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Don Pasquale: So Anchio La Virtu Magi - Various - Presentation (CD)


, Format: CD, Year: , Label: RCA Victor Red Seal ( 2), Barcode: , Length: Red Seal Presentation - Various: Musik. Zum Hauptinhalt wechseln. Prime entdecken DE Hallo! Anmelden Konto und Listen Anmelden Konto und Listen Bestellungen Entdecken Sie Prime Einkaufs-wagen. Musik-CDs & Vinyl Los Suche Bestseller Geschenkideen. Her entrance aria, "So anch'io la virtù magica," had the flair and sparkle of operetta, and her transformation from innocent to harridan was wonderfully pointed. As Pasquale's nephew and Norina's lover, Ernesto, Adam Hall got the emotion right -- notably in "Cercherò lontana terra" -- but sounded thin and strained in his upper range.

File folder titles and contents for slides often reflect what was shown on the slide box and do not necessarily reflect just one single roll of film. Slide numbers may be on the back side of the page of slides. Opera Photos, Gondoliers Gilbert and Sullivanss. Opera Photos, Hansel and Gretel Humperdinckss. Opera Photos, Pickwick Burnand and Sullivanss. Photos, Individuals and Groups, Identified Ballet Photos, Individuals and Groups, Unidentifiedss. Photos, Individuals and Groups, Unidentified damagedca.

Recordings include auditions, opera performances, concerts and recitals, interviews, and various other IPFAC recordings. Some performance recordings of Henry Hobart from the s as well as performances directed by Isaac Van Grove in the s and s are also included.

Some recordings are commercial recordings. Box 71 contains additional audiovisual materials. Entries with the same time period are arranged alphabetically. II"], n. Old Watt and the Rabbits - Hower; B. The Mouse - Bainbridge Crist; C.

Pat-a-cake - Bainbridge Crist; D. All Day on the Prairie - Guion; F. A Banjo Song - Hower; G. Hard Trials - arr. Burleigh; H. Nobody Knows the Trouble I've Seen - arr. Philip, Atlanta, Georgia, The Rev. Canon Frederick L. Eckel, Founder and Director, Sonotape, n. Cohan, George M! Audio Cassette, Audition, Brian Decou [sp? Strauss ; Ah mes amis Donizettin. Jim Swiggart, May 24, Moore, June 2, ], June 2, A Response to Subscription Revisionists. State; Xmas; Audio is on Channel 2, November 1, Henry Hobart Int [Interview?

Ritter on inside of can"October 30, IPFAC season posters and full-page and oversized news clippings are also included in a flat file Box Materials in this series are restricted for twenty years until at the request of the donor. Materials in this four-box series were acquired just prior to the completion of the processing of the original collection. Notable in this series is correspondence of Isaac Van Grove between and ; materials for proposed building projects in the more recent past s ; and materials from the Eureka Springs Opera Guild froma group that actively supports the Opera in the Ozarks program.

Included in Boxes 70 and 71 are recent season posters; four scrapbooks compiled by Daniel Wright, who was an IPFAC student from ; and a scrapbook containing materials from through that was compiled by Mrs. Charles A. Hudson, was an OIO student. Correspondence, Isaac Van Grove with misc. Use Information Restrictions Apply.

No Interlibrary Loan. Title University of Arkansas Libraries N. McIlroy Ave. Fayetteville, AR Rosters and Mailing Lists, "Miscellaneous Fayetteville", ca. Strauss Performance Background Materials, Dialogues of the Carmelites, Opera News, Der Rosenkavalier,, Opera News, Il Barbiere di Siviglia,, Opera News, La Forza del Destino,,, Opera News, Le Nozze di Figaro,, Opera News, Magic Flute,,, Warner Andersonn. Swift Unfortunately the four-minute Grand Operas were issued during a period in which there are large gaps in the run of ad- vance reports.

To begin with, we reproduce the announcements to the trade for the first three series of Grand Opera records. Sales figures for these 30 rec- ords will be found tabulated at the bottom of Supplement No. We have perfected plans for the issuance of a series of Edison Records of Grand Opera selections, made by the principal stars of the Metropolitan Opera House, New York, and prominent artists appearing in Grand Opera in this country and abroad.

The work of recording was done at our own laborator- ies, where our unrivalled equipment made it possible to secure the most faithfully accurate and natural reproductions. Other instalments of these Records will be issued from time to time. As an evidence of the artistic character of these Records, we print below the translation of a letter written by Signor Scotti referring to the records made of his voice.

By Heinrich Knote, Tenor. Orchestra accompaniment. By Andreas Dippel, Tenor B. By Florencio Constantino. Tenor B. By Antonio Scotti. By Scarphy Resky, Soprano B. By Romeo Berti, Tenor B. Leoncavallo Sung in Italian. By Signor and Signora Resky B. Donizetti Sung in Italian. By Anton van Rooy.

Baritone B. By Anton van Rooy, Baritone B. Announcement to the Trade. The second list of Edison Grand Opera Records will go out on May 1st, with the prestige of the greatest single success in the history of the Edison Phonograph. Until the first ten of these Records were fairly on the market it was uncertain how the trade and the public would receive them.

