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dentalrecordsmusic · 6 years

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A Brief History of BRASS

July 2016

It was a typically gorgeous Vancouver morning and I'd skateboarded over to meet up with Devon Motz, the acerbic lead singer of the East Van punk band-BRASS. I'd been with him less than sixteen hours ago as we dropped off the rental van that the band had used for the ten-day tour to Edmonton and Calgary that preceded us. Devon and I met up at the CannaClinic Dispensary in the Hastings Sunrise neighborhood of East Van before stomping down past industrial meat processing warehouses and breweries to Rain City Recorders. The band's drummer, the mohawked and mustachioed Rory Traughton, was already waiting for us, rubbing his temples while slouching into a deck chair next to a glass table top adorned with ashtrays and empty beer cans. Devon passed me the grass and I went to work twisting up whatever heady indica he had purchased as Tristan Milne, the lead guitarist, appeared with a Pall Mall clenched between his grinning teeth while he toted two guitar hard cases, one shaped like a casket, in either hand. We fired up the joint and before long the bohemian bad boy bassist Eric Campbell appeared his single hanging ear piercing swaying around his frizzing out of place hair. We all smoked, got into some morning beers and enjoyed some sludgy memories and howl inducing stories of the past week of tour which, for the sake of everyone's reputation, I frankly can't tell you anything about.

BRASS was there that day to begin recording the follow up to their 2015 punk rock party primer cord: No Soap Radio. Over the following year and a bit, they'd seen their original bass player depart and had picked up their friend and contemporary Eric Campbell after he'd filled in during a couple of tight pinches. Now after nearly a year of playing and writing together, the band was ready to lay down tracks with the same engineer who'd helped the sonically economic quartet package their first disc, Jesse Gander. In Vancouver, Jesse is something of a legend having produced hundreds of albums in his over fifteen years of experience including Anciients, Baptists, Dead Quiet, Japandroids, The Jolts, Bison, The Pack AD and many many more. Given BRASS’ reputation in those days for starting sets rowdy and ending bloody when they had gone into the studio in 2015 for No Soap Radio, Jesse had been surprised at their polished and 'get r done’ approach to recording. Aside from regularly crushing volcano bags of weed and the standard amount of whiskey and beer BRASS had done the work pumping out their debut LP which would eventually be named by Canadian publication Beatroute: Vancouver Album of the Year. From here a cross-Canada tour was planned and started but the band didn't make it halfway before their van decided to light on fire a couple of times, before the band was badly hustled by a mechanic in the sinkhole known as Vagerville, Alberta. This ended any dreams of success out East. In the chaos that followed this disaster, the band lost their original bass player in a truncated crash and burn scenario before they picked up Eric who happened to be touring in tandem with his psyche rock corps Eric Campbell and the Dirt. Over a year later the band was going back into the studio with a whole new bag of tricks and tracks, even if some of them weren't completed.

Jesse arrived, hauled a few hard drives out of a safe and let us into the studio where each of the musicians took turns setting up their individual rigs to be separately microphoned for the bed tracks. These initial recordings would provide the rough sketch of the album used to write the thing as a whole. While Rory set up his drums, the longest job, Devon and I took refuge in the living room perch above that had a glass window that looked down on the recording floor. Devon's pretty good at playing Tony Hawk Pro Skater 2 on an old PlayStation 2. Since Calgary Devon had been remarking that he hadn't completed lyrics for several of their new songs and now almost a week later he didn't seem any more concerned by the prospect of going up to the mic and winging it. Almost two days later when I pressed him on his approach to lyrics he'd said "My lyrics don't mean anything man. They don't have to, that's not how I do it." At this, I rolled my eyes because whether Devon knew it or not at the time his lyrics are a cacophony of metaphors for wonton self-annihilation or distaste for the establishment presented through a shit-eating grin or displayed on a tasteful summer dress. It appeared that the band's approach to recording the new album was to play it fast and loose, rolling the dice on some of those new tracks to see what'd come up on the day of. A gutsy move considering how much the recording and mastering had cost them. The majority of that first day was spent working Rory like he was a mule you rented on someone else's dime. In the days that would follow the rest of the band would take their shots at putting down the masters for their individual portions of the record, but first, they needed the hardest tightest drum tracks to follow along to. After the first 25 takes Rory, who has to try really hard to take it slow, was starting to get gassed out but the whole band soldiered on.

Don’t wake up Rory ya doof doof.

