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. . . ["Transcendental"] is mightily impressive. In La "Campanella" he unleashes a demonic right hand. In the so-called "Octave" Etude he shows real wit. I especially like two of the Concert Etudes where, in "La Leggierezza", he fully unleashes his formidable technique, while producing plenty of poetry in "Un Sospiro."
["Études d'exécution transcendante"]: As this collection of Liszt's studies shows, Trifonov is already an exceptionally thoughtful interpreter, with musicianship that more than matches his technical gifts. It would be easy for such a young pianist to use these pieces to showcase his own technique. But while there is never any doubting the brilliance of Trifonov's playing, that is only the starting point; the delicacy and transparency of his performances are often more striking than their moments of rampaging virtuosity . . . There's no empty rhetoric, even in those pieces, such as the fourth study, Mazeppa, and the climactic eighth, "Wilde Jagd", in which virtuosity is highlighted, while another of the great challenges, No 5, "Feux Follets", becomes an entrancing exploration of keyboard texture, in which the astonishing delicacy and evenness of Trifonov's playing almost gets taken for granted . . . [Grandes Études de Paganini]: there's wonderful subtlety and refinement alongside the brilliance in the performances; the colours Trifonov extracts from the piano in a piece such as the famous La Campanella, or the final Theme and Variations, based on Paganini's 24th solo-violin Caprice, are bewitching . . . This is a exceptional collection of performances.
. . . dazzling . . . Trifonov responds to the music's extreme technical demands with, seemingly, huge resources still in reserve. Sonically, he's able to astonish: the ultra-tricky "La Campanella" is delivered with a mesmerising blend of gorgeousness and needlepoint precision. His way with the "Transcendental Studies" is strikingly introspective and memorable.
. . . a triumph . . . After the opening salvo of the "Études d'exécution transcendante", Trifonov attacks the A minor study with tremendous ferocity . . . The demands of No 5 ("Feux follets") are met with imperious ease . . . and he rounds off the feather-light ending with a piece of delicious timing . . . [in No 9, "Ricordanza",] Trifonov shows he can do delirious ecstasy without crossing the line into vulgar exhibitionism, and can control on the turn of a sixpence the pace and dynamics of these highly charged and emotional works . . . This is unquestionably one of the great recorded performances of the "Transcendental Studies". The three sets of studies on CD2 are equally compelling, with Trifonov's eye for pointing up subtle details likely to appeal to Lisztian connoisseurs . . . [Trifonov delivers] what are, in effect, top-of-the-pile performances of almost all of the 23 separate titles . . . who also has the benefit of superior recorded sound . . . Trifonov's is the best kind of virtuoso playing, where one is hardly aware of the notes being played, allowing one to simply bask in the genius of Liszt's musical narrative and the transcendant execution of an awesomely gifted pianist.
. . . enthralling . . . [Trifonov] has the astonishing technique to dispatch these virtuoso display pieces with the bravura that made Liszt a superstar in his time, but he brings a poetic sensibility, making what he calls "existential meditations" of the more introspective studies . . . Trifonov leaves one open-mouthed at the Mendelssohnian wit and dexterity of "Gnomenreigen", and at the sheer playfulness of Liszt's homages to Paganini. A young player, yes, but already a master.
. . . Mr. Trifonov's set possesses a wonderful lightness of being. Lyrical works like "Il lamento", one of Liszt's most beautiful "Concert Études," are characterized by understated simplicity and tender feeling . . . his "Transcendental Études" are a wonder of seeming spontaneity and breathtaking ease. The uber-virtuosic "Mazeppa", with its churning bass rhythms and crossed-hand passages, builds to an almost joyful restatement of the "galloping horse" theme. The young pianist's mastery of quiet trills in the Chopinesque "Ricordanza" is impressive . . . he acquits himself very well in the final benediction of "Chasse Neige", conveying wistful longing in the quiet opening, subtle windswept turbulence in the quasi cadenza for the piano bass, and regret in the conclusion.
. . . [a] stunning new Liszt recital . . . he has technique to spare, even in the taxing repertoire he has selected for these CDs. His readings of Liszt's 12 "Transcendental Etudes" are galvanizing throughout. He throws off sparks aplenty in "Mazeppa", "Feux follets", and "Wilde Jagd", as one would expect, but perhaps even more impressive is how captivatingly beautiful the less barnstorming movements emerge under his hands, including an elegant take on "Ricordanza" that makes it sound like Chopin. His rhythmic sense has energy no matter what the tempo, and his touch, tone, and voicing never stop entrancing the ear. A selection of concert etudes occupies the second CD, including the famous set based on Paganini themes. The fast figuration is stunning and apparently effortless (he makes even "La campanella" sound easy), but again, the lyric movements set Tifonov apart; you will not be able to settle for listening to his performance of "Un sospiro" just once.
. . . a triumph. After the opening salvo of the "Etudes d'exécution transcendante", Trifonov attacks the A minor study with tremendous ferocity, so much so that on page 4 he had me scurrying to check the score. There are the left hand's clearly marked accents against the right hand's semiquaver octaves but which I could not recall anyone illuminating quite so clearly . . . This is unquestionably one of the great recorded performances of the "Transcendental Studies". The three sets of studies on CD2 are equally compelling, with Trifonov's eye for pointing up subtle details likely to appeal to Lisztian connoisseurs -- the left hand's rhythmic support in "Gnomenreigen", for example . . . Every decent record collection should have at least one version of all four sets of these studies. It is quite a feat for a single pianist to deliver what are, in effect, top-of-the-pile performances of almost all of the 23 separate titles -- but that is what Trifonov offers. Even if you have Berman, Cziffra and Berezovsky in the "Transcendentals", and Hamelin and Graffman in the "Paganini Studies", you will want to hear Trifonov, who also has the benefit of superior recorded sound (the piano is closely but not claustrophobically captured by Marcus Herzog, with the occasional pedal thump). Trifonov's is the best kind of virtuoso playing, where one is hardly aware of the notes being played, allowing one to simply bask in the genius of Liszt's musical narrative and the transcendant execution of an awesomely gifted pianist.
. . . [transcendence really is Trifonov's watchword] throughout this two-hour odyssey, and there are several absolutely magical moments where (to borrow a phrase from Liszt's son-in-law's "Parsifal") time becomes space . . . Trifonov's approach is an ideal palate-cleanser for anyone who's struggled with the density and overt virtuosity of this music . . . you hear every detail, every unexpected accent, every beautifully-sculpted melodic line . . . What's striking about this collection is the tangible absence of egoism in the playing . . . the focus is squarely on the breathtaking complexity of the music itself rather than the skill and mechanics involved in bringing it to life, and there are moments which genuinely seem to tap into that much-ballyhooed idea of "the Romantic Sublime". And the light and shade of the more lyrical studies (the three operatic etudes of S144, or the "easier" Transcendental Etudes "Paysage" and "Ricordanza") also come off beautifully . . . "'Transcendental" is no glib marketing strapline -- it's simply an accurate description of the quality of Trifonov's playing.
Flamboyant, unbridled, Daniil Trifonov's new disc of Liszt has its fingers on the right pulse . . . . "Feux follets" flashes with brilliance. "Wilde Jagd" pushes at the limits of Liszt's furioso marking. Three more sets of studies here, including the "Grandes Études de Paganini", are multifarious, prodigious, dazzling.
Throughout the set, Trifonov's technical mastery is such that his playing calls attention away from itself, relentlessly, and into the atmospheres and sound worlds of the pieces that, for a welcome change, make the album title seem more than a marketing ploy. This is transcendent playing, gratefully recorded in such true sound that you can enter it . . . the notes are so securely in his fingers that, unless you're actually watching him play, you quickly max out on how-did-he-do-that? fatigue and fall helplessly into the music's spell . . . With Trifonov's wizardry, the campanile bells in the almost overly familiar "La campanella" really do exist in their own, separate, distant, insistent space -- and rhythmic orb -- and their clanging resembles no other instrumental sound in more than two hours of playing that leaves nothing on the keyboard unexplored. There's exuberance of the highest kind in Trifonov's playing . . . The long, lithe arcs of rippling sound in the set-ending "Un sospiro" trace a torrent of feeling that's likely to leave you wet someplace or other. I had projectile tears the first time I heard it . . . We are not just in good but the best hands.
Daniil Trifonov's approach is to search out through rounded and constantly beautiful piano tone the music's pre-Debussyian side . . . [thus] "Chasse neige" becomes a true tragic vision, haunting and unforgettable . . . "Feux follets" can't scintillate more than it does here. And that feeling of the music taking wing is then wonderfully unleased in the other sets of studies: "Un sospiro" and the fearsomely tricky "La campanella" are delivered with mesmerising precision and loveliness.
. . . ["Études d'exécution transcendante"]: In "Paysage" Trifonov achieves some exquisite pastel shades, delicately voicing the chords and evoking the peace and serenity of the countryside. "Mazeppa" showcases the pianist's dazzling octaves and scintillating scale runs . . . I love the sense of drama and the fire he injects . . . With non-intrusive tremolos, the cumulative build-up of sonorities in "Chasse-Neige" is compelling. Trifonov evokes an immense snowstorm, contouring the over-arching melody in expressive fashion . . . [Concert Etudes]: What struck me when listening to them was the care and detail he lavishes on each . . . [Grandes Études de Paganini]: Trifonov proves his mettle and tenacity in these virtuosically demanding pieces. Yet, it's not only pyrotechnical skill on display here; the Russian pianist's musicality and intellect stamp their mark on these virile readings. In No. 1 in G Minor "Tremolo", scales and arpeggios are cleanly articulated, and the tremolos have a luminous quality. No. 2 is elegant and subtly nuanced, with pearl-like scale runs to die for. I don't think I¿ve ever heard a tone so bell-like as Trifonov achieves in "La Campanella" . . . Siemensvilla, Berlin proves an ideal venue, conferring warmth and just the right amount of resonance on the piano sound . . . I couldn't imagine these works played any better. This is top-drawer playing in every respect.
[Liszt / "Études d'exécution transcendante"]: Trifonov, a contemporary Wunderkind with an old soul, displays the detachment of a colourist, which suits the pieces perfectly. His technique is so polished as to be a mere means to an end, while his refusal to overdo Liszt's effects pays off . . . Trifonov leaves you wanting more. His No 5, "Feux Follets" (Wills o' the wisp) is full of light and shade, bringing Liszt's whirling vision to life. No 9, "Ricordanza" (Remembrance) is gently inward-looking but never mawkish . . . The Six "Paganini Studies" reveal the breadth of Trifonov's technique. In the best-known, No 3, La "Campanella", and in the taxing repetitions of No 4, "Arpeggio", Trifonov wears his stamina lightly. When he throws himself into the keyboard-wide climaxes of the variations of Paganini's famous A Minor theme in No 6, he stands alongside the greatest thundering virtuosos, yet ensures the music never descends into a wall of noise. This is superlative music making.
. . . Trifonov plays the part of the "Transcendental"-Liszt with alarming ease . . . Considering that Liszt's Études have the potential to put one's fingers in knots, Daniil Trifonov's rendition of the material is impressive . . . For the fifth movement, all of Trifonov's hammer strokes are frighteningly uniform. I genuinely don't know how people like him do this kind of thing.
. . . [the "Études d'exécution transcendante" are] a tremendously exciting journey, always articulate and brilliantly colorful . . . Trifonov can be very theatrical, allying telling silences with fierce attacks or dazzling fusées . . . where Trifonov remains unequalled is by the lightness and transparency of his textures, weaving these ultra-delicate but flexible tapestries of sound in notably "Paysage" and "Feux follets", as well as in the lyrical "Concert Études" "La Leggierezza" and "Il Sospiro" . . .
In works often associated with virtuoso display, Trifonov provides rare subtlety and restraint.
. . . this is by a measurable distance the most distinguished piano recording of the year . . . ["Transcendental"] should be in any serious music-lover's collection.
. . . mightily impressive . . . [in his performance of "La Campanella"] Trifonov unleashes a demonic right hand . . .
Poetry and pyrotechnics are perfectly combined in Daniil Trifonov's five-star pianistic triumph . . . Trifonov, a contemporary "wunderkind" with an old soul, displays the detachment of a colourist, which suits the pieces perfectly. His technique is so polished as to be a mere means to an end, while his refusal to overdo Liszt's effects pays off. "Feux Follets" (Wills o'the wisp) is full of light and shade, "Ricordanza" (Remembrance) is gently inward-looking but never mawkish, while the formidable No 12, "Chasse-neige" (Snow-plow) graphically suggests a snowstorm without ever barnstorming. The Six "Paganini" Studies reveal the breadth of Trifonov's technique. When he throws himself into the keyboard-wide climaxes of the variations of Paganini's famous A Minor theme, he stands alongside the greatest thundering virtuosos, yet ensures the music never descends into a wall of noise. This is superlative music making.
Trifonov's Rachmaninov recording was a highlight of 2015, and his extraordinary account of the Transcendental Studies, one of the greatest challenges in the piano repertoire, surpasses even that. Despite the sustained brilliance of the playing nothing is done for effect; the dazzling technique is entirely used to musical ends. These are the performances of a great musician, not of a showman.
. . . a perfectly regulated Steinway and a recording quality that has to be heard to be believed . . . [Trifonov tears] into the first two études with astonishing bravura . . . ["Paysage"]: [Trifonov takes us deep inside the music with a very slow] tempo. And here the quality of his instrument and the prowess of the DG engineers really comes into play. The clarity and richness of tone in the lower register is palpable. The slow tempo allows us to appreciate every chord change and marvel at the composer's command of color. Again, in another slow étude, No. 6 in g minor ("Vision"), Trifonov reveals all the mystery and sadness of this funeral march in the opening bars, then builds to an overwhelming climax. In étude No. 10 in f minor ("Allegro agitato molto"), Trifonov is stunning . . . DG and Trifonov have given us a second CD devoted to the rest of Liszt's études, some of his most famous among them. The last of the Three Concert Etudes, S. 144, "Un sospiro", may be the most renowned. Trifonov gives us a beautifully conceived interpretation, at once elegant and joyous . . . [in the "Paganini Etudes",] Trifonov's virtuosity is incredible, but one never gets the impression that he is showing off. Once again, he puts himself at the service of the composer -- and what a composer!
. . . [a superb achievement] by any means and can be recommended wholeheartedly . . . an irresistible joy of performing . . . [Trifonov traverses the Études with seemingly effortless ease and finds] a convincing balance between jaw-dropping virtuosity and inspired musicality, drawing attention to the lasting value of Liszt's oeuvre as the invention of the modern piano . . . His remains a tremendously exciting journey, always articulate and brilliantly colorful . . . [he] makes a very strong case for the underrated "Paganini Études", including a very refined rendition of "La Campanella", a marvelously handled "Arpeggio" and an eloquent "La Chasse" . . . [an utterly rewarding release, a new frontrunner in this repertoire that deserves] a place in every serious Liszt or piano collection.
Daunting. Formidable. Punishing. A supreme test of a pianist's technique and stamina. Liszt's "Transcendental Études" are indeed all of these things. But the rare genius of Daniil Trifonov's recording of these works, released in 2016, lies in the ability of this 25-year-old Russian phenomenon to remind us that Liszt was not merely a composer of virtuoso showpieces but a musical poet of the highest order . . . Trifonov displays staggering technical mastery and structural command. But the special quality of his performances comes from his musical finesse: the kaleidoscopic array of colors he can conjure and his seemingly endless variety of articulation and phrasing. In his impish take on "Feux Follets" (Will-o'-the-wisp), he summons into being an entire world of fantastical creatures through his impossibly light and scampering touch. The sixth etude, "Vision", perhaps best encapsulates Trifonov's achievement. He treats the work as a study in shifting colors, emphasizing the contrasting textures of each strophe, from harplike passages to rich orchestral sonorities. Yet he also sustains an underlying sense of tension, revealing a deeper musical structure that evokes an ever-intensifying spiritual struggle. Let there be no doubt, though, that Trifonov can simply bring the thunder when called for . . . [Trifonov's most beautiful and moving playing] may come in what he has called the cycle's lyrical core. In "Paysage" (Scenery), he sustains a beguiling, trance-like lyricism, subtly tugging at phrases and gently, yet achingly, contrasting light and shade. "Ricordanza" (Remembrance) is all tenderness and vulnerability, fragmenting the usual melodic flow with impressionistic washes and dissolves of color. In "Harmonies du Soir" (Evening Harmonies), Liszt's beautiful E-major melody emerges magically out of an atmospheric haze and is later transformed with majestic grandeur. In the richness of his poetic imagination, as shown in these three etudes, Trifonov may be peerless today .
. . . Trifonov is every inch a master pianist. Blessed with a rare technical prowess, he complements his often phenomenal expertise with an interpretative flair that brings every bar of the "Transcendental Etudes" to scintillating life. He plays with complete awareness that lyricism is as much a part of Liszt's style as fierce, high-blown virtuosity . . . he alternates grandeur and introspection in "Harmonies du soir". "Feux Follets" is full of glistening sonority, intricate detailing and, for once, a regard for Liszt's allegretto marking . . . Trifonov's mournful retreat from elemental storms in "Chasse-Neige" (No 12) shows you that he is a pianist-composer at heart, such is the immediacy of his inventiveness. There is superhuman nimbleness in many of the other Etudes, with ultra-precise cascades of thirds at the climax of "La Leggierezza" . . . for a performance that ties everything together in the finest balance of pianistic skills, Trifonov is your man.
Trifonov has an amazing technique and is equal to every one of Liszt's fiendish demands. He offers delicacy and refinement and makes a beautiful sound that is captured in a recording of the highest quality. The piano is smooth and natural, but very dynamic and articulate when it needs to be.
The Russian pianist Daniil Trifonov creates a furor. The term is a familiar one in the annals of super-virtuosity . . . [Trifonov's playing] has beauty and power to spare . . . What sets Trifonov apart is a pair of attributes that are seldom found in one pianist: monstrous technique and lustrous tone. The characteristic Trifonov effect is a rapid, glistening flurry of notes that hardly seems to involve the mechanical action of hammers and strings . . . The "Transcendental Études" contain some of the most taxing piano writing ever put on paper . . . Trifonov dispatches all of it with stupefying effortlessness, in the process transforming this ostensibly bravura music into something elegant and rarefied . . . Trifonov's entry will long be a benchmark . . .
In addition to possessing staggeringly accurate and flexible fingers, the 25-year-old pianist commands a wide palette of nuance and tone color, and is quite fond of milking inner voices and shaping fanciful phrases. These characteristics often lend an effortless tone to his interpretations of Liszt's "Transcendental Etudes" . . . Trifonov rips through the opening "Preludio" with galvanic nonchalance, while the pianist's multi-layered touch justifies "Paysage's" deliberate pace and tempo variations. "Mazeppa" can often sound clattery and upholstered, yet Trifonov's assured bravura conveys welcome lightness and transparency . . . in "Wilde Jagd", I am struck by Trifonov's gorgeous floating of the second theme over the bar lines, with minimum help from the sustain pedal . . . Trifonov sails through the "Paganini Etudes" with brio and aplomb (especially in "La Campanella"'s darting leaps) . . . [in "La Leggierezza" Trifonov provides] feathery passagework and curvaceous phrasing . . . And Trifonov's canny pacing and handling of dynamics make the discursive and overly long "Il Lamento" sound like a veritable masterpiece. In sum, there is no disputing Trifonov's prodigious keyboard talent and inborn affinity for Liszt . . .
. . . exceptional . . . [it's Trifonov's] "Transcendental Etudes", where execution, imagination and musical understanding are in a quite unique class . . . almost beyond belief and lifting the pieces themselves to an extraordinary level. Excellent sound too . . .
. . . [a] truly transcendental recital . . .
Great recordings of Liszt's "Transcendental Etudes" come along very rarely, and this new one from Daniil Trifonov is so magnificent that it may eclipse everyone who has come before . . . His reading of each etude is technically stupendous but also sensitively musical . . . Trifonov is astonishing in his ability to find music everywhere, merging emotion and technique seamlessly . . . In barn-burners like "Mazeppa" he's, yes, jaw-dropping, awesome, and thrilling, but beyond virtuosic display, Trifonov's lightness of touch in rapid passagework creates an extra dimension of musicality. In an etude devoted to fleet fingers like "Feux folles" . . . [Trifonov] rises to the challenge of imaginative phrasing, with quick darts of surprise and wit . . . [in "Harmonies du soir"] Trifonov takes the rumbling bass line, rippling arpeggios, and double octaves with marvelous ease, making us hear pure music. He's aided by rich, lifelike sound . . . [in "Chasse-neige"] Trifonov is superb at the grand spectacle . . . it's impossible to miss the astounding ease with which he handles the constantly turbulent left hand . . . [Trifonov's versions of other Liszt Etudes also included on this disc] rise to an exalted level, with a particularly moving "Un sospiro" and breathtakingly light "Gnomenreigen" . . . this pianist has unbounded horizons before him, and it's a joy to be taken along on his journey.
. . . [Trifonov recorded the Études] all in one go, in an unbelievable five days . . . phenomenal technique . . . an intense, soulful musician in the great Russian tradition . . . [his] presentation and repertoire set him apart from all other young piano stars of today.
Trifonov's Rachmaninov Variations had some of the loveliest piano sounds ever recorded . . . this new Liszt set is even more exceptional . . . [it's in the "Transcendental Études"] where execution, imagination and musical understanding are in a quite unique class . . . almost beyond belief and lifting the pieces themselves to an extraordinary level. Excellent sound too . . .
There will never be a definitive version of Liszt's "Transcendental Études", but Trifonov's spectacular rendition devastates the competition, in my view, since he never bangs, finds real music in every Étude, and displays unbelievable dexterity in soft passagework.
Auf Transcendental modelliert und manipuliert er (Trifonov) zugleich die Lisztschen Konzertetüden, er scheint das ganz nüchtern zu tun, eine Virtuosität ohne Dämonentum versprühend.
Das alles ist so frei von Hemdsärmeligkeit gespielt - es müsste auch Liszt-Skeptiker begeistern.
Der neue Stern am Klavierhimmel heißt Daniil Trifonov . . . neben all seiner pianistischen Bravour, die scheinbar keine Grenzen kennt, macht auch die Reife seines Spiels staunen . . . [Trifonov] gelingt das Meisterstück, die enormen spieltechnischen Anforderungen als Mittel zu gebrauchen, um das Avantgardistische, weit in die Zukunft Weisende dieser Musik hörbar zu machen. Grandios!
Niemand kann am Klavier so glitzern, funkeln wie er, schnurrend und mit einer Leichtigkeit, dass man die technischen Tücken dahinter allenfalls erahnen kann. Daniil Trifonov zählt zu den wenigen Pianisten, bei denen der Hype um seine Person mit seinen musikalischen Qualitäten Schritt hält. Das zeigt er auch bei seinem neuen Liszt-Album . . . ["La campanella"]: wie er am Anfang die Diskant-Töne nebelhaft weisslich in die Tasten setzt, wie er die nachfolgenden Tonrepetitionen mühelos perlt und wie er das Stück immer mehr mit Nervosität und Dramatik anreichert, das ist grossartig. Das Irrlichtern in "Feux follets" und die Kühnheit in "Mazeppa" stehen dem in nichts nach. Trifonov bietet nicht pianistisches Blendwerk, sondern tiefe gedankliche Durchdringung . . . Trifonovs Ausdruckspalette reicht von meditativer Versenkung bis zu ungebremstem Feuereifer -- doch immer bleibt sein Vortrag geprägt von grösster Klarheit.
. . . [in seiner Einspielung der Konzertetüden findet Trifonov] den Poeten im pianistischen Hexenmeister . . .
Un Liszt transcendant . . . Trifonov s'impose comme l'un des très grands pianistes d'aujourd'hui. En témoigne ce disque éblouissant . . . C'est exactement ce que réussit Daniil Trifonov . . . le pianiste russe gagne en puissance sans perdre son originalité! Il joue comme s'il s'appropriait l'oeuvre, se libérant du carcan purement technique. Il pense autant en compositeur (ce qu'il est) qu'en interprète. Il n'a alors nul besoin de forcer ses doigts ni de paraitre pour dominer. Son piano n'est jamais cassant ni massif. Il scintille comme dans "Feux Follet" et "Chasse Neige". Plus encore, il sait distraire avec intelligence sans écraser le son avec une main gauche d'une fantastique sûreté, souple et précise à la fois. Null fioriture, pas de tempos improbables ni d'outrances, mais un piano équilibré et plus encore, élégant . . . [les très grandes versions des "Études d'exécution transcendante",] confirme sa place parmi les maitres d'aujourd'hui.
On passerait sur l'inévitable évocation de sa fantastique virtuosité si elle ne ciselait la musique avec autant d'intelligence et une inventivité transcendante. Fluidité de source, science alchimique des équilibres, absence d'enchère expressive ou d'extraversion, sont au service d'un singulier assemblage d'enfance mutine et de gravité. Le Liszt de Daniil Trifonov allie puissance et charme, mystère et légèreté, joué dans un triomphe du jeu, l'euphorie d'une quasi-improvisation, vertige de son, plaisir des couleurs, du silence même.
. . . la puissance de son sommet expressif ébranle . . . Le virtuose russe trouve la respiration des pages apaisées ou lentes: manière très étudiée de poser les aigus dans les premières secondes de "Paysage, Vision" d'un ton mystérieux et prenant . . . "Ricordanza" n'est que raffinement poétique . . . "La leggierezza" devient pur cristal. Dans les "Paganini", le fini sonore d'Octave, parcouru avec une gourmandise évidente, stupéfie. "La Campanella" fait l'effet d'une boite à musique gracieuse qui en viendrait à prendre feu . . . [on savoure de sublimes doubles glissandos et un Tema con variazioni] emporté dans un souffle ardent. Du grand piano lisztien qui maintient constamment l'intérêt . . .
Pour un exploit, c'en est un! Le jeune prodige russe, Daniil Trifonov [s'empare et dompte une des oeuvres les plus difficiles de toute la littérature pianistique] . . . remarquable . . . Sans nul doute, Daniil Trifonov devient, grâce à ce disque, l'un des plus précieux ambassadeurs de la musique de piano de Franz Liszt . . .
. . . avec un tel palmarès, le jeune pianiste ait rapidement été lancé sur l'avant-scène planétaire, avec sa technique polie comme du diamant, sa musicalité à la russe, exaltée et puissante. Le répertoire transcendant de Liszt lui va comme un gant.
. . . [Liszt / "Études d'exécution transcendante"]: [d'emblée, le jeune Daniil Trifonov] affirme une magnifique tempérament, maîtrisé, cohérent, et déjà d'une somptueuse éloquence poétique. Ampleur et souffle comme implication directe et vision souvent millimétrée, intérieure, le jeu du jeune pianiste russe répond à nos attentes s'agissant d'un cycle de qui dépasse sa réputation exclusivement technicienne. Il faut y déployer une dose mesurée de sentiment pour réussir dans sa totalité sa formidable évolution, entre avatars et résonances, depuis son début jusqu'au terme de la 12ème Études. A 25 ans, le pianiste réussit un parcours sans fautes . . . chaque séquence est investie et incarnée avec une habileté sobre, un engagement d'une honnêteté admirable, et d'une certaine facon, au regard du jeune âge de l'interprète, d'une cohérence et d'une franchise surprenante . . . Daniil Trifonov est comme un lutin facétieux et diversement suggestif. En dévoilant l'intériorité et la richesse poétique sous les cascades virtuoses des notes emperlées, le jeune pianiste nous touche infiniment.
Transcendental is the new solo release by piano sensation Daniil Trifonov.


