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Janet Maslin

Janet R. Maslin is an American journalist, best known as a film and literary critic for The New York Times, she served as a Times film critic from 1977 to 1999 and a book critic from 2000 to 2015. Maslin graduated from the University of Rochester in 1970 with a Bachelor of Arts degree and a major in mathematics, she began her career as a rock music critic for The Boston Rolling Stone. Maslin was the longtime film critic for The New York Times, serving from 1977 to 1999, her film-criticism career, including her embrace of American independent cinema, is discussed in the documentary film For the Love of Movies: The Story of American Film Criticism. In the film, Entertainment Weekly critic Lisa Schwarzbaum recalls the excitement of having a woman as the lead reviewer at The New York Times. From 1994 to 2003, Maslin was a frequent guest on Charlie Rose. Overall she made 16 appearances on the program giving her insights on the films of the day and predicting the Academy Awards. Maslin continues to review books for The New York Times.

Among the best-known of her reviews is the 2011 essay on the widowed Joyce Carol Oates' memoir, A Widow's Story, discussed. Janet Maslin at The New York Times - Archived articles written by Maslin. Janet Maslin on IMDb "Janet Maslin" at Rotten Tomatoes – Includes links to full texts of reviews by Janet Maslin. Interview with Janet Maslin; the Connection. Broadcast on WBUR, February 10, 2000. Accessed December 21, 2007. Rockcritics.com interview – May 2005

Pranavam Arts International

Pranavam Arts International is a film production and distribution company founded in 1990 by Indian actor Mohanlal. Since the company has produced a total of 11 films; the production company was named after Mohanlal's son Pranav. Pranavam Art's first production was the 1990 film His Highness Abdullah, which became one of the biggest hits in Malayalam cinema. In 2010, its name was changed to Pranavam Arts International. Several of the films produced under Pranavam Arts have received State Awards. Bharatham and Vanaprastham, the two films for which Mohanlal won his National Best Actor awards, were produced by Mohanlal under Pranavam Arts. Mohanlal distributed films in Kerala under the company Pranamam Pictures. Aashirvad Cinemas, film production company founded by Antony Perumbavoor. Official Signature Film Official Website of Kandahar

Frederica von Stade chante Monteverdi & Cavalli (recording)

Frederica von Stade chante Monteverdi & Cavalli is a 48-minute studio album of arias by Francesco Cavalli and songs and arias by Claudio Monteverdi, performed by von Stade with the Scottish Chamber Orchestra under the direction of Raymond Leppard. It was released in 1985. A second, 54-minute version of the album, released in 1995 as Recital: Frederica von Stade: Cavalli, Monteverdi & Mozart Arias, added two bonus arias taken from Erato's 1978 recording of Mozart's Così fan tutte, on which von Stade sang Dorabella with the Orchestre Philharmonique de Strasbourg under Alain Lombard; the first version of the album was digitally recorded in July 1984 in Edinburgh. The Mozart arias on the second version of the album were recorded using analogue technology in May 1977 in the Palais de la Musique et des Congrès, Strasbourg; the cover of the first version of the album was designed by Daniel et Compagnie, features a photograph of von Stade taken by her husband, Peter Elkus. The cover of the second version of the album was designed by Thierry Cohen, features a photograph of von Stade taken by Colette Masson.

Alan Blyth reviewed the first version of the album on LP in Gramophone in September 1985. He warned his readers that all its music was performed in Raymond Leppard's own, controversial realizations. On the one hand, some listeners would "delight in sheer sensuousness", he himself felt ambivalent, relishing the album's euphony while acknowledging that it was not authentic. He was in two minds about Frederica von Stade's singing also; the timbre of her voice, touching though it was, did not vary from item to item as much as it ideally should have done. Her words were not infused with sufficient meaning. Other mezzos had sung Ottavia's two anguished arias more passionately. Plumbing profound depths of feeling was not a task to which von Stade was suited. On the positive side, the album's "languishing" songs by Monteverdi were more successful, as were its arias by the less demanding Cavalli, it was true, that von Stade sang with more "consistently tone" than some of her predecessors in the album's repertoire, that, "an experienced artist in baroque opera", she scarcely perpetrated an unstylistic note from the first bar of her LP to the last.

Erato's balance engineer had done his work well: all in all, the disc was one that von Stade's fans would be guaranteed to enjoy. Ivan March reviewed the first version of the album on cassette in Gramophone in February 1986, he was more comfortable with Leppard's realizations than Blyth had been, writing approvingly that the conductor had not sought "to produce an anaemic'authentic' back-up from the orchestra, who support the voice with the most attractive string textures". He did agree with Blyth about von Stade's limitations as an interpreter, regretting that her singing did not offer "the kind of emotional depth we would expect from an artist like Dame Janet Baker", but von Stade had sung stylishly, he thought, Leppard had seen to it that her ornamentation was correct. In sum, the tape was an attractively fresh one that he had much enjoyed; the audio expert John Borwick reviewed the first version of the album on CD in Gramophone in June 1986. For him, Leppard's realizations were unequivocally beneficial.

"The orchestral effects", he wrote, "are of such continuous appeal and inventiveness... that I am inclined to give the Scottish Chamber Orchestra star billing alongside... Frederica von Stade", he thought that most listeners would enjoy hearing the album's "mellifluous" anthology of songs and arias performed with textures so rich. The audio quality of the disc, was beautiful. All von Stade fans, he concluded, would "welcome this feast of her singing in the baroque style of which she is such a master". Claudio Monteverdi, in realizations by Raymond Leppard 1 "Ohimè ch'io cado" 2 Lamento di Ottavia: "Disprezzata Regina" from L'incoronazione di Poppea 3 "Et é pur dunque vero" from Scherzi Musicali 4 Aria di Ottavia: "A Dio Roma" from L'incoronazione di PoppeaFrancesco Cavalli, in realizations by Raymond Leppard 5 Lamento di Cassandra: "L'alma fiacca svani" from La Didone 6 "La bellezza è un don fugace" from Il Xerse 7 Lamento di Clori: "Amor, che ti diè l'ali" from L'Egisto 8 "Numi ciechi più di me" from L'Orimonte 9 "Non è, non è crudel" from Scipione affricano 10 "Ardo, sospiro e piango" from La Calisto Wolfgang Amadeus Mozart, with a libretto by Lorenzo da Ponte 11 Aria di Dorabella: "Smanie implacabili" from Così fan tutte 12 Aria di Dorabella: "È amore un ladroncello" from Così fan tutte Frederica von Stade, mezzo-soprano Scottish Chamber Orchestra Raymond Leppard and realizations Orchestre Philharmonique de Strasbourg Alain Lombard, conductor Michel Garcin, producer Yolanta Skura, engineer Pierre Lavoix, engineer Françoise Garcin, production assistant Ysabelle Van Wersch-Cot, digital mastering engineer In 1985, Erato released the first version of the album on LP, cassette and CD.

The LP included sleeve notes by an insert with texts but no translations. The CD included a 12-page insert booklet with no texts but with a photograph of Raymond Leppard and with notes by Roger Tellant. In 1995, Erato released the second version of the album on CD with a 16-page booklet w