Ya browser mungil nan cepat ini saya pakai sehari-hari untuk browsing dan update berita lewat RSS feed di HP eke. Sesekali dipakai juga buat login friendster dan googling di google. Tiap pagi kalau lagi di "bertelur" di toilet saya selalu cek RSS Feed beberapa blog,  berita Kompas, Antara dan BBC Indonesia lewat operamini.

Dan ternyata berdasarkan statistik kantor pusat opera yang ada di Norwegia, Indonesia adalah penggunaan operamini paling banyak kedua setelah Russia.

Ini reportnya diambil dari URL: http://www.opera.com/mobile_report/

Eke sudah coba operanini mini ini di ponsel: N73, Siemens CX75, SE 510i dan di blackberry. Semua berjalan degnan lancar.

Kesimpulannya: Ternyata Indonesia sudah teramsuk negara yang patut dieprhitungkan dalam kancah dunia internet...dannnn jadi pangsa pasar potensial buat orang jualan teknologi. Lagi-lagi jadi angsa kapitalis. kapan ya kit abikin inovasi teknologi sendiri????

Anyway selamat ber-opermini ya!

tonight, i went with miss s to see TOWWAS and her choir perform with the NSO in a staged concert production of Candide.

look at that!  it's a photo in my post!  spiffy, huh.

anyways, back to Candide.

it was so fantastic.  and thank goodness the show has a narrator of sorts [jason alexander was perfect in that role, by the way] or else i would have had a horrible time figuring out what country and what tradgedy the characters were currently living.  i think some of the characters were resurrected from the dead more than a soap opera!  voltaire must have been on some hard core drugs when he wrote his epic book, or just obsessed with getting stranded in the jungle.  but as crazy as the timeline and story became, the overall show was great fun.

oh, and the music.  oh the music!  the orchestra is amazing to watch - and i still can't figure out why there's a gazillion violins and only two flutes.  [don't forget, i played flute for 13 years or so, so i get a little defensive of my first musical love.]  okay, so i know why - volume of sound - but still.

and the soloists.  miss s and i looked at each other and said, 'well, i guess we're not sopranos, huh.'  it's incredible how these opera sopranos sing.  almost other worldly . . . i can't figure out how to even create that sound, let alone sustain it.  the men all have these great baritone sounds . . . and then surprise us with their tenor arias in the same supported volume and tone.  incredible.

lest i forget, the choir added a new depth to the performance.  most shows you see on broadway have 'ensembles' for the chorus/company numbers, but take that and multiply it by 10 and you have the effect of a 100-voice choir in a production.  there's a richness of sound that comes from voices in large numbers, and it really helped support the leads and the orchestra to create the final blend.

for a moment, i had that feeling, the one that says, 'i wish i could do this.'

then i realized, i do.

Vídeo de Foly90.

En el 2007 llegaría su Sieglinde en Die Walküre en el Festival d'Aix en Provence, del ciclo del Anillo que dirige Simon Rattle con la Berlin Filharmoniker; producción a la que pertenece el vídeo, con Peter Gambill como Siegmund. Meses más tarde interpretaría este papel en la ROH y este verano en Bayreuth bajo la direción de Chrsitian Thielemann.

[dailymotion id=x616ri]

Debutó en la ONP como Chrysothemis en Elektra. Esta temporada ha interpretado Die Kaiserin en Die Frau ohne Schatten y Elisabeth en Tannhäuser.

Su interpretación más reciente ha sido Leonora de La forza del destino el pasado Junio en el Théâtre de la Monnaie de Bruselas.

This year, the many celebrations marking the 150th anniversary of Puccini's birth are set to include the unveiling of a new al fresco opera house on the shores of the lake where many of his masterpieces were composed. Giacomo Puccini was the most commercially successful opera composer there has ever been. At his death in 1924 he was worth well over £130m by today's standards. 

Much of this wealth came from the wonder years (1895-1904) when the Tuscan maestro turned out in rapid succession three of the most widely performed operas in the world, La Bohème, Tosca and Madama Butterfly, while living in idyllic surroundings in Torre del Lago on the shores of Lake Massaciuccoli. Then he seemed to run out of steam, not finishing his next work, La Fanciulla del West, until 1910. While accomplished, La Fanciulla isn't in the same league as Bohème, Tosca and Butterfly. So what went wrong?

For years it was assumed that the suicide of a maid working in the Puccini household may have had a lot to do with it. The story is well-documented. On 23 January 1909, Doria Manfredi committed suicide by taking three tablets of corrosive sublimate. It took three days for her to die from what today we would call mercury poisoning. Elvira Bonturi, the composer's 39-year-old wife, was blamed for her death, for she had hounded Doria and publicly accused her of having an affair with Puccini. When the local court ordered an autopsy, it was found that Doria was a virgin and Elvira was sued for slander. She was sentenced to five months and five days and only escaped prison when the composer offered 12,000 lire compensation to the Manfredi family. Subsequently the couple were estranged for some months, but this tragedy hardly accounts for the seven years it took Puccini to complete La Fanciulla. Besides, Elvira's persecution of Doria only began in the October of 1908. The dates simply do not match up.