In view of the money expended, the care taken to produce them, and their ar- tistic excellence, we believed that they would be a success and we awaited the verdict of the public with great interest. The approval of the public was prompt and emphatic. It accorded them a most enthusiastic reception. Their success was far beyond the most sanguine expecta- tions of all identified with the Edison interests. For clearness, naturalness and artistic repro- duction they were pronounced superb.

They were hailed as marking an epoch in the art of reproduced sound. No doubt remains that Edison Grand Opera Records will hereafter be one of the most attractive features of the Edison Phonograph, especially to those of refined musi- cal taste. As showing the extent of the demand for the Records we would state that orders in the first three months will reach a total five times as great as we anticipated when they were first issued.

A better evidence of their popularity could not be wanted. These new Don Pasquale: So Anchio La Virtu Magi - Various - Presentation (CD) are sung by Messrs. Scotti, Knote. Constantino and Berti have not yet sung in this country, but they have won a name abroad as artists of unusual talent.

The selections are among the most charming airs in the great operas from which they are taken. They are rendered by the several artists just as they sing them in the operas' and, while listening to them, one C2n almost see the singers holding the Metropolitan Opera House audiences spellbound with the magic of their wonderful voices.

A total of 23, were ordered by dealers in advance of the month they were to be placed on sale. Sung in Italian Orchestra accompaniment B. Sung in German Orchestra accompaniment B. Mascagni. By Romeo Berti, Tenor. Supplement No. Like the regular list, the Grand Opera Records must not be placed on sale by Jobbers or be re-shipped to Dealers before 8 A. Supplements, hangers, etc. Jobbers are required to mail orders to us on or before June 10th.

Orders not so mailed will be considered as second orders and filled later. The third list of Grand Opera Records presented herewith will be even more popular than the two lists previously issued. These selections comprise four in German, three in Italian, one in Latin, one in Spanish and one in French. The list introduces four new artists in Mme. Rappold, soprano; Miss Bessie Abott, so- prano; Mme. Jacoby, contralto, and Alois Burgstaller, tenor. All of these artists sang leading roles at the Metropolitan Opera House last winter and are, therefore, singers of the first rank.

For artistic rendition, natural and smooth reproduction and musical qualities these ten selections will be a delight to all lovers of the music created by the great composers. Baritone, Italian Rawold, soprano, German B. Sung iii Italian Orchestra accompaniment B. Sung in Spanish Orchestra accompaniment B. Meyerbeer By Mme. Sung in Latin Orchestra accompaniment B. Sung in French Orchestra accompaniment B. Mozart By Alois Burgstaller, Tenor.

The full list price of seventy-five 75 cents must be maintained. Much to notice here! Number of issues was cut to five; there is a slight drop in the per-record advance orders.

Cumulative sales figures are shown for the first time. Note that Constantino's "La donna h mobile" had already exceeded 13,! Orders for numbers 31 through 40 continued to come in after the advance orders for the previous list.

We have calculated that more records were ordered in the intervening three months. B- J Basso solo in German. Grand Opera records are now listed with the regular domestic list. Notice that advance orders are about half of what they were on supplement No. What went wrong, and why are they so hard to find nowadays?

For one thing, it appears that they were a success initially. I wonder how many Victor Red Seal records from early Grand Prize label reached average sales of nearly in just over a year, as the first ten Edisons did.

It was probably urban customers who bought the majority of these records, and by many opera lovers had undoubtedly converted to disc systems. After all, two minutes is hardly enough time for most operatic arias, and Victor's catalogue of 12" Red Seals was growing all the time. And if urban dwellers did buy the majority of these records, this would explain why more of them haven't survived; many city folks live in apartments and have little room to store obsolete entertainment equipment.

Thousands of Edison phonographs just got put out on the street for the rubbish man. But we also have to put the Grand Opera output in- to some perspective.

Even though someor more were distributed, this was just a tiny fraction of the number of standard records being sold. And don't forget, this was advance orders. Their sales figures may ultimately have been double the advance orders.

These two records alone could very well represent half of all the Grand Opera records that were sold! Eighty-plus years later we tend to forget what an enormous impact the Edison phonograph of pre had. The plant was running 24 hours a day to satisfy the de- mand for records, and this doesn't even take Columbia and Indestructible's output into consideration.

Is it any wonder, then, that the Edison 2-minute Grand Opera records turn up so infrequently? In George Paul's article on the Stroh violin in the last issue, we referred you to an illustration on page 15 showing the instrument in use. In this case, the player is using a monitoring funnel, much like modern- day headsets are used in recording sessions. Dated December 23,it either segregated titles that had become slow sellers or whose working molds were no longer usable. At the time of their correspondence, Mrs.

Valencia was years old and living in Silver Spring, Maryland. Since then, however, he lost track of her, and we are unable to determine whether or not she is still living. If she is still alive, she would be and probably the oldest living recording artist. All attempts to learn any more have failed, and we have not even been able to locate a photo good enough to reproduce with this article.

Tom passed along a few materials which we will share so that readers may learn a little more about this in- teresting, yet obscure, violinist and recording art- ist. By the way, he is still trying to locate any Edison recordings by violinist Irma Seydel, and can be reached at: P. BoxN. Carver, MA She re- ceived her first musical instruction from her parents, Gabriel de la Torre and Lina Campuzano.