Many couples are now breaking wedding ring rules such as the ones that concern the gothic wedding ring. Most jewellers aren't big fans of stereotypes or restrictions when it concerns producing jewellery for their customers. To dispute the marketing myths of the wedding industry, they work quite hard to eliminate the notion of the supposed 'perfect wedding ring'. What actually matters to them is that you love any wedding jewellery you purchase (if any). Tired rules concerning prices, sizes, styles, and gemstones don't matter to them.
Whether you've always instinctively followed your own personal tastes, or you're somebody that's dipping your toe into breaking away from tradition, here are the top old wedding bands and engagement rings rules that you will certainly find exciting to leave in your past.
Wearing all silver or all gold jewellery is just as unnecessary as wedding parties that are gendered. Take a look at rings options that are produced from varying metal combinations and you will see how well varying metals can work together. Irrespective of what metal mix might be perfect to you, with the foremost jewellers, your bands and rings will certainly be produced with fair-mined or reclaimed solid precious metals.
The two of you probably have the same music, arts, or clothes tastes. Maybe you do not – and that is what makes being couples work. You might prefer that you order gothic wedding rings online while your partner sees going to the local jeweller to take a look at options as best. If your aesthetics happen not to be completely in sync, never force yourselves into using matching wedding bands. If everybody had the same tastes, jewellers would not produce so many varying wedding band styles, after all. Go for options that make a more authentic statement.
There's one other way to keep real likeness and still break this rule; you can choose similar band shapes but each choose a different metal or finish. One band could be polished, and the other matte. To give you inspiration, check out shoulder narrow and shoulder wide wedding bands.
This particular rule happens to be as anachronistic as the famous black and white TV. Several ring options from the foremost jewellers prove that there is great power in going for full colour (bonus points for breaking this rule; the gemstones in the same ring do not even need to be of the same shape either). One fun and most exciting way of mixing gemstones; pair blue sapphire rings with gorgeous emerald accents that are green in colour in a ring that has an open lash.
Breaking traditional, olden-day, tired ring rules can be truly freeing – and will likely have you thinking a lot more creatively about the rings and bands, such as the gothic wedding ring, that you will actually love to wear on your big day. Follow only your own personal inner style guide – and choose wedding bands or engagement rings that are most appropriate for you as a couple.