During a smoke break, we gathered once more on the patio and that unique flavor of East Vancouver, the warm air carrying the scent of chicken and fish rendering, barley mash, and hot garbage cut through the air causing us all to choke and laugh. Someone remarked that it was a true East Van Musk and so the throat kicking banger from the new album, formerly titled Something Heavy, was renamed EVM. That first day the band hammered out the beds on ten songs, at least 3 of which they didn't have completed before they went into the studio. Devon, in daring fashion, had whipped up some lyrics when we weren't looking and filled the voids in the tracks. I couldn't imagine so instinctively writing something which would instantly become so indelible. Despite knowing a number of the songs, I could only hear pieces of the album. It was like a puzzle where only a few varied blurry shapes are visible, but no distinct image. Tired, kinda drunk and ready for bed we all agreed to meet up the next day, same BRASS time same BRASS channel.

Eric Campbell, Aka Local Creature, Aka Vampire Twink

When I got to the studio the next day Rory, Devon and Eric were already there. They told me that Jesse had been biking to the studio and was hit by a car and had broken his shoulder blade and his wrist. The band's consideration for Jesse was number one, but there was still the choke of frustration for the situation itself, a nagging reminder of the random cursed disaster they'd incurred in the form of their tour ending van fire. The vibe was fucking grim. The assistant engineer Mark Mckitrick had been instructed to let the band do as they needed to without Jesse. Years ago Devon and Tristan had earned degrees in audio engineering from now-defunct Pacific Audio Visual Arts Institute and all members having been through the process of putting down a record said fuck it and stepped up to the plate. The microphones in the room were already set up to their specifics, so Jesse or no Jesse it was time to do the work.

They trudged through the remainder of the bed tracks before Devon and Eric stuck on the floor going through some piano overdubs for songs I didn't know yet. Not long after that local gun for hire violinist Emily Bach appeared and put down some time and sound for the gang. I was starting to see this jigsaw puzzle taking shape. I had seen and heard many of these songs in the past, whether at shows or when hanging out with my friends in their jam space, but I had never seen the true assembly of art such as this. This was, aside from musical talent, an artistic production. A construction and curation of all of the best juicy bits and ideas that the team had been working on for the past year. Watching the different layers of overdubs come together was like realizing an idea for the very first time. It wasn't just some patently repetitive follow up to their succinct debut punch to the sun. This was becoming something that stood aside from what the identity the band had carved out for themselves musically and personally Their reputations aside, their character was starting to show. Rory and Tristan were the last people at the studio that night and I left them with a full deck of smokes and a bottle of whiskey.

That third major day in the studio Tristan sat in a chair, tuned up his guitar and laid down his parts for each and every one of the songs. In the background, Devon was already sipping whiskey, Alberta Premium: Dark Horse, and getting ready to rip his throat apart with his far-ranging, high-frequency feral singing. Devon screamed into his mic, standing behind a partition so he didn't have to look at our stupid faces while he yelled his guts out. I still managed a picture of him. By the time Devon was done with all his vocals, his voice didn't seem too bad but the bottle of whiskey he'd been drinking from however was just 'bout 'bliterated. Jesse had made it out of the hospital and damn trooper that he is, he arrived at the studio. He was gassed on X amount of high-quality painkillers and I'm sure he remembers very little about that day, but he was there goddammit. It was Jesse that presided over the board while Devon proceeded to take his pants off and direct the assembly of friends who had arrived to provide gang vocals for several of the album's tracks. It wasn't long before every member of BRASS was sans pantaloons, the weight of the past two weeks of touring, playing and recording catching up with them at all at once. As they stood directing the East Van Brass Choir it was clear that all four of them were gooned on life. Devon being a prick on purpose catalyzed all of their attitudes as they liberally indulged their sense of trouble-making tomfuckery. Tristan, no pants had his eyes closed grinning while his hands conducted us. No one really cared. It was to be expected after enduring this far on such little sleep, fuelled only by the misting remnants of that pure golden tour energy and about a whole ounce of weed a heck of a lot of beers. What else could you expect from those who have just extracted the power of the gods out of the ether? Remain composed? What would you have them do? Aside from some mastering and tinkering the overdubbing the album was finished. Due to Jesse's injury, it would be a couple of months before the masters would be ready.

I was lucky enough to be passed a copy of the initial masters not long after the band received them and it became my unofficial skateboard anthem and stoke machine for the entire next year. I felt that it was a triumph, a total package that showcased the group's artistic diversity, emotions, opinions, and hunger. It meant a lot to me, it impacted me and changed how I felt about not just their music but that of the community around me as well as my own art. I couldn't wait for the world to listen to it.

