Flugelhorns Flight: Or, Kidnapped by Babes from Outer Space

Gerald Schoenewolf

---

McGegan set a cracking pace. While he danced and almost flirted with the much smaller than usual baroque chamber orchestra, they responded with great depth and a lovely, well-balanced sound. Whether orchestral or choral, all parts were distinct.

Book: Rebel Rebel

The fact that we could see, hear, and easily identify individual musicians, and sometimes even separate singers in the chorus, was an absolute gem. This was a rich experience with which to finish the year. Moved by the sheer emotional force of the work, she decided to stage it in New Zealand for the very first time with The Wellington Footlights Society.

How lucky for us. While in the park one day, she receives a phone call that changes her life. And so opens a parallel universe. We walk down two paths: This Wellington Footlights production is polished to perfection, with delicious harmonies from a committed, talented ensemble.

Each member is exquisitely energised and perfectly in sync with the next. At times though I craved a little less action. I found some of the blocking quite distracting. During a poignant scene, an exerciser zealously stretched stage left, pulling focus from the tender moment taking place centre stage. Distracting too were clunky changes of scenery the images adorning the three frames lining the back of the stage , but most importantly, I often found my line of vision obstructed. Staging a full-scale musical in a small space can foster serious intimacy. The orchestra conveyed well the bravura, charm, and ultimately demonic nature of the Don and his fate with a good range of dynamics, suitable flamboyance, and restless energy.

The music evokes the excitement and romance of the broad open landscapes of the new world, its pioneering spirit and its African-American musical tradition, while also suggesting a longing for the beauties and culture of his homeland. Orchestra Wellington captured the spirit of the work with plenty of lyricism, energy, and passion though, for me, the performance felt less than fully polished in places. In between these two works came what was, I thought, the highlight of the concert.

Sama, the programme notes revealed, is a Sufi ceremony involving an ecstatic devotional dance performed by whirling dervishes. There was a vast range of soundscapes created by the solo violin: Also enthralling was the contribution of brass and percussion to the work. The soloist was Amalia Hall, normally the concertmaster for the orchestra.

Totally in control, she never let the virtuosity of the work be other than the servant to the vision of the composer. An exciting work and a stunning, highly accomplished performance. The stage was alight with colour and vibrant fairy-tale characters presenting refined balletic form. Though one cannot fault the technique and dedication the dancers possess, it was hard to ignore the missteps, the somewhat plain choreography, and the ingenuity of the overextended smiles and melodramatic gestures. There was a change in the order of the programme and Carmen marked the second act, lifting the standards of the evening slightly.

Anna Pashakova performed the role of the tempestuous Carmen with graceful defiance and bold seduction, her pointe work and timing remarkable. The final act was an excerpt of Les Sylphides , a work with no narrative but a beautiful aesthetic. Set to the musical score of Chopin, Les Sylphides is a romantic and dreamy corps de ballet, performed by female dancers with elegant integrity and unfaltering discipline. Adorned in flowing white tutus and with beautiful extensions and delicate hand movements, the dancers created a vivid picture of serenity and grace.

Bekzhanov, as the wandering poet, is enchanted by the Sylphs but serves no other real purpose — this piece is all about the women in the company and is a delight to watch. A Russian Triple Bill had its moments and plenty enjoyed it, but it was by no means ground-breaking ballet. In the first symphony the lightness of de Waart's expert touch and the reduced numbers in the orchestra produced a playful and elegant performance.

Variations in timing and volume shaped the movements of this early Beethoven piece. Over a hundred works later, his ninth symphony is long, complex, and particularly notable for his innovative use of a full choir and soloists in a symphonic work. The orchestra signals the impending theme, flitting between strings and woodwind an excellent performance on the night from the cellos and basses until the singers eventually take centre stage and the Ode to Joy rings out. The voices were glorious. Although not making an impact until the finale, this was worth waiting for. The wait was time well spent.

