and all, his one unique Manrico, featuring a more scrupulous reading of Manrico's music than I have heard anywhere else, is a "live" 1939 performance from Covent Garden, conducted by Vittorio Gui. (This is available only on certain specialty labels, Legato, Bel Canto, Urania, and so on.) Nothing in Manrico's music is shirked, and this is not only a triumph of purely musical conscience, Bjoerling brings a heartfelt commitment and breathtaking imagination to his singing here that was not always associated with him. It may not be merely the finest Manrico of his career but the finest extant example of his singing, period. Unforgettable. The sound quality of this broadcast is strictly so-so.
Corelli's finest Manrico, IMO, comes a few months after the landmark DG broadcast with Von Karajan. Instead of the summer of '62, we go to December of '62, Opening Night at La Scala, with Gianandrea Gavazzeni in the pit. (For a while, this performance was available on a Melodram CD.) Here, Corelli gives us his most simpatico and his most imaginative reading.
Frankly, I also feel that, in many ways, this performance may be the closest to what Lauri-Volpi might have given us in his prime. Clearly, the one ingredient missing may be the fully authentic response to the bel canto graces heard in Lauri-Volpi's earliest Bellini (et al) records. Corelli cannot give us quite that kind of suppleness. But he is hardly sparing of some ravishing pianissimos, ambitiously molded -- and long! -- phrases, imaginative nuances and intimate tendernesses that bring the humanness of the role alive as no one else has, I feel.
Corelli gives one the sense that he will never settle. Everything comes from "inside", so to speak, in the same alive way that Pertile makes one feel that Manrico is always "in the moment" -- with the advantage that Corelli is capable of greater vocal suavity, not least because his instrument is simply so sumptuous. This Dec. '62 Manrico occupies as unique a position in its way as the '39 Bjoerling.
One other Manrico of the LP era splits the difference between Bjoerling and Corelli, and for that reason, some listeners view him as a better compromise than Bjoerling or Corelli, even though he may not be as charismatic an artist (though some would dispute that): Richard Tucker.
Personally, I view Tucker's recording (1959, under Basile) as having come somewhat late for him -- not in terms of vocal "chops", as his voice seems in good control, but in terms of musical approach. There is something stern and clipped about it, IMHO: his Italian can be percussive, and the stance is definitely more that of the warrior than the lover or the "troubadour". That said, the voice is undeniably spinto, although not quite as powerful-sounding in this recording as Corelli's, despite its being closer in size to Corelli's than to Bjoerling's. And wonder of wonders, his basic bel canto assurance throughout the role, including two sturdy trills, places him in a musical league with Bjoerling and Domingo, neither of whom have quite such ringing and powerful tones as Tucker has. Tucker's is the most powerful-voiced reading available to follow all the bel canto intricacies.
6. AZUCENA SETS
For me, Irene Minghini-Cataneo, Fedora Barbieri, Giulietta Simionato and, as heard with Mehta, Fiorenza Cossotto are, chronologically, the first four of the top five Azucenas on disc. There is one very special Simionato set yet to go before we get to that fifth great Azucena: Simionato's stereo DECCA/LONDON set from the '50s. This is actually quite well-recorded, and it captures the sound of all three of its principals vividly and naturally. Mario Del Monaco is Manrico, Giulietta Simionato is Azucena and the Leonora is Renata Tebaldi. Unfortunately, the Di Luna is distinctly sub-par.......
Though Barbieri's Azucena is sui generis for its evocation of the terror that surrounds this character and the deep rich tones that she can draw on, Simionato's is notable for an even wider range of vocal shading. She may not have quite so imposing a sound, but it is certainly very strong, and it encompasses a bigger range, facilitating an exciting high C (it's in the score!) at the conclusion of Act II, Scene 1. Simionato eschews the high C in her later performances, and Barbieri skirts around it in all her recordings. Equally striking, IMO, despite the impressive size of her voice, Simionato's control over the bel canto reqs. in her role shows considerable fluency. At least, it is certainly more fluent than Barbieri's in '52 if not Barbieri's more technically disciplined, less vocally easy, self later on. Yet even at her best, Simionato, musically and technically, is not quite so impeccable as Cossotto. On the other hand, I personally find Simionato much more expressive than Cossotto, heartfelt as the latter is. Simionato's combination of some bel canto sufficiency, an abundance of dramatic insight, proper strength for the climaxes, and an easy top, as heard in the Del Monaco set, arguably make her unique among recorded Azucenas. She is "assisted";-) by a Manrico (Del Monaco) who has to be the most powerful-voiced Manrico anywhere on disc(!), albeit one with nowhere near as much imagination or tenderness as Corelli, Pertile, Merli, or Lauri-Volpi.