The Ranch is the basic program where the The Ranch The spa offers outdoor treatment rooms, as well as special healing ceremonies. If you concentrate on how much it hurts and how much you want to quit, you might forget the next sequence or next relay move. They offer high-altitude training, guided hikes, yoga and so much more. Meals are organic and vegetarian, and the accommodations are luxurious. Engaged coaches that push you to your limits, maximize fat burning and increase overall metabolism. Guests can exercise outdoors by the sea or among the olive groves, and tuck into healthy but delicious Mediterranean cuisine.
Paula and the team work tirelessly to make camp a home from home, devoid of negativity and charged with happiness and friendliness. Thanks for your friendship and encouragement through difficult times. Boat captain tales are always lively and informative. I've seen too many situations result in unnecessary injuries - leaving newcomers to exercise feeling unwell, frightened and unmotivated. Coming out of school and having some time before starting my job, it was a great refresher and certainly one I would recommend to colleagues. Request Boot Camp Quote.
We customize the meal plan to ensure we are maximizing fat loss. Weight Loss and Body Image are tied into just about every other facet of our lives. In order to reach your goals you have to be in the right setting to be accountable to the program, the coaches, the nutritionists, and the life coaches. Old-school banana pudding and the moon pies are hometown favorites. They also know the feeling of getting things back in check, on track — and being able to enjoy their fitter, happier, healthier bodies once again.
Description: A Review of New Guidelines For more ideas on what to do, check out the Visit Orlando site. The Boot Camp Your feedback helps us plan future conferences; therefore, your completion of a course evaluation is a prerequisite for a CME certificate. Please feel free to call me on my direct mobile number if you would like to discuss the suitability of my program or have any questions about the best way to start a new exercise routine.


