#christophers covent garden

[insanityclause]

EXCLUSIVE: Sigourney Weaver will make her West End stage debut as storm-creating sorcerer Prospero in The Tempest and Tom Hiddleston and Hayley Atwell will play sparring lovers Benedick and Beatrice in Much Ado About Nothing when director Jamie Lloyd returns Shakespeare early this winter to the historic Theatre Royal Drury Lane, a landmark venue in Covent Garden owned by Andrew Lloyd Webber.

Weaver, star of Ridley Scott’s Alien movies and James Cameron’s Avatar epics, last starred in one of Will’s plays when she played Portia in a 1986 off-Broadway revival of The Merchant of Venice. 

As a sophomore at Stanford in 1979, she played Goneril in a traveling production of King Lear. 

The star once revealed that she pretended “I was doing Henry V the entire time” she was playing Ripley in Alien. “I thought, ‘Well, as a woman, I’ll never be cast as Henry V, so this is my Henry V,” Weaver told New York magazine in a 2012 interview. 

“Sigourney knows her Shakespeare, she knows theater, and I  could not be more excited that she has agreed to play this role,“ Lloyd told Deadline.

He also said that he’s “thrilled” that “my dear friends Tom and Hayley” are headlining the romantic comedy Much Ado About Nothing in his Jamie Lloyd Company Drury Lane Shakespeare season.

The first preview of The Tempest is December 7, and it runs through February 1.

The first Much Ado About Nothing preview is on February 10, and that runs until April 5.

Built in 1763, the Theatre Royal Drury Lane became a popular venue for performances of Shakespeare. David Garrick and the ancient thespian greats played the Bard’s work there.

Lloyd Webber and his LW Theatre company spent an estimated $77M on a superbly realized restoration of the Theatre Royal Drury Lane, and he’d noted several times that he wanted Shakespeare back at The Lane, as it’s affectionately known, because he fondly remembers at age 9 being taken to see Gielgud in The Tempest “and it clearly made an impression on him,” said Lloyd.

The two men formed a close bond when they worked together on the now-Broadway-bound Olivier Award-winning Sunset Boulevard starring an incandescent Nicole Scherzinger as Norma Desmond.

“Andrew told me the story about Gielgud snapping Prospero’s staff on the last night and announcing that The Lane would be lost to musicals forever,” the director said.

Oklahoma! and other shows had preceded The Tempest, and it was to be immediately followed by My Fair Lady and many other musicals since.

One day, unexpectedly, the composer and impresario told Lloyd ,”Look, I’ve always wanted Shakespeare back at Drury Lane.”

Lloyd was shown around the theatre, was open to exploring “all the possibilities” and felt excited to be the first company to bring Shakespeare back to The Lane.

It made sense that The Tempest needed to be the one that marked the return.

Lloyd told us that he had an epiphany one night that Sigourney Weaver playing Prospero would “create theatrical electricity.”

He fired off an email Weaver’s agent, who responded that it was unlikely that she’d want to engage because Weaver hadn’t performed Shakespeare in public for over 30 years, and the last time she was on a stage was when she did Christopher Durang’s Vanya and Sonia and Masha and Spike in NYC in 2012.

The very next morning, Lloyd continued, ”There was an email in my inbox with the subject, “Hello from Sigourney.” And she wrote me this amazing email — really passionate, excited email. We got on Zoom straight away, and we had an amazing, inspiring conversation. She’s such a lovely, witty person. So insightful. She’d read the play, especially from a perspective of a woman playing Prospero. And that really excited her and it made sense and illuminated the play in new ways. And so she’s coming to make her West End debut at Drury Lane playing Prospero in The Tempest.”

He added that he kept coming back to Weaver’s performances “in all those iconic movies — Ghostbusters, Gorillas in the Mist, Working Girl, all of them.” 

Lloyd went a little bit fanboy and told her that he’d seen “Alien more times than any other movie. And I just thought, ‘How amazing would it be to work with someone that you’ve admired since you were a kid?’ Oh, wow. And to bring her to London. And again, it just feels like such an event.” 

The director believes that Weaver’s “commanding presence, huge charisma and that amazing power” is perfect to play Prospero. And that she can “clearly get into the complexity of the role” of this person “with delusions of vengeance, this kind of ruthless revenge against the people that have sent her away, to learning about forgiveness and love and compassion. There’s a real journey in that, isn’t there? And there’s a real internal struggle. And we talked about how a shipwreck can become a new kind of hope. Can’t there? I mean, really, that’s my sort of key thinking about the entire season, is that I just want this to be a really joyful season. And both of the plays are about the hope of the future and not dwelling on the past, maybe,“ he said. 

Lloyd added that he felt “honored” that Weaver even responded to his email because he thought “it bode so well in terms of just a direct email straight away; it’s very personal. As we know, sometimes people kind of do things through their teams and managers. But actually, she knows what theater is, and she knows it’s about relationships.”

Lloyd’s well aware of that too. 

He goes way back with Hiddleston, even further with Atwell.

Back in early 2019, Lloyd directed a hauntingly sublime version of Harold Pinter’s Betrayal with Hiddleston, Zawe Ashton and Charlie Cox at the Harold Pinter Theatre. It quickly transferred to the Bernard B. Jacobs Theatre for a limited run, where it was nominated for four Tony Awards.

Lloyd has remained close to his cast ever since.

Similarly with Atwell, who he directed in Alexi Kaye Campbell’s 2011 play The Faith Machine at London’s Royal Court Theatre. They reunited two years later in a revival of Kaye’s The Pride, in which Atwell excelled, at the Trafalgar Studios. The drama was an early example of Lloyd’s then-nascent Jamie Lloyd Company, which at the time was in partnership with ATG Entertainment.

He added that it’s “very meaningful” in terms of the season for him to be working with “those two old collaborators, they’re Jamie  Lloyd Company alumni. And I think they’re both two of the finest of our generation, aren’t they? And they know each other well. So there’s an instant chemistry between the two of them, and I can’t wait to see what they come up with for Benedick and Beatrice.”

Lloyd’s enjoyed watching Hiddleston and Atwell on screens both big and small. He mentioned Hiddleston’s performance in The Night Manager — he’s in the midst of shooting its sequel — and the actor’s adventures playing Loki in the various levels of the Marvel Universe. “And he still comes home to the theatre whenever he can,” Lloyd marveled.

Atwell soared in the Marvel Universe as well, plus she has been starring with Tom Cruise in Mission: Impossible – Dead Reckoning, Part One and its follow-up Mission: Impossible 8. She was remarkable in a a revival of Rosmersholm, directed by Ian Rickson at the Duke of York’s in 2019, the year before she played Isabel for director Josie Rourke in Measure for Measure at the Donmar Warehouse. 

“So she’s the real deal,” Lloyd declared. “Both are, and they’re also both very witty people. … They’ve got this great intelligence, this great wit,” Lloyd observed, perfect qualities for Much Ado About Nothing, which he called “a joyful play.”

Although he complained that he has seen it played a touch too “broad.”

He said that it doesn’t need to be played at a “slapstick pace” to be fun. “The language in its own right is funny. I think they’ll be amazing sparring partners but also hint at that kind of tenderness under the surface.”

Both productions of The Tempest and Much Ado About Nothing will be stripped back, and he will ponder with frequent collaborator Soutra  Gilmour on how the shows will look and feel. 

There’s a shipwreck in The Tempest, but Lloyd won’t reveal whether he’s tempted or not to place one on the Drury Lane’s boards.

However, unlike his Sunset Boulevard and Romeo and Juliet productions, he won’t be using video as part of the performance for the Drury Lane shows.