Beethoven is famous for developing the symphonic form. In return, the orchestra gave us the benefit of their skill, showing off the various orchestrations to their full. The musicality of the performance was wonderful. Edo de Waart used the choir brilliantly to support the soloists where the music demanded, but gave them free rein where he could. Beethoven was entirely deaf by the time he wrote his ninth symphony and producing one masterpiece after another.

And just like his new Japanese wife, Butterfly Hannah Catrin Jones , he can toss it off any time he likes. Thus the tragic love story of Madam Butterfly begins: By the end of the show, her delicate wings have been squashed underneath his foolish, selfish feet. Not only was this Eternity Opera production in English, but it was intimate, well-acted, and compelling. A few notes for my fellow novices: I loved when they sang together, their combined voices effortlessly lifting over the compact orchestra tucked to the side of the stage. They were also superb actors. And Leo McKenzie as her young son almost stole the show in his tiny sailor suit.

The only thing that struck me after the show was how un-Japanese it was. There was a distinct lack of Japanese cast members, and as the piece had been re-contextualised to the s, the costumes were western. I would like to have seen a show where the two cultures had collided more visually, more viscerally, and more strangely. That said, Madam Butterfly and Eternity Opera have made an opera fan out of me. Who would have thought it! He does, however, leave them one thing: You know the rest. Puss in Boots The Pantomime is absolutely, unequivocally delightful.

My colleague and I had a blast and frequently found ourselves in hysterics. Carrie Green and Jeff Kingsford-Brown nearly stole the show as the nasty trolls boo! I felt there was a marked improvement this year, with the lewdness less explicit and not nearly as likely to cause unwanted questions around the dinner table.

I cannot recommend Puss in Boots The Pantomime highly enough. K Karin McCracken , M Madeline McNamara , and F Freya Finch are happily exchanging jokes when a fan turns on out of its own accord, a tarpaulin lights up, and two green buckets fall over. For the rest of the show, the characters attempt to piece together the inciting incident. Each time they recount the events, they change the details of the narrative ever so slightly.

Technical design elements are a focal point and highlight of this production. With cyclical videography by Charley Draper, Meg Rollandi, and Isobel MacKinnon; bass-heavy, distortive sound design by Thomas Lambert; and hypnotic, hazy lighting by Owen McCarthy a design team at the top of their game, overseen by technical manager Michael Trigg , plus rhythmic and repetitive dialogue, I regularly found myself sinking into a trance.

In a dream-like state, I was able to insert my own memories and meanings into the script.

This meant Actual Fact took me on an entirely subjective journey of my own experiences, and resonated more deeply as a result. A big piece calls for a big orchestra, and this was one of those nights when it looked impossible to cram any more players onto the stage. And a big orchestra makes a big sound, with multiple opportunities for soloists and small groups to show us their skill. A couple of leading players were absent first violin and cello but, giving truth to the depth of talent in the orchestra, this did not affect the quality of the performance one iota.

The theme from the first few bars reappears at intervals during the work. The solid and perfectly pitched opening theme was heard again and again with different instruments, giving us distinctive reflections of mood and tone as we strode through the five movements. The orchestra played straight through, allowing the audience the opportunity to immerse themselves in the music. The first opens with solo euphonium giving way to a French horn duet with woodwind. It was a pleasure to watch the joyful double basses bringing melody and rhythm to the second movement with bow strikes and fierce pizzicato.

A solo viola passage stood out in the third movement, and the thematically more complex violin part in the fourth was the culmination of all that had been building towards the exultant fifth movement in which it seemed everyone was playing everything and anything. The blend of a terrific timpani opening, the interplay of strings with brass and woodwind, then all brass together, delicate string quartet interludes, and then a combination of trombone and double bass resulted in a glorious finale of an unmistakeable masterpiece of the Romantic period.

A local institution, his customers are the very definition of regulars. Always first to arrive are Walter and his dog, Jack, who would rather sit inside thank you very much. Craig Geenty plays all these characters and more in this one-man show that strides the seasons — a metaphor beautifully expressed in the action of the play. In just 45 minutes, we traverse a year in the lives of the Saleyards folk. The authenticity of this process shines through, not just in the crafting of such genuine, believable, and lovable characters, but in the staging of the work as a whole.

