Nothing has a name it can't
slip out of. The waterfall is solid ice
by late November; the white pines
vanish under snow that's
blue in the morning, pink in the dusk.
With the new rooms upstairs at St Michael'sThe Aran islanders, both Synge and Vaughan Williams seem to be saying, are a race apart: made of very stern stuff, yet philosophical. "No man at all can be living for ever, and we must be satisfied," sings Maurya at the end. There were tears on stage during the curtain calls.
Faith, productivity and integrity will equip someone for the third millennium, but better attributes are wonder, face-to-face love and creativity.but I suppose I would agree with that!
an interesting set... The Bernstein is a paen to the White House though it fitted in well with the importance of the day and the after church meeting. And then there was the Stockhausen and Piaf thumbing her nose at it all!Carmen is a cigar-makeress from a tabago factory who loves with Don Jose of the mounting-guard. Carmen takes a flower from her corsets and lances it to Don Jose. (Duet: `Talk me of my mother').There is a noise inside the tabago factory and the revolting cigar-makeresses bursts into the stage. Carmen is arrested and Don Jose is ordered to mounting-guard her but Carmen subduces him and he lets her escape.I thought it would be on the web a zillion times but it would appear not - at least not in this fuller version. My printout is dated 13 Oct 1990 from a posting in rec.music.classical where the poster claims that it appeared in the Royal Northern School of Music (sic) magazine ('Music Matters') but wasn't original to there. It claims to have come from 'The Baton' the magazine of the Philatelic Music Circle. I can't find that posting in google's usenet archive, but the preface there claims that it was from the Paris Opera rather than Genoa - generally the claim on the partial postings I've seen. The preface runs:
ACT 2 The Tavern. Carmen, Frasquita, Mercedes, Zuniga,Morales. Carmen's Aria ('the sistrums are tinkling') Enter Escamillo, a balls-fighter. Enter two smuglers (Duet: 'We have in mind a business') but Carmen refuses to penetrate because Don Jose has liberated from prison. He just now arrives (Aria: `Slop, here who comes!') but hear are the bugles singing his retreat. Don Jose will leave and draws his sword. Called by Carmen shrieks the two smuglers interfere with her but Don Jose is bound to dessert, he will follow into them. (Final chorus: 'Opening sky wandering life').
AXT 4 a place in Seville. Procession of balls-fighters, the roaring of the balls heard in the arena. Escamillo enters. (Chorus: Toreador, Toreador, All hail the balls of a toreador). Enter Don Jose (Aria: `I do not threaten, I besooch you') but Carmen repels him wants to join with Escamillio now chaired by the crowd. Don Jose stabs her (Aria: `Oh rupture, rupture, you may arrest me, I did kill der') he sings `Oh my beautiful Carmen, my subductive Carmen...'
One of the pleasure of going to the Opera in Paris in the old days was reading - and re-reading the synopses in 'English' which they included in the programmes for the convenience of English visitors. What follows is, I swear, an exact copy of parts of the 'Carmen' synopsis. This they printed, and many others like it, year in, year out.I'm inclined to say urban legend!
Neighbourhood policing boss Inspector Gareth Woods said the decision to bring in the army to diffuse the 'bomb' had been the correct one.unfortunately the web version doesn't repeat that typo! (there was traffic chaos over most the area in the rush hour a week ago following a bomb hoax)
I'm committed to Christ first, but I express that commitment through the CofE. Whereas I'm beginning to think that ConEvos express their commitment through shibboleth-protected ghettos.but ghettos are all too easy to run to for all of us.
I shall punish all who dance on the temple terraceIn view of this, it is probably a good thing. Talk preparation...
It seems to be the case that the quality of the vacancy, good or bad, is often down to a small number of laypeople’s giftedness and contribution. This is as much the case, if not more, for small parishes. Anything that strengthens and encourages those who do step up to various plates constructively is good news long term.As we're now in the 18th month of a vacancy (soon to come to an end!) I'm glad that the news is not always bad!
As skipper of a 100ft barge on the Humber in the 1970s, transporting bags of butter-beans and boxes of tinned peaches that were regularly bartered for beer at riverside pubs, he had a mishap with a bridge. He urgently needed to "disappear", so a friend forged him a new identity as David McKenzie. Conveniently dropping 10 or more difficult-to-account-for-years from his CV, he presented a reference supposedly from Karlheinz Stockhausen, thus reinventing himself as an engineer at the electronic music department at Glasgow University.go and read the whole thing written by his friend Frances Holliss
Why don't I feel ready? I take a certain amount of pride in the fact that I've been able to set up the modem so easily...but what if it doesn't work?Sandra Scoppettone's Everything you have is mine
We have a strange conceit in our culture that simply because we have said something, we understand what it means!
Boulez is a composer for whom the technical perfection is absolute, and this technique serves him as a basis for the formation of an unalterable personal style. His objective is the work of art, mine is rather its workings. (KHS quoted in Worner Stockhausen Life and Art)obviously written before all Boulez' works in progress. Then in the session with David Fallows and David Horne, David Horne said something to the effect that:
KHS has written so much about his works, the exploration with the pupil is part of the process. With Boulez you're left to discover it all for yourself.I attended the prelude and left - regretfully - before the apotheosis Luzifer's Tanz. It was an afternoon I enjoyed, particularly the 5pm concert with Piano Piece IX, Refrain and Kreuzspiel. The textures of Refrain have become common currency, what must it have sounded like in 1959!