“They’ll be stripped down, but no video. I’m saving all the video energy for Sunset Boulevard on Broadway,” he explained.

The two Shakespeares will run between Disney’s Frozen, which closes September 8, and musical Hercules, which begins performances in summer 2025.

“That’s why the Shakespeare season is a strictly limited total of 16 weeks,” said Lloyd. He added that there have been no discussions about the plays being captured by the National Theatre’s NT Live cameras, nor has there been talk of transferring to Broadway. 

“I always just make something for the theatre in which it’s meant to be performed, and then we see the after that,” Lloyd said during a conversation at the Jamie Lloyd Company offices located in a wing of Somerset House on the Strand, literally a stone’s throw from the Drury Lane.

We first touched base about the possibility of Shakespeare at Drury Lane late last year and have kept talking, on and off, since.

All kinds of names were bandied about by a few in the know. “Tom Hanks,” someone gleefully told me. Wrong Tom, old boy.

“Margot Robbie,” another boasted. 

“It’s so funny. I’ve heard these names, “ said Lloyd, “but no, not true. I mean, I would love to work with Margot Robbie on a play. I think she’s remarkable, isn’t she? And she came to see A Doll’s House that we did with Jessica Chastain. And that would be a dream come true to work with her.”

However, he revealed that he had spoken to Robbie “a couple of times” but “not” about Shakespeare.

“I think, as I say, one day, she’d like to explore the idea of doing a play, but let’s see what happens,” he cautioned.

Lloyd soon heads back to New York to begin rehearsals for Sunset Boulevard.

He and Weaver plan to meet up while he’s there to discuss her Prospero. He noted that the name won’t switch gender to Prospera as happened with Julie Taymor’s 2010 film of The Tempest, where the revengeful noble magician was played by Helen Mirren.

“It will remain Prospero,” Lloyd insisted.

Rehearsals for The Tempest will begin in London on October 28, “literally a week after we open Sunset on Broadway,” Lloyd said. 

His Jamie Lloyd Company will produce the season alone without the participation of ATG Entertainment.

The 16-week Shakespeare season will feature 25,000 tickets for £25 [US$32] and they’ll be “ring-fenced exclusively” for under-30s, key workers and those receiving government benefits. He said that he’s “well aware” that in the past wealthier folk who can afford to pay steeper prices have taken unfair advantage and gobbled up specially priced cheaper seats.

“These are good seats too,” he beamed. But they will introduce new methods to ensure the cheap seats go to the “right people.”

Working on The Tempest at Drury Lane will sort of complete a circle of coincidence for Weaver. 

She’ll be taking on a role last performed there by Gielgud.

Her first Broadway credit in 1975 was to work on a revival of W. Somerset Maugham’s The Constant Wife, starring Ingrid Bergman.

Weaver worked as an assistant stage manager and understudy.

The production was directed by John Gielgud.

[princesssarisa]

The Top 40 Most Popular Operas, Part 1 (#1 through #10)

A quick guide for newcomers to the genre, with links to online video recordings of complete performances with English subtitles.

Mozart's Die Zauberflöte (The Magic Flute) (Wolfgang Amadeus Mozart)

The most frequently performed opera worldwide: Mozart's fascinating, philosophical fairy tale opera, which appeals to both children and adults.

San Francisco Opera, 2010 (Piotr Beczala, Dina Kuznetsoca, Christopher Maltman, Erika Miklosa, Georg Zeppenfeld; conducted by Donald Runnicles)

Verdi's La Traviata

Tragic romance with social commentary, based on Alexandre Dumas fils' novel The Lady of the Camellias, which was also the basis for the classic 1936 Greta Garbo film Camille.

Los Angeles Opera, 2006 (Renée Fleming, Rolando Villazon, Renato Bruson; conducted by James Conlon)

Bizet's Carmen

The fiery tragedy of a seductive, free-spirited Spanish Romani woman and her loves, with some of opera's most iconic music.

Royal Opera House, Covent Garden, 2006 (Anna Caterina Antonacci, Jonas Kaufmann, Ildebrando d'Arcancelo, Norah Ansellem; conducted by Antonio Pappano)

Puccini's La Bohéme

Relatable slice-of-life romance that blends comedy and tragedy. The inspiration for the popular musical RENT.

Studio film, 1965 (Mirella Freni, Gianni Raimondi, Rolando Panerai, Adriana Martino; conducted by Herbert von Karajan)

Mozart's Le Nozze di Figaro (The Marriage of Figaro)

The best loved of Mozart's Italian operas, a great comedy of class conflict and sexual intrigue.

Glyndebourne Festival Opera, 1994 (Gerald Finley, Alison Hagley, Renée Fleming, Andreas Schmidt, Marie-Ange Todorovich; conducted by Bernard Haitink)

Puccini's Tosca

Political intrigue, lust, and bloodshed amid the splendor of Rome – some call it a "shabby little shocker," others call it thrilling.

Vienna State Opera, 2019 (Sondra Radvanovsky, Piotr Beczala, Thomas Hampson; conducted by Marco Armiliato)

Mozart's Don Giovanni

Arguably the greatest retelling of the legend of Don Juan, with comedy, drama, and Mozart's glorious music.

Salzburg Festival, 1954 (Cesare Siepi, Otto Edelmann, Elisabeth Grümmer, Anton Dermota, Lisa della Casa, Erna Berger, Walter Berry Deszö Ernster; conducted by Wilhelm Furtwängler)

Puccini's Madama Butterfly

Puccini's iconic "Japanese tragedy." Controversial from a racial standpoint, but a tearjerker nonetheless, and the inspiration for the musical Miss Saigon.

Feature film, 1995 (Ying Huang, Richard Troxell, Ning Liang, Richard Cowan; conducted by James Conlon)

Rossini's Il Barbiere di Siviglia (The Barber of Seville)

The lighter and more madcap prequel to The Marriage of Figaro, known as the quintessential comic opera.

Vienna State Opera, 2019 (Rafael Fingerlos, Juan Diego Flórez, Margarita Gritskova, Paolo Rumetz, Sorin Coliban; conducted by Evelino Pidò)

Verdi's Rigoletto

A richly melodic tragedy of a hunchbacked jester, his daughter, a lecherous duke, and a self-fulfilling curse.

Studio film, 1982 (Ingvar Wixell, Luciano Pavarotti, Edita Gruberova; conducted by Riccardo Chailly)

[edwinspaynes]

Another winter drabble request (not romantic, but might be fun): A Merry Thieves-centric one. Maybe they attempt to ambush "Santa Claus" (can be set pre-TLH) or attempt meaningful good deed in the spirit of Christmas but goes hilariously wrong (set at whatever timeline, canon or divergent)

1899

"Jamie, my sworn-brother-in-arms-to-be!" Matthew smiled brightly at James, who strolled along beside him in Covent Gardens. James thought that his future parabatai might be going insane - after all, he and the Lightwood cousins had all chose to don the hats of the sane in the chill winter air, and Matthew was bare-headed as he linked his arm through James. Though he must admit that Matthew did look quite well, the winter air tinging his cheeks rosy and his blond hair infuriatingly impeccable despite the occasional wind.

"As this is your first Christmas as one of our band, we feel the compulsion to include you in our favorite annual Christmas tradition!"

"We do?" Thomas put a paper cup of sipping-chocolate to his lips. "I have been saying for years that it's time to retire that tradition, I think."

"That goes against the spirit of Tradition." Matthew waved him off. "I do believe Jamie would agree that a classic Christmas tradition ought to be preserved in amber, made immortal, worshipped as though it were the Angel itself."