There she studied violin with Cesar Thomson and won four first prizes in violin, harmony and composition. Later she toured Europe and America, being unanimously ac- claimed by the press as one of the greatest women violinists of Latin-America. While in Madrid she had that rare distinction of being presented to the Royal Family of Spain for whom she played. January 11 - Dear Mr.

Vendetti, I had very much pleasure to receive your nice letter. I don't play very much any more. I am too old. But I play the piano every day - I don't need an accompanist on it. Edison came to congratulate me after my performance. There is a recording that I made for Thomas Edison. He like d it be- cause of the double stops I played. It is at the Library of Congress. I don't remember the name of the piece or the accompanist. I am sending you a pamphlet with the history of my life.

Thank you again Mr. New York Telegram : Her style is broad and positive. A program of excellent merit. New York World : She uses her left hand with great dexterity. New York Tribune : A considerable technical proficien- cy, a skilled left hand, an agile bow, and a sure attack. Lina Campuzano, a Spaniard. Both parents were very cultured and musicians. They founded a conservatory of music which was the first of its class in the province after the end of the war in which completely left the region in ruins.

Puerto Principe or Camaguey was the third area after Santiago de Cuba and Havana to have a musical life. Marta de la Torre had inquisitive eyes that saw everything around her sharply. Angela, a pianist, died in the U. She spent to in Spain and France offering forty concerts in Spain for the Daniel company and was cho- sen by the great composer Joaquin Turina to premiere his work "Poema de una Sanluquena," which took place in San Fernando, Seville, on the 20th of February of That same year she represented Cuba in the Paris Exposition of Arts, and on the 27th of May of made her first presentation in the Gaveau Hall, where she was enthusiastically praised by the public and the Paris critics.

At the University of North Dakota, in September ofat the age of eighty years, she had her last public performance. Since then she has dedicated herself to teaching piano and violin, her favorite instruments. In the newspaper "La Discussion," which was pub- lished in Havana, the theatre critic J.

Lopez de- scribed Marta de la Torre ' s violin technique : "This artist has an incredible bowing strength. She domi- nates the bow with incredible security and clean exe- cution and with magisterial strength she dominates dangerous exercises of the double string. Her absolute serenity is inspiring in the most solemn passages. The soul she puts into the execution make Marta de la Torre an Immense artist.

She helps with her experiences and vast knowledge those who aspire to unravel the difficult field of musical arts. Many old and new disciples bring her homage and praise, in her retirement. In a letter to her brother Robertro, president of the Society of French Culture, she wrote: "I never stop playing the piano every day; this makes me feel better, remembering past times. I take care of myself and people admire my vigor at the age of She has spent her life giving happiness and understanding to people.

A century has passed since she was born in Camaguey un- til today. Her faith in being able to return to Cuba has not diminished. The green-wax pressings from are all reissues of couplings from Columbia's F Irish series in the s. I've managed to ac- count for numbers38, 42, 43, 45, 47, 49, 55, 60, 64, 65, 70, 75, 78 and 80 — and I'd be pleased to hear from anyone who's tracked others. Many, but not all, were further recycled into a Vocalion ser- ies inremaining in print long enough to be re- pressed on the maroon Okeh label after mid If readers can add to Dick's blanks in the s, they can write: Dick Spottswood, 43d Ave.

Dick also commented on the unusual Chinese Victor we showed. The example, C, is part of a Cantonese opera which was issued on pressings A, B, etc.

Poor Nipper was omitted from the trademark because the Chinese consider dogs unclean and unwholesome. Questions and comments to: G. Apropos of the article in issue 78 about the re- pressed Blue Amberols, Allen Koenigsberg writes: "How about a 're-covered' cylinder?

I went through my col- lection of Blue Amberols and found a new category — the cylinder is entitled "Rag, Knock Out Drops" by the Ford Motor Band recorded Septemberbut the celluloid recording is clearly placed over a previous Blue Am- berol cylinder. The result is that the entire cylinder is slightly wider than a typical Blue Amberol to the amount of the extra layer of celluloidSince the whole thing is tightly 'shrink-wrapped,' it is impos- sible to determine what selection is underneath.

The outer recording plays fine and fits a regular mandrel. We checked Brian Rust's dance band discography, and that was the only one listed. However, we didn't go far enough. Peter Dawson's fame is unquestionably linked to his growth as a popular recording artist, lie sold more records than anyone in recording history until the advent of The Beatles : he has been credited with songs and sales of 13 million recordings so most Englishmen, New Zealanders and Australians and even some Americans have grown up with the music he recorded, particularly those popular ballads, ballads which evoke a taste of the drawing room, of Masonic Lodge Smoke Nights; of sepia pictures of great-uncle Charlie, thumb in vest, hand on the upright piano, an aspidistra in the background, entertaining relations on some festive occasion.

Golden Oldies or Mouldie Oldies, depending on your generation, the list of ballads that most of us know vaguely is very extensive. But that is far from the sum of Peter Dawson's repertoire for he also recorded many classical art songs, oratorio and opera. I am not a record collector; I am interested in singing and in the songs which Dawson sang. For some time I have considered writing a serious, well-documented book about Dawson which would up-date on his own biography, 50 Years of Song.

