Carmen is an opera in four acts by French composer Georges Bizet. The libretto was written by Henri Meilhac and Ludovic Halévy, based on a novella of the same title by Prosper Mérimée; the opera was first performed by the Opéra-Comique in Paris on 3 March 1875, where its breaking of conventions shocked and scandalized its first audiences. Bizet died after the 33rd performance, unaware that the work would achieve international acclaim within the following ten years. Carmen has since become one of the most popular and performed operas in the classical canon; the opera is written in the genre of opéra comique with musical numbers separated by dialogue. It is set in southern Spain and tells the story of the downfall of Don José, a naïve soldier, seduced by the wiles of the fiery gypsy Carmen. José abandons his childhood sweetheart and deserts from his military duties, yet loses Carmen's love to the glamorous torero Escamillo, after which José kills her in a jealous rage; the depictions of proletarian life and lawlessness, the tragic death of the main character on stage, broke new ground in French opera and were controversial.
After the premiere, most reviews were critical, the French public was indifferent. Carmen gained its reputation through a series of productions outside France, was not revived in Paris until 1883. Thereafter, it acquired popularity at home and abroad. Commentators have asserted that Carmen forms the bridge between the tradition of opéra comique and the realism or verismo that characterised late 19th-century Italian opera; the music of Carmen has since been acclaimed for brilliance of melody, harmony and orchestration, for the skill with which Bizet musically represented the emotions and suffering of his characters. After the composer's death, the score was subject to significant amendment, including the introduction of recitative in place of the original dialogue; the opera has been recorded many times since the first acoustical recording in 1908, the story has been the subject of many screen and stage adaptations. In the Paris of the 1860s, despite being a Prix de Rome laureate, Bizet struggled to get his stage works performed.
The capital's two main state-funded opera houses—the Opéra and the Opéra-Comique—followed conservative repertoires that restricted opportunities for young native talent. Bizet's professional relationship with Léon Carvalho, manager of the independent Théâtre Lyrique company, enabled him to bring to the stage two full-scale operas, Les pêcheurs de perles and La jolie fille de Perth, but neither enjoyed much public success; when artistic life in Paris resumed after the Franco-Prussian War of 1870–71, Bizet found wider opportunities for the performance of his works. Although this failed and was withdrawn after 11 performances, it led to a further commission from the theatre, this time for a full-length opera for which Henri Meilhac and Ludovic Halévy would provide the libretto. Halévy, who had written the text for Bizet's student opera Le docteur Miracle, was a cousin of Bizet's wife, Geneviève. Bizet was delighted with the Opéra-Comique commission, expressed to his friend Edmund Galabert his satisfaction in "the absolute certainty of having found my path".
The subject of the projected work was a matter of discussion between composer and the Opéra-Comique management. It was Bizet. Mérimée's story is a blend of travelogue and adventure yarn inspired by the writer's lengthy travels in Spain in 1830, had been published in 1845 in the journal Revue des deux Mondes, it may have been influenced in part by Alexander Pushkin's 1824 poem "The Gypsies", a work Mérimée had translated into French. Bizet may first have encountered the story during his Rome sojourn of 1858–60, since his journals record Mérimée as one of the writers whose works he absorbed in those years. Cast details are as provided by Mina Curtiss from vocal score; the stage designs are credited to Charles Ponchard. Place: Seville and surrounding hills Time: Around 1820 A square, in Seville. On the right, a door to the tobacco factory. At the back, a bridge. On the left, a guardhouse. A group of soldiers relax in the square, waiting for the changing of the guard and commenting on the passers-by.
Micaëla appears, seeking José. Moralès tells her that "José invites her to wait with them, she declines. José arrives with the new guard, greeted and imitated by a crowd of urchins; as the factory bell rings, the cigarette girls emerge and exchange banter with young men in the crowd. Carmen sings her provocative habanera on the untameable nature of love; the men plead with her to choose a lover, after some teasing she throws a flower to Don José, who thus far has been ignoring her but is now annoyed by her insolence. As the women go back to the factory, Micaëla returns and gives José a letter
Gabriela Soto Laveaga is a historian of Latin America, specializing in Mexican history and history of science. She is professor of the History of Science at Harvard University, she received 2010 Robert K Merton Best Book award and 2007 LASA Health and Society Section Best Article Prize. She received her B. A. at California State University, Dominguez Hills, her M. A. and doctorate from University of California, San Diego, with Eric Van Young as her mentor. Before joining the faculty at Harvard in 2016, she taught history at Michigan State University, University of California, Santa Barbara. Jungle Laboratories: Mexican Peasants, National Projects, the Making of The Pill. winner, 2010 Robert K. Merton Best Book Award in Science and Technology from the American Sociological Association
David Wellington is an American writer of horror fiction, best known for his Zombie trilogy. He writes science fiction as D. Nolan Clark. Wellington was born in Pennsylvania, he received an MFA in creative writing from Penn State. He holds a master's degree in Library Science from the Pratt Institute, he now lives in New York City. He made his debut as a comic book writer on Marvel Zombies Return: Iron Man; the Monster novels involve a global zombie apocalypse and describe how humanity has been reduced to tiny pockets of existence. Monster Island Monster Nation Monster Planet Wellington's vampire novels follow a Pennsylvania state trooper battling a centuries-old vampire. 13 Bullets 99 Coffins Vampire Zero 23 Hours 32 Fangs Wellington's werewolf novels are set in remote Arctic Canada. The series follows werewolves. Frostbite was published on October 6, 2009; the web serialization can be found at Wellington's website. Overwinter was released on September 14, 2010. Plague Zone is a zombie novel set in the state of Washington.