No detail has been overlooked; it even boasts a real pie warmer stocked with pea pie pud townies like me might be baffled by this one. In this replica Saleyards interior, the audience becomes completely immersed in the world of the play. Geenty energetically switches from one character to the next, his transitions seamless and his characterisation clear. However, after the initial tableau, Geenty occasionally drifts back into his natural demeanour.

Nevertheless, his performance is passionate and considered. The Nutcracker isn't necessarily a traditional Kiwi Christmas experience, so for those of you who are unfamiliar, the story goes; a young girl is gifted a Nutcracker doll by a brilliant toymaker, and on Christmas Eve she dreams the doll turns into a handsome prince who rescues her from the clutches of the evil Mouse King. The pair journey through a wintery wood and partake in a glorious celebration led by the Sugar Plum Fairy and her dapper Cavalier.

The world created on the stage at the Opera House drips with fairy-tale magic and a bit of sleight of hand magic too. The dancers perform with alacrity and endearing passion, leaping skyward with ease and trusting each other inherently. Live music from the NZSO and a disappointingly short appearance by the Orpheus Choir beautifully transports one into an epic experience.

A pas de deux between the Sugar Plum Fairy and her Cavalier is exquisitely romantic, setting a highlight of the evening, alongside the cheeky trio of 'Russian Caviar', who squat dance across the stage in marvellous unison. The Nutcracker manages to deliver something for everyone. Whether you are a dance connoisseur, an appreciator of music, or someone who just loves a good old Christmas classic, you will be swept into the charming storybook world crafted by the RNZB and their fine collaborators.

She begins by telling us the rules — which include leaving with the same person you arrived with and using a safe word if things get uncomfortable. Unfortunately, a lot of the material relies on tired tropes of old women and feminine sexuality. The laughs play on how gross and weird it is hear an old woman talk about her desires — ew! But If the show is meant to be satire, it misses the mark by several miles.

That said, Boyle does her best and many audience members were in stitches. Conductor pianist Lars Vogt showed us how he does it in this wonderfully lively programme. Years ago I played in a youth orchestra and because our conductor loved Beethoven, we played his music often. Not words I think our long-suffering parents would ever have thought of our efforts. Conducting is an art in itself but conducting while playing the solo instrument adds another layer to the experience.

The music was delightful, as Mozart often is, and the fine interplay amongst sections of the orchestra and between orchestra and piano reflected the counterpoint also heard in the earlier Beethoven. After the spirited and animated Mozart, I found this a strangely different piece. A return to Mozart for the finale, Symphony No. Arohanui Strings is part of a world-wide programme designed to provide children from less privileged backgrounds with opportunities to learn an instrument and play in an orchestra.

The audience took the young people — some very young — to their hearts as they joined Orchestra Wellington in Infinity Mirror , composed by Simon Eastwood specifically to allow beginning and highly skilled musicians to create music together. After a beautifully weird soundscape came more simple, strong lines for strings with lovely colour created by brass, wind and percussion. It was a serious bit of business, followed by some more relaxed collaboration including a spirited rendition of Poi E. This was a disciplined performance with crisp rhythms and forward drive uncompromised by any temptation to over-milk the romantic melodies.

The orchestra was undaunted by the difficulties and Christopher Park, the young German-Korean piano soloist was truly impressive in his mastery. By way of contrast, he played an encore that showed his ability to draw music of great delicacy and beauty from the piano. It is a work that teems with tunes — tune after tune after wonderful tune, particularly for the lucky cellists — without ever sounding as if the tunes are merely stitched together. The orchestra did the work justice. The Hollywood warhorse first appeared in theatres in , and has since been remade four times.

In this defiantly fresh 21st-century take, Cooper sings a love song to the movies without compromising on his methodical artistic integrity. You know the story. Jackson Maine Cooper is a country-rock superstar overly reliant on booze and pills. One night, he drags those cowboy boots and twinkling blue eyes to a cabaret, where he meets waitress and singer-songwriter Ally Stefani Germanotta, aka Lady Gaga. The first half of A Star is Born is seamless. It works principally because of the beautiful chemistry between Cooper and Lady Gaga, which aches not only with sexual tension, but with kindness and care.