I have gathered quite a few articles, programmes, and music and a recent book by the English record collector John D. Vose called Once a Jolly Swagman. Peter Burgis, the archivist, who was responsible for the excellent boxed set of Dawson re-recordings under the title Ambassador of Song, which celebrated Dawson's centenary, has agreed to become co- author.

To help us, Peter and I would appreciate any information from people who may know something about Peter Dawson. Documentary evidence of any kind, such as personal letters, programmes, reviews, music, photos, would be most useful; anecdotes would also be most welcome.

Information should be clearly identified by date, author or other reference and be accompanied by any necessary explanation to ensure that the final publication carries the stamp of authenticity. All contributions will be acknowledged. We hope that the book will reflect the major contribution which an Australian has made to the development of the recording and concert industry and to the development of the international profile of Australia as a nation of gifted singers. Peter Dawson was bom in South Australia in January In an unusually enlightened move he was encouraged to study in England with Charles Santley, who was instrumental in the development of the impeccable technique for which Dawson became famous, and also for introducing him to the concert platform.

Why Dawson did not chose to go into opera is a matter of debate which I shall save for another occasion, but he is said to have considered it too much effort for too little return. However, he had an opportunity to test for the newly industrialised recording machine - the two-minute wax cylinder - and proved to be ideally suited for the medium.

His recording career began in and stretched tointo the age of stereophonic recordings. To make a living he sang anything and everything but not always under the name of Peter Dawson. His first recording was made under the name of Leonard Dawson. Peter Dawson also composed many ballads himself, which he also recorded. Of these the most famous was Bootspublished under the name of J. Peter Dawson's activities were not restricted to the recording studio.

Both he and the recording companies capitalised on his fame; his tours throughout England, Australia, New Zealand and the Far East were well publicised and very successful. From the following it is obvious that by the recording industry - and Peter Dawson - were flourishing. He was touring Australia with a Brazilian pianist with the exotic name of Tapia-Caballera as co-artist; his own accompanist was Hubert Greenslade.

Peter Dawson, is now so sure of his public that he can afford to disregard their preferences and make them listen to a lot of good music before he satisfies them with - music that is not so good. In this way, Mr. Dawson is doing fine work in the musical education of those who regard "Drum Majors" and "Floral Dances" and the like as fine songs.

He brings to the interpretation - or shall we say, "presentation" - of the feeblest of musical twaddle such a wealth of understanding and vocal address as to make it almost endurable to people who prefer good music, and enormously satisfying to those who don't. In the same programme The circa 1 words [Note: Russell Smith is well-known in Australia as an opera singer specialising in bass-buffo roles; he is also Senior Lecturer in Voice at the Tasmanian Conservatorium of Music.

He was Senior Archivist at the National Library when he produced Ambassador of Song ; today he is a freelance consultant. The, Stuart. Pinsuii Singer was Irish.

The photo and list- ing come from the October, Edison catalogue. It is not just that they find the world beautiful instead of disappointing, but also that this day is just beginning. Effective, yes, but it stands so well on its own too, and you never hear it on its own.

If you get an opera highlights CD, it is all about the arias. The chorus matters too. Similarly, in Aida when Radames is being tried, the focus of that scene is generally on the anguish of Amneris. I get that, but the deep condemnation of Radames by Ramfis - heightened by the silence of Radames - it is so powerful. And they often have it happening off stage or behind scenery, which doesn't really lessen the effect, but might be a little unfair and makes finding a recording focusing on that bit hard.

A large part of this post is to laud this musical things that I like, but there is another aspect to this, in terms of family. My family is an opera family, and even more a Verdi family. I believe my mother would love opera on her own, but there are passages that inevitably bring up memories of her father, who was always singing it.

My favorites are not my mother's favorites, which seemed wrong somehow, or like maybe I was a rebel or did not get it from her. I mean, I don't even like Aida that much, except for that scene. However, in talking about that scene with her because I was featuring opera in my daily songs for almost a month and it was on my mindshe said it gave her chills.

That is exactly what that scene does, and we are the same on it. There are some other ways that my mother and I have connected over music recently, and I will get into that more tomorrow. Small Circle is a Philadelphia band making sweet and mellow music. I stumbled across them accidentally when reviewing Coolerand wanted to circle back. The pun wasn't intentional, but I noticed it and I'm okay with it.

In a way, Small Circle's sound is small, but there is a courage and resoluteness behind it. Listening becomes uplifting because of that. I believe "Ritual" was the song that made the strongest impression on me, but "We Belong Here" gives a good overall feeling for the band.

I don't know of a lot of well-known bands that I can compare them too. Wayne Carlsen has a wide and varied musical background. With Nuovo Music, he is experimenting.

The "music" part may seem like a misnomer. More often the tracks invoke noise: traffic, machinery, and background hum. There may not be melody. The most traditional piece is "Evening in Southern India", because it is meant to convey a person singing. Others are much more abstract. It is obviously not to everyone's taste, but I think fans of Philip Glass may enjoy Carlsen's work.

As long as we are spending time on the daily songs, let's give some time to Opera-ctober. There were some things that were different about it.

I started it a little late. One reviewed artist had a new release set for October 3rd that I wanted to get in, and other old friends had new releases, so that was one reason. In addition, I was not positive that I could come up with 31 songs. It's not that there aren't at least 31 good opera songs out there. Between live performances, listening on CD, and in some cases watching on television, I might not even have needed to repeat operas.