It is completed in serial online, but not yet published in print. Chimera "Minotaur" "Myrmidon" The Hydra Protocol The Cyclops Initiative The first novel, Forsaken Skies, was reviewed by Kirkus Reviews as containing "the usual complications and surprises, all professionally packaged and produced and unmemorable". Forsaken Skies, ISBN 978-0-316-35569-8 "Chuy and the Fish" in The Undead: Zombie Anthology "Cyclopean" in The Undead: Skin and Bones "Twilight in the Green Zone" in Exotic Gothic. Click for Podcast by author. "Grvnice" in Exotic Gothic 2. "Off Radio" in Buried Tales of Pinebox, TX "Atacama" in Exotic Gothic 4 "The Man With The Fractal Tattoo", Whose Future is It?, chapter 3 "The Passenger", Whose Future is It?, chapter 11 David Wellington at the Internet Speculative Fiction Database
Glitter, Shards, Memory is the third string quartet by the Israeli-born composer Shulamit Ran. The work was commissioned by the arts organization Music Accord for the Pacifica Quartet who first performed it on May 24, 2014 in Toronto. Glitter, Doom, Memory pays tribute to the Jewish artist Felix Nussbaum and other victims of the Holocaust. Ran wrote in the score program note, “As in several other works composed since 1969, this is my way of saying, ‘Do not forget,’ something that I believe can be done through music with special power and poignancy.” The title of the piece comes from an art exhibit of works from the Weimar Republic titled Glitter and Doom, shown at the Metropolitan Museum of Art. The work is composed in four movements: That which happened Menace If I perish – do not let my paintings die Shards, Memory Reviewing the United States premiere of Glitter, Shards, John Y. Lawrence of the Chicago Classical Review declared the piece "beautifully and thoughtfully crafted" and wrote:At a time at which contemporary classical music is criticized for its inaccessibility to audiences, Ran's quartet is admirable for its emotional directness.
It is Romantic in its clarity of gesture. There is never a haze of sound. Zachary Woolfe of The New York Times lauded the work, writing, "Ms. Ran's craftsmanship is, as expert." Hannah Nepil of the Financial Times was more critical of the piece, remarking that it was "a little too clever, too artfully fragmented for its own good." He added:This Israeli-American composer doesn't lack imagination, here it surfaces: in the unearthly, sinister harmonies that open the piece. But the result feels like a compendium of avant-garde techniques, with no overarching sense of trajectory — each idea too short-lived to sweep us up and carry us
Stephen Case Cookus is an American football quarterback who plays college football for the Northern Arizona Lumberjacks. As a true freshman, he was named the recipient of the 2015 Jerry Rice Award and the STATS FCS Freshman Player of the Year Award, both of which are awarded to the most outstanding freshman player in the NCAA Division I Football Championship Subdivision; as a true freshman, Cookus began the season as the starting quarterback. After throwing for 3,111 yards and 37 touchdowns, he was named Freshman of the Year and was the winner of the Jerry Rice Award, given to the most outstanding freshman in the Football Championship Subdivision, he was named to the All-Big Sky First team. In the 2016 season, Cookus started the first four games of the season before suffering a season-ending shoulder injury against Eastern Washington on September 24. Against New Mexico Highlands, he tied school record of seven touchdown passes in a single game. For the season, he threw for 1,173 passing yards with one interception.
Cookus made a comeback season in 2017. His best game came against Cal Poly where he completed 35 of 46 passes for 406 yards and four touchdowns. For the season, he threw 275 passes on 474 attempts for 3,413 yards with 22 touchdowns and 6 interceptions. Cookus took Northern Arizona to the playoffs, but lost 41-20 in the first round to San Diego after throwing 22 of 41 for 178 yards and a touchdown and an interception. During the second game of the season against Eastern Washington, Cookus once again injured his shoulder while trying to run the ball, he finished the season completing 24 passes on 34 attempts for 265 yards with two touchdowns and two interceptions, including an 84-yard strike to wide receiver Emmanuel Butler in the season opener. Source: NAU Lumberjacks bio
Annie is a soundtrack album for the 1999 film of the same name. "Overture / Main Titles" - Instrumental "Maybe" - Alicia Morton "It's the Hard Knock Life" - Alicia Morton and Orphans "It's the Hard Knock Life" - Orphans "Tomorrow" - Alicia Morton "Little Girls" - Kathy Bates "I Think I'm Gonna Like It Here" - Audra McDonald, Alicia Morton and Company "NYC" - Victor Garber, Audra McDonald, Alicia Morton, Star-to-Be "NYC / Lullaby" - Victor Garber "Easy Street" - Alan Cumming, Kathy Bates, Kristin Chenoweth "You're Never Fully Dressed Without a Smile" - Bert Healy and the Boylan Sisters "You're Never Fully Dressed Without a Smile" - Orphans "Something Was Missing" - Victor Garber "I Don't Need Anything But You" - Victor Garber and Alicia Morton "Maybe / Tomorrow" - Audra McDonald "Little Girls" - Kathy Bates "Finale: I Don't Need Anything But You" - Victor Garber, Audra McDonald, Alicia Morton