Anne of the Thousand Days is a 1969 British period drama film based on the life of Anne Boleyn, directed by Charles Jarrott and produced by Hal B. Wallis; the screenplay by Bridget Boland and John Hale is an adaptation of the 1948 play of the same name by Maxwell Anderson. The film stars Richard Burton as King Henry VIII and Canadian actress Geneviève Bujold as Anne Boleyn. Irene Papas plays Catherine of Aragon, Anthony Quayle plays Cardinal Thomas Wolsey, John Colicos plays Thomas Cromwell. Others in the cast include Michael Hordern, Katharine Blake, Peter Jeffrey, Joseph O'Conor, William Squire, Vernon Dobtcheff, Denis Quilley, Esmond Knight and T. P. McKenna, who played Henry VIII in Monarch. Burton's wife Elizabeth Taylor makes a uncredited appearance. Despite receiving some negative reviews and mixed reviews from the New York Times and Pauline Kael, the film was nominated for 10 Academy Awards and won the award for best costumes. Geneviève Bujold's portrayal of Anne, her first in an English-speaking film, was highly praised by Time magazine, which otherwise skewered the movie.

According to the Academy Awards exposé Inside Oscar, an expensive advertising campaign was mounted by Universal Studios that included serving champagne and filet mignon to members of the Academy following each screening. London, 1536. Henry VIII considers whether or not he should sign the warrant for the execution of his second wife, Anne Boleyn. Nine years earlier, Henry has a problem: he reveals his dissatisfaction with his wife Catherine of Aragon, he is enjoying a discreet affair with Mary Boleyn, a daughter of one of his courtiers, Sir Thomas Boleyn. At a court ball, he notices Mary's 18-year-old sister Anne, who has returned from her education in France, she is engaged to the son of the Earl of Northumberland, they have received their parents' permission to marry. The king, however, is enraptured with Anne's beauty and orders Cardinal Wolsey, his Lord Chancellor, to break the engagement; when news of this decision is carried to Anne, she reacts furiously. She blames the king for ruining her happiness.

When Henry makes a rather clumsy attempt to seduce her, Anne bluntly informs him how she finds him: "I've heard what your courtiers say, I've seen what you are. You're vengeful and bloody. Your poetry is sour, your music is worse. You make love as you eat—with a good deal of noise and no subtlety." Henry brings her back to court with him, she continues to resist his advances out of a mixture of repugnance for Henry and her lingering anger over her broken engagement. However, she becomes intoxicated with the power. "Power is as exciting as love," she tells her brother George Boleyn, "and who has more of it than the king?" Using this power, she continually undermines Cardinal Wolsey, who at first sees Anne as a passing love interest for the king. When Henry again presses Anne to become his mistress, she repeats that she never will give birth to a child, illegitimate. Desperate to have a son, Henry comes up with the idea of marrying Anne in Catherine's place. Anne is stunned. Wolsey begs the king to abandon the idea because of the political consequences of divorcing Catherine.

Henry refuses to listen. When Wolsey fails to persuade the pope to give Henry his divorce, Anne points out this failing to an enraged Henry. Wolsey is dismissed from office, his magnificent palace in London is given as a present to Anne. In this splendour, Anne realises that she has fallen in love with Henry, they sleep together, after discovering that she is pregnant, they secretly are married. Anne is given a splendid coronation, but the people jeer at her in disgust as "the king's whore". Months Anne gives birth to a daughter: Princess Elizabeth. Henry is displeased because he was hoping for a boy, their marital relationship begins to cool, his attentions are soon diverted to one of Anne's maids. Once she discovers this liaison, Anne banishes Jane from court. "She has the face of the manners, but not the morals. I don't want her near me." During a row over Sir Thomas More's opposition to Anne's queenship, Anne refuses to sleep with her husband unless More is put to death. "It's his blood, or else it's my blood and Elizabeth's!" she cries hysterically.

More is put to death. Henry demands. Cromwell tortures a servant in her household into confessing to adultery with the queen. Anne is placed under arrest; when she is told that she has been accused of adultery, she laughs. "I thought you were serious!" she says, she is informed that it is deadly serious. When she sees her brother being brought into the Tower, Anne asks. "He too is accused of being your lover," mutters her embarrassed uncle. Anne's face shudders with horror before she whispers "Incest?... Oh, God help me, the king is mad. I am doomed." At Anne's trial, she manages to cross-question Mark Smeaton, the tortured servant who admits that the charges against Anne are lies. Henry makes an appearance visits Anne in her chambers that night, he offers her freedom if she will agree to annul their marriage and make their daughter illegitimate. Anne refuses. Henry tells her that her disobedience will mean her death. Moving back to 1536, Henry decides to execute Anne. A few days Anne is taken to the scaffold and beheaded by a French swordsman.