"Some might call that 'blasphemy,'" Christopher piped up, and Thomas snorted.

"Anyway, dare I ask what you do every year?" James heard the suspicion creeping into his own voice.

"We ambush Father Christmas," Matthew said conspiratorily.

James blinked, thinking he must have misheard. "We what?"

"Don't think," Matthew said with a wink. "Just act." And, with that, he took off running faster than James had ever seen him move in the direction of Kris Kringle.

Thomas and Christopher ran after him at an almost equally brisk pace, Christopher laughing loudly and Thomas looking utterly mortified. But they were too late; Matthew had already approached the man dressed as Father Christmas and was offering him the Smile. The poor man in the costume laughed and reached out to ruffle Matthew's hair, and by the time James and Tom and Kit had arrived, Matthew had somehow charmed him into listening to what he wished for this Christmas.

"I do think it would be ideal if you brought me a fedora," he said jovially. "In the same style as Oscar Wilde is popularizing. Mother says she will not buy me one, and I have not yet begun to collect my allowance..."

"He'll begin getting one in January, when he turns fifteen," Thomas stage-whispered. Matthew turned to him with a pointed finger, and James couldn't help but laugh at the expression.

"My friend there shall have a growth spurt for Christmas," Matthew said.

"I'm alright," Thomas deadpanned. "Thank you."

"And he-" Matthew pointed to Kit, "will develop the good sense to only set fire to things while I am present. Otherwise, there shall be no kind soul to put it out if it spreads to his shirtsleeves, and where would we be then?"

Kris Kringle looked disturbed.

"And Jamie," Matthew said. "I think you ought to bring him two nice waistcoats and at least three hairbrushes, Father Christmas. Truly I do. Look at his hair, sticking about at all angles."

"As Thomas said," James replied. "I do not require..."

"Oh yes, you do." Matthew's voice brooked no contradiction.

James rolled his eyes.

"Did you just roll your eyes at me?" Matthew put a dramatic hand to his chest. "How dare you? Whither I request perfectly reasonable Christmas gifts, thou request perfectly reasonable Christmas gifts-"

Thomas reached over and grabbed Matthew's paisley scarf, dropping his sipping-chocolate on the floor before taking off running. James laughed brightly as Christopher took off running after Thomas, no doubt to aid in his antics, and Matthew bolted off after the pair shouting about the sanctity of his wardrobe.

"Sorry," James said to Kris Kringle, who appeared frozen. "I do not know them."

As he took off running after his beloved friends, he realized what a flimsy lie this was, but he could not bring himself to care.

[grandmaster-anne]

Court Circular | 2nd March 2023

Buckingham Palace

The King was represented by Professor Peter Vaughan (His Majesty’s Lord-Lieutenant of Mid Glamorgan) at a Service of Thanksgiving for Dame Kathrin Thomas (formerly Her Majesty’s Lord-Lieutenant of Mid Glamorgan) which was held in Llandaff Cathedral, Cardiff, this afternoon. The King and The Queen Consort were represented by Dame Penelope Keith (Actor) at the Funeral of Mr Kit (Christopher) Hesketh-Harvey (Musician and Entertainer) which was held at St. Paul’s Church, Covent Garden, London WC2, this afternoon.

Kensington Palace

The Prince and Princess of Wales this morning received The Crown Prince and Princess of Norway at Windsor Castle. Their Royal Highnesses, accompanied by The Crown Prince and Princess, afterwards held a Meeting with Norwegian business delegates.

St James’s Palace

The Princess Royal, President, this morning attended the National Equine Forum at the Institution of Mechanical Engineers, One Birdcage Walk, London SW1. Her Royal Highness, Patron, Special Forces Club, this evening attended the Annual Reception at the Royal Hospital Chelsea, London SW3.

[accustiv]

@audaciiae sent: [ admire ] sender stares at receiver across a room, silently admiring and appreciating them from afar

for most of this trip, i had kept ikaros away from everything i needed to actually do. i wanted to spare him from the worst of it all – including one very tense argument with my uncle, who had shown up to my house upon hearing a rumour i’d come back, ikaros had been told to stay upstairs, but even so, i know that he’d heard the raised voices – even if he hadn’t mentioned anything. it had been written all over how gentle he had been for the rest of the night.

but this time, i hadn’t meant to end up here. i hadn’t been planning on talking to lydia today, but she’d called me when we’d been out, and i’d done nothing but apologise profusely as i dragged him to covent garden. montrose was warm, and inside, sound was muffled by the sheer architecture of how lydia had lain out the displays – i could see my own touch within it, items placed aesthetically by styling options rather than era or function – even as we discussed the last round of operational problems my incarceration had caused them.

i glanced up, eyes catching sight of ikaros on the other side of the showroom, standing between a grandfather clock and a 17th century bureau, his eyes fixed on me, a small smile on his face. all thought of business left my mind for a moment, and i held his gaze until something lydia said pulled me back.

“ i’m going to sell this place. ” i said, suddenly, and she blinked at me. rowan, who i hadn’t noticed on the other side of the counter, straightened up, and stared. “ not to christopher, don’t worry. ” i glanced back at ikaros, “ look, i’m going to come by tomorrow with more information, but…” he was still watching me. “ lydia, you can take it, i’ll transfer it to your name, i don’t want to cause any more problems. ”

i left before they could argue, and ikaros was quick to follow me, i took a deep breath the moment the door closed behind us, and grabbed his hand with a grin, “ let’s go home. ”

[opera-ghosts]

Il Trovatore: "Stride La Vampa" · Louise Homer · Metropolitan Opera Orchestra · Giulio Setti

Louise Homer was one of the most talented and popular opera singers of the early twentieth century. She had a two-decade career as a leading contra-alto with the Metropolitan Opera in New York. She performed with Enrico Caruso and Marcella Sembrich under director Arturo Toscanini. Along with her beautiful voice, she was greatly admired for her powerful acting and stage presence. She sang many of the grandest roles in the Italian, French and, German operas. Her notable roles were Amneris in Giuseppe Verdi's Aida, Orpheus in Toscanini's 1909 revival of Christoph Gluck's opera, the Witch in Engelbert Humperdinck's Königskinder, and the title role in Horatio Parker's Mona. She also toured the country as a solo recitalist.

Louise, a top selling artist on the Victor Talking Machine Company (RCA), was regarded as one of the first great classical recording artists. She recorded from 1903 through 1929, singing arias, gospel hymns, and songs composed by her husband Sidney Homer. She recorded duets with Caruso, Alma Gluck, and other opera stars. Her recording of “Whispering Hope” with Alma Gluck was a national best seller.

Born Louise Dilworth Beatty in Pittsburgh in 1871, she was the daughter of Dr. William Trimble Beatty, founder of the Shadyside Presbyterian church. Beatty Hall at Chatham College in named in hour of Dr. Beatty, who was one of the founders of the college. She sang in the church choir with her eight brothers and sisters. When her father died in 1882, her mother moved the family to West Chester, Pa to be near her relatives. She studied voice and made her public debut in Philadelphia with an performance of the cantana “Ruth the Moahitess”. Louise graduated as valedictorian from West Chester High School. To help support her family she worked as a stenographer and court reporter. She continued to study singing with Abbie Whinnery and Alice Goff. She also sang contralto in a church quartet. In 1893 she quit her job and enrolled at New England Conservatory of Music. Her composition instructor Sidney Homer (6 years her senior) accompanied Louise to a performance of Faust by the visiting Metropolitan Opera. Disobeying her family’s religious beliefs it was the first theatrical performance she ever attended. After that performance, Louise vowed that she would become an operatic artist.