Her performance, unlike her famous musical persona, is completely without artifice. The attention to detail given to musical sequences is less often applied to dialogue, so that some developments feel rushed. You could attribute this to the world of showbusiness these characters inhabit, but it is just as often the dated source material poking through. Despite its faults, A Star is Born is Hollywood done right.

Though the women are friends and flatmates, they behave more like a family. Their relationship is dysfunctional and totally charming. With a little bit of fat trimmed off its bones, In It Together could be a spectacular work. Cutting it down to an hour would prevent the action dragging in the middle section and the main event losing its impact.

On to the main event. Personal views aside, it seems odd that the crux of a feminist work would be a relationship breakdown resulting from an issue that women already cop so much flack for. Grace is a feisty matriarch, conducting everyday conversation in a no-fuss, professional manner that takes a while to warm to, but soon delights. Just like her character, Thomas grounds her castmates. Her performance appears effortless, with a filthy drunken look and a statement about pyjamas being a show highlight.

In It Together shines in its depiction of sisterhood. Like Mstislav Rostropovich, for whom Shostakovich wrote the concerto, Moser played the whole work from memory. And what a memory. It looked and sounded like a fiendishly difficult piece with a conventional concerto form four movements with unconventional elements. Unusually the composer wrote a fully notated, very technically demanding cadenza and put it in place of the usual third movement. It was a brilliant opportunity for Moser to shine.

Regrouping for the final movement, the orchestra led us — with prominent and high-powered cello — to an all-encompassing and energetic finale. It was a stunning performance. In the second half, we heard a longer than usual selection from the ballet Romeo and Juliet by Prokofiev.

Сведения о продавце

Anyone with only a smattering of knowledge of the story would have been able to follow this highly cinematic piece. The narrative came through strongly and even the unfamiliar segments told their part of the story quite clearly. Guest conductors always add an element of intrigue to the audience experience. For this performance, even the audience could sense the orchestra and conductor were impeccably matched. It was a long performance but one worth every note. In the fictional seaside Welsh village of Llareggub, townsfolk gossip and pry, withhold and let be, wake and dream.

In short, they live. Evocatively narrated by Jeffrey Thomas and John Bach with spectacular AV design by Johanna Sanders, this slice-of-life production features over 60 characters played by just five actors. For the most part, the actors did a fantastic job of differentiating between their various roles, seamlessly and instantly shifting from one character to the next. Although her ballad mesmerised what a voice!

Because Under Milk Wood is much more of a character study than a plot-driven narrative, clarity is essential. My companion was unable to follow the action at all, and I lost my place at times. The dreaminess of it all afforded me a blissful escape. You know what to expect, he implied. Cellist Rolf Gjelsten looked dubious. What followed was a delightful musical duel accompanied by high jinks: Ikematsu playing on one leg and Gjelsten scratching his nose.

It had the feel of an exuberant piano virtuoso being indulged by a group of strings players, patiently, but beautifully, providing responses to and support for the star. It was a charming performance. The concert then moved to two works evoking trout and trout rivers, both composed for the unusual grouping of piano, a single violin, viola, cello, and double bass. Orowaru was composed to evoke the sounds of trout fishing rivers around Turangi. It was magic from the first notes; gossamer threads of watery sound overlaid with suggestions of sparkling sunlight or rising trout to evoke Hineaiaia Stream.

There was a strong sense of the three rivers — Waipehi Stream and the Tongariro being the other two — now gentle, now robust; the creatures in and around them going about their business, unperturbed by the rest of the world. Each player shone momentarily as the lead shifted, but it was the totality of the ensemble that impressed.

Such beautiful, expressive, and graceful playing, with a wonderful balance and sympathy between players. This concert was a gem. Insects are referenced explicitly only at the very beginning and end of the play, making the link feel tenuous, but still distracting me and my companion. There are a million things this work does brilliantly.