April 2018

Rory, Tristan and I stood around behind the Cobalt Motor Hotel leaning on Rory's truck smoking cigarettes with a few friends waiting to see if it was going to rain. Devon was on his way there. Claire was on her way from work. That night was the release of the album that the band had recorded almost two years earlier. A lot of things had changed.

Since BRASS had finished recording the album that would come to be known as: For Everyone, things had changed. Summer 2016 had become autumn and our world had shifted out of the golden crispy Vancouver summer into the black-lit, high precipitation Blade Runner metropolis that Vancouver is known as. Over the past few years our scene, as it were, had largely orbited around a street level promotions group called Art Signified who had developed their reputations as tastemakers and animals. After enough basement shows, haggling with the sparse difficult Vancouver venues and throwing some of the best all day hardcore and punk parties Vancouver has ever seen, Art Signified had managed to secure a location in Vancouver's Chinatown to be used as an all-purpose arts and culture space. They named Studio Vostok, after Vostok 1 the first manned space vessel. Operating as a legal space Art Signified soon discovered just how crushingly expensive the antiquated Vancouver permitting systems are as well as the City's oppressive by-laws which make it nearly impossible to run an independent space that presents loud live music. Despite the fact that the mentally ill and addicted of Vancouver's infamous Downtown East Side were dying of fentanyl laced overdoses by the truckload, the Vancouver Police Department came down harder enforcing Studio Vostok's, and other space’s, bylaw infractions than they did on any peddler of hard street drugs. If you live in Vancouver it's clear, the only art and culture that our City wants is the kind that tows the right line of appropriateness and doesn't make a mess. Vancouver likes to proclaim itself to be an artistic City but the arts that thrive here often are either backed by some big dick money or appeal to our obnoxiously flaccid and bland brand of nationalism. Still, months of loud music, underground shows, literary events, movie screenings, public games nights, roundtable forums on social issues, music video shoots and greasy all-night chain smoking beer crushathons in the fight club basement led to the inevitable closure of Studio Vostok in February of 2017. The closure of the now mythic space, which had been our temple of Sodom for a time, precipitated a momentous shift in our scene. The godhead gone other avenues would need to be pursued. One of the most important changes for BRASS was that Eric Campbell had decided to take his leave, packing his bags and heading east to Montreal in search of a folk singer cage match in the artistic mecca of Montreal.

Photo courtesy of Alex Slavin

Enter Claire. Claire "Twitchy-Twitch" Carreras had been a mainstay in our circle of miscreants over the years, in fact, her badass track record pre-dated all of us by at least five years. Before they ever met her Devon and Tristan had been obsessed with her corroded battery acid female punk group Joyce Collingwood, in which Claire played lead guitar. Joyce Collingwood had since disbanded and Claire had joined forces with local pain in the ass and idiot savant Taya Fraser to form the head-butting hardcore duo HEDKS. Claire fucks. She fucks harder than you any day of the fucking week. When it was clear that BRASS was going to need a new bass player she was at the top of the list. After a couple of months of practice, learning the reasonably large catalog of songs, it was like she'd been in the band the whole time. Claire's logical head and lack of capacity to endure time-wasting bullshit is mirrored by a desire for mayhem that has the potential to eclipse just about anyone else's in the band.

The album had been done for a while, BRASS performing almost all the new songs spread out across the gigs of the past twelve months. There had been talk of going to SXSW in Austin, Texas to attempt getting signed to a label, but due to visa arrangements and general finances, it just wasn't in the cards for BRASS. Distribution for the album seemed a conversation that none of the band members wanted to have, at least not initially. What BRASS does first and foremost is put on a show. Some of that show is for you, the audience, but most of that show is for them. When they get buck they are getting buck. You feel it and you know it's real and you wanna let your shit go off. When they play it's like, uh actual art dude. They hadn't always been there though, they had evolved over time. Gone were the juvenile sneering bloody-faced affectations of a bunch of angry young men smashing through each other while spitting beer in your face and stealing your girlfriend. Through some dense alchemy they had melted and transmuted their form three times and each time it settled it was miraculously cast with a renewed energy, accented with the distinctions and elements of their own maturing character, but also with a refined punk sensibility that always pisses some people off: intelligence. In the past year and a half, they had been trying to figure out what they were really worth and how much they were willing to give up to get what they thought they wanted. I think for a good while there they just decided to say fuck it, ignore chasing labels and keep doing what they do best, which is perform and make new work. The things that most artists should be preoccupied with.