A latter-day representation of Azucena's music come scritto is heard in the fifth great Azucena on disc: Dolora Zajick on a state-of-the-art SONY CD made in the early 1990s. While not as individual a reading as Simionato's, Zajick's Azucena reflects a sheer technical mastery that is superior. In fact, it is fully on a Cossotto level, complete with crisp trills, assured flexibility throughout and an easy high C. This set as a whole is not as satisfactory, though, as any of the Cossotto sets, entirely because of Zajick's generally less preferable colleagues. James Levine does an effective job at the podium, but Domingo's Manrico is heard past its best, and Millo's Leonora, while occasionally affecting, does not have the full flexibility of other great ones. Vladimir Chernov sings Di Luna. Ultimately, this set is chiefly valuable for being the best-engineered recording to provide a fully satisfactory rendition of Azucena's music.
7. LEONORA SETS
There is a studio recording of Il Trovatore released by EMI with Franco Corelli, Giulietta Simionato, Gabriella Tucci and Robert Merrill (Thomas Schippers conducting) - with the choir and orchestra of the Teatro dell'opera di Roma. The set was made in 1964.
To dispose of my two pet peeves here first: although Corelli is hardly monochromatic here(!), I find that he lacks the full range of dynamic nuance and shading heard from him in one or two "live" performances. Most important, IMO, he lacks the full tenderness he brought to the role elsewhere. It just seems more intermittent to me. And I'm bothered by that.
My other peeve is Giulietta Simionato, whose Azucena at its best (on the Del Monaco recording on DECCA/LONDON) vies with Fedora Barbieri's as one of the most probing interpretations to be heard anywhere. But on this Corelli/Schippers set made in 1964, she strikes me as sadly worn. The silver lining, though, is that -- unlike the flaws in Corelli here -- Simionato's failings here are somewhat more in line with the character. One can sort of tie it into an admittedly stirring dramatic reading. But there's so much more than that plus the same drama in her earlier renditions. Ideally, Corelli and Simionato could be a deeply stirring son/"mother" partnership. But what looks good on paper doesn't fully come off. To hear these two together in representative form, stick with the Salzburg.
And what's good here? The deeply affecting and musical Leonora of Gabriella Tucci and the rich enveloping tones of Robert Merrill as Di Luna. In fact, Act IV, Scene 1 pairs the two of them unforgettably. Tucci, though without quite the vocal amplitude of some other great Leonoras, is in masterly control, IMO, and brings both musical genius and heartfelt warmth to the role. Every phrase that she sings here she clearly believes. Quite an artist. This is why I count this as primarily a "Leonora set".
And when she's matched up with Merrill in IV, 1, we can savor the yin of Merrill's sumptuous vocalism to the yang of Tucci's soulful phrasing. Merrill was quite simply the most sumptuous baritone voice I've ever heard in person. One was not always aware of his trying to be loud, yet at the same time, when he sang, the tone seemed to be everywhere. It was thrilling: easy, utterly natural, rolling. And I have to say this Trovatore is one of the best documents of the sheer sound of that voice ever made.
Even more deeply stirring is the Leonora of Leyla Gencer in 1957. She is heard in a "live" RAI broadcast opposite Mario Del Monaco's Manrico (heard here in finer form than on the Simionato/Tebaldi set) and Fedora Barbieri's Azucena (sounding roughly the same as on the Di Stefano recording). Ettore Bastianini sings Di Luna. This entire performance is a solid, energetic reading, led by Fernando Previtali, where nothing much goes amiss, and everyone is in authoritative form. I may not find it as uniformly incandescent as the top two, but, at the same time, I would gladly find it the equal of the Di Stefano, the DG Bergonzi and the Domingo/Mehta sets if only the traditional cuts were opened up here.
What remains indelible is Gencer's youthful Leonora, and it's nice to hear a Leonora of this stature surrounded by a generally more assured cast all around than Tucci has on the more uneven Schippers. Incandescent is precisely what Gencer's Leonora becomes during this performance, although she takes her time getting there. There are distinct pitch problems early on, and a fair amount of aspirating as well. Her first scene has its flaws, no question. But she is already deeply in the character, and her vocalism improves markedly in Acts II and III. Then, in the crucial fourth-act aria, her vivid longing in the vocal "face", the genuinely expressive trills and the gossamer pianissimi combine for an impact that places her level with the finest interpreters of this scene on disc. She continues strong throughout the final act and sets her stamp on this performance. This is that rare thing: a "Leonora" set that has no egregious flaws otherwise, even though Gencer outshines everyone else, IMO.