All of the performances are excellent, with the cast — which is rounded out by Arlo Gibson — equally matched in energy, commitment, and talent. Sara Brodie manages to seamlessly entwine surrealism and realism, communicating the passage of time clearly but without interruption. My favourite scene is breathtaking: Sam and Greg hold each other and dream as the lights Jennifer Lal fade into a golden glow cast over their faces.

Special mention must be made to the live band Liam Kelly, Peter Scriven, and Gibson , who set the vibe of the show with buckets of grungey energy. And why, in , are the major studios still peddling a gotta-save-the-human-race narrative as something worth our time? The alien parasite, Venom, persuades Brock to form an alliance so that he can experience human life — and in return, Brock can enjoy his superhuman abilities. He soon discovers that Venom is slowly rotting his insides, but before he can wave goodbye to the alien forever, he must use their combined powers to defeat evil CEO Carlton Drake Riz Ahmed.

The closing stunt of Venom involves a lot of leaping around a space probe while it is in the process of launching. At times, Venom flirts with a kind of superhero body horror that I wish it had pursued further. Even more dismaying is that every single female character is a perfunctory plot device. Venom is silly without being fun, complicated without holding any nuance. Even Marvel fans might want to give this mediocre entry into the canon a miss. Goldschlag chose the former, a decision that catches up with her in Blonde Poison. Some 50 years after the war, she agrees to an interview with a journalist from her past.

The script is slow to start, convoluted, and tangential until about the half-way mark. If the goal is to foster sympathy for Stella, the details in the script are the devil here. I lose any shred of compassion I have left for the character when I find out she took pleasure in outing Jews to the Gestapo. Elizabeth Hawthorne carries the work and is phenomenal. She inhabits her character wholly, demonstrating the complete spectrum of human emotion with a mastery of her craft that is almost overwhelming to watch. Her performance in Blonde Poison should be lauded to the high hills and back again.

Three performers Nisha Madhan, Julia Croft, and Virginia Frankovich stare at the audience in an uncomfortable opening segment that feels like it goes on for hours. They then take the squeaky platform stage erected in the middle of the ordinary one superb performance design by Meg Rollandi and speak in chorus into three microphones, gradually fragmenting their collective voice until their words come in succession.

Their voices modulate, undulate, pulse, throb into a demonic harmony. Then the situation escalates — screaming and strobes ensue lighting design by Calvin Hudson before the performers emerge clad in pleather and smash the stage apart. They then bathe in clay. Conversing with the audience after the show, I discovered that a lot of people loved Medusa and a few hated it.

And I believe everyone who saw it alongside me will be too. It is awesome — and I mean that in the traditional sense of the word, awe-inducing — to see such a violently feminist work on such a mainstream stage. However, I feel like Medusa needs a lot more work. As it stands, it feels like an experiment and not a production. I also think that a stronger thread to Medusa needs to be woven — a little bit of coherency would validate the anarchy.

Just like the honey that Pooh Bear Jim Cummings loves so much, Christopher Robin is very sweet — but slow to get moving, and a little sickly at points. Evelyn signals that she wants Robin to shape up or ship out, but before he has a chance to react, Pooh Bear whisks him away to the Hundred Acre Wood.

There, his old friends Pooh, Eeyore, Piglet, and Tigger remind him of the value of friendship and family. Its plot — adult becomes lost in the mundanities of adulthood — is a tired one, complete with the tropes of a golf-playing boss and a presentation that is suddenly due right now. Moreover, it moves at a sluggish pace and leans heavily on Winnie the Pooh nostalgia; mums and dads in the audience might well up with happy tears as Pooh brushes his paw through heather, but little ones are likely to be less entertained. And hearing Cummings once again voice the famous honey-loving bear he voiced Pooh in several TV and film productions in the s really is lovely.

Christopher Robin is a good school holidays pick, even for very young children. Its light touch and tight cast make for a charming watch, but Christopher Robin is far from an instant classic. Some are even seated around the dinner table, while others help to cook dal, a traditional Indian dish that smells delicious. Rogers is a natural MC with an irresistible charm.