Photo courtesy of Taya Fraser

With no plans to release their album, nowhere higher to go without serious financial support and good-natured itch for adventure BRASS made plans to conqueror Europe. They went. The details of this trip I don't have because I wasn't there. But much like any other tour, even if I did have that information I'd probably never tell you. In their time as a band BRASS, as previously stated, had gained a reputation for pushing the envelope and fucking shit up, so upon returning from Europe friends and fans badgered them for tales of their exploits in the old world. As I'd come to understand it, almost everything that happens on tour is a ‘you had to be there’ situation, so why bother trying to explain that joyous madness to someone who was not going to, or even didn't deserve to, understand it. Maybe they'd tell you about it, but I wouldn't ask.

Photo courtesy of Asia Fairbanks

We'd finished smoking our cigarettes and dragged Rory and Tristan's gear inside just as the grey early spring sky started to spit at us. Inside the venue, I was so damned pleased to see Eric Campbell, having only days earlier returned from Montreal where he'd been for the better part of a year. The band began to arrange their stuff for sound-check and I made chit chat with Emily Bach, the gun for hire violinist, before Tristan and I went for some chicken sandwiches up the street. When we returned to the venue Devon was there setting up the merch table with CD's of For Everyone, the clear with pink swirl vinyl for No Soap Radio, buttons, stickers and a menagerie of their most recent run of tank tops and t-shirts. While Tristan and I sat in the green room eating our sandwiches before intermittently glugging from a bottle of absinthe I thought about how many different shirts the band had made over the years. The past few years had seen the slow dissolution of aspects of our scene's foundation, the closure of venues and the troubling derivative or exploitive environment of Vancouver music, the process of getting older and growing up yet BRASS is still standing. 2013, when the band had formed, was a long way off. Had we gotten old? It was during this time waiting for the show to begin that I watched each of them in passing, seeing a pause of consideration on their faces. For five years, after however many gigs, festivals, tours, bass players, fist fights, stupid decisions, all-nighters, torn dresses, trauma, heartbreak, black eyes, broken guitars, bottles of wine, cases of beers, broken glasses, packs of burnt darts, laughs, arguments, meltdowns, snapped strings and lost tempers, they had survived without becoming cliche rock and roll suicides. Their desire for recognition and achievement had never diminished but in all that time I'd never seen them compromise their integrity or artistic choices for the sake of getting another rung up the ladder, and had, in fact, witnessed them go the other way; expressing disdain for star fuckers and sleazy opportunists. I'd watched them through times of plight and been lucky enough to bask in their successes. No part of their repertoire, no matter how intense or foolhard, felt dishonest to me. No part of it felt contrived. Their moments of artistic sensationalism or provocation were not simply indulgent wankery, it had all come from a place of individual intentions and style that when re-forged through musical metallurgy created the unique alloy of performance that is honest and righteous in its provocation.

After nearly two years BRASS, with the prodigal Eric Campbell and the gunslinger Emily Bach, stepped out onto the stage to finally released their intelligent, caustic and heart-wrenching sophomore album, a gift from them For Everyone.

Listen to For Everyone and No Soap Radio.

You can follow the band on Facebook, Instagram, and Twitter.

Watch the hard-hitting two-song music video for "Disco" and "EVM" from For Everyone here.

Axel Matfin wrote this. You can visit his website and follow him on Instagram.

Follow DRM on Facebook, Instagram, and Twitter.

#brass #brass vancouver #punk #punk rock #feature #axel matfin #vancouver #vancouver punk #vancouver punk rock

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thetheatrereviewer · 5 years

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[Review:] MEGA, Tristan Bates Theatre, London.

[Review:] MEGA, Tristan Bates Theatre, London. “A captivating and rich must-see performance.” 4 ★

MEGA is enchanting. Created by Alex Milne and performed at the Tristan Bates Theatre, its lovable characters and twists make it an absolute treat to watch.

All actresses clearly understood the text and portrayed their characters incredibly well. They were all fabulously engaging and convincing, and their physicalities and voices made their characters believable. There were only a few minor…

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golicit · 6 years

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Guest Post: Stronger UK Pensions Regulator: Risks for Directors and Officers

In the following guest post, Tristan Hall, Andrew Milne, and Emma Boulding of the CMS Cameron McKenna Nabarro Olswang LLP law firm take a look at the increased risks to directors and officers in the U.K. for non-compliance with employer pension schemes, as well as the implications of those increased risks for D&O insurance purposes. I would like to thank the authors for their willingness to allow me to publish their article as a guest post on this site. I welcome guest post submissions from responsible authors on topics of interest to this blog’s readers. Please contact me directly if you would like to submit a guest post. Here is the authors’ article.

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In recent months, deficits in defined benefit pension schemes have become front-page news in the UK. The UK Government has responded by issuing proposals to enhance powers of The Pensions Regulator. If passed, these will increase the risk of non-compliance for directors and officers of employers who provided such schemes and will lead to further scrutiny as to how D&O insurance can mitigate such risks.