Henry rides off to marr

The Missa Brevis by Leonard Bernstein is a musical setting of parts of the mass ordinary in Latin for a mixed a cappella choir with countertenor solo and percussion. It is Bernstein's last complete choral work, due to his death a year after its completion in 1989; the origin of the piece lies in the incidental choral music that Bernstein composed for an adaptation of Jean Anouilh's play The Lark, directed by Lillian Hellman in 1955. The play's plot covers the events surrounding Joan of her trial; this led Bernstein to compose the choral music to sound medieval to early Renaissance in quality and texture to suit the play's atmosphere. Robert Shaw, conductor of the Atlanta Symphony Orchestra, came to watch one of the first performances of the play. After the show, Shaw approached Bernstein and suggested that the incidental chorus music be adapted into a unified choral piece to produce a compelling missa brevis. Thirty-three years Bernstein followed Shaw's suggestion and completed Missa Brevis in honor of Shaw's retirement as music director of the Atlanta Symphony Orchestra in 1988.

Shaw premiered and recorded the work with the Atlanta Symphony Chorus. Structurally, Missa Brevis incorporates four of the traditional five sections of the Ordinary, plus two extra sections added, "Benedictus" and "Dona Nobis Pacem". Bernstein chose to omit the Credo section. In this first recording of the piece, certain passages of the liturgical text from the Gloria and Agnus Dei were not performed; these passages were added for the score's publication by Bernstein with the assistance of George Steel. Bernstein's Missa Brevis is still performed frequently, its length makes it suitable to be used in a liturgical setting, it is substantial enough to be used as a set piece in concert. The work is scored for mixed a cappella chorus. Most of the percussion parts are optional, except for two sets of bells or chimes, to be placed on either side of the chorus. Several of the movements call for a countertenor soloist; the directions state that it may be performed by a boy alto or a female alto Performances of the revised version take about 11½ minutes.

Written in the key of C, with extensions beyond functional harmony, this movement lasts only thirteen measures. This setting of the text is quite unconventional in comparison to settings by other composers. While most settings focus on the word "eleison", through repetition and elongation of the word, Bernstein focuses on the word "Kyrie", instead. Looking at the score it becomes apparent that for each time the word "eleison" is sung, the word "Kyrie" is sung twice; the focus on the word "Kyrie" creates a percussive quality in the movement. According to Bernstein's markings, the movement should crescendo from the start and peak to a forte at measure eight, where it begins to diminuendo towards a half cadence that goes into the next movement. Bernstein’s focus on the word "Kyrie", combined with the slow but drastic dynamic contrast, creates a sense of intense pleading. Most of the material from this movement is directly derived from the chorus in The Lark titled Gloria, it is however lengthened in the published score of Missa Brevis to fit the additional text of "Laudate dominum".

Although the movement tonally centers on A, Bernstein’s frequent placement of non-resolving non-harmonic tones creates ambiguity in the tonality. The first eleven measures fluctuate between A major and A minor before settling to a sort of E minor in measure twelve; this serves as an introduction to the countertenor soloist. The next twenty-five measures set the text "laudamus te". Here, Bernstein modulates from E minor to E major, taking the movement into the text "gratias", which keeps shifting between C major and F major for fourteen measures. Settling in C minor, Bernstein starts the longest portion of text in the movement, he finishes the movement in C minor with bells playing fortissimo. Bernstein lays out the instructions for the bell playing as follows: There are two sets of bells, one in each wing or on each side of the chorus, each having at least three different notes; the notes should be sounded one at a time at the most rapid possible tempo." The harmonic language in this movement has been described as a blend of medieval and Renaissance styles with the musical styles of mid-twentieth century America.

The music has been described as containing "vital rhythms" and "pungent harmonies" — a good general description of Missa Brevis as a whole. Gloria is not only the longest movement in Missa Brevis, but the most difficult to sing; the movement demands perfect tuning with straight tone singing, all while maintaining a high tessitura for the sopranos and basses. Like all other movements of Missa Brevis, Gloria is a cappella apart from the percussion, which provides little help in terms of pitch for the singers, who are singing added non-chord tones. A combination of these factors can make it challenging to keep good intonation throughout the movement. Bernstein employs several modes in an engrossing movement in terms of tonality. Much of it shifts between G major and a sort of dorian mode set in G; the countertenor solo is a main feature in this movement. After the first four measures, marked misterioso and piano, Bernstein creates what is reminiscent of an organum. With each part in the choir sustaining a drone on the pitches of G and D, the countertenor soloist sings a mixolydian chant starting with "Deus, Deus Sabaoth"

Diogo Fernandes is a Brazilian footballer. Diogo signed for Bacabal of Taça Cidade de São Luís in January 2008; the team qualified for Campeonato Brasileiro Série C 2008, but Diogo did not played in the national league. In August 2008, he signed a 1-year contract with Portuguese Liga de Honra side Boavista F. C. wore number 77 shirt. A substitute, he scored 2 league goals for the Porto side. After Boavista relegated, he joined Ituiutaba which the team exited the Campeonato Série C and was preparing for Taça Minas Gerais, he was released after the last group match of the Cup, as the team failed to qualified for the next round. In December 2009, he signed a contract with Red Bull Brasil until the end of 2010 Campeonato Paulista Série A3. Taça Cidade de São Luís: 2008 Campeonato Paulista Série A3: 2010 Diogo Fernandes at Soccerway Diogo Fernandes at ForaDeJogo Profile at Portuguese Liga Profile at CBF