Together they make a dream team, guiding us through unfamiliar territory with ease. They also handle the audience with sensitivity, pushing the limits of acceptable decorum hilariously, I might add but never crossing the line. Was there any sign that the NZSO was jaded and bored? Not a bit of it! The concert was delivered with rigour, energy, and commitment. The conductor and orchestra delivered a performance with a wonderfully controlled range of dynamic contrasts and beautiful balance between strings and woodwind. A challenging work, it provides the soloist with every opportunity to display virtuosic technical skills and produce the dynamic range and strong and mellow singing tones the cello is capable of.

With apparent ease and without undue flamboyance though with delightful moments of playfulness , Andrew Joyce delivered technically and musically. The audience was spellbound. Initially, the beautiful and strange soundscape evoked a welcoming natural environment with an underlying sense of unease. The subsequent injection of martial bugles and marching rhythms reflected the conflict which occurred near Gisborne in This was beautiful and moving music, subtly performed.

They made a nice contrast, the former dreamlike, sensual, and impressionistic, the latter full of drama, romantic love, and tragedy. The Russian quartet has existed since , played at the funerals of both Stalin and Prokofiev, and their study of Shostakovich quartets was supervised by the great composer himself. This lineage inspires audiences no less than it must inspire the current players themselves. Throughout, the Borodin Quartet demonstrated its trademark qualities of restraint, clarity and purity of tone, and balance. The quartet does not wear its heart on its sleeve; there is very little visible communication between the players and there is a physical stillness that is striking and even a bit unnerving.

Audiences have become used to chamber music musicians who look more spontaneous and more involved in the music they are making. However, the extraordinary technical skills of the players were on full display, with the works providing opportunities for each to shine. Viola player Igor Naidin and cellist Vladimir Bashin produced a glorious and full tone at appropriate times, and first violinist Ruben Aharonian produced a miraculously sweet tone with a stunning economy of effort. All the works were beautifully played with a consistent and precise sound.

A sickly green pattern spirals on the floor and thunder cracks as gasps and clicks ensue. The Addams Family Theme has started, and the crowd literally goes wild. Although the audience is frenzied, they never let the electric atmosphere get to them, commanding every moment both as individuals and as a collective. Mia Alonso-Green does a fantastic job as Gomez Addams, maintaining a steady accent punctuated with a giggle that I find quite charming. As unofficial narrator, the show rides on his ability to drive the story forward.

However, his love for Moon Veronica Grace is lovely to behold. I left feeling joyful, and highly recommend The Addams Family to all. We see glimmering spiderwebs, prisms of light inside waterdrops, leaves shaking from the impact of nearby footsteps. The pair live on public land outside of Portland, foraging for mushrooms, collecting rainwater, and conducting drills to keep them safe from feral dogs. They seem happy, even thriving, in their invisible existence, although the roving camera never lets us forget its harshness.

One unlucky day, police and social services crash into their makeshift tarpaulin home and whisk them away to a rural commune where they both must adjust to a roof over their heads. Harcourt McKenzie daughter of New Zealand theatre matriarch Miranda gives an understated, stunning performance. She expresses reams of emotions with vocal tremors and the kind of embarrassing crying where your chin wobbles. The relationship between her and Will is tender, lovely, utterly trusting — acting work you know took weeks to develop in rehearsal.

While the themes of Leave No Trace are urgent, the pace of the film is anything but. Essentially, this story of a father and his daughter is about a broken man, broken America, and the quiet happiness that comes with the support of a community. Quiet, steady, and shot through with pain, Leave No Trace is a universal tale as tragic as it is hopeful.

And so, revolutionary women of their time are confronted by the ideals of ours. In act two, emotional backstories are awkwardly introduced. This would have been a wonderful opportunity to hear passages about the other historical figures in the play, but for some reason, all we get is a Katherine Mansfield piece. What about the other women? Another scene that stumps me is a surreal episode involving trees, which feels wholly disjointed and jarring. While Modern Girls in Bed boasts some fantastic performances — Lodge and Tarleton both have me giggling aloud at points — it requires a lot of refinement to reach its full potential.