The Pensions Regulator is the UK regulator of work-based pensions. It is a public body established by the UK Government.

The Pensions Regulator’s powers fall into three categories. Firstly, gathering information, including by issuing information-gathering “section 72” notices pursuant to the Pensions Act 2004. Secondly, regulatory and enforcement action, including the ability to impose civil and criminal sanctions. Thirdly, anti-avoidance action – this allows The Pensions Regulator to demand that an employer pay money into a scheme, either by issuing a contribution notice or a financial support direction.

In March 2018, the UK Government published a series of proposals aimed at protecting defined benefit pension schemes. They include broader powers for The Pensions Regulator and new sanctions for non-compliant activities by company directors.

Amongst the key proposals are the introduction of the following changes, intended to broaden the scope of The Pension Regulator’s existing powers:

The introduction of “punitive fines” that can be imposed against those who deliberately put a defined benefit scheme at risk. The new fines are intended to extend to individual company directors, not just employers. It is not yet known what the level of fines will be, nor whether any upper limit to the fines will be introduced. The UK Government expects the penalty will be linked to the contribution notice. This suggests that fines could be significant.

The introduction of a new criminal offence, designed to sanction “wilful or grossly reckless” behaviour by directors (and connected persons) in relation to a defined benefit scheme. Again, little is known about the scope of this new offence, although what has been made clear is that the offence is intended to be targeted at company directors, rather than employers. The new offence is notably broader in scope than existing criminal offences under existing workplace pensions legislation.

Broader powers to facilitate information gathering. These could include a standalone power for The Pensions Regulator to require individuals to attend interviews. This would likely apply to company directors in addition to those who manage defined benefit schemes.

Defined benefit schemes are no longer the dominant form by which pension provision is made by UK employers in the private sector. However, they still account for £1.5 trillion assets and around 10.5 million scheme members in the UK, with scheme payments predicted to peak around 2020 to 2030. It is clear that protection of defined benefit schemes is seen as a key issue by the UK Government, given the public outcry when such schemes fail, and the financial consequences for members of such schemes.

Enforcement Action

Company directors who do not take their obligations seriously in respect of defined benefit schemes are likely to be subject of regulatory investigations, and potentially enforcement action. This is consistent with The Pensions Regulator’s recent approach. During the last financial year, it investigated over 132,000 cases, issued more than 36,000 fines and exercised its enforcement powers in over 500 cases, including pursuing criminal proceedings against:

The chairman of a brewing company for failing to provide financial information as to the company’s defined benefit scheme.

The directors of a recruitment company for impersonating their temporary employees to opt them out of workplace pension schemes.

The managing director of a healthcare company for misleading The Pensions Regulator as to the provision of a workplace pension scheme for the company’s employees.

The managing director of a bus company for deliberately avoiding given its staff workplace pensions.

The Pensions Regulator has also stepped in following the collapse of a number of well-known UK companies, including in the construction and retail industries. It has taken action against individuals associated with those companies who failed to provide information about their pension schemes. It has agreed settlements with other individuals after issuing contribution notices demanding they pay money into those schemes.

Impact on Directors and Officers and their Insurers

Recent cases such as these demonstrate The Pensions Regulator’s willingness to take enforcement action against the directors and officers of companies in addition to the trustees of pension schemes. The costs of defending proceedings brought by The Pensions Regulator can be substantial. As many involve the exercise of its criminal powers, the consequences for individuals can be severe.

As pressure on scheme funding continues to increase, management of defined benefit pension schemes is likely to remain a key topic of boardroom conversation. With an ageing population, and volatile market conditions, as the UK transitions to a post-Brexit trading environment, it is likely that we will continue to see defined benefit scheme deficits (possibly alongside company failures).

Directors should be aware of the increased level of scrutiny they may face personally, in light of the new sanctions being proposed to ensure adequate management of defined benefit schemes. Indeed, the new proposals for punitive fines and the criminal offence for wilful or grossly reckless behaviour are being specifically targeted at directors and officers, not just employers and pension trustees.

The proposed changes to the law and increased public awareness may well lead to Insurers scrutinising companies with large defined benefit schemes, particularly those in deficit and which are operating in challenging trading conditions. Consideration will need to be given as to the scope of cover afforded for actions brought by The Pensions Regulator and how they fall for consideration under conventional D&O liability insurance policies and potentially the interaction with any coverage afforded under pension trustee liability insurance.

The post Guest Post: Stronger UK Pensions Regulator: Risks for Directors and Officers appeared first on The D&O Diary.