Louise wed Sidney Homer in 1895, had a child, and went off on borrowed money in 1896 with her husband to Paris for more vocal studies. In Paris studied with drama with Paul Lhérie and voice with Fidélé König. She made her professional debut as Louise Homer in 1898 in Vichy, France as Leonora in Gaetano Donizetti’s La favorita. She continued her early career appearing at for a season at Covent Garden in London in 1899. Her performances at Covent Garden resulted in a Royal Command Performance. Appearing for a season in Brussel she had over 100 performances at the Théâtre de la Monnaie. Maurice Grau of the Metropolitan Opera heard her sing in Paris and offered her a three year contract. In 1900 she became an principal singer at the Metropolitan Opera in 1900, performing there until 1919.

Louise Homer found critical acclaim in 1908 for her performance as Orfeo in Toscanini's revival of Gluck's opera. Operate Critic Richard Aldrich wrote of her "nobility, dignity and plastic grace for the eye, and of full-throated and beautiful song for the ear."

Louise retired from the Met after the 1918 - 1919 season. She sang for several seasons with the Chicago Civic Opera. In 1927 and 1928 she returned to the Met for two celebrated guest appearances. She toured the country appearing at recitals that included songs by her nephew, Samuel Barber. Her older sister, Marguerite, was Barber's mother.

Louise and Sydney retired to Florida, where Louise became a vocal instructor at Rollins College. She taught vocal students until her death at age 76 in 1947. While she was at the height of her singing career she raised six children with her noted composer husband Sidney Homer. She was elected as one of the greatest American women by the National Association of

Woman Voters. : In 1939 Sidney Homer wrote “My Wife And I: The Story of Louise and Sidney Homer”. Her daughter Anne Homer told Louise’s story in the 1973 biography “Louise Homer and the Golden Age of Opera”.

[brookstonalmanac]

Beer Events 9.9

Events

Louis Pasteur visited Whitbread Brewery (England; 1871)

John Smith died (1879)

David Ripley patented a beer Faucet (1890)

Harry Torchiani patented an Apparatus for Racking Off Beer (1902)

1st National CAMRA beer festival held (Covent Garden; 1974)

Anheuser-Busch patented a Beer Foam Enhancing Process and Apparatus (1986)

Christopher Beauchamp patented a Foot Operated Beer Keg Pressurizer (1997)

American Eats: Beer, Season 1, Episode 11, debuted (2006)

Stone 09.09.09 Vertical Epic released (2009)

Belgian Beer World opens (2023)

Breweries Opened

Continental Brewing (Philadelphia, Pennsylvania; 1866)

Buffalo Bill's Brewery (California; 1983)

Sharky's Brewery & Grill (Nebraska; 1992)

Lakeside Brewery (Canada; 1993)

Fredericksburg Brewing (Texas; 1994)

Matsushima Brewery Pub Restaurant (Japan; 1997)

Airbrau (Germany; 1999)

Milton Brewery (England; 1999)

Phoenix Nest Brewing (Arizona; 1999)

[roomchailimited]

London’s Legacy: A Traveler’s Journey Through England’s Iconic Landmarks

London, a city where the past and present coexist in a seamless blend of history, culture, and modernity, has always captivated travelers with its timeless charm. As I set foot in this iconic metropolis, I knew I was about to embark on a journey through some of the most recognizable landmarks in the world, each with its own story to tell.

Day 1: The Majesty of Westminster

My journey began at Westminster, the heart of London’s political and royal heritage. The sight of Big Ben towering over the Thames left me in awe. Though I had seen it countless times in photographs, nothing compared to witnessing the grandeur of this iconic clock tower in person. Across the street stood the Palace of Westminster, home to the British Parliament, its Gothic architecture a striking reminder of the nation’s storied political past.

Walking further, I arrived at Westminster Abbey, a masterpiece of medieval architecture. As I stepped inside, I was transported through centuries of royal history, with kings and queens having been crowned, married, and buried within its hallowed walls. The sense of tradition and ceremony is palpable here, making it one of the most profound experiences of my visit.

Day 2: Royal Splendor and Urban Elegance

No trip to London is complete without visiting Buckingham Palace, the official residence of the British monarch. I joined the crowd gathered for the Changing of the Guard ceremony, a spectacle of British pomp and pageantry. The rhythmic march of the guards, clad in their red uniforms and bearskin hats, was a true embodiment of London’s regal spirit.

From Buckingham Palace, I ventured to Hyde Park, one of London’s largest and most beloved green spaces. Walking through its peaceful gardens, I paused by the Serpentine Lake to enjoy the tranquility. It’s hard to believe that amidst the city’s hustle and bustle, a serene oasis like Hyde Park exists.

Later, I visited Kensington Palace, the former residence of Princess Diana. The palace’s exhibitions gave me insight into the lives of Britain’s royal family, and strolling through its beautiful gardens felt like stepping into another era.

Day 3: Exploring London’s Historic Streets

On my third day, I took a journey back in time as I explored the Tower of London. This historic fortress has served as a royal palace, prison, and even a zoo. Standing in front of the White Tower, I imagined the turbulent events that unfolded here—executions, imprisonments, and the safeguarding of the Crown Jewels. Seeing the dazzling jewels firsthand, especially the infamous Koh-i-Noor diamond, was a surreal experience.

Next, I made my way to Tower Bridge, one of the most recognizable bridges in the world. The view from the glass walkway, suspended high above the Thames, was breathtaking. Looking down at the river flowing beneath me, I marveled at how this bridge has connected Londoners for over a century.

In the afternoon, I visited St. Paul’s Cathedral, an architectural masterpiece by Sir Christopher Wren. Climbing to the top of the dome was no small feat, but the panoramic view of London’s skyline from the Golden Gallery was worth every step. As I stood there, taking in the sight of modern skyscrapers blending with historic structures, I understood why London is often described as a city of contrasts.

Day 4: The Cultural Heart of London

I dedicated my final day to exploring London’s vibrant cultural scene. My first stop was the British Museum, home to countless artifacts from ancient civilizations. Walking through the Rosetta Stone exhibit and marveling at the Elgin Marbles, I realized how London has become a repository of world history and culture.

Later, I wandered through the streets of Covent Garden, a lively district filled with street performers, boutiques, and restaurants. The energy of the place was contagious, and I found myself spending hours just soaking in the atmosphere.

In the evening, I headed to Piccadilly Circus, with its neon signs and bustling crowds, before capping off my night in the West End. Watching a live performance in one of London’s renowned theaters was the perfect way to conclude my journey through this dynamic city.

Conclusion: London’s Legacy with Roomchai Limited

London is a city that offers something for every traveler, whether you’re drawn by its royal heritage, historic landmarks, or vibrant cultural scene. Navigating such a vast and storied city requires careful planning, and I was glad to have Roomchai Limited assisting me throughout the trip. Their expertise in crafting a well-rounded itinerary allowed me to experience London’s most iconic sites while uncovering its hidden gems.

While other agencies like Obokash and ShareTrip offer packages to explore London, Roomchai’s personalized approach made my journey truly special. With their attention to detail and deep knowledge of the city, they ensured that I experienced London’s rich legacy in a way that felt both seamless and unforgettable.

[presidentialapartmentslondon]

The Best American Restaurants That London Has to Offer

As a city with many of the most famous historical landmarks in existence, London is also one place where food is king; it has such a great history to draw on. On the other hand, if you are an American and miss your home's kitchen, that is no problem.