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© Badisches Staatstheater Karlsruhe, Siegfried 2019
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Home / News / News from the Committee
German Bundestag approves 5.2 million euros for the renaissance of the Wagner Theatre in Riga
Riga/Berlin: Today's adoption of the 2021 budget in the German Bundestag lays the foundation for saving the restoration of the building
In total, the restoration, renovation and revitalisation of the former German Theatre will cost 35 million euros. The five-year funding means long-term planning security.
The handover of the keys to the building ensemble in Riga's Old Town from the Latvian state to the Richard Wagner Society Riga in October 2020 was already perceived as a minor sensation by the cultural world.
The building ensemble is located at 4 Richard Wagner Street, in the middle of the Old Town, which is also a World Heritage Site.
A total of around 35 million euros is needed for the renaissance of the Wagner Theatre. The support of the German Bundestag, especially in the initial phase of the project, is to be valued all the more highly. Further public funds are being applied for from the Latvian state, the city of Riga and through the European Structural Fund. For a European lighthouse project with global appeal, efforts are now beginning to bring companies on board as long-term partners.
The project's patron and former festival director Eva Wagner-Pasquier has been following the developments with excitement: "Today is a great day for all lovers of Richard Wagner's music: as patron, I am extremely pleased that the Bundestag has decided to provide this long-term funding. Soon we will hopefully be able to open the Wagner Theatre in Riga and thus take his idea of the Gesamtkunstwerk into a new century."
Latvian President Egils Levits, who has also been patron since 2019, also commented, "I am delighted that the German Bundestag will financially support the restoration of the Wagner Theatre so that it can once again become one of the most visible cultural centres in Northern Europe. The Wagner Theatre is of great importance for the history and cultural life of Latvia and Germany."
The initiator Maris Gailis, chairman of the Richard Wagner Society Riga and former prime minister of Latvia, has developed the vision "GesamtkunstWerk21" together with his team - the fusion of all arts of the 21st century. A festival lasting several weeks is to take place annually on the 5000m² and the building ensemble is to become a real "work" of all art forms. In this way, this special place, in addition to normal theatre and cultural activities, will provide space for something completely new, for special exchange and for undreamed-of possibilities. In this way, the theatre will live up to its perception as a European cultural asset. "The significant financial support of the German Bundestag is a wonderful signal - the Wagner Theatre in Riga will be revived!"
More pictures at: https://bit.ly/37VuCf0
For more information, please visit: www.vagneriga.lv/en/
Mechthild Foet, contact@gesamtkunstwerk21.com, 015114782649
Dr. Konrad Winckler, winckler@alexiscsc.de, 01729376219
ALEXIS csc UG is a German agency based in Berlin and Minden. It is in charge of the project on the German side as a service provider for the Richard Wagner Association Riga in the field of project management, communication and fundraising strategy.
Copyright © 2020 , ALEXIS csc UG for Rigas Vignera Nams, All rights reserved.
Our email address is:
contact@gesamtkunstwerk21.com
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Wagner Kongress 2023 - Brussel/Brussels/Bruxelles
Schondorf am Ammersee
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"Siegfried"-Besuch mit Nachgespräch im Staatstheater, Braunschweig
© 2023 - Richard-Wagner-Verband International e.V.
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text:
Chris Cornell >
Chris Cornell's widow pays tribute to late star
By Bang Showbiz in Lifestyle / Showbiz on 20 July 2019
Follow Chris Cornell
Chris Cornell's widow Vicky will ''forever miss'' her late husband, as she paid tribute to the rocker on his birthday.
Chris Cornell's widow will ''forever miss'' her late husband.
Vicky Cornell has posted a sweet tribute to the Soundgarden hitmaker, who tragically passed away in May 2017, on his birthday.
Writing on Instagram, she shared: ''Forever missed, forever loved #noonesingslikeyouanymore #youshouldbehere (sic)''
In May 2018, Chris' widow organised a vigil to mark one year since his death.
She shared in a statement at the time: ''It is with great emotion I reach out to all of you as the one year anniversary of my husband's passing approaches. Chris was loved, so much, by so many. The children and I are so grateful to you all for being by our sides throughout all of this. Your love has created a close-knit community, more like a family, to grieve with, to provide support, and to help us heal. We could not have gotten through the last 12 months without you. We want to open this up to you, our extended family, and invite you to join us on this day of prayer and remembrance to pay our respects together,'' Vicky adds. ''As we know, there are millions of fans and not everyone can physically be there. We would be honoured if you share posts and videos of how Chris' music has touched you. We can feel your love no matter how far. Light a candle, say a prayer, speak his name.''
Vicky previously insisted Chris was the ''furthest thing from a rock star junkie''.
She said: ''My husband was the furthest thing from a rock star junkie. He just wasn't. He was the best husband, the greatest father. I lost my soulmate and the love of my life. He wanted to be there for his family, for his children. He loved his life ... he would never have ever left this world. I don't think that he could make any decisions because of the level of impairment.''
Chris Cornell's widow 'suing Soundgarden'
Chris Cornell's kids accept his award
Pearl Jam album impacted by Chris Cornell's death
Chris Cornell's wife leads star-studded tribute
Chris Cornell tribute concert featuring Foo Fighters and more
Chris Cornell's Family Suing His Doctor Over Death
Chris Cornell's widow suing his doctor over singer's death
Chris Cornell statue unveiled
Chris Cornell song unearthed for new career-spanning box set
Chris Cornell's Daughter Unveils Heartbreaking 'Nothing Compares 2 U' Duet
Chris Cornell's daughter shares duet she recorded with her father
Chris Cornell's widow organises vigil to mark a year since his death
Chris Cornell's First Posthumous Release Is A Johnny Cash Tribute
Weekly Music Highlights: Billie Eilish, Rock and Roll Hall of Fame and Eminem
What's new in the music world this week?
Album of the Week: Appreciating Sounds of Silence with Simon and Garfunkel
'Sounds of Silence' was released on this day (January 17th) in 1966.
Alex Bayly addresses the wild side of humanity on 'Animal'
Listen to Alex Bayly performing 'Animal'.
Dry Cleaning - Ramsgate Music Hall 12.01.2020 Live Review
Two weeks ahead of Independent Venue Week, Dry Cleaning made 'Britain's Best Small Venue 2015' (NME) the second port of call on their 2020 tour.
Album of the Week: The Ramones' often overlooked sophomore release 'Leave Home'
'Leave Home' was released on this day (January 10th) in 1977.
The Libertines - The Winter Gardens, Margate, Kent 22.12.2019 Live Review
For their last gig of the year, The Libertines came back to their adopted hometown of Margate to finish off their latest tour.
The Legend of David Bowie: The Birthday Playlist
Celebrating the birthday of David Bowie with his most legendary songs.
Musician Index: 0 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z