Recently, fresh light has been shed on what went on in Villa Puccini 100 years ago. Giacomo Puccini had made his home in a fishing village called Torre del Lago. Here, surrounded by his common-law wife, his stepdaughter and son, he wrote music, went out in fast cars, or took his speedboat out on the lake. Or as he himself put it: "I am a mighty hunter of wild fowl, operatic librettos and attractive women." ... more>>

Directed by The National Theatre's Nicholas Hytner, this four-hour long piece by Guiseppe Verdi (written in 1867)  has received excellent reviews and was a complete sell-out.

Telling a love story against the backdrop of political turmoil, it recalls the tragic and bittersweet romance of Don Carlo of Spain and Elisebeta de Valois of France. Although they fall in love in the first scene of Act 1 and are initially promised to each other, Elisabeta later is betrothed to his father, King Philip II, to ensure that there is peace between France and Spain.

The rest of the opera follows their struggle to deny their love - and in doing so - Don Carlo's exile to Flanders and, finally, their near deaths (as Don Carlo tries to help in the country's liberation).

Set against minimal sets, this is a lovely piece with powerful singing from its two main stars Rolando Villazon as Don Carlo and Marina Poplavskaya as Elisabeta and the acting also makes it an enthralling four hours. For fans that go purely for the storyline and beautiful verse by this master, then it deserves a full five stars. However, for those of us who prefer the lavish traditional sets - or at least innovative modern ones - then this loses a star as the minimalist sets chosen for this performance were quite bland and looked odd in comparison to the traditional costumes worn.

More information:
Don Carlo (Wikipedia)
Royal Opera House (Official site)

Ahem. Anyway, a friend of mine is very much into music. And we aren't into just music, we are into all sorts of music. Opera, progressive rock, reggae, electronica, jazz, metal, you name it, we were playing it. On youtube that is. I have 0 musical talent, besides appreciation. We spent the entire Saturday evening sharing youtube links on great music that will probably never reach the shores of this fair island, or in the case of local bands, will probably never gain air play on radio. Don't believe me? I'm gonna share those links with you. Hang on Dorothy, 'cause Kansas is going byebye.

First up, America's got Talent got its stars, got its duds, but 2007 had Cas Haley. Stars are good within the limits of their craft. Cas rewrote the limits of his craft. Here's his first performance.

That settles reggae.

Song title is Flim, by Aphex Twin. It's not bad, but a bit bland, because of the repetitive chords with little break in the monotony. Here's another version of Flim.

Improvisational jazz piece arranged for a 3 piece jazz setup. Group is known as The Bad Plus, their wiki is here. The band's homepage is here.

The great thing about live instruments compared to electronics is that it imparts a greater "live" feel to the piece. The Midas touch, if you will. Electronica is computer based, which makes the rhythm very accurate. It also makes a piece feel dead. It is a great wonder that humans have the most sensitive sense of rhythm, they can subconsciously feel the slightest variances in beat, even if they can't clap a 1-2 beat. It is said that John Williams' crowning achievement in scoring for Stars is taking a full string orchestra, and turning it into the precise robotic war machine that is the Imperial March.

The next featured song comes from another singing competition, this time it's Britain's got Talent. And it's a genre most people won't be caught dead with. And it's sung by a phone salesman with Carphone Warehouse.

Yes it's opera. In fact, it's an opera made famous by 1 of the Three Tenors: Luciano Pavarotti. Nessun Dorma is the piece that starts the final act of Turandot, an opera that depicts a prince as he tries to court the cold Oriental princess Turandot (pronounced without the "t" sound at the end btw). This opera is also famous because it is an incomplete opera, the composer Giacomo Puccini having died before he could finish the last act.

Paul Potts went on to win the competition, unlike Cas Haley, who ended up runner up. On a side note, his biggest competitor was a 6 year old girl, Conney Talbot. This was her preliminary round.

Now this blog is heavily tilted towards anime, so it stands to reason that at least 1 song should be from an anime right? Yes, but it's not some typical J-pop song sung by some high pitched adolescent female. To clarify, I like J-pop; but i do wish sometimes that they stop trying to hit the upper registers every other stanza. To add value, i have taken a very well done AMV parody of the original OP. Feel free to guess what is the anime, though it will not be much of a challenge for anyone who keeps in touch with anime often. I will reveal the answer below for those who did not watch it before.

The anime is Death Note, which was a wildly successful manga that was serialized from 2003 to 2006. By itself, it sparked a new revival of interest into gothic fashion, particularly gothic lolita styles, in mimicry of Misa, a character in the manga. For those wondering, the parody is from Biohazard Outbreak, the Resident Evil multiplayer game that never took off.

Ok opera, , reggae and metal are cleared, that leaves 1 last one. Here we go.

Toe is a Japanese progressive rock band formed in 2000. 1 thing you notice about them is that they have no lead singer. Vocals, when there are any, are done by guest vocals. "Wait a moment," I can hear you say, "How can they be a rock band without a rock singer?" Vocals are the single most defining part of any rock song, they break up the monotony of the chords, separates different sections from each other, and they simply give "soul" to the song. Lose vocals and the song falls apart. True, and not so true. Listen to this.