This city simply brims with U.S. restaurants that will remind your native taste buds of genuine dishes! Plus, if you're planning to explore these culinary delights, consider staying at one of the affordable serviced apartments near Kensington for a comfortable base.

Why Try American Restaurants in London?

One naturally assumes that while you’re in the UK, you’d want to eat British food, right? So, if you’re feeling the mood for American breakfast, London doesn’t disappoint. It is a welcome development for a tourist abroad who’s feeling homesick, as well as a welcome option for any Brit in London who’s suddenly craving American breakfast in London.

You can also read: Your Complete Guide to the Victoria and Albert Museum

Top 10 American Restaurants in London

You need to know the best American restaurants in London:

The Blues Kitchen

The Blues Kitchen is an eclectic restaurant with great music and amazing Cajun BBQ dining.

Location: Camden, Shoreditch and Brixton

Timing: The timings differ, depending on the day but it is usually from 12 PM - 1 AM

Why It's Famous: Alongside its American comfort food, The Blues Kitchen offers live music every night, adding to the lively atmosphere.

Hard Rock Cafe

Hard Rock Cafe is an American restaurant with a high-energy vibe and serves American classics. 

Location: Piccadilly Circus, Old Park Lane.

Timing: 11:30 AM - 10:30 PM

Why It's Famous: Classic American dishes and rock 'n' roll memorabilia. 

Electric Diner

Electric Diner is a French-style diner with an all-day menu, a bar, and, most importantly, classic red leather booths. 

Location: Notting Hill.

Timing: 8 AM - 1 AM (Monday - Wednesday)

8 AM - 1 AM (Thursday - Saturday)

8 AM-11 PM (Sunday)

Why It's Famous: American and French Dinner fare and offers delicious brunches. 

Malibu Kitchen

Malibu Kitchen is a California-inspired American restaurant that has rustic interiors to make you feel nostalgic. 

Location: The Ned.

Timing: 7 AM - 10 PM (Monday - Friday)

 9 AM-10 PM (Saturday)

 Why It's Famous: Californian cuisine; famous for avocado toast and acai bowls.

Joe Allen

Joe Allen is a New York-style brasserie with live music and a top-notch atmosphere. 

Location: Covent Garden.

Timing: 12 PM - 11 PM (Monday - Wednesday)

12 PM – 11:30 PM (Thursday - Saturday)

12 PM-8 PM (Sunday)

Why It's Famous: Classic American brasserie since 1977; known for comfort food like burgers, ribs, and classic American pies.

Christopher’s

Christopher's is a classic high-ceilinged American steakhouse and grill with a martini cocktail bar. 

Location: Covent Garden.

Timing: 11 AM - 12 AM (Tuesday - Thursday)

11 AM – 1:30 AM (Friday - Saturday)

11 PM-5 PM (Sunday)

Why It's Famous: USDA steaks to lobster. 

Feels Like June

Feels Like June is the perfect California-inspired American restaurant with summer vibes and Europe-meets-West Coast flair. 

Location: Canary Wharf.

Timing: 7 AM - 1 AM

Why It's Famous: Bright California-inspired restaurant with seafood, brunches and cocktails. 

CUT at 45 Park Lane

CUT at 45 Park Lane is your classic American steak restaurant with moody decor and modern vibes. 

Location: 45 Park Lane

Timing: 7 AM - 10 PM

Why It's Famous: Contemporary setting and high-end dining experience. 

Eggslut

Eggslut is a hugely popular LA import that serves up egg-focused dishes all day round. 

Location: Fitzrovia, Notting Hill, Shoreditch, Victoria, and Stratford. 

Timing: 8 AM - 5 PM

Why It's Famous: Signature "Slut" dish and egg-filled brioche sandwiches. 

Honest Burgers

Running from 2011, Honest Burgers is your classic little Burger joint that serves a huge variety of mouthful dishes.

Location: Multiple locations, including Soho and Covent Garden.

Timing: 11 AM - 11 PM

Why It's Famous: No-nonsense burgers made from British beef. 

How Can You Visit London on a Budget?

London can be done on a shoestring budget if necessary. There are several things you can do.

Get yourself an Oyster Card. 

Be on the lookout for free events. 

Don't always splurge on expensive restaurants and eat at food markets.  

Walk instead of taking taxis.  

Visit tourist places either very early or very late to avoid crowds.  

Where Can You Stay in London? 

It is necessary to have a comfortable stay when you are in London. That is Presidential Serviced Apartments in Kensington for you. The place comes with great kitchens and cozy bedrooms to give you the feeling of home. 

Final Thoughts

Whatever the nature of your craving - fast food or BBQ feast - the American restaurants in London can fulfill your urge. 

[normally0]

Star Architects: Visionaries Who Shaped London’s Imagination

Quinlan Terry, Archigram, Sir John Soane, Sir Christopher Wren, John Nash, Inigo Jones, Sir Edwin Lutyens, and Edward William Mountford—these names resonate with architectural brilliance. They are not just London architects but visionaries and draughtsmen who crafted the city's skyline, beckoned by royalty and ambition.

Their work transcends mere construction; it's an art form that requires both visionary creativity and meticulous professionalism. Wren’s St. Paul's Cathedral and Soane’s Bank of England redefined London’s urban identity, while Nash's Regent Street and Jones’s Covent Garden brought elegance and order. Lutyens’s Cenotaph stands as a solemn reminder of sacrifice, contrasting with Archigram’s radical, unbuilt concepts that challenged traditional thinking.

Architecture, therefore, is not merely about erecting buildings. It involves a deep understanding of history, context, and the environment, balanced with innovative ideas and precise execution. This blend of artistry and technical expertise is essential to transform visions into reality, ensuring that each structure serves its purpose while enhancing the urban tapestry.

Professionalism in architecture is crucial. It ensures that these grand designs are not only aesthetically pleasing but also functional, safe, and sustainable. It requires rigorous training, adherence to ethical standards, and a commitment to excellence. Without professionalism, the integrity and longevity of our built environment would be compromised.

In mapping the stars of London’s architectural heritage, we see that true mastery lies in the seamless integration of art and science, vision and precision. These architects remind us that while architecture may not always be what it appears, its true essence lies in its profound impact on our lives and cities.

#StarArchitects #LondonArchitecture #UrbanDesign #ArchitecturalHistory #VisionaryDesign #ArchitecturalMasters #Cityscape #HistoricArchitecture #ArchitecturalProfession #UrbanHeritage

[sonyclasica]

SUMMER NIGHT CONCERT 2024

SUMMER NIGHT CONCERT 2024: FILARMÓNICA DE VIENA, ANDRIS NELSONS Y LISE DAVIDSEN

Sony Classical se complace en anunciar el Summer Night Concert 2024 con la Filarmónica de Viena, dirigida por Andris Nelsons ycon la soprano Lise Davidsen. Este concierto único estará disponible en CD, DVD, Blu-ray y formato digital el 12 de julio.

Resérvalo AQUÍ

El Summer Night Concert se llevó a cabo el 7 de junio. Se trata de un evento anual al aire libre, que se celebra desde 2004 en el mágico marco del Palacio de Schönbrunn, en Viena (Austria). Los ilustres directores que han dirigido anteriormente la orquesta en este evento son Georges Prêtre, Daniel Barenboim, Franz Welser-Möst, Lorin Maazel, Christoph Eschenbach, Zubin Mehta, Semyon Bychkov, Gustavo Dudamel, Daniel Harding, Yannick Nézet-Séguin y Andris Nelsons.

