#Heike Scheele

[persinsala]

Die Fledermaus

Dopo l’impegno e la grandiosità che hanno segnato l’apertura di stagione dell’Andrea Chénier di Giordano, il Teatro alla Scala sceglie la leggerezza per il secondo atto della propria programmazione. Sotto la briosa direzione di Cornelius Meister e con la convincente regia di Cornelius Obonya, Die Fledermaus non mostra i segni dell’età e mantiene tutta la propria freschezza

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[reziprok]

Trailer: XERXES - Oper Graz

[jeworno]

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[awardseason]

2017 Casting Society of America (CSA) Nominations

BIG BUDGET – COMEDY Deadpool — Ronna Kress, Jennifer Page (Location Casting), Corinne Clark (Location Casting) Hail, Caesar! — Ellen Chenoweth, Susanne Scheel (Associate) La La Land — Deborah Aquila, Tricia Wood Rules Don’t Apply — David Rubin, Melissa Pryor (Associate) Whiskey Tango Foxtrot — Bernard Telsey, Tiffany Little Canfield, Jo Edna Boldin (Location Casting), Conrad Woolfe (Associate), Marie A.K. McMaster (Associate)

BIG BUDGET – DRAMA Arrival — Francine Maisler, Lucie Robitaille (Location Casting) Fantastic Beasts and Where to Find Them — Fiona Weir, Jim Carnahan (Location Casting) Hidden Figures — Victoria Thomas, Jackie Burch (Location Casting), Bonnie Grisan (Associate) Nocturnal Animals — Francine Maisler The Girl on the Train — Kerry Barden, Paul Schnee, Joey Montenarello (Associate), Adam Richards (Associate)

STUDIO OR INDEPENDENT – COMEDY 20th Century Women — Laura Rosenthal, Mark Bennett Bad Moms — Cathy Sandrich Gelfond, Meagan Lewis (Location Casting) Café Society — Juliet Taylor, Patricia DiCerto, Meghan Rafferty (Associate) Hell or High Water — Richard Hicks, Jo Edna Boldin, Chris Redondo (Associate), Marie A.K. McMaster (Associate) The Edge of Seventeen — Melissa Kostenbauder, Coreen Mayrs (Location Casting), Heike Brandstatter (Location Casting)

STUDIO OR INDEPENDENT – DRAMA Captain Fantastic — Jeanne McCarthy, Angelique Midthunder (Location Casting), Amey Rene (Location Casting) Jackie — Mary Vernieu, Lindsay Graham, Jessica Kelly (Location Casting) Lion — Kirsty McGregor Loving — Francine Maisler, Erica Arvold (Location Casting), Anne N. Chapman (Location Casting), Michelle Kelly (Associate) Manchester By the Sea — Douglas Aibel, Carolyn Pickman (Location Casting), Henry Russell Bergstein (Associate)

LOW BUDGET – COMEDY OR DRAMA Christine — Douglas Aibel, Stephanie Holbrook, Tracy Kilpatrick (Location Casting), Blair Foster (Associate) Goat — Susan Shopmaker, D. Lynn Meyers (Location Casting) Hello, My Name is Doris — Sunday Boling, Meg Morman Moonlight — Yesi Ramirez White Girl — Jessica Daniels

ANIMATION Finding Dory — Kevin Reher, Natalie Lyon Moana — Jamie Sparer Roberts, Rachel Sutton (Location Casting) The Jungle Book — Sarah Halley Finn, Tamara Hunter (Associate) The Little Prince — Sarah Halley Finn, Tamara Hunter (Associate) Zootopia — Jamie Sparer Roberts

[loosealcina]

JOHANN STRAUSS’S DIE FLEDERMAUS AT LA SCALA, JANUARY 31, 2018

The journey from Vienna to Milan is not an exceedingly long one; Google Maps suggests it should be around nine hours by car. Yet, under certain circumstances, it can take much more. What about a century an a half? Johann Strauss's Die Fledermaus (written in 1874, and probably—together with Franz Lehár's Die lustige Witwe—the most beloved and celebrated specimen of Viennese operetta) was set to hit La Scala's stage for the first time these days. (These days which, on a side note, have been appropriately cold and rainy). Was it worth the wait then? My experience-based answer is no. I'm going to blame Cornelius Obonya and Carolin Pienkos's direction for that. One is tempted to point the finger at some awkward ingredients/moments that stood out. The deer-themed salon designed by Heike Scheele for the great party of Act II. Paolo Rossi's impromptu Act III monologue. (I understand the actor that plays Frosch [the drunken prison guard] is supposed to perform an unscripted comic monologue that may deal with politics, current events, etc. This time around, the outcome was close to terrible—in a dull, apathetic way).