To quote Prog Archives: They released their debut EP, "Songs, Ideas We Forgot" in 2002. The world didn't saw another release of the band until 2005 when they released their first full-length album, "Book About My Idle Plot on Vague Anxiety". The band incorporated some new instruments into the mix like acoustic guitars and rhodes piano with this release and in 2006 they released another EP, "New Sentimentality", which saw the band in the same direction as their full-length album. Toe. has toured with many bands in the past years. They've been opening act for post-hardocre acts like Envy and post-rock artists like The Mercury Program, The Album Leaf and Pele.

Toe's band webpage can be found here.

"Dear ENO. The West End Whingers would love to see Candide but their policy of paying to see West End shows has reduced them almost to penury and an ENO ticket might well push them over the edge. As both are adamant that they never want to shop at Lidl, they are reduced to begging for two excellent press seats. Andrew has two cats to support and Phil has a very expensive Night Nurse habit."

Yes, it's pathetic, but that's the credit crunch for you. And with stalls seats at £83.00, what can you do?

Fortunately the ENO came up trumps and offered the Whingers FREE seats - "on this occasion".

Unfortunately the reviews came out the very next day:

• "Loud, brash, heavy-handed and leaving little to the imagination" Evening Standard
• "What a load of camp old cobblers" The Times

Too late. The trap had snapped shut.

But with the best possible wills in the world (and, it must be said, feeling rather grand) the Whingers took themselves off to the opera.

Now the Whingers don't really do opera, but Candide has always fallen somewhat between the two stools (snigger) of opera and musical and splits the difference as "comic operetta".

Worse still, the Whingers don't really do optimism and since Voltaire's Candide (full title Candide or Optimism) is about that dread word Andrew was approaching it with a heavily pessimistic heart (presumably that is what pumps the alcohol round his body). Only the fact that contributors to the lyrics include Lillian Hellman (original co-creator with the Leonard Bernstein), Dorothy Parker and Stephen Sondheim was off-setting his horror at learning of the 3¼ hour advertised running time.

Phil was in far less pessimistic mode. He loves the score and saw both the excellent Scottish Opera production at the Old Vic with Patricia Routledge and the almost-as-good National Theatre production with Simon Russell Beale, Daniel Evans, Denis Quilley and WEW favourite Myra Sands, among others.

Would the Whingers find this Candide the best of all possible Candides?

Set in 1956 inside a giant TV set (Channel Volt-Air - geddit?) the brilliant overture is set against Technicolor footage of the period showing commercials, domestic scenes, space travel and the Kennedys with Saul Bass-inspired credits over the top.

It's an impressive - almost overwhelming - opening and visually the show keeps this extravagant standard up throughout. Michael Levine's sets are fascinating (particularly the forced perspective of TVs within TVs which could so easily have given Andrew one of his heads), there are endless costume changes, a massive orchestra and a cast of nearly 60 - you don't get that in West End Musicals these days.

In fact, there was so much to enjoy here that it's difficult to single out the highlights. Alex Jennings seems to be on stage practically all the time (he plays three parts: Voltaire, American tutor Pangloss and road-sweeper Martin) and is absolutely fantastic.

And no musical can really call it self complete without a comic old lady part and fortunately Candide features the scene-stealing Beverley Klein.

Toby Spence is superbly dignified as Candide and Marnie Breckenridge (who confusingly has taken over from Anna Christy, right, in the role of Cunegarde (oops) Cunegonde) is simply terrific.

Now call us philistines, but the trouble with opera singers is that it's frequently impossible to make out the words. If they were singing the usual opera stuff ("I'm dying, I'm dying" etc) then you would probably get the gist so it wouldn't matter very much.

But these are often clever, witty or surprising lyrics - "Jehovah could not pardon all / The sins that we call cardinal", for example; and when was the last time you heard the words "Quod erat demunstrandum" in a song? Thankfully, there are surtitles over the stage - but it's quite a strain on the neck and it must be very distracting for the cast to see the audience nodding violently. Perhaps opera singers mistake this for mass nods of approval which would explain why they milk the (albeit deserved) applause at the end with such drawn-out curtain calls. Phil in particular was getting quite agitated as the loss of valuable drinking time as each group or character was brought on for their individual plaudits. But then that, the Whingers suppose, is the world of opera for you (Incidentally, you can't take drinks in the Coliseum auditorium - what's that all about?).

Ironically, it's the excellent Alex Jennings (an ENO virgin) who is the only one who can be heard clearly throughout.

Now, perceptive readers may have noticed that the Whingers have so far skilfully circumvented explaining what Candide is about.

This is because Candide is a mess. It always has been a mess by all accounts and this ENO / La Scala, Milan / Théâtre du Châtelet, Paris is even messier. While the Whingers (unlike many of the critics) didn't generally have any problem with the updated setting of 1950s America (complete with Marilyn Monroe and Some Like it Hot references), the production does push the boundaries into complete nonsense at times: it begins in the Kennedys' Camelot but then moves to the New World, for example. And the satirical swipes at Tony Blair, Putin et al are heavy handed (and already feel dated despite some last minute alterations to the script).