Still, finding the right recordings was difficult. I ran into the same issue during Musical May that was not this year. I may have seen or been in a live performance that had great meaning to me, but what you can find on-line is not always the same.

When you have a song that got radio play, there can be different mixes, but the version that you liked is probably out there. You might remember a live performance that wasn't recorded, but in general it is the recording industry and they literally make records. With opera, some pieces are strong enough that the presentation doesn't matter so much. In many cases those get referenced enough that you don't need to be a big opera fan to recognize them - "La Donna E Mobile", "La Habanera", "Largo Al Factotum - even if those titles don't sound familiar, the opening bars will.

For other, I know a lot of it had to do with the staging. When I listen to recordings it doesn't sound quite the same. Similar, but not the same. There are also two pieces that I don't think get the attention that they deserve, but I will pick up with those Monday. For right now, I am just going to revel in some opera memories that were visual as well as auditory. They are more precious to me now, because even though I still end up there periodically, I hate the current director's taste.

That makes it even more tragic that the reason Robert Bailey retired was more being exhausted with fundraising than with staging productions. My first live opera, Rigolett o in The set was gorgeous, and looked very Italian, but I hadn't realized that they would be able to make the sun set and turn into night. I went for "La donna e mobile", but the show was beautiful for ears and eyes.

That same season's production of Faust was the best I have seen three versions now. There were many wonderful things about it and I can't believe the reviewer had to ask why Faust was left with the dream Marguerite instead of Marguerite herself. The most visually stunning moment was when Mephistopheles peeked out from behind a red satin curtain, and began walking forward, pulling the curtains forward and bathing the stage in red as he detailed his plans of seduction.

The peril of live theater is that on a different night the curtain got caught on something a friend of mine was theremarring the effect, but when I saw it, it was perfect. Also that season it was a really good seasonthey did a Julius Caesar with mostly modern dress. For "V'adoro pupille", Cleopatra was dressed in pink taffeta.

It is usually staged as her performing for Caesar with some distance, and here too. However, at the start he got the end of her wrap, a very long piece of fabric that when gathered around her shoulders looked white, but when stretched out was practically transparent, except for the sequins, which you also could not see except when the light hit them.

So it was like the lovers were connected by a band of twinkling stars. Probably a pretty simple costuming detail, but I thought it was magical. La Belle Helene came later, but it had a similar mix of modern and classical dress. The costume for Paris was jeans, a leather arm band, and long blond hair. No shirt. Later on there was a tux, and then a cassock over the jeans for a disguise, filled with pink hearts when he opened the cassock.

It was silly but also pretty sexy, which left me with a ridiculous crush on Tracey Welborn that made his return for The Pearl Fishers that much more appreciated. Nedda was on a swing for "Stridona Lassu" which I thought really heightened the longing and nostalgia of the aria.

Then for the conclusion, the stage for the performance within the performance rotated. Instead of stabbing, Canio takes out Nedda and Silvio with single whacks of a cleaver and they fall just near each other but not touching and it is circling as Canio gives the final line. It's an abrupt ending anyway, but that was an incredibly impactful delivery. This is not particularly visual, but I need to look up a name.

For the production of Le Nozze di FigaroFigaro was just the best baritone. It may have stood out more because usually the tenor is the lead anyway, so it feels different to have the deeper voice leading, but he was superb. Tuesday, December 04, How I roll and rock. While I curate my daily songs with great care and consideration, it feels like my efforts are generally ignored. However, with the 90s list I got some feedback. I'm not arguing. The truth is, I don't think "All Cried Out" is that great a song.

Even for Lisa Lisa, I remember "Head To Toe" being much more popular - with some people having specific dance moves for it - and "Lost In Emotion" is my personal favorite, so "All Cried Out" is at best a weak third - Don Pasquale: So Anchio La Virtu Magi - Various - Presentation (CD) those are for the 80s. The 90s were not as good; we've been over that.

This is where we get to the reason that there were many good songs from the 90s that - whether I knew them then or did not discover them until later - I did not include: I try not to do repeats.

I came to The Get Up Kids late, but their songs from the 90s have all been featured. Every official Gin Blossoms release and a few songs that were never released, I have done. I'm not saying that in six years of doing this that I have never repeated.

I believe I have done a few deliberate repeats where there was a compelling to me reason why that specific song needed to be the song of the day, despite already having been used. I suspect that with imperfect memory I have done a few accidental repeats. I also am thinking about doing some reviewing where I do my top songs over the years of doing reviews and exploring different things.

That would then be all repeats; sort of a "Greatest Hits". I am nearing different bands reviewed, not counting different listening spells for things like greatest guitar songs or understanding emo.

A lot of ground has been covered. Here's the thing with that: there are so many good songs! Sure, some are better than others, but that doesn't mean the ones that aren't the best are bad. Sure, as long as I review bands that follow me on Twitter and play songs from them, there are always going to be new songs, but even with songs I just know because they got airplay, there are a lot of songs I have not yet used.

Some of them are pretty great. Now that I remember that, it will probably come up eventually. For now, I am in the middle of songs by reviewed artists, with more musicians to review, and that has its own challenges.