Then, there could be the equally underwhelming ballet included in the aforementioned party of Act II (choreography by Heinz Spoerli). But it wasn't really about this or that detail; the whole of this Fledermaus was marred by the absence of… well, basically everything. Lifeless has to be the keyword. I'll add bland, superficial, and somewhat infantile. I think the Kitzbühel-ish setting could have been an interesting idea (for one thing, mountains and music often tend to make a spectacular pairing); very soon, however, the free-flowing mix of Italian and German dialogue—an attempt, I suppose, at pampering the audience—ensured that the performance would result in a strange, colorless encounter. Neither the orchestra conducted by Cornelius Meister nor the cast (headlined by Eva Mei as Rosalinde) was able to break or leave behind the general sense of torpor. The lone number to win me over was the Csárdás («Klänge der Heimat, ihr weckt mir das Sehnen», sung by a masked Rosalinde as proof of her Hungarian origins): Eva Mei's elegant melancholia turned the slow-burning folk melody into a welcome oasis of seriousness and gloom.

[itsmedicinesfakianakis]

Atmosphere, Vol. 8, Pages 138: Perspectives on the Future of Ice Nucleation Research: Research Needs and Unanswered Questions Identified from Two International Workshops

Atmosphere, Vol. 8, Pages 138: Perspectives on the Future of Ice Nucleation Research: Research Needs and Unanswered Questions Identified from Two International Workshops

Atmosphere doi: 10.3390/atmos8080138

Authors: Ivan Coluzza Jessie Creamean Michel Rossi Heike Wex Peter Alpert Valentino Bianco Yvonne Boose Christoph Dellago Laura Felgitsch Janine Fröhlich-Nowoisky Hartmut Herrmann Swetlana Jungblut Zamin Kanji Georg Menzl Bruce Moffett Clemens Moritz Anke Mutzel Ulrich Pöschl Michael Schauperl Jan Scheel Emiliano Stopelli Frank Stratmann Hinrich Grothe David Schmale

There has been increasing interest in ice nucleation research in the last decade. To identify important gaps in our knowledge of ice nucleation processes and their impacts, two international workshops on ice nucleation were held in Vienna, Austria in 2015 and 2016. Experts from these workshops identified the following research needs: (1) uncovering the molecular identity of active sites for ice nucleation; (2) the importance of modeling for the understanding of heterogeneous ice nucleation; (3) identifying and quantifying contributions of biological ice nuclei from natural and managed environments; (4) examining the role of aging in ice nuclei; (5) conducting targeted sampling campaigns in clouds; and (6) designing lab and field experiments to increase our understanding of the role of ice-nucleating particles in the atmosphere. Interdisciplinary teams of scientists should work together to establish and maintain a common, unified language for ice nucleation research. A number of commercial applications benefit from ice nucleation research, including the production of artificial snow, the freezing and preservation of water-containing food products, and the potential modulation of weather. Additional work is needed to increase our understanding of ice nucleation processes and potential impacts on precipitation, water availability, climate change, crop health, and feedback cycles.

from # All Medicine by Alexandros G. Sfakianakis via alkiviadis.1961 on Inoreader http://ift.tt/2w7YZu4 from OtoRhinoLaryngology - Alexandros G. Sfakianakis via Alexandros G.Sfakianakis on Inoreader http://ift.tt/2v8pToD

[deaprojekt]

Manon Lescaut from Semperoper Dresden. Production by Stefan Herheim. Sets by Heike Scheele.

[deaprojekt]

Manon Lescaut from Semperoper Dresden. Production by Stefan Herheim. Sets by Heike Scheele.