Heavy-handed too is the utterly downbeat environmental message at the finale which for Phil slightly spoiled the impressive - even spine-tingling - choral singing. Really, you can't expect to tack a serious message about the end of the world onto a load of camp old cobblers and expect to get away with it.

But none of this really bothered the Whingers - they quickly adjusted into "wash over" mode and let every inconsistency and non-sequiteur pass them by, allowing themselves to be absorbed by the excellence of the music, the top-notch performances and the general opulence of the production.

And it all turned out to be a cynical take on optimism anyway, of which the Whingers thoroughly approve.

Would they have whinged more had they paid £83 a piece for their tickets? Probably, but they are not the sort to pay £83 for tickets in the first place so - in terms of philosophical reasoning- is a fallacy.

Footnote

Before the curtain went up, the sur-title player was telling people to switch off their mobile phones and pagers (most people did) and to "Write a review!" at www.eno.org/eno_interactive/

Perhaps not surprisingly most of the reviews are very positive:

• "This version of Candide really blew my socks off" Andrea
• "I'll be recommending this show. Audacious, overwhelming and a thoroughly stimulating night at the theatre." Martin
• "This show is a must" Augusta (aged 12)
• "Rarely have I seen such an exquisite production that transcends the boundaries of opera and musical theatre to create a unique, hybrid sound and visual was one of the most compelling things I have ever seen on the London stage and certainly at ENO." Adele
• "My only regret is that Leonard Bernstein is not alive to have seen it. I doubt if he could improved upon your production - and he would have loved it." Graham

But amid all this gushing is a review by a very promising would-be Whinger by the name of Julian:

The overture was played without any sophistication or sufficient attendance to orchestral balance; the percussion was all too often allowed its head and the score sometimes sounded blowsy, which it is not.

The singers were all miked, chiefly because the dialogue would otherwise have been indecipherable. Also it allowed the principles to sing from upstage, far away from the audience, which became a real irritation. The whole cast was asked to adopt American accents, which most found beyond them.

Full marks to the ENO for its even-handedness. Watch and learn, Greta.

Ahir dissabte va tenir lloc la darrera de les funcions del segon repartiment de la Luisa Miller.

El teatre no presentava el ple que és normal en aquest torn popular de divendres i dissabtes. És nota que amb el bon temps la gent s'estima més anar a la platja que tancar-se a dins d'un teatre, per bé que s'està molt fresquet, dissabte fins hi tot feia fred,

L'any passat a l'Ángeles Blancas vaig votar-la com la millor cantant de la temporada per aquella increïble Voix Humanine del Liceu i per la funció que més m'ha agradat de les que li he vist fins ara, la Rusalka de Dvořák al Regio de Torino.

Tenia unes ganes boges de veure aquesta Luisa Miller. Tothom n'havia parlat molt bé i si les circumstàncies personals d'aquests dies haguessin estat unes altres ja hagués vist un altre funció.

Dissabte la Blancas va tenir un dia esplèndid. Els que la coneixem sabem que el seu cant és sense xarxa. Ho dona tot sense reserva i això pot comportar uns certs riscos que posin en perill la valoració de les seves interpretacions. La Blancas és una cantant que no deixa indiferent, mai i aquesta tipologia de cantants, d'entrada m'interessa molt.

La seva Luisa Miller és intensa, lírica, tràgica, passional, amb un punt de bogeria que tant bé li va en aquest rol impossible. Ella vocalment ha fet tot el que cal fer. La versatilitat del instrument vocal, dissabte privilegiadament sa, li ha permès fer tots els trinats i picats en l'ària de sortida. En el magnífic concertant que tanca el primer acte, i en tota la representació, ella ha estat la reina indiscutible.La intensitat dramàtica del segon acte en l'escena amb Wurn, amb l'ària i la cabaletta és on la veu de la Blancas ha de forçar més el registre greu i haig de dir que en algun moment, en el inici del ària ha quedat tapada, però ha fet una interpretació colpidora.On veritablement m'ha deixat bocabadat i on ha estat immensa, és en tot el tercer acte, amb un duo amb el pare d'antologia i en un final amb el tenor, tràgic i de gran impacte vocal i escènic. Tots els atacs al agut i sobreagut, els pianos i pianíssims, el control de l'emissió vocal, ha estat executat de forma admirable. Avui tenia el dia i quan es així ni ha poques que puguin amb ella.

La Blancas és un animal escènic i el seu magnetisme és sorprenent en el panorama actual, on els cantants amb personalitat i carisma es poden comptar amb els dit d'una ma.