There remains Maria Callas. Although there are tentative moments in her commercially recorded set under Karajan opposite Di Stefano, no such problems are heard in her earliest and most spontaneous Trovatore ("live"). Some prefer one or two later ones, but I feel her earliest Trovatore really shows her at her most fluent (she never equalled her earliest breakneck reading of the conclusion of Act IV, Scene 1). Here, we have spontaneity, intelligence, vocal amplitude, a huge range, impeccable technical control, astounding musicianship, crackling verbal projection, and the easiest agility rolled into one. It's a shame that artistry of this magnitude had to crumble away so fast and so precipitously.
This first Callas Trovatore is from Mexico City in 1950. And her Di Luna is none other than Leonard Warren. If there is any rendition of IV, 1 that rivals the Tucci/Merrill performance, or the readings heard on the Bjoerling/Cellini and the Corelli/Karajan sets, it's the Callas/Warren one heard here. The overused word "electrifying" fully applies. And Simionato is once more heard as a fresh and vibrant Azucena!
The catch? Three, and they're biggies.
The sound is only so-so.
The conducting is pretty uninspired, IMO.
And some readers may have read one or two disparaging remarks from others concerning the Manrico heard here: Kurt Baum. Very frankly, IMHO, those barbs are sometimes deserved. Honestly, long before I read any such remarks myself, I always looked on Baum as essentially a high C and not much more. Of course, his high C is quite good, and that's nothing to sneeze at. But so much of this role, outside of Manrico's big scena, has an almost baritonal tessitura, and this writing cruelly exposes the relative unevenness of Baum's vocalism elsewhere. This set is useful primarily for its accomplished and compelling Leonora and a happy partnership with a fine Di Luna.
8. A CONDUCTOR'S SET
Finally, another Trovatore brings together three of the most positive contributors to the discography in one set: a 1951 Naples performance, available in fairly drab sound, under Tullio Serafin, featuring Lauri-Volpi, Elmo, Callas and Silveri. With the potent trio of Serafin, Lauri-Volpi and a young, secure Callas, this would seem, on paper, to be in a class with the Cellini and the Salzburg. But Lauri-Volpi sounds even less comfortable than in his studio set with Mancini, IMO, Elmo's Azucena lacks some of the individuality of the greatest Azucenas, without the full bel canto assurance of either Cossotto or Zajick to compensate, and Callas, though still young and secure, can not quite match the energy and agility in her crucial confrontation with Di Luna that we hear in Mexico. Only Serafin comes through with a reading that is even more incandescent than his studio outing on DG. That is, the orchestra may sometimes be a bit scrappy, but the general sweep, lyricism, phrasing and tempi reach a level of inspiration and assurance and unity here unmatched on any other recording. Hardly a negligible set, then, but not entirely the "contenda" it could have been. And the sound remains a stumbling block to those used to the well-engineered Serafin reading on DG. Some listeners, though, can still acclimate themselves fairly rapidly to these drab sonics, thanks to the compelling magic from the podium.
-- © 2005 Geoffrey Riggs
RICHARD TAUBER (1891 - 1948) -- A BRIEF APPRECIATION
The Assoluta Voice in Opera, 1797 - 1847
Copyright ©2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007 & 2008 G. S. Riggs & E. H. Riggs


Year of Issue: 1972 The Free Design - There is a Song (Ambrotype) There Is a Song was the last Free Design record the group made until 2001's Cosmic Peekaboo. It was recorded during a time of change for the group and the Dedrick family, as the group had parted with its label, Project 3, and Chris Dedrick moved to Canada. The album was released on the tiny New York label Ambrotype. Luckily for fans of the band, Light in the Attic rescued it from its fate and put the album out on CD, because it is definitely worth hearing. The group moved away from the big arrangements and orchestras of its past releases; most of the album is anchored musically by simple acoustic guitars and colored in subtly by just a few horns and strings. Their rich vocal harmonies hadn't changed at all, however, as Chris and sisters Ellen and Sandy sound as innocent and star-struck as ever. Despite its obscurity, the album holds some of the group's finest compositions and performances, like the relentlessly upbeat "Canada in Springtime," the sweetly spiritual "Peter, Paul and Mary," the bouncy "I Wanna Be There," and the breathtakingly clear-and-cool title track. The album may be the group's most fully realized and rewarding endeavor.