One reviewed artist has some really harsh videos. I was tempted to not post one, but his music reflects his own trauma, and is a part of his healing. How do I leave him out? Another artist is overdue for review, but he seems to be in the middle of a break from reality where he has removed all his music from online, possibly in response to government surveillance which I am interpreting as a break, but maybe not; they really were spying on Hemingway. It doesn't feel right to just skip him, but there is nothing to review now.

I mention that, because the way this whole post should come together is that yes, I do love music, but I also respect music and musicians. I try to show that in the attention that I give. Many of the choices I make rely more on principle and ethics than taste. And it suits me like that. Found in the 90s. For my daily songs I had recently done 80s August and it was awesome! There were so many good songs. I could easily do an entire month on each individual year of the decade and I would still not run out of songs.

Therefore, that is a thing that is going to happen. It led to me doing 90s November. That was not as awesome. It wasn't bad either; just different. Let's spend some time on that. For one thing, I knew going in that it was during the 90s that I started to disconnect from contemporary music. I wasn't even sure if I would know that many 90s songs.

I looked at the top hits year by year, and came up with enough. The first thing that was not surprising was that the bulk of the songs that I wanted to use came early in the decade. You could still hear some of the 80s New Wave influence.

Of course the other big divider was my mission. I entered the Missionary Training Center February Don Pasquale: So Anchio La Virtu Magi - Various - Presentation (CD),and I don't think any of my songs were heard by me that year.

Until August 8th,I was not listening to any non-religious music. Now, songs did sometimes still enter my consciousness. It was playing a lot in Fresno in the summer of It was the same deal with "Jump" by Kriss Kross. Also, there was a school meeting of some kind that we were at I think it tied into some tutoring, but can't remember for surewhere for examples of consciousness and communication, they talked about the similarities between "Whoot There It Is" from 95 South and "Whoomp!

There It Is " by Tag Team, and how it seemed to originate from an old cheer, but I never heard the actual songs until later. I almost had nothing forbut inback in school, yes, I remember hearing and really liking Real McCoy. I also remember seeing a dorm-mate with "eal McCoy" on the back of a T-shirt, and trying to build a conversation off of that, but it was a Neal McCoy shirt.

I broke year order to put "Run Away" on Thanksgiving, in commemoration of the Turkey Trot, even though it didn't go as planned. If not that, I would have gone up to for "Thank You". Still, the quantity of songs liked does peter out as the decade goes on. Some of that was the direction that music had gone in. Rap got much harder more gangster and I never got into grunge. There were other things that I could have put, but I didn't. I will write more about that tomorrow.

Overall the thing that really impresses me is that even for the years when it seemed like I was pretty much living in the past musically, there were songs that I knew for every year. Culture and art permeate. That is okay, though it is valuable to be aware of it. So 90s November ended up feeling all right. It wasn't as exhilarating as 80s August, but there was no chance of that anyway. I mean, that's just science. The full list: Friday, November 30, Band Review: Supaman.

Last year I finally finished reviewing every rapper mentioned in the Tom Barnes Mic articleI thought. Then I realized that in addition to the eight featured songs and rappers, there was also a passing reference to Crow rapper Supaman. The article focused on newer, lesser known artists at least for but what about the established rapper, who had been releasing albums since ? This week I have been listening to Supaman.

I have to add that there is a level on whichI am not even capable of evaluating him. In addition to some traditional rap albums, there are several collections of tools and loops that I have no idea how you would use. He seems to be fairly prolific for that, but I have no basis for comparison. That's perhaps one thing about seeking out different artists. You learn a lot, but also there are things you just don't know. Some things you can do. For example, I did not listen to any Rezawrecktion, the group he worked with early on.

That could be a future review, but this review focuses on his solo work, which is pretty good hip-hop. I am also pretty sure I will add Maimouna Youssef, with whom Supaman recently collaborated, to the review list. My first time through, his release Gorilla resonated with me more, especially the parts about identity and Superman; it felt like a window into him.

However, on further listening I have to say that 's Illuminatives is a stronger record. I believe that fits in with a pre-existing trajectory of continuous improvement, but with longer gaps between the two most recent albums, it becomes more obvious. Supaman continues to grow as an artist. I do not doubt that Standing Rock is a part of that - I have yet to see a native artist who has not been affected - but I suspect Supaman has been actively working on growth for a long time.

That's reason enough to check him out. With that mix of elements, you could hear sounds from anywhere. I watched Latcho Drom recently, and some of Pimienta's music reminded me of the Romany music that was featured, especially on "Quiero Jardines". The variety does make the music hard to describe.

Higher pitches are often used, possibly as a way of bringing attention to what is overlooked but perhaps also contrasted with a low droning. I get a sense of rebelling against being ignored, but also against the alienation that could come from accepting the ignorance of the world.

I found the opening on "Agua" instantly arresting. That is the opening track on her album, La Papessaand a good starting place. Pimienta was honored with a Polaris Prize. It was Digital Drum's tweet about her win that led me to do this review. Not as embarrassed as I could be.

I did not complete the Turkey Trot. I barely started it. I am okay with that. I know between and people were signed up, and there didn't seem to be nearly that many people there. There may have been people who did even less. I remember hearing someone near me say that he would have been fine with taking the group picture and going back to bed. Still, I was there. I'd had concerns about timing, but I had worked out a very specific plan for getting up early, getting dinner going, how long I thought the Trot should take, and what needed to be done for the Thanksgiving meal when I got back.