Amb una cantant d'aquesta categoria és indigne com el Liceu l'ha envoltada de tanta mediocritat. La Blancas no ha de cantar mai més en un segon repartiment. Si l'envoltes de cantants de primera divisió, com és ella, pot esdevenir una força de la naturalesa capaç de galvanitzar a la resta, fent pujar el llistó d'una representació, assolint al final un èxit espectacular. El dissabte ella el va assolir, la resta no, ans el contrari es varen aprofitar del sobreesforç ofert per ella per tal de que allò s'acabés de manera digne.

Tret de la protagonista, els cantants que varen participar en aquesta funció no son apropiats per cantar Verdi i Albert Montserrat no és apropiat per cantar res.

Jo no entenc com un cantant, relativament jove com Montserrat i amb una veu privilegiada com la seva (pocs tenors poden lluir avui un agut com el seu), no fa un recés de dos anys per anar a estudiar amb Carlo Bergonzi, per exemple, a veure si aprèn d'una punyetera vegada com col·locar la veu, sense fer servir el nas. Un cop hagi aprés això, ha d'aprendre a fressejar. Un cop amb la veu col·locada i sabent fressejar, hauria d'estudiar l'escola de cant verdiana, tant allunyada del verisme i amb tot això aprés, si li tornen a donar la oportunitat de fer un rol d'aquesta categoria al Liceu, no tirar-ho per la borda, com va fer dissabte, en la pitjor actuació, sense discussió possible, de tota la temporada. No és pot fer pitjor. He pensat que en l'ària arreglaria una mica el desgavell, però en prou feines a col·locat una nota a lloc. Hores d'ara encara deu estar buscant l'afinació entre el mar de guiris de Les Rambles.

Stefano Antonucci està molt lluny de ser un baríton verdià. Més valdria que tornés al belcanto més lleuger i tot i així hauran de passar uns quants anys, per tal de que la veu prengui el color baritonal i el gruix necessari per fer els rols més lírics de Verdi. Avui és una temeritat que els canti, si no vol posar en perill la seva carrera. El cant és disciplinat i prou. Massa genèric per arribar a commoure al costat de la Blancas, que se'l ha menjat amb patatones.

Riccardo Zanellato és un baix irrellevant. No molesta, però el comte Walter és tot un personatge que ell ha obviat. Verdi li queda molt lluny

Pavel Kudinov ni te la veu per fer el Wurn, ni la contundència i personalitat dramàtica per aixecar l'aplaudiment sincer en el duo amb Walter. No és un baix.

Nino Surguladze és una bona mezzo i ho ha demostrat en altres rols que el Liceu li ha encomanat, però la Federica, sense ser un rol important és una mezzo verdiana i en el duo amb Rodolfo ha de desplegar la veu de manera contundent. Potser un Bellini el feria bé, doncs sap cantar i és molt musical, però no és la veu adequada.

Itxaro Mentxaca i Josep Fadó han estat bé, correctes.

L'orquestra s'ha notat que porten moltes funcions fetes. En l'obertura ha estat més atenta i compacte, però no s'ha evitat una pifiada en el inici de inclassificable descripció. S'ha sentit un so estranyíssim provinent del fossar orquestral, que no he sabut identificar qui l'ha produït. En el inici de la segona escena del primer acte, la corda gruixuda ha estat tant anèmica com sempre i en algun altre moment del tercer acte han tingut alguns desajustos i acoblaments força notoris. El conjunt ha estat més reeixit que el dia del torn T. M'ha semblat que l'orquestra tocava més fort avui i en tot cas, la tasca del mestre Maurizio Benini, ha estat força interessant en les dinàmiques i els temps emprats. Intensitat hi havia, altre cosa és que tingués la resposta esperada.

La segona visió de la no posada en escena de Gilbert Deflo, m'ha semblat més radícula si cal, que la primera, això si, el decorat i les llums m'han continuat semblant magnífics.

El públic ha estat més aviat fred, tot i que no ha deixat en cap final que l'orquestra acabés i en la tanda d'aplaudiments ha dedicat a la Blancas una standing ovation emocionant, amb llançament de flors des de els pisos alts incloses, com a les grans, que és el que és.

Sr. Matabosch, no li torni a fer una mala jugada d'aquesta mena a la senyora Blancas i envolti-la del que ella es mereix i veurà les nits de glòria que ens pot deixar pel record.

Tenia previst deixar-vos constància sonora de la funció del dia 26 de juny (que m’han deixat), però a part de infringir totes les normatives possibles, que no és el que més em treu el son, he comprovat com la veu i el cant de la Blancas son per gaudir-los en directe i con que els cantants que l'acompanyaven no li feien justícia, millor no donar peu a conflictes de tots tipus.

This is an operetta / musical not an opera. It was considered a musical comedy when it was first mounted at a time when 'the American dream' was in the bloodstream of America and much of the rest of the world. Here it gets a perfectly valid satirical treatment which is, at the same time, funny, and inventive. It isn't subtle, it occasionally falls flat, but it is mostly entertaining.

The designs and choreography are particularly good, though it has to be said that the 'actors' Alex Jennings and Beverley Klein steal the show from the 'opera singers' (though Toby Spence was ill the night we went).