Gracias a su entorno, declarado Patrimonio de la Humanidad por la UNESCO, en el parque barroco de Schönbrunn con el palacio como telón de fondo, el Concierto Nocturno de Verano añade a su magnífica calidad musical un gran encanto visual. La idea de poner la música clásica en su máxima expresión al alcance de todo el mundo y hacer así un regalo a todos los amantes de la música sigue caracterizando el evento hoy en día. Millones de espectadores y oyentes de más de 80 países pueden seguir el concierto por Internet, televisión y radio.

El programa de este año se centró en obras populares de los siglos XIX y XX procedentes del rico patrimonio musical europeo. Bedřich Smetana, uno de los compositores checos más importantes, fue homenajeado con tres obras con motivo del 200º aniversario de su nacimiento. Andris Nelsons dirigió el concierto por segunda vez, mientras que la cantante noruega de ópera y lieder Lise Davidsen debutaba con la orquesta. Cantó dos arias: de Tannhäuser, de Richard Wagner, y de La forza del destino, de Giuseppe Verdi.

La soprano noruega Lise Davidsen irrumpió en la escena internacional en 2015 al ganar múltiples premios en los concursos Operalia, Queen Sonja y Hans Gabor Belvedere. A estos les siguieron rápidamente debuts triunfales en la Metropolitan Opera, la Royal Opera House de Covent Garden, el Teatro alla Scala de Milán, la Bayerische Staatsoper, la Wiener Staatsoper y los Festivales de Aix-en-Provence y Glyndebourne. En verano de 2021 apareció en dos producciones del Festival de Bayreuth (Elisabeth en Tannhäuser y Sieglinde en Die Walküre). Ese mismo año fue galardonada como Cantante Femenina del Año por los Premios Internacionales de la Ópera. Recitalista y concertista habitual, Davidsen ha realizado giras con muchas de las principales orquestas y directores del mundo. En marzo de este año, Lise Davidsen hizo su aclamado debut en la Ópera Metropolitana como Leonora en La forza del destino.

Andris Nelsons es director musical de la Orquesta Sinfónica de Boston y Gewandhauskapellmeister en Leipzig. Estos dos cargos, además de liderar una alianza pionera entre ambas instituciones, han consolidado firmemente a Nelsons, ganador de un premio Grammy, como uno de los directores más renombrados e innovadores de la escena internacional actual, con compromisos con las orquestas y teatros de ópera más importantes del mundo. Nacido en Riga en 1978 en el seno de una familia de músicos, Andris Nelsons comenzó su carrera como trompetista en la Orquesta de la Ópera Nacional de Letonia mientras estudiaba dirección de orquesta. Fue director musical de la Orquesta Sinfónica de la Ciudad de Birmingham de 2008 a 2015, director principal de la Nordwestdeutsche Philharmonie de Herford (Alemania) de 2006 a 2009 y director musical de la Ópera Nacional de Letonia de 2003 a 2007. En 2020, Nelsons fue también el célebre director del legendario Concierto de Año Nuevo de la Filarmónica de Viena.

La antigua tradición de 182 años de la Filarmónica de Viena se remonta a 1842, cuando Otto Nicolai dirigió un Gran Concierto con todos los miembros del imperial "Hof-Operntheater".  Este evento se llamó originalmente "Academia Filarmónica" y se considera el origen de la orquesta.  Desde su fundación, la orquesta ha sido gestionada por el comité administrativo -un órgano elegido democráticamente- y trabaja con autonomía artística, organizativa y financiera. Todas las decisiones se toman de forma democrática durante la asamblea general de todos los miembros.

Programa

1       RICHARD WAGNER Die Walküre: Der Walkürenritt

2       RICHARD WAGNER Tannhäuser: “Dich, teure Halle, grüß ich wieder”

3       BEDŘICH SMETANA The Moldau

4       BEDŘICH SMETANA The Two Widows: Polka

5       BEDŘICH SMETANA La novia vendida: Baile de los comediantes

6–7   GIUSEPPE VERDI La forza del destino: Obertura – “Pace, pace, mio Dio!”

8       AUGUSTA HOLMÈS La Nuit et l’Amour

9       ARAM KHACHATURIAN Sabre Dance

10     DMITRI SHOSTAKOVICH Suite para orquesta de variedades: Waltz No. 2

Website Vienna Philharmonic

Facebook Vienna Philharmonic

Instagram Vienna Philharmonic

Youtube Vienna Philharmonic

Website Andris Nelsons

Facebook Andris Nelsons

Instagram Andris Nelsons

Twitter Andris Nelsons

Website Lise Davidsen

Instagram Lise Davidsen

Facebook Lise Davidsen

[princesssarisa]

Opera on YouTube

I've shared links to complete opera performances before, but I love to share them, so I thought I'd make a few masterposts.

These list are by no means the only complete filmed performances of these operas on YouTube, but I decided that ten links for each opera was enough for now.

By the way, some of the subtitles are just a part of the video, while others require you to click CC to see them.

Die Zauberflöte (The Magic Flute)

Hamburg Philharmonic State Opera, 1971 (Nicolai Gedda, Edith Mathis, William Workman, Christina Deutekom, Hans Sotin; conducted by Horst Stein; English subtitles)

Ingmar Bergman film, 1975 (Josef Köstlinger, Irma Urrila, Håkan Hagegård, Birgit Nordin, Ulrik Cold; conducted by Eric Ericson; sung in Swedish; English subtitles)

Salzburg Festival, 1982 (Peter Schreier, Ileana Cotrubas, Christian Bösch, Edita Gruberova, Martti Talvela; conducted by James Levine; Japanese subtitles)

Bavarian State Opera, 1983 (Francisco Araiza, Lucia Popp, Wolfgang Brendel, Edita Gruberova, Kurt Moll; conducted by Wolfgang Sawallisch; English subtitles)

Metropolitan Opera, 1991 (Francisco Araiza, Kathleen Battle, Manfred Hemm, Luciana Serra, Kurt Moll; conducted by James Levine; English subtitles)

Paris Opera, 2001 (Piotr Beczala, Dorothea Röschmann, Detlef Roth, Desirée Rancatore, Matti Salminen; conducted by Ivan Fischer; no subtitles)

Royal Opera House, Covent Garden, 2003 (Will Hartman, Dorothea Röschmann, Simon Keenlyside, Diana Damrau, Franz Josef Selig; conducted by Colin Davis; no subtitles) – Act I, Act II

La Monnaie, Brussels, 2005 (Topi Lehtipuu, Sophie Karthäuser, Stephan Loger, Ana Camelia Stefanescu, Harry Peeters; conducted by René Jacobs; French subtitles)

Kenneth Branagh film, 2006 (Joseph Kaiser, Amy Carson, Benjamin Jay Davis, Lyubov Petrova, René Pape; conducted by James Conlon; sung in English)

San Francisco Opera, 2010 (Piotr Beczala, Dina Kuznetsoca, Christopher Maltman, Erika Miklósa, Georg Zeppenfeld; conducted by Donald Runnicles; English subtitles)

La Traviata

Mario Lanfrachi studio film, 1968 (Anna Moffo, Franco Bonisolli, Gino Bechi; conducted by Giuseppe Patané; English subtitles)

Glyndebourne Festival Opera, 1987 (Marie McLaughlin, Walter MacNeil, Brent Ellis; conducted by Bernard Haitink; Italian and Portuguese subtitles)

Teatro alla Scala, 1992 (Tiziana Fabbricini, Roberto Alagna, Paolo Coni; conducted by Riccardo Muti; English subtitles)

Royal Opera House, Covent Garden, 1994 (Angela Gheorghiu, Frank Lopardo, Leo Nucci; conducted by Georg Solti; Spanish subtitles)