An amalgam of historical figures, Maggie Flynn the young version of whom is played by Victoria Abbott, the older by Alison Bruce is a feisty Irishwoman whose husband, Captain Riley, dies aboard a whaling ship. Red Leap Theatre have created a stunning production out of this play. Exquisitely devised and flawlessly executed, there are many arresting moments that leave me breathless.

The cast rounded off by Katrina George spring from one character to the next with ease and flair, their talent a joy to witness.

Upcoming Events

Brief interludes of harmonious waiata send tingles up my spine, though I would have loved to have seen them performed with more confidence. Each cast member boasts a lovely voice. But after the shift in time, it hurtles forward faster than a derailed freight train. The Ballad of Maggie Flynn screeches to a halt and I leave feeling as if I could have easily watched a second half — as if the story, though tied in a bow, is incomplete. We should have known better of course. We were confronted with an unusual looking stage for Stravinsky's Symphonies of Wind Instruments Revised Version.

There were around two dozen players, but only woodwind, brass, and percussion. Melodious discord grabbed our attention immediately and it was wind vs. The sustained brass worked with nimble flutes and oboes, their phrases leaping and landing with an upward tilt, accented and sometimes with an almost Klezmer sound from clarinets.

The full orchestra returned for the Symphony in Three Movements , again with a strong opening. The impression left by these two pieces is that Stravinsky allowed all instruments their distinct voice, whether individually or in unison. A physical analogy might be a carefully balanced mobile or an exploded diagram of an engine, all the parts identifiably separate but clearly something greater when considered as a whole. Following the slightly detached sound of the Stravinsky, the impression was of a flock of birds heading home to roost, swirling, up, down and around. The often upbeat and harmonious themes provided many opportunities for instrumental voices to come to the fore and recede as others took their place.

In an outstanding example at the outset of the third movement, the clarinet showed incredible breath control, beautiful movement and tone in a fabulous solo. With a head full of ear worms, occasional phrases seemed to echo snatches of recognisable film scores. The passage of time means the echo is of course in the films, so perhaps we were more familiar with the programme than we had thought.

Scribblenauts - Walkthrough

Regardless, our preconceived notion was wrong. This was lovely, beautifully played music. Hadelich appeared to have a very strong emotional and physical connection to the music. His tone was impeccable and his technique was astonishing. His touch was amazingly sensitive and gave the impression this was in both hands — not just his bowing technique, but his fingering as well.

At times he appeared to be barely holding the bow against the strings while his left hand curled right around the violin to get further along the fingerboard, producing notes that seemed impossibly high, long, and beautiful. The audience loved him and it was clear the orchestra was really enjoying their performance experience with him too. After many rounds of applause and a standing ovation, we were treated to an encore.

While the much-used theme is familiar to many, it takes a live performance to understand just how difficult it is to play. Hadelich had no difficulty with the fast scales and arpeggios, double and triple stops, left hand pizzicato jaw-dropping skill , parallel intervals, and rapid string crossings. In a few minutes he wowed the almost full house to even greater applause.

Books by Gerald Schoenewolf (Author of Jennifer and Her Selves)

The terrific atmosphere and relaxed confidence of the first half spilled over into the Brahms Symphony No. The orchestra came to the party and played to their best. It was a great concert. I never really connected with her; a dusty historical figure, she came from a Wellington where travel to Karori could be likened to a trip to the country. The text is quite literary, like the ladies themselves, but surprisingly funny and expressive. Her fascinating performance as Woolf is refined, but shot through with powerful moments of jealousy, grief, and insanity.

The set is very pretty, with stage lighting and set pieces evoking the yellows and reds of the iconic portrait of Mansfield by Anne Estelle Rice. Other elements of the design seem to be there to wrestle with the gaps in the script, with varying levels of success. At other times, MacKinnon swaps costume pieces at either side of the stage to show the passage of time, which seems a little fiddly for the actor. Overall, the performances by MacKinnon and Robinson lift a tricky script off the page superbly.

Think of it like a dinner bell!