72 Interesting The Living Room Lounge Pics India. 11. A world record was set when 485 children dressed as Mahatma Gandhi gathered and walked in Kolkata. The walk was a demonstration to attain peace in the country and the world. 101 Beautiful Formal Living Room Design Ideas (Photos. Large formal living room featuring elegant leather sofa set in front of the fireplace. There's piano as well, set on the hardwood flooring. Lounge-like living room with brown sectional sofa, fireplace, recessed lighting and black grand piano.
72 Interesting The Living Room Lounge Pics Ideas (Photos. Large formal living room featuring elegant leather sofa set in front of the fireplace. There's piano as well, set on the hardwood flooring. Lounge-like living room with brown sectional sofa, fireplace, recessed lighting and black grand piano.
Dining Tables To Fit Your Dining Room Decor. Shop for Dining Tables at LivingSpaces.com. Enjoy free store pick-up, same day shipping and free assembly.
The Living Room Wine Cafe & Lounge. The Living Room Wine Cafe & Lounge - Chandler, Restaurants business in Chandler. See up-to-date pricelists and view recent announcements for this location.
Modern Living Room Wall Units With Storage Inspiration. If you prefer a contemporary look to your living room, then storage furniture with a clean uncomplicated line is essential. Wall mounted units are a good option to maximize on floor space too.
100 Random Facts So Interesting You'll Say, "OMG!". Everyone loves a surprising and interesting fun fact that makes you question the world around you—challenging your assumptions and long-held beliefs and ultimately proving that there's never a time in your life when you stop learning.


Children's cancer patients will get to meet Clifford the Horse on Monday.
Clifford will be making an appearance at Sparrow Hospital.
But this isn't any ol' horse, Clifford is a horse that paints.
Clifford the Horse is a Morgan horse from Charlotte and he's famous for his painting skills.
He is the subject of some children's books and is nationally known for his viral videos that show off his painting skills.
Patients will be taken outside on a parking deck of Sparrow to visit with Clifford.
Clifford is also taking part in Sparrow's innovative pet therapy program, where patients benefit from the healing and emotional powers of animals.
This event takes place October 1 at 4 p.m. at Sparrow Hospital in Lansing.


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Milestone Elevator Safety Legislation Becomes Law in Louisiana
CENTREVILLE, VA. (July 25, 2018)
The National Elevator Industry, Inc. (NEII) commends Louisiana Governor John Bel Edwards and the bill's sponsor Rep. Scott Simon for their leadership and support of the new milestone elevator mechanic licensing legislation recently signed into law.
NEII, in partnership with the International Union of Elevator Constructors (IUEC), the Elevator Industry Work Preservation Fund (EIWPF) and other stakeholders, worked with the State of Louisiana to enact both licensing requirements for industry mechanics and to establish an elevator inspection program-neither of which previously existed statewide. The bill was passed by the legislature by a vote of 35-1. NEII's Director of Government Affairs, Dylan Isenberg, who testified in support of the bill, joined the Governor at the bill signing ceremony.
The industry collaboration on this issue underscores the importance of standardized licensing requirements for mechanics and inspectors. Safety for both the riding public and industry personnel is best achieved when those working on elevator equipment are required to demonstrate a fundamental competency through a combination of classroom hours and on-the-job training.
"Safety is the top priority for NEII and its members," said NEII Executive Director Karen Penafiel. "In that pursuit, NEII supports licensing requirements which set minimum standards for the training, education and proficiency of elevator mechanics. Currently, 33 states have elevator mechanic licensing programs, and we will continue to work with other jurisdictions to implement and update comparable standards."
About NEII
NEII is the premier trade association representing the global leaders in the building transportation industry. Its members install, maintain, and/or manufacture elevators, escalators, moving walks, and other building transportation products. NEII's membership includes the six major international companies – Fujitec America, Inc., KONE, Inc., Mitsubishi Electric US, Inc., Otis Elevator Company, Schindler Elevator Corporation, Thyssenkrupp Elevator Company and several other companies across the country. Collectively, the NEII members represent approximately eighty percent of the total hours worked within the elevator and escalator industry, employ more than 25,000 people in the U.S. and indirectly support hundreds of thousands of American jobs in affiliate industries.
For more information about NEII, please visit www.neii.org.
About Nicole Van Velzen
Author
With over 17 years of communications and marketing experience, Nicole Van Velzen joined NEII as the Director of Communications in August 2017. In this role, Ms. Van Velzen serves as a partner with NEII's public relations firm to advance our mission through media and other outreach, manages the monthly Insider newsletter, increases awareness through social media channels, and works closely with NEII's Communications Committee.
More by Nicole Van Velzen
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I have just released a panel for Ctrlr for the KORG DW-6000. This panel can be used as a mapper between standard MIDI CCs and the DWs SysEx messages, allowing all parameters to be controlled by a hardware MIDI controller. This also applies to those parameters that are combined in a single SysEx message, like OSC 1+2 waveforms.
You can find the Ctrlr panel here.
This entry was posted in Ctrlr, KORG DW-6000 on 2014/02/09 by MacroDX.
This entry was posted in Gear, KORG DW-6000 and tagged analog, DW-6000, Korg, synthesizer on 2013/11/16 by MacroDX.


"Tate" Neumann coxed the fours to a gold medal in Los Angeles, representing the Berlin Rowing Club. He was 1938 European Champion in the eights. With the Berlin RC he was German Champion in 1933 in the coxed fours and in 1937 and 1938 in the eights. With a very long career, Neumann won his last championship medal in 1955, a third place in the coxed fours.


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1 - 10 of about	54 Results
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UNLV grounds Southern Utah in 56-23 rout
August 31, 2019 - 10:33 pm August 31, 2019 - 10:38 pm
UNLV rushed for 331 yards and seven touchdowns to defeat Southern 56-23 on Saturday in the season opener at Sam Boyd Stadium. The rushing TDs tied a school record.
UNLV game feels like homecoming for some Southern Utah players
Eight Southern Utah players are from Las Vegas, making Saturday's game against UNLV at Sam Boyd Stadium a homecoming for them.
Breaking down the UNLV-Southern Utah football game
A position-by-position breakdown of UNLV's game against Southern Utah at 7 p.m. Saturday at Sam Boyd Stadium.
UNLV-Southern Utah football lineups
The two-deep lineups for UNLV and Southern Utah. They meet at 7 p.m. Saturday at Sam Boyd Stadium.
UNLV can set tone with win over Southern Utah
UNLV is a 24-point favorite in Saturday's 7 p.m. season opener against Southern Utah at Sam Boyd Stadium. The Rebels need to validate their bowl hopes with a strong performance.
Ex-UNLV QB Caleb Herring lived 'redemption' story in 2013
UNLV quarterback Caleb Herring threw three interceptions that were returned for touchdowns in a 2011 loss to Southern Utah. He came back two years later to take the Rebels to a bowl.
UNLV looking for 6 wins or more in final season at Sam Boyd
UNLV's season opens at 7 p.m. Saturday against Southern Utah at Sam Boyd Stadium. The Rebels need to become bowl eligible for coach Tony Sanchez to get a sixth season.
Armani Rogers must conquer accuracy issues for UNLV football
Numbers rarely lie and those of the junior quarterback Armani Rogers suggest bowl eligibility for the Rebels in 2019 will be directly linked to whether or not he has grown into a more accurate passer.
UNLV coach Tony Sanchez's radio show begins Wednesday
UNLV football coach Tony Sanchez's radio show begins at 6 p.m. Wednesday and will be broadcast on KWWN (1100 AM, 100.9 FM).
Mountain West football divisional races wide open
Major questions face the contenders for the Mountain West divisional races, creating an opportunity for a school picked lower in the standings to move up.


Is it work for win 8.1 or just win 10..?
sorry but the xap is failing on deployment with error 0x81030120 on my 950xl with latest fast ring build. Please help.
Dude.. Sorry for asking after a long time to this post, can I get that orange background image? Or redirect where could I find one? Please man! Appreciate if you could give.. Thanks!
Just to confirm that I've successfully got the latest version of Lumia Camera on my Lumia 1020 running Creators Update.
4. Don't run it. Open Store and check for updates. It should show up as Lumia Camera and immediately start downloading and installing. (After this if you check it under Store it will say that this app is not supported on this device but under this it will also say installed).