Guest Post: Stronger UK Pensions Regulator: Risks for Directors and Officers published first on

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lawfultruth · 6 years

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Guest Post: Stronger UK Pensions Regulator: Risks for Directors and Officers

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The Pensions Regulator is the UK regulator of work-based pensions. It is a public body established by the UK Government.

Amongst the key proposals are the introduction of the following changes, intended to broaden the scope of The Pension Regulator’s existing powers:

Enforcement Action

The chairman of a brewing company for failing to provide financial information as to the company’s defined benefit scheme.

The directors of a recruitment company for impersonating their temporary employees to opt them out of workplace pension schemes.

The managing director of a healthcare company for misleading The Pensions Regulator as to the provision of a workplace pension scheme for the company’s employees.

The managing director of a bus company for deliberately avoiding given its staff workplace pensions.

Impact on Directors and Officers and their Insurers

The post Guest Post: Stronger UK Pensions Regulator: Risks for Directors and Officers appeared first on The D&O Diary.

Guest Post: Stronger UK Pensions Regulator: Risks for Directors and Officers syndicated from https://ronenkurzfeldweb.wordpress.com/

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joaquimblog · 7 years

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Amb la Maria Teresa Mir (Isolda a can IFL) ja no sé quants anys fa que compartim amistat, una amistat que va m��s enllà de l’òpera i que en moments complicats s’ha manifestat de manera gratificant. Com succeeix en tota bona amistat també hem tingut enganxades, que precisament per tractar-se de topades entre amics s’han resolt com s’han de resoldre.

Són moltes coses compartides, moltes representacions d’òpera, moltes tertúlies, molts dinars, sopars, berenars i celebracions de tota mena, alegres i tristes, també viatges i vivències vitals.

El seu caràcter fort i decidit, la seva empenta i la capacitat de lideratge han fet que ho compartíssim tot plegat amb passió i amb aquella visceralitat inconfusible que ens caracteritza a tots els operòfils empedreïts.

Ella forma part d’una generació de liceistes forjats al voltant de noms mítics: Flagstad, Del Monaco, Tebaldi, De los Ángeles, Caniglia, Di Stefano, Windgassen, Grob-Prandl, Lorenz, Filippeschi, Neri, Christoff, Hotter, Campora, Mancini, Stignani….una llista interminable que donaria pas a Caballé, Cossotto, Domingo, Aragall, Zeani, Cappuccilli, Bruson, Sardinero, Bonisolli, Bumbry, Verrett, Milnes, Carreras….i fins avui mateix que segueix, més crítica que mai, vivint els avatars de l’actual Liceu amb una mena d’indignació i combativa resistència (geni i figura…)

Bé, parlant de la Maria Teresa no acabaria mai, aquest és el seu qüestionari, però us vull deixar la frase lapidària amb la que va acabar l’e-mail amb el seu qüestionari

“Joaquim m’has fet una mala passada, em sento infidel a tants i tantes estimats i estimades que m’he deixat al tinter. Tens la la culpa d’aquest rau-rau.”

La primera vegada que vas anar a l’òpera quin any va ser? 1950

A quin teatre? Liceu

Quina òpera vas veure? Tristan i Isolda

Els teus pares anaven o van a l’òpera? No

Quin compositor operístic t’estimes més? Wagner

Quina és l’aspecte que valores més d’una representació operística? La música

Quin és el teu tenor predilecte? Wolfgang Windgassen

Quina és la teva soprano predilecta? Victoria de los Ángeles

Quin és ell teu baríton predilecte? Hans Hotter

Quina és la teva mezzosoprano predilecta? Janet Baker

Quin és el teu baix predilecte? Boris Christoff

Quin és el teatre dels que has visita que més t’ha impressionat? Liceu

Podries viure en una ciutat sense teatre d’òpera? No

Quina és la teva òpera predilecte? Tristan i Isolda

Quina òpera detestes? Cap

Valora de 1 a 10 la importància del director d’escena en una representació operística 7

A quina ciutat del món que no sigui la teva i amb teatre d’òpera, t’agradaria viure? Londres

Quin és el llibretista operístic preferit? Hugo von Hofmamannsthal

Quin és el teu heroi de ficció operística? Parsifal

Quina és la teva heroïna de ficció operística? Brünnhilde

La gravació operística que t’enduries a l’illa deserta? ELEKTRA – filmació amb Bóhm, Rysanek,Varnay, Diskau

