Alana Hamilton, Penny Lancaster and Rachel Hunter have all been married to which British singer?

Rod Stewart - Biography - IMDb Rod Stewart Biography Showing all 82 items Jump to: Overview  (4) | Mini Bio  (1) | Spouse  (3) | Trade Mark  (2) | Trivia  (38) | Personal Quotes  (34) Overview (4) 5' 10" (1.78 m) Mini Bio (1) Rod Stewart was born on January 10, 1945 in Highgate, London, England as Roderick David Stewart. He has been married to Penny Lancaster since June 16, 2007. They have two children. He was previously married to Rachel Hunter and Alana Stewart . Spouse (3) ( 6 April  1979      - 1984) (divorced) (2 children) Trade Mark (2) Fifth child of Robert and Elsie Stewart. His brothers and sisters are Mary, Peggy, Don and Bob. Has eight children: Sarah Thubron Streeter (born 1964) born to art student Susannah Boffey; Kimberly Stewart (born 21 August 1979) and Sean Stewart (born 1 September 1980) born to Alana Stewart (ex-wife of actor George Hamilton ; Ruby Stewart (born 17 June 1987), born to Kelly Emberg , his girlfriend at the time; Renee Stewart (born 1 June 1992), Liam McAlister Stewart (born 4 September 1994), born to ex-wife Rachel Hunter , a model, Alistair Wallace Stewart (born 27 November 2005) and Aiden Stewart (born 16 February 2011), born to wife Penny Lancaster . Contrary to popular belief, he was never a professional soccer player with Brentford Football Club before becoming a musician, this was one of many stories invented by his publicist when Rod was starting to hit the big time. Rod was successfully sued by Brazilian singer Jorge Ben Jor who claimed the tune to Rod's "Do Ya Think I'm Sexy?" was too similar to his song "Taj Mahal". Ben won the lawsuit and asked Rod to donate all his profits from the song to UNICEF. His daughter, Kimberly Stewart , designs shoes. Lead singer for the 1970s rock group The Faces . Inducted into the Rock and Roll Hall of Fame in 1994. Gave his friend Elton John the nickname "Sharon". Covered Elton John 's hit song "Your Song". Although he was born in England and has English blood on his mother's side, he has Scottish blood on his father's side and prefers to be considered a Scotsman. In 1998, he bought the Victorian mansion Stargroves in Hampshire, which had previously belonged to Mick Jagger of The Rolling Stones . He put on the first concert at SkyDome in Toronto, Canada in 1989. Voted the sexiest male spectacles wearer in a 2004 poll by Specsavers opticians. (March 9, 2005) Proposed to girlfriend Penny Lancaster at the top of the Eiffel Tower in Paris, France. They married according to their plan, on board his yacht "Lady Anne MaGee" in the Portofino harbor, Italy, after his divorce from Rachel Hunter was finalized. Contray to rumor, he did not play the harmonica on Millie Small 's 1964 #2 hit "My Boy Lollipop", her credited as Millie. Underwent successful surgery for thyroid cancer in July 2000, and announced he was completely recovered in January 2001. In an early stage of The Kinks , before future frontman Ray Davies was willing to be the lead singer, they recruited Stewart (who grew up in the same neighborhood as the Davies brothers) as a singer. After a couple of weeks of trying to be a band, Stewart and the future Kinks found that they did not get along that well, with their musical tastes being too different, and parted ways. First artist to record the Burt Bacharach / Carole Bayer Sager song "That's What Friends Are For" (for the movie Night Shift (1982)), four years before it became a number one hit for Dionne Warwick , Elton John , Gladys Knight and Stevie Wonder . Was the original lead singer of the Jeff Beck Group. However, when the band was scheduled to appear at Woodstock he quit on the eve of the show due to the fact that his best friend Ronnie Wood , who was playing bass at the time, was kicked out. Is a supporter of Glasgow Celtic Football Club. Winner of the 1993 Brit Award for Outstanding Contribution. He was awarded the CBE (Commander of the Order of the British Empire) in the 2007 Queen's New Years Honours List for his services to music. The story that Rod once worked as a gravedigger was another myth which he created with his publici


Which opera by Richard Strauss was banned in London by the Lord Chamberlains’s Office until 1907?