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Chris Hawkins wins dunk contest at Memphis Madness (VIDEO)
By Raphielle JohnsonOct 18, 2014, 10:59 PM EDT
Saturday evening Memphis held its annual "Memphis Madness" event at the FedEx Forum, and there were a variety of events to keep the fans entertained. Amongst those activities were a Wingstop wing-eating contest (won by CBSSports.com college basketball writer Gary Parrish), a chance to meet both the men's and women's basketball teams, a shooting stars competition that featured head coach Josh Pastner coming out of retirement (unfortunately his team didn't win) and musical guest Rick Ross.
There was also a dunk competition, which was won by Southwest Tennessee CC transfer Chris Hawkins. His contest-winning dunk was quite impressive, and it can be seen below.
https://instagram.com/p/uURqzFrF6-
Tags: 2014-15 Midnight Madness, Chris Hawkins, Josh Pastner, Memphis Tigers
2014-2015 Preview: Impact JuCo transfers
By Terrence PayneOct 10, 2014, 1:00 PM EDT
Kadeem Allen (BlueDragonSports.com)
Beginning on October 3rd and running up until November 14th, the first day of the season, College Basketball Talk will be unveiling the 2014-2015 NBCSports.com college hoops preview package.
MORE: 2014-2015 Season Preview Coverage | Conference Previews | Preview Schedule
1. Kadeem Allen, Arizona: The NJCAA National Player of the Year tallied 1,425 career points in his two first-team All-American seasons at Hutchinson Community College (Kansas). While the 6-foot-3 power guard likely won't be in the starting five, he will a key scoring option coming off the bench. This past season with the Blue Dragons, he averaged 25.9 points per game.
2. Cinmeon Bowers, Auburn: An NCAA show-cause penalty didn't stop Bruce Pearl from landing one of the top JuCo recruits in the country this past spring. The former Florida State signee averaged 12.4 points and 8.9 rebounds last season at Chipola Junior College (Florida) The Tigers lose their top scorer and their top rebounder from last season's 14-16 team. Bowers can help in those departments, especially on the glass, where Auburn had one of the worst rebounding teams in the SEC.
3. Josh Gray, LSU: No Andre Stringer and no Anthony Hickey this season for an LSU program looking to return to the NCAA tournament for the first time since 2009. At Odessa College last season, Gray averaged 33.8 points and 5.9 assists per game. The former Texas Tech floor general, who averaged 9.3 points a night in 2012-2013, is joined by UNC Asheville transfer Keith Hornsby. The brand-new back court should compliment the frontline of sophomores Jordan Mickey and Jarell Martin.
4. Jordan Goodman, New Mexico: After three commitments and a stint in Harcum College (Pennsylvania), the 6-foot-9 Goodman is set to begin his first season with the reigning Mountain West tournament champion. Goodman, a first-team All-American, has yet to be cleared for full-contact drills after having knee surgery this summer, according to the Albuquerque Journal.
5. Stephen Hurt, Kansas State: The former Atlantic Sun Freshman of the Year used a year at Northwest Florida State to catapult himself into a highly-sought after forward. After committing to K-State, he'll join a team looking to push back up the Big 12 Conference standings. The 6-foot-11 center averaged 8.2 points and 4.8 rebounds in his lone season in the JuCo ranks after transferring from Lipscomb.
6. Trahson Burrell & Chris Hawkins, Memphis: Josh Pastner brought in several JuCo recruits who could be contributors this season. The 6-foot-7 Burrell was cleared last month after posting 25.2 points, 7.5 rebounds and 5.6 assists per game at Lee College (Texas). Hawkins, a JuCo forward, averaged 12.5 points and 4.8 rebounds per game for the Tigers in their four games in Canada this summer.
7. Ivan Cruz Uceda, Miami: At 6-foot-10 Uceda gives the 'Canes an inside presence. The ex-Harcum forward made an immediate impact on the glass in Miami's trip to Spain, pulling down 11.0 boards per game. Uceda's debut with Miami will be delayed until the second semester due to an NCAA rule.
8. Octavius Ellis, Cincinnati: Mick Cronin needs to replace the production left behind by Justin Jackson on the Cincy frontline. The 6-foot-10 forward Ellis, back in Bearcat uniform, averaged 14.8 points, 9.4 rebounds and 3.2 blocks as a first-team All-American at Trinity Valley Community College (Texas). He arrives in Cincinnati with another JuCo big, Coreontae DeBerry.
9. Dwayne Benjamin & Michael Chandler, Oregon: Three players dismissed and two more failing to enroll leaves plenty of opportunities for newcomers to make an impact on this Oregon team. The 6-foot-10 Chandler, a former four-star recruit, is the projected starting center while Benjamin can help out on the wing along with freshman Dillon Brooks.
10. Jeff Newberry, Oklahoma State: Phil Forte is back, but Marcus Smart and Markel Brown leave big holes to fill. Insert JuCo guard Jeff Newberry and LSU transfer Anthony Hickey. The 6-foot-2 Newberry could end up playing either guard position this season for Travis Ford's new-look perimeter.
TEN MORE TO KEEP AN EYE ON
Sam Cassell Jr., UConn: Son of the longtime NBA point guard adds depth to the UConn back court. Cassell was a first-team All-American in his only season at Chipola.
Gary Payton II, Oregon State: The son of the Hall of Famer enrolls as his father's alma mater, where after a coaching change he will be looked upon to contribute right away.
Kevin Punter, Tennessee: The State Fair Community College product committed to Tennessee and new head coach Donnie Tyndall. Punter averaged 20.3 points, 4.6 rebounds, 1.7 assists, and 1.4 steals per game.
Torian Graham and Devonta Pollard, Houston: The two-time N.C. State commit is joining Kelvin Sampson at Houston. Graham was once ranked No. 67 overall by Rivals. Former McDonald's All-American and Alabama forward Devonta Pollard is also an addition for the Cougars this season.
Carlos Morris, Minnesota: The 6-foot-5 combo guard averaged 14.7 points 5.2 rebounds and 2.3 assists per game for Chipola. The former Rivals 150 guard can crack the Golden Gophers' starting five.
Tom "Bush" Wamukota, Wichita State: The Shockers have a pair of All-American-caliber guards, but the 6-foot-11 Wamukota could be a lift on the frontline alongside Darius Carter.
Keith Thomas, St. John's: The nation's leading rebounder this past season at Westchester Community College (New York) hauled in 15.7 boards per game in addition to his 15.3 points a contest.
Willie Atwood, Arizona State: A season after returning to the NCAA tournament, the Sun Devils will bring in seven newcomers, four of whom are from the JuCo ranks. The 6-foot-8 Atwood was a All-American honorable mention selection, averaging 20.8 points per game for Connors State College (Oklahoma).
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Tags: 2014-2015 Season Preview, Arizona Wildcats, Auburn Tigers, Avery Woodson, Chris Hawkins, Cincinnati Bearcats, Cinmeon Bowers, Dwayne Benjamin, Farad Cobb, Gary Payton II, Ivan Cruz Uceda, Jordan Goodman, Josh Gray, Kadeem Allen, LSU Tigers, Memphis Tigers, Miami Hurricanes, Michael Chandler, New Mexico Lobos, Octavius Ellis, Oregon Ducks, Sam Cassell Jr., Stephen Hurt, Trahson Burrell, UConn Huskies
Chris Hawkins wins dunk contest at Memphis Madness (VIDEO) October 18, 2014 10:59 pm 2014-2015 Preview: Impact JuCo transfers October 10, 2014 1:00 pm