El director d’orquestra operístic preferit? Antonio Pappano

El director d’escena preferit? Harry Kupfer

La representació operística que t’hagués agradat assistir? Les Troyens del MET

L’òpera barroca que més t’agrada? Rinaldo

L’òpera clàssica que més t’agrada? Don Giovanni

L’òpera romàtica que més t’agrada? LesTroyens

L’òpera del segle XX que més t’agrada? Der Rosenkavalier

L’òpera del segle XXI que més t’agrada? Into the Little Hill

Si poguessis escollir una vocalitat lírica, què t’agradaria ser: soprano, mezzosoprano, contralt, tenor, baríton o baix? mezzosoprano

Avui m’ho ha posat fàcil la Maria Teresa, ja que la fabulosa Elektra dirigida per Karl Bohm la tenim disponible a Youtube

Moltes gràcies Maria Teresa per participar en el qüestionari i perdona si t’he pobligat a trair tantes coses.

La setmana vinent tindrem el qüestionari d’una persona molt especial per a mi, Assai.

EL QÜESTIONARI IFL DE MARIA TERESA MIR Amb la Maria Teresa Mir (Isolda a can IFL) ja no sé quants anys fa que compartim amistat, una amistat que va més enllà de l'òpera i que en moments complicats s'ha manifestat de manera gratificant.

#Boris Christoff #El Qüestionari IFL #Elektra #Hans Hotter #Janet Baker #Tristan und Isode #Victoria de los Ángeles #Wolfgang Windgassen