It wasn't as good as the National's wonderful production at the Olivier a few (many?) years ago, but it's an interesting and worthwhile event and I found the final hopeful 'hymn' juxtaposed with footage of the demise of 'the American dream' moving and thought-provoking.

Demikian diungkapkan Executive Vice President Opera Dag Honningsvag dan Tatsuki Tomita, Senior Vice President Opera ketika berkunjung ke kantor detikcom Jakarta dalam rangka media visit, akhir pekan ini.

Dalam obrolan santai tersebut, Tomita mengatakan, ingin mendengar langsung tanggapan dari para pengguna browser Opera. Tak hanya soal kemampuan dan bagaimana mereka menikmati menggunakan browser ini, tetapi juga soal kekurangan apa saja yang sekiranya perlu diperbaiki.

"Jadi kritik tersebut akan kami teruskan untuk pengembangan selanjutnya," ujarnya kepada wartawan detikINET.

Honningsvag sendiri mengaku, masukan, keluh kesah serta kritikan dari penggunanya ini merupakan suatu bagian yang penting dalam pengembangan bisnis Opera. Sebab, pengguna alias komunitas ikut menentukan nasib Opera dalam bersaing di industri browser.

Pada akhir pekan ini, Opera juga baru saja mengadakan gathering komunitas Opera Indonesia. Acara tersebut sebagai wujud Opera untuk mendengarkan keluh kesah penggunanya di tanah air. Apalagi, Indonesia merupakan salah satu dari tiga negara di dunia dengan pengguna Opera Mini terbanyak.

Dikutip dari detik.com

Mozart no acabó Zaide por lo que en estas funciones se ha añadido música incidental de Thamos, König in Ägypten que compuso en las mismas fechas.

Peter Sellars situa la acción en la actualidad, en un taller clandestino de confección donde trabaja gente esclavizada, y se plantea la siguiente pregunta: ¿cómo puede el espíritu preservar la libertad si el individuo está oprimido?

Todos los cantantes son desconocidos o no muy conocidos. En esta producción la soprano Ekaterina Lekhina es la intrépida Zaide que intenta rescatar de la esclavitud a su amado Gomatz. Veámosle en Tiger! Wetze nur die Klauen.

[dailymotion id=x60wws]

Es posible ver la ópera completa, y otras funciones del Festival d'Aix en Provence, en medici.tv.

Después de este breviario cultural, podrás estar más cerca de esta estructura arquitectónica sin tener que viajar, lo armaremos en papel. Simplemente descarga los dos PDF y a crear tus escenario, el primer PDF son las instrucciones y el segundo es la figura a armar.

Instrucciones.

Origamy.

Quedará de la siguiente forma:

Diganos como les quedó. Saludos!

El Canal 33 no ofrece el reparto de la función de la retransmisión. Ojalá podamos ver a Armiliato y a la Dessì que fueron el mejor reparto. Es el reparto que no quisieron emitir por Euroradio, José Cura y Deborah Voigt.

Se puede seguir la retransmisón por internet en http://www.tv3.cat/directes/33D.

El resto de títulos y fechas de retransmisión se pueden consultar en Retransmisiones.

Gracias a Wimsey por recordármelo.

Il sito si chiama Lambda streaming e, come il primo, non è altro che un sito vetrina che riporta a video ospitati su altri siti e che possono esser visti gratuitamente.

Lambda streaming divide i video in: film, telefilm, cartoni e opera; le stesse categorie poi sono divise per genere.

Intere serie televisive on line, per chi ha voglia di rivedere puntate che fanno ormai parte dei ricordi o anche film appena visti al cinema.

The role of the Queen of the Night, which is sing by a dramatic coloratura soprano is famous for its difficulty. A particularly demanding aria is the Queen of the Night's "Der Hölle Rache kocht in meinem Herzen" ("The vengeance of hell boils in my heart"), which reaches a high F. Whether they can sing it or not, everyone takes a crack at this aria:

Florence Foster Jenkins was a wealthy socialite and benefactor of the arts in the first half of the 20th century. She recorded her renditions of classical vocal works to give as gifts to friends. Here she sings Mozart's aria "Queen of the Night".

Parrots like to repeat what they hear people around them saying. I wonder who this parrot's owner is.

Now I don't know why someone would make a child learn this aria, but listen to this boy soprano. He is very accurate with the pitches and without the dramatic intent, he performs this aria very well in recital format.

Now for the real deal. Diana Damrau is the best I have seen (I haven't seen everyone one, so don't be offended if you like someone more.) She is scary as hell and sings the crap out of this aria. Not to mention that she looks fierce.

Check out YouTube for more Queen of the Nigh clips. See a production of The Magic Flute, because it's awesome!

ok I'm not going to get into the whole news and awe he had a baby routine, just want to skip that part you can read it on BBC News. What I really do want to say is "WTF", the first time I saw it I was nice, good Photo shop effects. Then it all just turned a little weird, but still I'm happy I think a lot of people should be and would be happy. Like it’s not going to be so hard to tell your parents that your Gay or something, because their more worried about you getting pregnant. Hey, did you know robin’s son is pregnant and he's only 16. And the poor lady is going to hide her head for a long time.