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PUBLIC SPHERE - POLITICS
Modi's global ambitions need a stronger domestic hold
Amid worries of taxes and price rise, few people would have noticed that the latest Budget has proposed to establish a new public sector (project development) company which will channelise Indian private corporate investment to East Asian countries of Cambodia, Myanmar, Laos and Vietnam (CMLV). Prime Minister Narendra Modi may be stymied on the domestic front, but proposal of this new PSU indicates that he has started laying foundations for achieving his global ambitions. The liaison of foreign policy and private corporations via a government company suggests that the Modi government wishes to evolve a public private partnership (PPP) model in the field of international relations. This new face in diplomacy has become more significant in the light of the prime minister's recent visit to the island nations of the Indian Ocean.
The Modi government is refreshing India's diplomatic strategies through the lessons drawn from PM's global expeditions. In spite of an overwhelming connect with the Indian Diaspora, Modi has not wasted time to comprehend the limits of emotional outreach, in engagements with smaller nations on the globe. The relationship with tiny countries cannot be imbued with the same grandeur as it can be with the superpowers. Ties with junior nations stand on the solid ground of economic dealings and India has to develop a credible and sustainable template for the same. Modi's initial dialogue with Seychelles, Mauritius and Sri Lanka has come up with special importance for this strategy.
Due to the dominance of Atlantic and Pacific regions, Indian Ocean is not only almost out of the discourse but has become a museum of inert diplomatic experiments over the last 25 years. SAARC countries, home to nearly 1.5 billion people, have not been able to create even a reasonably dynamic structure for dialogue after more than two dozen summits since 1985. It took BIMSTEC-AC (Bay of Bengal Initiative for Multi-Sectoral Technical and Economic Cooperation – established in 1997 under Thailand's leadership) 17 years to establish a secretariat and the Mekong-Ganga Cooperation, formed in 2000, has not moved beyond a few occasional statements. The Indian Rim Association (formed in 1995), the most ambitious grouping, that includes Australia, India, South Africa and Iran, among 20 others, has also failed to take off.
As the Indian prime minister takes new initiatives in the Indian Ocean region, he cannot deny carrying the baggage of failures in the past. These frustrations do not go into the account of India just because it is the biggest country in the Indian Ocean, but also for the reason that Indian diplomacy does not have a clear blueprint for a relationship with the smaller countries of the Indian Ocean zone and elsewhere as well. Indian diplomacy has not moved beyond scholarships to students, tourism and extending a line of credit to smaller countries while Chinese diplomacy raced ahead, riding piggyback on direct financial investments. With its burgeoning foreign exchange reserves and gigantic government companies, China has influenced the economic interests of many smaller countries in the Indian Ocean region, Africa, and Europe in a decisive fashion.
Modi is looking towards private companies to ensure success of his diplomatic design as India neither has enough firepower in its foreign exchange coffers to invest heavily abroad nor can the Government play an active role in business beyond facilitation. The announcement of a company to promote investment in East Asia was made just before the PM's Indian Ocean tour and is a firm indicator that the Indian government is willing to take a pillion ride with private companies in its global mission, similar to the way China befriends smaller countries via its massive government corporations.
It is not at all a coincidence that a team of captains of Indian industry had reached Colombo ahead of Modi's arrival in the city. It was the largest gathering of Indian companies in a small country in the recent past. Modi's Indian Ocean visit has sufficiently signified that the new found connect of private investment with diplomacy will not be limited to South Asia. He will experiment with the same in the Indian Ocean and a similar effort could be made during his proposed visit to Africa as well.
India's private companies and the Indian Diaspora are emerging as foundations of Modi's global outreach. The challenge here is that India's private companies are not large, credible and powerful enough for taking risks at a global scale. On the other hand, India Diaspora is not wealthy enough to invest in India like the overseas Chinese do in China, nevertheless it is well placed to amplify India's story to the globe. The prime minister must have realised by now that his global ambitions will need the support of good governance and strong growth at the domestic front, without which neither private companies nor NRIs-PIOs will be sufficiently motivated to act. Modi has been addressing India from foreign platforms since he came to the helm. He will have to address the globe from the Indian podium now, with a firm story of India's revival under his leadership.
(First published in dailyo.in)
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No medical-treatment-only comparison. In this trial asymptomatic meant free of past ipsilateral (same-sided) stroke, TIA or other relevant neurological symptoms in the past 6 months.
*Trials in which the 30-day rate of stroke and clinically defined heart attack (myocardial infarction, MI) and / or death were reported.
Raman G, Kitsios GD, Moorthy D, Hadar N, Dahabreh IJ, O'Donnell TF, Thaler DE, Feldmann E and Lau J. Management of asymptomatic carotid stenosis: Technology assessment report. Tufts Evidence-based Practice Center (Project ID: CRDT0510): 2012 Aug 27; 150 pages. Prepared for the Agency for Healthcare Research and Quality (US); Available on the website of the US National Library of Medicine: LINK: http://www.ncbi.nlm.nih.gov/pubmedhealth/PMH0070269/. Last accessed 23rd January 2016.
Abbott AL. Stroke rates associated with asymptomatic carotid stenosis and medical treatment alone continue to fall: Results of an updated meta-analysis (late breaking science abstract presented at the AHA International Stroke Conference, 2013). American Heart Association Web site: http://my.americanheart.org/idc/groups/ahamah-public/@wcm/@sop/@scon/documents/downloadable/ucm_448656.pdf Accessed December 11, 2015.
Abbott AL. Critical issues that need to be addressed to improve outcomes for patients with carotid stenosis. Angiology 2016 May;67(5):420-6 2016: LINK: https://www.ncbi.nlm.nih.gov/pubmed/26922085.
Redberg RF. Squandering medicare's money. New York Times. 25th May 2011. New York Times website. http://www.nytimes.com/2011/05/26/opinion/26redberg.html?_r=0. Accessed January 23rd, 2016.
Australian Commission on Safety and Quality in Health Care. Operating principles and technical standards for Australian clinical registries. Australian Commission on Safety and Quality in Health Carewebsite: http://www.Med.Monash.Edu.Au/sphpm/creps/docs/operating-principals-and-technical-standards-nov-2008.pdf Novemeber, 2010. Accessed December 11, 2015.
Australian Commission on Safety and Quality in Health Care. Framework for Australian clinical quality registries. Australian Commission on Safety and Quality in Health Care website: http://www.Safetyandquality.Gov.Au/wp-content/uploads/2014/09/framework-for-australian-clinical-quality-registries.pdf March, 2014. Accessed December 11, 2015.


text:
Plérôme est un terme provenant du ) (pleroma), signifiant « plénitude ». Il désigne également le monde céleste, formé par l'ensemble des Éons que le gnostique atteindra à la fin de son aventure terrestre. On retrouve une quinzaine de fois ce terme dans le Nouveau Testament.

Il est présent dans la pensée platonicienne et dans certains textes de Carl Gustav Jung.

Le plérôme (plénitude) dans le Nouveau Testament
Dans le Nouveau Testament, le mot « plérôme » signifie « plénitude », ainsi dans la prière de saint Paul (Épître aux Éphésiens, III, 19) : « Ainsi, vous recevrez la force de comprendre, avec tous les saints, ce qu'est la Largeur, la Longueur, la Hauteur et la Profondeur, vous connaîtrez l'amour du Christ qui surpasse toute connaissance, et vous entrerez par votre plénitude dans toute la Plénitude de Dieu. »

Le Plérôme chez les gnostiques
Selon C. A. Baynes, « dans la langue des gnostiques, plèrôma dénote deux idées principales. D'une manière générale, il signifie la plénitude des perfections et attributs divins, en contraste absolu, comme terme positif, avec l'aspect négatif de la Déité ineffable dont nul esprit humain ne peut former un concept défini. En second lieu, il désigne le Monde Idéal, l'archétype et le modèle parfait caché au ciel, dont toute manifestation phénoménale subséquente est une copie imparfaite ».

La doctrine de Valentin, gnostique égyptien vivant sous l'empereur Hadrien, emprunte au Timée de Platon son opposition de l'éternité et du temps, de l'Entité immuable, au-dessus du temps, et des entités mobiles, celles qui président aux  périodes cosmiques. Selon saint Irénée, dans la gnose, chaque type d'homme retournera à l'élément qui lui est consubstantiel, garantissant ainsi un retour du semblable au semblable : .

Le Plérôme, réunion de toutes les entités, ressemble au monde intelligible qui contient les archétypes du réel. Quand on lit le témoignage du Pseudo-Hippolyte de Rome, le Plérôme de Valentin comprend 34 éons (Père et Jésus compris), ou 33 (sans Sigè), ou 28 (Père/Silence, Intellect/Vérité, Logos/Vie, + 10 émanés d'Intellect/Vérité + 12 émanés de Logos/Vie) ou 30 (si l'on écarte Sigè et Sophia des éons intérieurs, et, comme éons extérieurs, Stauros-Horos, Jésus ; ou si l'on groupe 28 + Christ/Esprit-Saint).

 .

Le Plérôme chez Carl Gustav Jung

Carl Gustav Jung, dans son ouvrage Les Sept Sermons aux morts, habituellement qualifié de « gnostique » et dont il attribue la substance à Basilide, enseigne ainsi ce qu'est le Plérôme :
.

Il oppose à cet omniprésent non-être ce qu'il appelle la Créatura.

Jung assimile l'abandon de l'individuation humaine à une régression. Cependant il affirme :

Il déclare que sur le plan spirituel, le plérôme diffuse sa lumière dans l'air ambiant, et que sur ce plan, nous sommes partie intégrante de l'infini et de l'éternité.

Jung distingue, au sein du Plérôme (en tant que creatura vouée à la séparation) dix paires d'opposés, de couples de contraires. On y retrouve, par exemple, l'énergie et la matière, le bien et le mal, l'unité et la multiplicité. Mais ces couples n'ont pas d'existence car chaque élément de la paire se compense et s'annule (Sermo 1). On retrouve, entre le Plérôme et la créature les éléments d'un dialogue intérieur qui constitue la véritable individuation humaine, ceci au moyen de données ésotériques et gnostiques.

Bibliographie

Œuvres
 Source : Irénée de Lyon, Contre les hérésies, livre I, trad. Adelin Rousseau (1965-1982), Cerf, 1984, 749 p.
 Source : Hippolyte de Rome, Philosophumena, ou Réfutation de toutes les hérésies, livre VI, trad. Augustin Siouville (1928), Milan, Archè, 1988, 249 p.
 Écrits gnostiques, Paris, Gallimard, coll. « La Pléiade », 2007, 1830 p.
 Carl Gustav Jung, Les Sept Sermons aux morts (Septem sermones ad mortuos, 1916), trad. Élisabeth Bigras, Paris, L'Herne, 1996, 147 p.

Études

 H. Leisegang, (1924), La gnose, Paris, Payot, 1971, coll. "PBP".
  V. Macdermot, The Concept of Pleroma in Gnosticism, in M. Krause (éd.), Gnosis and Gnosticism, Nag Hammadi Studies, 17, Leiden, 1981, p. 76-81.
 Madeleine Scopello, Les Gnostiques, Paris, Le Cerf, 1991.