Teatro Giuseppe Verdi, 2003 (Stefania Bonfadelli, Scott Piper, Renato Bruson; conducted by Plácido Domingo; Spanish subtitles)

Salzburg Festival, 2005 (Anna Netrebko, Rolando Villazón, Thomas Hampson; conducted by Carlo Rizzi; no subtitles)

Los Angeles Opera, 2006 (Renée Fleming, Rolando Villazón, Renato Bruson; conducted by James Conlon; English subtitles)

Opera Festival St. Margarethen, 2008 (Kristiane Kaiser, Jean-Francois Borras, Georg Tichy; conducted by Ernst Märzendorfer; English subtitles)

Teatro Real di Madrid, 2015 (Ermonela Jaho, Francesco Demuro, Juan Jesús Rodríguez; conducted by Renato Palumbo; English subtitles)

Teatro Massimo, 2023 (Nino Machiadze, Saimir Pirgu, Roberto Frontali; conducted by Carlo Goldstein; no subtitles)

Carmen

Herbert von Karajan studio film, 1967 (Grace Bumbry, Jon Vickers; conducted by Herbert von Karajan; English subtitles)

Vienna State Opera, 1978 (Elena Obraztsova, Plácido Domingo; conducted by Carlos Kleiber; English Subtitles)

Francisco Rosi film, 1982 (Julia Migenes, Plácido Domingo; conducted by Lorin Maazel; English subtitles)

Metropolitan Opera, 1987 (Agnes Baltsa, José Carreras; conducted by James Levine; English subtitles)

London Earls Court Arena, 1989 (Maria Ewing, Jacque Trussel; conducted by Jaques Delacote; English subtitles)

Royal Opera House, Covent Garden, 1991 (Maria Ewing, Luis Lima; conducted by Zubin Mehta; English subtitles) – Acts I and II, Acts III and IV

Arena di Verona, 2003 (Marina Domashenko, Marco Berti; conducted by Alain Lombard; Italian subtitles)

Royal Opera House, Covent Garden, 2006 (Anna Caterina Antonacci, Jonas Kaufmann; conducted by Antonio Pappano; English subtitles) – Acts I and II, Acts III and IV

Metropolitan Opera, 2010 (Elina Garanca, Roberto Alagna; conducted by Yannick Nézet-Séguin; English subtitles) – Acts I and II, Acts III and IV

Opéra-Comique, 2023 (Gaëlle Arquez, Frédéric Antoun; conducted by Louis Langrée; English subtitles)

La Bohéme

Franco Zeffirelli studio film, 1965 (Mirella Freni, Gianni Raimondi; conducted by Herbert von Karajan; English subtitles)

Metropolitan Opera, 1977 (Renata Scotto, Luciano Pavarotti; conducted by James Levine; no subtitles)

Teatro alla Scala, 1979 (Ileana Cotrubas, Luciano Pavarotti; conducted by Carlos Kleiber; no subtitles)

Opera Australia, 1993 (Cheryl Barker, David Hobson; conducted by Julian Smith; Brazilian Portuguese subtitles)

Teatro Regio di Torino, 1996 (Mirella Freni, Luciano Pavarotti; conducted by Daniel Oren; Italian subtitles)

Teatro alla Scala, 2003 (Cristina Gallardo-Domâs, Marcelo Alvarez; conducted by Bruno Bartoletti; Spanish subtitles)

Zürich Opera House, 2005 (Cristina Gallardo-Domâs, Marcello Giordani; conducted by Franz Welser-Möst; no subtitles)

Robert Dornhelm film, 2009 (Anna Netrebko, Rolando Villazón; conducted by Bertrand de Billy; no subtitles)

Opera Australia, 2011 (Takesha Meshé Kizart, Ji-Min Park; Shao-Chia Lü; no subtitles)

Sigulda Opera Festival, 2022 (Maija Kovalevska, Mihail Mihaylov; conducted by Vladimir Kiradjiev; English subtitles)

[cleoenfaserum]

FARINELLI (1994)

Película nominada a la 67.ª edición de los Premios Óscar

Farinelli es una película biográfica, una coproducción italiano-belga-francesa, dirigida por Gérard Corbiau, sobre la vida y la carrera del cantante de ópera italiano Carlo Broschi, conocido como Farinelli, considerado el más importante cantante castrato de todos los tiempos.

La película está protagonizada por Stefano Dionisi, como Farinelli, y la voz de este personaje se obtuvo mediante la mezcla digital de las voces de Ewa Malas-Godlewska, una soprano polaca, y de Derek Lee Ragin, un contratenor estadounidense, con el objetivo de recrear una voz auténtica de castrato.

Aunque la trama de la película está basada en hechos reales, hay numerosos datos que no responden a la realidad histórica. Por ejemplo, se destaca la importancia del hermano de Farinelli en perjuicio de la de Nicola Porpora. La película ofrece una explicación inédita de cómo Carlo Broschi llegó a tomar el nombre artístico de Farinelli. Cuenta la desesperación de Carlo por ser un castrato y su incapacidad para tener descendencia, incluso cuando el joven hijo de su patrona le sugiere casarse con ella para tener legalmente un hijo.

George Friedrich Händel, interpretado por Jeroen Krabbé, está retratado como una especie de villano, tomando como base la competencia entre la música de Händel y el canto de Farinelli, así como el hecho de que Händel quiso que Farinelli cantara a su teatro, el Covent Garden, y nunca lo consiguió. Farinelli siguió cantando para la rival Ópera de la Nobleza.

El director musical de la cinta fue el clavecinista francés Christophe Rousset. La grabación musical fue en hecha en la sala de conciertos del Arsenal en Metz, con la orquesta Les Talens Lyriques.

DOBLADA

978-1 https://ok.ru/video/2190925695679

PELICULA ORIGINAL SUBTITULADA

978-2 https://ok.ru/video/1504634931769

NOTAS:

MUSICA: 14 videos

Farinelli (película) - Wikipedia, la enciclopedia libre

Farinelli: Il castrato (1994) - IMDb 6'8

67th Academy Awards - Wikipedia

Farinelli Il Castrato ( : Free Download, Borrow, and Streaming : Internet Archive

[taruntravell]

25 Reasons London Is The Most Beautiful Cities In The World

London is undeniably one of the most beautiful cities in the world, with a rich history, stunning architecture, and a vibrant cultural scene. Here are 25 reasons why London stands out as a beautiful city:

Historic Landmarks: London boasts iconic landmarks like the Tower of London, Buckingham Palace, and Westminster Abbey.

The River Thames: The river winds through the city, offering picturesque views and opportunities for riverside strolls.

Architectural Diversity: London's architecture blends modern skyscrapers with historic buildings, creating a unique and dynamic cityscape.

Parks and Gardens: The city is home to numerous green spaces like Hyde Park, Kew Gardens, and Regent's Park, providing oases of natural beauty.

Royal Parks: The city's royal parks, including St. James's Park and Green Park, offer serene landscapes with wildlife and stunning scenery.

Cultural Diversity: London's multicultural makeup adds to its beauty, with a wealth of cultures, cuisines, and traditions to explore.

Street Art: Graffiti and street art have transformed many neighborhoods into vibrant outdoor galleries.

The Shard: This modern skyscraper offers breathtaking panoramic views of London's skyline from its viewing platform.

Historical Museums: The British Museum, the National Gallery, and many other museums house priceless treasures.

Covent Garden: This lively area is known for its street performances, boutique shops, and charming atmosphere.

Thames Bridges: London's bridges, such as the Tower Bridge and Millennium Bridge, are architectural marvels that light up the night sky.