"The 34-year-old gave birth to a baby girl at a hospital in Bend, Oregon, ABC News reported, without providing further details. Beatie, who sports a beard, was dubbed the 'pregnant man' after appearing on Oprah Winfrey's television talk show to discuss his pregnancy.",Yahoo News

Anyways, moving on to better things, finally now I can kick my imaginary girlfriend’s ass. We men don't need you anymore (of course I will have to go through major surgery and shit but whatever) we make baby our self, we like you no. Finally, I think no more fights over women it’s going to be a peaceful and tranquil place. All thanks to one lad (well technically) from America. Go make us men proud homey (while I go through up).

July 3rd, 2008.

Pulang kerja, setelah ganti baju, n touch up, aku dinner dulu dengan salah satu tvOne's news presenter, Andrie Nugroho Djarot, terus kami berdua langsung meluncur ke Graha Bhakti Budaya - Taman Ismail Marzuki. Kami tiba di sana sekitar jam 19.15 WIB, acara The Phantom of Traditional Opera mulai pukul 20.00.

Kami duduk di barisan VIP yang tiketnya dijual seharga 75ribu rupiah. Kalau regular harganya 50ribu, dan mahasiswa harganya 30ribu rupiah.

Sebelum acara mulai, aku dikenalkan pada Pimpinan Produksi-nya yaitu Mbak Indriyani. Dia adalah manager dari Mahagenta, group yang memainkan The Phantom of Traditional Opera ini.

Ketika masuk ke ruang teater, ternyata banyak orang asing yang sudah duduk memenuhi kursi-kursi. Ada yang western dan juga eastern (aku sempat dengar ada yang bicara dengan bahasa Korea soalnya).

Acara dimulai, stage dibuka, dan pemain-pemain musik siap di belakang alat-alat musik tradisional seperti gamelan, kecapi, kendang, gendang bali, suling, bonang, jengglong, didgeridu, saluang, talempong, biola, rebab, tabla..wait .. tp ada juga alat musik biasa seperti drum, keyboard. Jadi yaaah, menurutku sih rada merusak komposisi instrument, yang tadinya benar-benar tradisional jadi rada nge-pop.

Awalnya aku dan mas Andrie kira opera ini ada alur ceritanya, seperti cerita Phantom of the Opera, ternyata perkiraan kami meleset. Tidak ada cerita ataupun pemain-pemain dramanya. Hanya ada pengiring dengan alat-alat musik tradisional tadi yang kusebutkan di atas dan 4 penyanyi. 2 pria, 2 wanita. Tidak jelas siapa yang memainkan peran Christine, Raoul, atau Phantom-nya. Jadi semua dinyanyikan bersama-sama. Kalau dari segi teknik vokal, hmmm, campuran antara seriosa dan pop, yang masih perlu banyak dibenahi. Banyak cengkok2 yang tujuannya menambah unsur tradisional, tapi menurut kami malah jadi aneh. Tempo lagu juga diseret-seret, dan beberapa lagu yang seharusnya bersahut-sahutan dan ada klimaks, ternyata tidak mereka nyanyikan. jadi tidak ada "greget"-nya :-/

Selain itu, tampilan visual juga kurang sedap dipandang mata, karena wardrobe dari para penyanyi juga terlihat seadanya. Memang sebelumnya, Mbak Indri sempat bilang kalo dana untuk mengadakan pertunjukan ini minim sekali, jadi ya mohon dimaklumi saja.

Dua penyanyi wanita mengenakan baju terusan warna putih seperti di film broadway "My Fair Lady", tipe-tipe baju seperti itu, tapi 2 penyanyi pria-nya malah mengenakan baju tradisional yang kalau aku bisa bilang, seperti busana "Joko Tarub" :P

Kami sempat ngantuk dan bosan banget. Masquerade dinyanyikan tidak dengan gaun/topeng dan tidak dengan koreografi atau dansa (kami kecewa...). Banyak jeda kosong di sela-sela lagu yang diisi oleh instrumen, padahal sebenarnya bisa saja kan, 4 penyanyi nya dansa.. mereka kelihatan mati gaya banget di panggung. Cuma gerak-gerak sedikit seperlunya.

Mendekati akhir, keluar 4 penari, perempuan & laki-laki, pakai topeng tradisional (bukan topeng Phantom), dan menari dengan gaya penari teater yang IMHO tidak jelas juga maksudnya apa tarian itu. Yah, paling tidak sedikit mengubah suasana deh..

Sebenarnya semua lagu yang ada di Phantom of the Opera mereka bawakan: Think of Me, Angel of Music, The Point of No Return, Primadona, Wishing You Were Somewhere-apaaaa gitu (aku lupa), All I Ask of You, Masquerade, dll. Semua lengkap dinyanyikan, bahkan lagu yang jadi soundtrack credit title-nya, aku lupa tu judul lagunya apa. Tapi ya itu, kurang greget, tidak ada klimaks. Padahal itu kan yang bikin bagus, dan bisa mendapat applause dari penonton.