Notes et références

Voir aussi

Articles connexes
Gnose
Gnosticisme
Éon (ontologie)
 Valentin (gnostique)

Ésotérisme
Gnosticisme

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Expertise. Experience. Passion. These are the elemtary components of our specialist workshop for classic cars. Established in 2010, our "Glass Workshop" is in close proximity to the sales and exhibition area. It reflects our 40 plus years of experience in the repair and maintenance of classic automobiles. In 2018, Andreas Christophidis enriched our team. We are pleased to have found an expert and, above all, a partner who not only shares our values, but is an essential component of Arthur Bechtel Classic Motors in him.
With the integration of Christophidis and his team into our workshop structure, we are laying the foundation for a partnership that will ultimately benefit every old-timer enthusiast who is looking for professional advice. With ARTHUR BECHTEL CLASSIC MOTORS / SERVICES operated by Christophidis, we can offer you all the services you require at both our locations in Böblingen, Headquarter (Motorworld Region Stuttgart) and Cologne, Dependance (Motorworld Cologne). We are pleased to advise you personally on all your concerns!
Andreas Christophidis has been a specialist in the classic car sector for 30 years and maintains some of the world's top-class collectors. In addition to his fondness and experience in Mercedes-Benz models, Christophidis also brings unique expertise for the brands BMW and Ferrari.


text:
Memphis Towers residents say they face retaliation after fighting for better conditions
by: April Thompson
Posted: Jun 15, 2022 / 04:37 PM CDT
Updated: Jun 15, 2022 / 05:54 PM CDT
MEMPHIS, Tenn.– After speaking out in the hopes of getting better living conditions, some Memphis Towers residents claim they are being retaliated against and facing eviction.
Memphis Towers residents Yvonne Collins and Lewis Martin said they have been fighting for better conditions for years.
Residents fed up with 'death trap prison' conditions at senior apartments
Now, those residents say they are being retaliated against.
"It got worse after we talked to the media," Collins said.
Collins said she's been harassed and hasn't been able to renew her lease because of unreturned paperwork.
"They put this letter on my door. I never got the first notice but she did say you were in the media," she said.
Lewis Martin said he got an eviction notice saying he used threatening language and damaged a door.
Tuesday night, police arrested Lewis for harassment.
"They told everybody he had broke the door. You say it was for harassment. I am like, what the hell is going on?" Collins said.
Serenity Towers fined $5,000 by Environmental Court
We reached out to Millennia, the managers of Memphis Towers, but they would not comment on Lewis Martin's status.
But they said it was false that Collins was not allowed to renew her lease, saying "The property management team acts legally and appropriately in matters of issuing lease violations with documentation to support these actions."
Jeremiah Smith, with the Memphis Tenants Union, is supporting the residents trying to make a change.
"And these tactics aren't going to work, our tenant leaders are not going to stop fighting they're not going to stop speaking out and they're not going to stop," Smith said. "Struggling with Millennia until Millennia provides what they are legally obliged to provide, which is running water."
Tenants say it's the least they deserve.
"We have the right to organize. We have the right to protest. We have the right to complain and demand from management some decent living up in here," Collins said.
Lewis Martin's arrest ticket says he was released on his own recognizance Wednesday.


When I was studying at the Los Angeles Music Academy (today: LACM) at the turn of this century, Joe Porcaro (JoPo) was my teacher for jazz drums, along with Tony Insalaco and Sherman Ferguson. Even back then he could have enjoyed his pension, but he didn't, and he still doesn't. Joe still loves to spread his passion among youngsters from all over the world.
Mainly he does so by teaching classes at the Los Angeles College of Music in Pasadena. Together with Ralph Humphrey he is the drum department chair – together they wrote the curriculum as well. JoPo always took his vocation very seriously. I remember one day, when he run out of class in a rage, because none of us had practiced his assignments from the week before. You can bet that was the last time, we didn't. In this video Joe gives away the most important lesson for drummers who want to become a pro.
When I went by my old school after the NAMM Show this year, I was surprised to hear that JoPo is still teaching. Ralph Humphrey suggested to call him up and also schedule an interview with him. So I did and the next day Joe skipped his lunch between classes and talked to me about whatever came into his mind. He also answered all of my questions of course. How great to see him again.
Yet another outstanding drummer with a long career in the music business. As many of the great ones, Joe Porcaro never had a plan B. Nonetheless the self-taught drummer worked several jobs until he was able to make a living as a musician. JoPo started out on the East Coast and later in the 1960s followed his dear friend and percussion legend Emil Richards to the West Coast. Together with his wife Eileen he became parent to three boys and one daughter.
All of the boys were part of the band Toto: Jeff, Mike and Steve Porcaro. And Joe guest-starred in almost every one of their records. Guess, what he played in "Africa"!? In this video Joe talks about his kids when they were still young and learning about music. He remembers the Grammys in 1983 as one of the greatest moments in his life. And he also talks about Jeff – his talent, commitment, groove and drawing skills.
Nowadays his grandchildren carry on the musical torch of the family: Paige and Chase Duddy for example are the sister and brother duo XYLØ.


the work around did not work for me...….. I am using version 4.4.4..... just updated my profile. FYI I did check on my second computer which I actually use to run lights and it has version 4.3.24. Everything works fine there. Thinking back I do remember having an problem with a version after 4.3.24 and reverted back to that on the second computer for the Christmas season.


text:
X'ntigone: Reworking of the Greek classic tragedy has parallels with Covid pandemic
Belfast's MAC theatre is the venue for a new play which takes its inspiration from the Greek classic Antigone, but brings it right up to date with an exploration of our post-Covid world. Jenny Lee finds out more from Co Down actor Eloïse Stevenson and Dublin playwright Darren Murphy
X'ntigone meditation on a timeless Greek tragedy in which political expediency meets the voice of a generation who want to tear down the power structures that have ill-served a crumbling state.
Eloïse Stevenson stars in X'ntigone at the MAC, Belfast
THE virus has ravaged Thebes. Millions are dead and the economy has tanked. Vaccinations have been administered and the Festival of Liberty is imminent.
Sound familiar? Prime Cut Productions have collaborated with the MAC theatre to bring the Greek classic Antigone into the zeitgeist of our world today.
X'ntigone takes the timeless, universal themes of the Sophocles tragedy and views them through the lens of contemporary society.
X'ntigone (pronounced Zan-tig-on-e) is the niece of the ancient leader Creon. Change is about to happen, but X'ntigone is quarantined and she and her uncle have unfinished business to thrash out before the celebrations can commence.
Exploring what happens when old world order meets a radical new world vision, in this drama political expediency meets the voice of a generation who want to tear down the power structures that have ill-served a crumbling state.
The title role is played by Eloïse Stevenson, from Holywood, Co Down, who admits that the few pages of script and character description she was given at the audition "intrigued" her.
"It is so current and it's the only thing I know of that is brand new and about this time," says the 28-year-old graduate of The Lir National Academy of Dramatic Art in Dublin.
X'ntigone is a fresh and vital discourse for our times, when even truth has been sacrificed at the altar of political gain and avarice.
The themes in this new piece of theatre couldn't be more potent and relevant as we continue to live through the Covid pandemic.
When I ask Eloïse if X'ntigone is the 'rebel' in the play, she is quite forthright with her reply. "I'm not a fan of that word; X'ntigone is more than a rebel. I think she is incredibly brave for standing up, pretty much alone, against the mainstream power and politicians and is willing to be locked up for her cause."
So, would you call her an anti-vaxxer? "No. The play is much more sophisticated than that. It's not clear cut who's the goody or baddy and your views might switch. It definitely gets you thinking about what your own view might be."
Playwright Darren Murphy mirrors what his Greek counterparts have done in writing a play based on the times they are living through, and using the power of theatre to encourage audiences to ask questions and examine their own perspective.
"Greek drama in fifth century Athens BC evolved at the same time as democracy. I don't think that was an accident.
"Live theatre creates a space for the audience to be in the room with those characters and ask themselves what they would do in that situation," says the Dubliner.
Murphy explains that his heroine X'ntigone has an awareness of how the story has been told and retold, particularly by men and wants to change the trajectory of that narrative by changing her name.
"The purpose of using the X at the start of her name derives from the use of the x symbol in mathematics. She wants to intercept the narrative that has been passed down to her and be a variable in her own story," he adds.
Eloïse agrees that while X'ntigone is self-defined and an individual "she acts alone, unselfishly for the greater good and social change".
Michael James Ford and Eloïse Stevenson star in the world premiere of X'ntigone
Although she doesn't have a solution to our current day crisis, Eloïse does believe she shares some characteristic traits with X'ntigone.
"I will question a lot of things that have been happening , especially over the past two years, but I'm not sure I would be quite as radicalised as she is."
With theatres shut for most of the pandemic, Eloise admits it has been a difficult – yet surprisingly refreshing – period for the young actor, who just graduated in 2019.
"Whenever we went into lockdown it did take the pressure off. Acting is so competitive and you do worry about getting work. I love the theatre and if I could stay working in the theatre forever I would, but lockdown made you realise it's not the end of the world if you don't get your audition."
Eloïse confesses she did reconsider alternative careers during the prolonged theatre closures. "The problem was that all my ideas aren't very practical. I did a pottery course so that won't be making me my millions anytime soon," she laughs.
Joining Eloïse in the two-hander is experienced actor Michael James Ford, whose screen credits include Harry Wild, Striking Out and Mrs Brown's Boys D'Movie, in the role of Creon.
"Michael has stripped it right back so the focus is just on the uncle and niece relationship, although the story of their wider family history is talked about and questioned. It's like they are in the room, no they are not," adds Eloïse, who is grateful for the "calming presence" of Michael in rehearsals.
And whilst a career in television isn't her main focus, Eloïse has done some screen voiceover work herself – in German.
"I moved to Austria when I was six, because dad got a job there and stayed until I was 19," adds Eloïse, who completed her schooling in German.
"From a very young age I would have performed in German plays and things. I went to a Rudolf Steiner school, so there was a big focus on the arts and performance."
X'ntigone premieres at The MAC, Belfast on February 2 and runs until February 13. Post-show discussions will follow the 7.45pm performance on February 9 and the 1.30pm performance on February 10. Tickets at Themaclive.com.
X'ntigone
Prime Cut Productions
Eloise Stevenson
Darren Murphy
02 February, 2022 01:00 Stage
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