Ingrassia — December 16, , better known as Tony Ingrassia, was an American director, producer, and playwright whose works were produced on Broadway, Off Broadway, Off-Off-Broadway, and internationally. His family moved to Massapequa Park, Long Island, when he was 10 years old. He attended Massapequa High School and began working in theater as a teenager.

About his high school experience, Ingrassia said, "My weight was always up and down Narcissus s by Caravaggio Galleria Nazionale d'Arte Antica, Rome Narcissism is the pursuit of gratification from vanity or egotistic admiration of one's idealised self image and attributes. The term originated from Greek mythology, where the young Narcissus fell in love with his own image reflected in a pool of water. Narcissism is a concept in psychoanalytic theory, which was popularly introduced in Sigmund Freud's essay On Narcissism The American Psychiatric Association has listed the classification narcissistic personality disorder in its Diagnostic and Statistical Manual of Mental Disorders DSM since , drawing on the historical concept of megalomania.

Narcissism is also considered a social or cultural problem. It is a factor in trait theory used in various self-report inventories of personality such as the Millon Clinical Multiaxial Inventory. It is one of the three dark triadic personality traits the others being psychopathy and Machiavellianism. Except in the sense of primary n Countertransference and Counterresistance in Psychotherapy. This primer aims at both new and experienced professionals, outlining the various kinds of counterresistance, their manifestations and how to analyse and resolve them.

So begins Gerald Schoenewolf's study of hate. His main argument is that most people hate in destructive ways. As individuals we routinely act out hateful feelings - from jealousy to loathing to bitterness to contempt to disgust to irritation to rage - with hardly a backward glance. We are concerned with the immediate need to protect ourselves, or to get and create a climate of animosity and distrust. To hate well, we must be able to distinguish between our objective and subjective hate, willing to risk verbalizing the objective hate and determined to ride out the consequences of verbalizing it.

This book explores the many ways people express subjective hate - including characterological, perverse, cultural, political, sexual and parent-child hate. It provides a history of the development of the art of hating in the psychotherapeutic laboratory, and then a chapter on the "art of hating in everyday life". In a final chapter, "The Future of Hate", Schoenewolf confesses that this book is itself an expression of hate - objective hate - which he hopes will move readers to become more aware of how their subjective hate impedes them, It is written without psychoanalytic jargon and aims to be of interest to both professionals and lay people.

Countertransference and Counterresistance in psychotheraphy. The clinical blunders, chosen to convey the interpsychic, intrapsychic, and human aspect of the therapeutic dyad, illustrate a variety of dilemmas in an accessible form, and they now also address how supervisors react to their own countertransferences. Countertransference and counterresistance are universal, and this edition, like its predecessor, makes an absolute case for therapists to undergo a real, personal analysis.

The examples of therapeutic blunders and 11 supervisory blunders are presented simply, dramatically and often humorously, so that therapists of all persuasions can understand them. Drawing from his experience and clinical histories, the author gives a presentation of what the therapist does and how it contributes to successful treatment.

Gerald Schoenewolf takes readers into his consulting room, vividly portraying his patients and the ways in which he was able to help them. The author demonstrates how he uses eclectic psychodynamic therapy - an integration of cognitive, behavioral, gestalt, and psychodynamic techniques - to meet the needs of a variety of patients. Readers will be enlightened by the unfolding of emotional mysteries, and therapists of every persuasion will find this book informative and engaging.

Checkout Your Cart Price. Browse All departments All departments Books 23 Promotions Status Available to order Brand Jason Aronson Inc. R Discovery Miles 4 R R Discovery Miles 1 R79 Discovery Miles R48 Discovery Miles R Discovery Miles 5 R R Discovery Miles 2 R R Discovery Miles 6 Subscribe to our newsletter Some error text Name.

• The old man in the desert
• Fourth (4th) Grade Rats Reading Group Activity Guide
• The Next Chapter
• A War of Their Own: Bombers over the Southwest Pacific - World War II Fifth Air Force Air War, General George Kenney, U.S. Army Air Forces (AAF)
• Ins Freie: Roman (German Edition)
• Vivo; The Life of Gustav Meyrink (Dark Masters)