Henrik nanasi biography of michael jackson
This despite the fact that, unlike N., I consider The Two Towersto be the best of the set. This was the one which, when I went to see it at first run, I couldn't find an empty seat in the packed theater and watched it sitting on the carpet in an unoccupied wheelchair alcove, spending half the time marveling at the spectacle and grandeur, and half the time curled up on the floor whimpering in agony over everything else. That I still found it the best of the three movies should convey just how bad an adaptation the whole mess was.
(B. will say, "Wait a minute. We saw this together, and I don't remember anything about curling up in a wheelchair alcove." I didn't tell her this at the time, but with her was the second time I saw the movie. I had to see it again, because I couldn't believe my eyes from what I saw depicted on screen the first time.)
N. is properly critical of the adaptation of Faramir. J-Faramir, completely unlike his book counterpart, tries to arrest Frodo and Sam and take the Ring to Minas Tirith, and then inexplicably changes his mind and lets them go. I'd like to get into this from a couple levels, because I think it's the key to Jackson et al's failure.
I recently conversed with a man who said that listening to the film-makers' commentary on this scene is what finally enabled him to understand why the movies made the changes they did and forgive them. That's dismaying, I said, because I listened to the same commentary track and found it the final proof that the writers did not understand or appreciate Tolkien's book. To change a plot point because you consider it necessary for the ad
PROGRAM NOTES
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OPERA’S GREATEST HITS
April 20, 2024 @ 7:30 pm
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Enjoy familiar opera choruses, orchestral interludes and arias from favorite composers like Verdi, Puccini, Donizetti, Rossini, and Wagner. Our award-winning cast includes soprano Jasmine Habersham, mezzo-soprano Laurel Semerdjian, tenor Miles Mykkanen, and baritone Jarrett Ott, along with the Syracuse University Oratorio Society and The Syracuse Orchestra!
PRE-PAID PARKING NOTE: The Harrison Street entrance and exit will be closed due to construction outside the building. All vehicles with a maximum clearance of 6’5″ are encouraged to use the upper Montgomery Street entrance. The Madison Street entrance and exit clearance is 6’5″ and should be used to exit the garage.
PROGRAM
ROSSINI: Overture to Il barbiere di Siviglia
VERDI: La donna e mobile fromRigoletto
Miles Mykkanen, tenor
PUCCINI: O mio babbino caro fromGianni Schicchi
Jasmine Habersham, soprano
WAGNER: Prelude to Die Meistersinger
MOZART: La ci darem la mano from Don Giovanni
Laurel Semerdjian, mezzo-soprano
Jarrett Ott, baritone
MASCAGNI: Intermezzo from CavalleriaRusticana
ROSSINI: Largo al factotum from Il barbiere di Siviglia
Jarrett Ott, baritone
VERDI: Quartet from Rigoletto
Jasmine Habersham, soprano
Laurel Semerdjian, mezzo-soprano
Miles Mykkanen, tenor
Jarrett Ott, baritone
INTERMISSION
VERDI: Triumphal March from Aida All material found in the Press Releases section is provided by parties entirely independent of Musical America, which is not responsible for content. FOR IMMEDIATE RELEASE www.nyfos.org August 18, 2022 - New York, NY — New York Festival of Song (NYFOS), led by Artistic Director Steven Blier, opens its 2022-23 Mainstage Series with HEROES onWednesday, September 28, 2022 at 8:00pm at Merkin Hall, co-presented by Kaufman Music Center. The concert features mezzo-soprano Kara Dugan, baritone John Brancy, violinist Charles Yang, with pianists Peter Dugan and Artistic Director Steven Blier. The program, a vibrant and eclectic tribute to the men and women who inspire us, first premiered as part of NYFOS@Home Digital Series in 2021 and presents songs by Gluck, Schubert, Bernstein, Stevie Wonder, Bob Dylan, and others. NYFOS 35th season, which also marks Mr. Blier’s 50th year as a professional musician, is devoted to the idea of resilience. “John Brancy, Charles Yang, and the two Dugans (Peter and Kara) are a modern dream team,” said Mr. Blier. “I worked with all of them when they were students, and they have gone on to be accomplished professionals with skyrocketing careers. In a miraculous stroke of luck, they were all in town this September to reprise and expand a concert we first offered as a video a year ago. At that time I proposed the theme of heroism, on a hunch that it would resonate SAN FRANCISCO, CA—The San Francisco Symphony and Cartier are pleased to announce a multisensory performance of Alexander Scriabin’s Prometheus, The Poem of Fire, March 1–3, 2024 at Davies Symphony Hall in San Francisco. Devised by San Francisco Symphony Music Director Esa-Pekka Salonen, pianist Jean-Yves Thibaudet, and Cartier in-house perfumer Mathilde Laurent, this collaboration marks the world premiere of an immersive presentation of Prometheus that combines a dynamic musical and light performance with olfactory curation. In ancient Greek mythology, the Titan Prometheus stole fire from his fellow gods on Mount Olympus and gifted it to humankind, thereby endowing mortals with the technology vital for civilization. Scriabin’s 1910 tone poem, Prometheus, The Poem of Fire, captures the monumentality of this legend and its consequences for humanity. Scriabin envisioned a total, consuming work of art, one that encapsulated his own synesthetic leanings (he reportedly saw sound in color), ultimately subliming his audiences to another plane of consciousness. “Scriabin scored Prometheus for light and color as well as music, but one of his dreams was to add more senses to the score, including scent. This idea has always fascinated me, as somebody who has always loved working together with artists from a variety of disciplines,” says Thibaudet. “I am excited that we now have the technology to bring Scriabin’s dream to life, and to be a part of this project with Esa-Pekka and Mathilde. This project shows us what is possible when there is collaboration within the arts: how different art forms and different senses can enrich one another, and in doing so enrich our lives and our experiences both inside and outside of the concert hall.” As it was, the technology required to translate Scriabin’s total
Syracuse University Oratorio Society
DONIZETTI: Una furtiva lagrima from L’elisir d’amore
Miles Mykkanen, tenor
VERDI: Va pensiero from Nabucco
VERDI: Caro nome from Rigoletto
Jasmine Habersham, soprano
MASSENET: Choisir! Et pourquoi? … O Rosalinde from Manon
Jarrett Ott, baritone
BIZET: Danse Bohème from Carmen
BIZET: Habanera from Carmen
Laurel Semerdjian, mezzo-soprano
Syracuse University Oratorio So
Contact:
Katlyn Morahan
Morahan Arts and Media
katlyn@morahanartsandmedia.com
(646) 378-9386
NEW YORK FESTIVAL OF SONG OPENS 35TH SEASON WITH HEROESAT KAUFMAN MUSIC CENTER
ON SEPTEMBER 28A Tribute to Inspiring Men and Women with Music by Gluck, Schubert, Bernstein, Stevie Wonder, Bob Dylan, and Others
Featured Artists Include Kara Dugan, John Brancy,
Peter Dugan, and Charles Yang“insightful and imaginative, touching and funny” —The New York Times