Notting Hill: The pastel-colored houses and quaint streets of Notting Hill are an Instagrammer's dream.

The West End: London's theater district is a hub of entertainment, with beautifully designed theaters and dazzling performances.

Canary Wharf: The modern glass skyscrapers of Canary Wharf reflect the city's contemporary beauty.

Borough Market: This bustling food market is a feast for the senses, offering delicious treats against a backdrop of historic architecture.

Camden Market: Known for its alternative and artistic vibe, Camden Market is a vibrant mix of cultures and styles.

Primrose Hill: The hill offers a panoramic view of the city skyline, especially stunning at sunset.

Royal Albert Hall: This iconic concert hall is not only renowned for its acoustics but also its stunning circular design.

Pubs and Historic Inns: London's traditional pubs, like The George Inn, provide a cozy and picturesque atmosphere.

The Royal Observatory: Located in Greenwich, it offers stunning views of the city and is the home of the Prime Meridian.

The Shard's Light Show: The Shard often features mesmerizing light displays in the evening.

Regent Street: Known for its grand architecture and luxury shopping, Regent Street is a visual delight.

St. Paul's Cathedral: Sir Christopher Wren's masterpiece is a stunning example of Baroque architecture.

Portobello Road: Famous for its antique market, this street is a vibrant, colorful destination.

The Changing of the Guard: Witnessing this ceremonial event outside Buckingham Palace is a quintessentially London experience.

London's beauty lies not just in its physical appearance but also in its rich culture, history, and the diverse experiences it offers. These factors make London a truly captivating and beautiful city to explore and cherish.

[quoteoftheweekblog]

QUOTE OF THE WEEK 6/3/23 - HALLIE RUBENHOLD (AND CHRISTOPHER FOWLER) ‘It was no good sitting indoors all day and night, waiting for men of wealth and prestige to call.’ (Rubenhold, 2020, p.263).

Rubenhold, H. (2020) ‘The Covent Garden ladies’. Revised edition. London: Black Swan.

*****

FOR INTERNATIONAL WOMEN‘S DAY ON WEDNESDAY

INTERNATIONAL WOMEN’S DAY

https://quoteoftheweekblog.tumblr.com/post/678081383316488192/quote-of-the-week-7322-elizabeth-gaskell-and

https://quoteoftheweekblog.tumblr.com/post/645104577974255616/quote-of-the-week-8321-hilary-mantel-diana

https://quoteoftheweekblog.tumblr.com/post/611487744716357632/quote-of-the-week-232020-la-roux-cause-im

https://quoteoftheweekblog.tumblr.com/post/183191403049/quote-of-the-week-4319-mary-beard-you

https://quoteoftheweekblog.tumblr.com/post/158111216874/quote-of-the-week-6317-lucia-berlin

*****

TO MY DAUGHTER FOR GIVING ME THIS BOOK CHRISTMAS 2020

‘ ... Nancy Howard ... ‘ (Rubenhold, 2020, p.143).

‘Nancy V- ... ‘ (Rubenhold, 2020, p.170).

‘... Nancy S- ... ‘ (Rubenhold, 2020, p.170).

‘ ... Nancy Laycock ... ‘ (Rubenhold, 2020, p.249).

‘Nancy Banks ... ‘ (Rubenhold, 2020, p.263).

‘ ... Nans ... ‘ (Rubenhold, 2020, p.329).

‘ ... and Nancy Dawson ... ‘ (Rubenhold, 2020, p.353).

AND THANKS AGAIN

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XXXX

RIP

https://href.li/?https://www.nicolaflorist.co.uk/

CHRISTOPHER FOWLER DIED 3/3/23

NEWS REPORT

https://www.theguardian.com/books/2023/mar/03/bryant-may-novelist-christopher-fowler-has-died-aged-69

*****

RIP 2023

CHRISTOPHER FOWLER - 3/3/23

https://quoteoftheweekblog.tumblr.com/post/710982321252220928/quote-of-the-week-6323-hallie-rubenhold-and

LEWIS CARROLL - 14/1/1898

https://quoteoftheweekblog.tumblr.com/post/709065919000903680/quote-of-the-week-13223-lewis-carroll-she

RONALD BLYTHE - 14/1/23

https://quoteoftheweekblog.tumblr.com/post/707162386989219840/quote-of-the-week-23123-jodi-picoult-and

FAY WELDON - 4/1/23

https://quoteoftheweekblog.tumblr.com/post/706061735432486912/quote-of-the-week-9123-fay-weldon

*****

RIP

https://quoteoftheweekblog.tumblr.com/rip

*****

QUOTE OF THE WEEK 2011 - 2023

11 EPIC YEARS

https://quoteoftheweekblog.tumblr.com/references

FROM THE ARCHIVE

https://quoteoftheweekblog.tumblr.com/post/165723177269/quote-of-the-week-25917-jane-austen-good

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[opera-ghosts]

A Birthday salute to Paul Franz (1876-1950).

A very fine French tenor born in 1876 was Paul Franz, a direct successor to Affre and Escalis and France’s leading dramatic tenor. He had a very unusual beginning because he was at 32 years of age, when he took first prize in a singing competition organised by a music magazine, which eventually secured him his operatic debut in Nau in Lohengrin, at the age of 33, a very late starter indeed. Consider for example, that Anselmi had been singing for 13 years by the time he was 33. However, such was his initial success, that within a month, he had secured a contract at the Paris opera, for the same part as Lohengrin.

It was the beginning of an illustrious career at the opera, and in performances of Segued, Faust, Dan Houser, Sigmund, Radames and in particular, Samson & Delilah, he was often compared, not only to Affre but to Deresce himself, who had been idolised above all others at the Paris opera.

He first appeared in London in 1910 and despite strong competition from Dalmores in particular, he established himself at Covent Garden as leading French tenor until the war. His debut was in Samson & Delilah, with Ruiz Courbellun, and he was to repeat his success in this opera during his Covent Garden seasons.

So, let’s hear him then, in his Covent Garden debut role of Samson in the aria Arêtes O Mes Freres.

In Paris, he had also become the leading vigneron interpreter in succession to Ernest van Dijk. Making a great success in master singer, Tristan, and Siegfried and in 1913 he was the first pathe fal at the opera. In addition, he received acclaim in other operas, such as Le Cede, Profit, Herodiade by Jeuive, the damnation of Faust, Helene, and the Trojans. As well as many contemporary works no longer in repertoire.

His fore’s abroad were not particularly frequent. In 1915 he appeared at La Scala in Milan. Inevitably as Samson. And in 1918, he was at the Cologne in Buenos Aires. In 1923 he was engaged by Ginzburg at the Monte Carlo opera to create a tenor lead in Ginzburgs own composition by Christopher. But from then on, he preferred to remain at his beloved Paris opera, where he made his farewell in 1938, at a benefit gala for the Paris Conservatoire.

Here he is in a beautiful version of the Flower Song from Carmen, where after some lovely opening phrases, the voice builds up to a splendid ringing climax.

He recorded for three companies, HMV, Pathe and Colombia. The selections already heard, were from HMV records. Choosing two final records, I suppose, I should have included a Wagner selection, because of his fame as a vigneron singer. But of course, he sings the items in French, and this never sounds right to me, no matter how well sung.

So I have chosen a French aria, Salut Tombeau from Romeo and Juliet and then a rare electrical Columbia record, made long after the HMV’s, when the singer was in his late 50s and still showing a marvelous voice and a wonderful feeling for the music, in an aria from Masani’s opera Herodiade which I hope you will recognise, as you heard it in the previous tape.