Tidak lama kemudian, jam menunjukkan pukul 10 malam lebih, dan pertunjukan berakhir. Tanpa ada MC yang menjelaskan narasi dari pertunjukan mereka. Hmmm.. aku tidak tahu, apa itu memang gaya pertunjukan di Taman Ismail Marzuki atau memang Mahagenta maunya seperti itu.

Selesai acara, di luar aku bertemu dengan ibu Christina Mandang (beliau guru vokal alto, pernah sekolah konservatory di Belanda). Aku kenal beliau karena beliau jadi salah satu juri di Petra Choir Festival bulan Maret lalu.. yang nonton PCF pasti tau. Yah, bu Christina juga tidak berkomentar terlalu banyak -apalagi untuk segi vocal- tapi yang sangat disayangkan adalah bagaimana mereka mengemas acara itu..

Hmmm..dari tadi rasanya kok kritik smua ya? Segi positifnya.. ternyata musik mendunia seperti Phantom of the Opera bisa dibuat dengan versi tradisional. Meski masih perlu pembenahan banyak, tapi ide dan kreativitasnya patut dihargai. Dengan kritik-kritik yang udah aku dan mas Andrie sampaikan ke Mbak Indri, semoga mereka dapat membenahi kekurangan-kekurangan mereka karena kata mbak Indri mereka ingin konser keliling daerah.

Begitulah hasil lapdangdeng (laporan pandangan & pendengaran) malam ini. Maaf, kalau hasil fotonya tidak maksimal. Kamera kami ketinggalan, jadi cuma bisa capture pake kamera handphone.

By Ella Enchanted

Arena di Verona: Aida di Giuseppe Verdi

sabato 7 giugno 2008 di - Redazione - italiano

Arena di Verona: Nabucco di Giuseppe Verdi

lunedì 23 giugno 2008 di redazione spettacolo - italiano

All’Arena di Verona è il momento di Nabucco

giovedì 26 giugno 2008 di redazione spettacolo - italiano

Arena di Verona: Carmen di Bizet

mercoledì 18 giugno 2008 di redazione spettacolo - italiano

Arena di Verona: prima replica dell’ Aida di Giuseppe Verdi

sabato 28 giugno 2008 di redazione spettacolo - italiano

Arena di Verona: cartellone del Festival lirico 2008

venerdì 6 giugno 2008 di redazione spettacolo - italiano

Arena di Verona: Da Berlioz a Prokof’ev ispirati da Giulietta e Romeo

domenica 18 maggio 2008 di - Redazione - ital<!- -more- ->no

Filarmonica della Scala guidata da Riccardo Chailly: Giacomo Puccini, inquietudini moderniste

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 PROVA>>>>>>>

Spezzare una pagina su WordPress.com
12 Gennaio 2008, 17:13 — Isadora

da http://usare.wordpress.com/2008/01/12/spezzare-una-pagina-su-wordpresscom/

Analogamente al tag  < ?!- -more- -?  >per spezzare i post, esiste un tag apposito per suddividere il contenuto di una pagina in più spezzoni: il tag <  !- -nextpage- -  >.

Mon avis : Dans le monde des browser Internet, il y a ceux qui se contente d'Internet Explorer made in Microsft (les pauvres), puis y a ceux qui vont un peu plus loin et qui profite de l'excellentissime FireFox made in Mozilla, puis pour finir, y a ceux qui voit grand et qui osent ; c'est dernier se tournent vers Opera, LE browser Internet par excellence !

Oui, jusqu'à aujourd'hui, j'étais un partisant absolue de FireFox, un très bon browser qui répondait à tout mes besoins... mais voila, à force d'entendre parler d'Opera, je me suis dis que si ça se trouve je loupe quelque chose ; et en effet, je l'utilise depuis quelques jours et depuis la première seconde de découverte ou je passais mon temps à faire des "ohhh c'est beau" ou des "ahh mais ils y ont pensés à ça c'est trop bon" etc. oui, je confirme, ce browser je l'adopte définitivement : convivialité et facilité d'utilisation, clair et net dans donc interface, un vrai bonheur ; de plus je note qu'il est le plus rapide de tous, je me demande quel moteur il utilise !

Bref il ne lui manque qu'une seule chose, que j'adore chez FireFox, c'est la corréction orthographique : car ce petit truc au semblant de gadget n'en est pas moins un superbe outils : pour vous dire, je fais toujours quelques fautes, et pourtant je lis énormément, mais lire ne fait pas apprendre les mots, c'est des conneries ça... depuis la corréction de FireFox, à chaque fois que je tape le mot que j'écrivais faut, il me le disait, et je voyais la corréction : au bout de la 5 / 6 eme fois je l'ai enregistré, depuis je ne fais plus du tout la faute ! C'est dingue, c'est vraiment génial, toute ma vie j'écrivais "hasard" avec un z donc "hazard" ^^

Bref, manque plus que ce petit module est Opera sera le meilleur browser au monde ! Moi en tout cas, je l'ai adopté ! Bravo aux développeurs !

Cliquez ici pour télécharger Opera 9.5