The only thing I could not manage was the right amount of time for the rolls to rise, so I gave my sisters instructions for that. Otherwise I was very organized.

Wednesday night I set the turkey pan and the foil on the stove, next to the slow cooker and the brown sugar for the ham. I usually just cook the ham after the turkey comes out of the oven, but my sisters had expressed interest in this video showing slow cooker ham with pineapple and brown sugar, so I tried it.

I didn't care for it, but they thought it was good. Other non-perishable items were on the counter. The pan for the rolls and the cooking spray and plastic wrap were on the opposite counter. My clothes were laid out with my race supplies in my hoodie pocket. I was set. The morning went really smoothly.

I had built in time for the animals to have needs, having learned from the last time we needed to be somewhere early. I got up, prayed, fed them, started the turkey, started the ham which included de-boning it, because otherwise it would not have fit in the slow cooker, but I had tested that.

I checked my blood sugar, medicated, and ate breakfast. The only variation in the plan was that I decided I would really feel better showering before, even if I would need to shower again later. I did that and still made my bus. I was pretty proud of this. Planning and preparation had paid off. Then I was there at the starting line and it just didn't feel right. I tried to shake it off, because I had really been looking forward to it and I had written about it enough that people could totally have asked me about it.

How could I not do it? But the mental "No! I considered doing something else, like going and walking downtown again, or this walking route I have around home, but ultimately going home felt best, so that's what I did. In an effort to pack light I had not brought my keys. I did not want to pound on the door and get everyone out of bed, so I sent a text to Maria around the time where I know her alarm was set also knowing that she was likely to hit "snooze" and Julie came and picked me up at the transit center.

I did feel like a loser, but having gotten up, set a holiday meal going, and made it there while everyone else was in bed, no one at home was calling me that. It was disappointing, but the decision to stop still felt right overall. I think there were three possible factors in terms of why it felt more like "Do not do this! I was just on that hill two weeks ago and I liked it. One is that I had not gotten enough sleep. I should have gone to bed earlier anyway, but then I just could not get to sleep.

That was probably from having too much to do. Maybe most of the participants let other people cook. Also, it is starting to get to be time to replace my shoes.

My feet did not feel great, but again, I was wearing them two weeks ago and they worked fine. Finally, my insulin dosage was recently changed, and I could not rule out that the exertion would lead to a plunge in blood sugar. Testing when I got home it was fine, but that was without doing much trotting. I had supplies for that, but let's say it plunged when I had gone up the hill and down and was at the part where you needed to start going up again - even with supplies on hand that would have sucked.

That last one is the biggest concern, where I sometimes wonder if my goal of doing a triathlon at 50 for which the Turkey Trot was a Don Pasquale: So Anchio La Virtu Magi - Various - Presentation (CD) along the way is realistic.

If it's not, I can still get better at running, and get back into cycling, and develop some form for swimming I enjoy swimming, but I know I could be better at it. The purpose of the goal was to know that I am entering 50 vital and moving, and I can still do that. I also have to admit that I am not very vital now. Well, there are ups and downs to it. I do have some strength and endurance; they also get tested a lot in ways that are not fitness-related.

My post titles this week have been awkward and not at all snappy; they have also conveyed the moods of the posts and of my life right now. Said life is currently full of compromise and adjustment, but also one in which I am growing a lot, and where successes are small but there are still some. I wanted to complete the event, I do not regret not doing so, and I still have some pride at my organization and execution of the morning right up until the time that I veered off to the side to look at the rest of the crowd and decide I did not belong in it.

I have questioned whether I should have signed up in the first place. It felt like a good idea at the time. That one is more complicated. If I had worked more on improving my sleeping patterns, or if I had been more proactive in working with the doctor so that my insulin dosage was already correct, would it have worked?

But - and I say this fully believing that I do not achieve maximum efficiency - those things are hard, and I already have a lot of hard things to do.

Navigating insurance and scheduling an appointment where I have coverage for Mom and am not conflicting with any of her appointments? There's a reason why yesterday was the first time I'd seen a dentist in two years. Which did not turn out terrible, but I don't recommend that. So, that was my Thursday, and my Thanksgiving, but also this is very much me.

Wednesday, November 28, Previously avoided fruit. I'd said that my tendency to use technology as long as possible was partly a matter of personality and partly a matter of economic situation. For the personality part, I hate wasting things. I'm not saying that is completely disconnected from being poor now and in the pastbut it is also largely environmental. It stems from knowing that recycling doesn't help as much as reusing and reducing, and not being very materialistic and never really liking shopping except for books, but I prefer to use libraries now.

I mention this because the reason my technology problems are ending is that my older sister found a good Black Friday deal on an All-in-One PC and bought it for me.

I still need to get it set up including wrapping the cablesbut it will be brand new and I should be able to use it for a long time. I do tend to hate Black Friday. It's been easy to avoid participating in it. It is also easy to look down on participation in it, but I can't do that. I know many people like to look and mock those who stampede like animals for cheap televisions.

That strikes me a little bit as Hunger Games watching, though usually there aren't many deaths. Still, like that "People of Wal-Mart" page; you know, they are people. There may indeed be bad choices there, but many issues could relate to poverty, affecting access to healthcare and nutritional access and lots of other things.