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edsonlnoe · 2 years

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Premios ⬤ 21

Película NO TIME TO DIE Runner-Up: Una Película de Policías Director Chloé Zhao | NOMADLAND Runner-Up: Alonso Ruizpalacios | Una Película de Policías Actriz Vanessa Kirby | PIECES OF A WOMAN Runner-Up: Olivia Colman | The Lost Daughter Actor Mahershala Ali | SWAN SONG Runner-Up: Daniel Craig | No Time to Die Actriz de Reparto Youn Yuh-jung | MINARI Runner-Up: Léa Seydoux | No Time to Die Actor de Reparto Shia LaBeouf | PIECES OF A WOMAN Runner-Up: Alan Kim | Minari Guión Original Benjamin Cleary | SWAN SONG Runner-Up: Kata Wéber | Pieces of a Woman Guión Adaptado Jonathan Raymond, Kelly Reichardt | FIRST COW Runner-Up: Christopher Hampton, Florian Zeller | The Father Edición Yorgos Lamprinos | THE FATHER Runner-Up: Kelly Reichardt | First Cow Fotografía Joshua James Richards | NOMADLAND Runner-Up: Lachlan Milne | Minari Diseño de Producción Zsuzsanna Sipos, Patrice Vermette | DUNE Runner-Up: Paul Abadilla, Noah Klocek, Nathaniel McLaughlin, Kristian Norelius, Don Shank, Garrett Taylor | Luca Diseño de Vestuario Jenny Beavan | CRUELLA Runner-Up: Neysa Bove | Encanto Make-Up & Hairstyling Naomi Donne, Nadia Stacey, Julia Vernon | CRUELLA Runner-Up: Eileen Buggy, Audrey Doyle, Barrie Gower | The Green Knight Efectos Visuales / Especiales Brian Connor, Paul Lambert, Tristan Myles, Gerd Nefzer | DUNE Runner-Up: Chris Corbould, Jonathan Fawkner, Joel Green, Charlie Noble | No Time to Die Edición de Sonido David Bach, Clint Bennett, Theo Green, Mark A. Mangini, Ryan Rubin, Dave Whitehead | DUNE Runner-Up: Hugo Adams, Christopher Benstead, Bryan Bowen, Michael Fentum, Dawn Gough, James Harrison, Eilam Hoffman, Michael Maroussas, Becki Ponting, Oliver Tarney | No Time to Die Mezcla de Sonido Mark Appleby, Al Clay, Simon Hayes, Stephen Lipson, Paul Massey, Adam Mendez, Mark Taylor | NO TIME TO DIE Runner-Up: Ron Bartlett, Doug Hemphill, Alan Meyerson, Thomas J. O'Connell , Mac Ruth, Don White | Dune Score Dan Romer | LUCA Runner-Up: Keaton Henson | Supernova Soundtrack SWAN SONG Runner-Up: Shang-Chi and the Legend of the Ten Rings Canción “No Time to Die” By Billie Eilish, Finneas O’Connell, Performed by Billie Eilish | NO TIME TO DIE Runner-Up: “Dos Oruguitas” By Lin-Manuel Miranda, Performed by Sebastián Yatra | Encanto Diseño de Créditos Daniel Kleinman | NO TIME TO DIE Runner-Up: Javi Aznarez, Jeff Kryvicky | The French Dispatch Trailer Netflix | MALCOLM & MARIE Runner-Up: Marvel Enterteinment | Shang-Chi and the Legend of the Ten Rings Poster B O N D | THE GREEN KNIGHT Runner-Up: Legion Creative | Luca Poster en Cortometraje US AGAIN Runner-Up: Cinco de Junio Actuación en Cortometraje Louka Minnella | FAMILLE NUCLÉAIRE Runner-Up: Luna Carpieux | Un Adieu Realización en Cortometraje Pinar Toprak | Score | US AGAIN Runner-Up: Keone Madrid, Mari Madrid | Coreografía | Us Again Guión en Cortometraje Nicolás Cuervo Rincón | ALGO EN EL TEJADO Runner-Up: Maxime Berthemy, Mathilde Profit | Un Adieu Dirección en Cortometraje Miguel Agüero | KIRIRÎ Runner-Up: Hugo Covarrubias | Bestia Cortometraje de Ficción KIRIRÎ Runner-Up: Un Adieu Cortometraje Documental DO NOT SPLIT Runner-Up: Écoutez-moi Cortometraje Animado US AGAIN Runner-Up: Going Home Película Animada LUCA Runner-Up: Josep Off-Screen Performance Jack Dylan Grazer | LUCA Runner-Up: Jacob Tremblay | Luca Non-Anglo Performance Martijn Kuiper | RICOCHET Runner-Up: Paula Beer | Undine Performance Mexicano Mónica del Carmen | UNA PELÍCULA DE POLICÍAS Runner-Up: Raúl Briones | Una Película de Policías Featured Actor Chris Lowell | PROMISING YOUNG WOMAN Runner-Up: Oliver Jackson-Cohen | The Lost Daughter Stunts / Choreography NO TIME TO DIE Runner-Up: Shang-Chi and the Legend of the Ten Rings Breakthrough Actriz Lauren Ridloff | ETERNALS Runner-Up: Melissa Barrera | In the Heights Breakthrough Actor Simu Liu | SHANG-CHI AND THE LEGEND OF THE TEN RINGS Runner-Up: Anthony Ramos | In the Heights Rising Filmmaker Florian Zeller | THE FATHER Runner-Up: Maggie Gyllenhaal | The Lost Daughter Ensamble Daniel Craig, Rami Malek, Léa Seydoux, Ana de Armas, Lashana Lynch, Naomie Harris, Ben Whishaw, Rory Kinnear, Christoph Waltz, Jeffrey Wright, y Ralph Fiennes | NO TIME TO DIE Runner-Up: Tom Holland, Benedict Cumberbatch, Zendaya, Jacob Batalon, Willem Dafoe, Alfred Molina, Jamie Foxx, Thomas Haden Church, Rhys Ifans, J.K. Simmons, Benedict Wong, Tony Revolori, Charlie Cox, Marisa Tomei, Andrew Garfield, y Tobey Maguire | Spider-Man: No Way Home Escena Dos Oruguitas | ENCANTO Runner-Up: Final Ascent | No Time to Die Wide Release NO TIME TO DIE Runner-Up: Cruella Limited Release FIRST COW Runner-Up: Vif-Argent Non-Theatrical Release SWAN SONG Runner-Up: Pieces of a Woman Documental UNA PELÍCULA DE POLICÍAS Runner-Up: El Agente Topo Película Iberoamericana LA LLORONA Runner-Up: Los Fuertes Película Mexicana UNA PELÍCULA DE POLICÍAS Runner-Up: I Carry You With Me

#Film #Awards #No Time to Die #Swan Song #Una Película de Policías #Luca #Us Again #Dune #Nomadland #First Cow #Pieces of a Woman #The Father #Cruella #Kirirî #O21 #MG #⬤#Personal #Own Awards

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simonconsultancypage · 6 years

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Guest Post: Stronger UK Pensions Regulator: Risks for Directors and Officers

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The Pensions Regulator is the UK regulator of work-based pensions. It is a public body established by the UK Government.

Amongst the key proposals are the introduction of the following changes, intended to broaden the scope of The Pension Regulator’s existing powers:

Enforcement Action

The chairman of a brewing company for failing to provide financial information as to the company’s defined benefit scheme.

The directors of a recruitment company for impersonating their temporary employees to opt them out of workplace pension schemes.

The managing director of a healthcare company for misleading The Pensions Regulator as to the provision of a workplace pension scheme for the company’s employees.

The managing director of a bus company for deliberately avoiding given its staff workplace pensions.

Impact on Directors and Officers and their Insurers

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