Life is hard, and not having a lot of money doesn't mean you stop needing or wanting things. If some people take the chance, I can't fault them.

I have written about this before, but I avoided shopping at Wal-Mart for many years. That was a principled stand because of their impact on communities, and the way they get government subsidies by way of both corporate tax breaks and relief programs for their underpaid employees. Then they became the only affordable source of insulin. There are principles I could die for, but that doesn't seem like a reasonable choice here. This year I have benefited from Black Friday.

I would like a different economic system, but working within the current one, this is where I am. I read some discussions on it on Twitter, and one tweet from SeriousTyberius especially stayed with me. They provided a car pooling framework, made demands known, and used their power collectively. I've seen too many folks in the same working class bracket going off on each other for buying from the wrong brand. It's tiring.

It is linked to another thread that is pretty good, but much improved by blocking the graduate student who can't stop judging everyone else for just not trying hard enough. My point with that is that if we are going to make things better and equitable, it is going to have to come via cooperation and planning together.

It will have to come by deciding to lift others up instead of always wanting to put others down. I am glad to have this computer.

Any complicated feelings I have about it will have have to be taken in stride. Tuesday, November 27, Gratitude via the less expected paths. Maybe there is not really anything strange in how gratitude comes about anyway, but something unexpected hit me, and it was a good thing. Last week I mentioned people reaching out to me. As fear of losing connection has been a concern, that was reassuring in itself. In addition, one of the contacts was about my technology issues, seeing if she would be able to help.

In that instance, my problem was specifically just old hardware, for which the solution is replacement. However, part of that was her asking how old the items were. My answers ended up impressing me. I don't know how old the PC itself is. It was given to me by the parents of a friend after they replaced it. Old enough to be replaced, I guess, Don Pasquale: So Anchio La Virtu Magi - Various - Presentation (CD).

Having it was still a big help, and that was something I was grateful for then. With the other items, I appear to still be on my original LCD monitor. I think I have had through three PCs, not counting this one. Well, the first of those would have had at least some of its time with my old CRT monitor, so two and a half PC lifespans, maybe, plus this one since February.

Maybe I should keep better records, but that's at least nine years, probably more. I have to be impressed with that. For the cable, I cannot swear to it, but I think that was the original cable that came with my first digital camera. The camera died inbut I got it in orso that's pretty good for a little cable. Even now, I think its demise is due more to feline gnawing than age.

I believe my first Logitech mouse still holds the record, but all in all I am very happy with the longevity of my devices. I realize that some of my stretching things for that long is an aspect of my personality and economic position, but that wouldn't automatically make it work. I have had pretty good results, without knowing how much of it is luck and how much of it is good maintenance practices which will clearly need to involve some cable wrapping now because of the cat.

Band 1, Lyrisch = Volume 1, Lyric. Le nozze di Figaro. Bravo signor padrone!/Se vuol ballare (Figaro) ; Ehi capitano/Non più andrai (Figaro) ; Tutto è disposto/Aprite un po' que. This banner text can have markup.. web; books; video; audio; software; images; Toggle navigation. Here is the way that it transforms: when you do start looking at yourself every day, it is easier to like yourself. The beauty standards are stupid and superficial, ignoring so much that is wonderful, and the double standard where attractiveness is more important for women is ridiculous, and you are a good person so it is good to see you.

Her entrance aria, "So anch'io la virtù magica," had the flair and sparkle of operetta, and her transformation from innocent to harridan was wonderfully pointed. As Pasquale's nephew and Norina's lover, Ernesto, Adam Hall got the emotion right -- notably in "Cercherò lontana terra" -- but sounded thin and strained in his upper range.

for admission because of additionally attached recordings (CD or DVD). The recordings are to be of a quality that leaves no doubt of their authenticity and accuracy. The candidate is to add a description of their current artistic activity. 5. A candidate reports (by mail or . Kodi Archive and Support File Community Software Vintage Software APK MS-DOS CD-ROM Software CD-ROM Software Library. Console Living Room. Software Sites Tucows Software Library Shareware CD-ROMs Software Capsules Compilation CD-ROM Images ZX Spectrum.

Celebrated soprano, Emma Matthews, coaches a soprano aria from "I Capuletti e i Montecchi" in a IFAC Australian Singing Competition vocal masterclass.

Semi-finals Gaetano Donizetti - Quel guardo il cavaliere So anch’io la virtù magica Don Pasquale Sylvia Maessen * Oh, che tranquillo mar Kirył Mołczanow - Liza’s. Archive pre-production information, Humboldt State University Department of Music Events in Arcata, California. HSU Ticket Office: Music Department:

Aug 10,  · A period so obscure, admits of little more than conjecture, but there is no improbability in supposing that Giotto outstripped his master and the times by the same means which rendered Michael Agnolo so soon superior to Ghirlandaio, —modelling and the study of the antique. We know that he was a sculptor, and that his models still existed in.


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8 Replies to “ Don Pasquale: So Anchio La Virtu Magi - Various - Presentation (CD) ”

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  • Famed soprano, Mirella Freni, gives a 7-singer vocal masterclass where she coaches a mezzo-soprano on an aria from Donizetti's "La Favorita.".
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