Salome, Richard Strauss - The Quarterly ReviewThe Quarterly Review Salome, Richard Strauss Salome with the Head of John, Sebastiano del Piombo Salome, Richard Strauss Salome, Richard Strauss, Deutsche Oper Berlin, April 2016. Director Claus Guth (revival director: William Robertson), Das Orchester der Deutschen Oper Berlin conducted by Alain Altinoglu. Reviewed by Tony Cooper First performed at the Hofoper, Dresden, in 1905, Richard Strauss’ one-act opera Salomé was part of Deutsche Oper’s mini-Strauss fest (five operas in the same amount of days) which has been a highly successful venture with capacity houses. Set to a German libretto based on Hedwig Lachmann’s translation of the play Salomé by Oscar Wilde, the opera was famous (at the time of its première, infamous) for the erotically-charged ‘Dance of the Seven Veils’ but in this production eroticism was nowhere to be seen. This would have pleased the original Salomé, Marie Wittich, an outstanding singer who worked at the Dresden Royal Opera for a quarter of a century. She refused point blank to perform the ritualistic dance and a trained dancer had to take her place. The opera courted controversy from the outset and was banned in London by the Lord Chamberlain’s office until 1907. Sir Thomas Beecham presided over its first performance staged at the Royal Opera House, Covent Garden, in December 1910. Claus Guth (revival director: William Robertson) delivered a thought-provoking production that was different and certainly challenging. For instance, six young characters represented Salomé ranging from early childhood to young adulthood. And later in the opera King Herod is seen as the proprietor of a bespoke tailor and outfitters’ shop while many of the main characters are portrayed as statuesque figures resembling tailors’ dummies. Only one of the junior team enjoyed a singing role while the other members were engaged in such activities as removing corpses or taking part in the ‘Dance of the Seven Veils’, in a sequence reminiscent of Strictly. In Strauss’ view, Salomé should appear like ‘a 16-year-old girl with the mature voice of a character such as Isolde’. The English-born soprano from Stoke-on-Trent, Allison Oakes (who now lives in Berlin), certainly fitted that description. Ms Oakes – who indeed commenced the current season making her début as Isolde at Theater Dortmund and will be returning to Bayreuth this summer reprising the role of Gutrune in Götterdämmerung – was a joy not only to listen to but to watch, for her dramatic presentation matched her vocal shrewdness. In the opening scene we see the hedonistic life of the court of Herod, who is married to Salomé’s mother, Herodias, the former wife of his brother, but is sexually attracted to Salomé and considers making her his Queen. Salome and the Apparition of the Baptists’s Head, Gustave Moreau But Salomé has a different agenda and harbours a bizarre sexual fascination for Jochanaan who is kept in solitary confinement by Herod living partially clothed in a dingy cell. When he emerges from it to take his place at court, he rises from beneath a pile of old clothes to condemn the profanities of the court and to urge its members to change their wayward ways and seek redemption. One striking aspect to Herod in this production is his sartorial elegance and the male members of his court were duly suited in the latest fashion. In due course, Jochanaan is dressed in a light-grey three-piece suit to match that worn by his captor. German baritone Michael Volle put in a commanding performance as Jochanaan. His imposing physical frame combined with his deeply-etched facial features were reminiscent of Peter Paul Rubens’ masterpiece The Beheading of St John the Baptist, while his strong, wide-ranging baritone voice was perfect. Belgian tenor, Thomas Blondelle, as Herod, interpreted this pivotal role in an un-nerving way, especially when pressed by Salomé for the head of Jochanaan. At one moment coming on strong, at another offering her anything but the prized head that she desires. She declines all his offers from white pea


The aria ‘Un bel di vedremo’ (One fine day) is from which opera by Giacomo Puccini?

Giacomo Puccini — Un bel di vedremo — Listen, watch, download and discover music for free at Last.fm italian Act 2 17. Un bel dì, vedremo ("One fine day, we will see"). Butterfly says that, "one beautiful day", they will see a puff of smoke on the far horizon. Then a ship will appear and enter the harbor. She will not go down to meet him but will wait on the hill for him to come. After a long time, she will see in the far distance a man beginning the walk out of the city and up the… read more Don't want to see ads? Subscribe now Similar Tracks


The one-act comic opera ‘Bastien und Bastienne’ was the first by which composer aged 12?

Bastien und Bastienne : K. 50 (46b) ; a one act comic opera. (Musical LP, 1976) [WorldCat.org] The E-mail message field is required. Please enter the message. E-mail Message: I thought you might be interested in this item at http://www.worldcat.org/oclc/5982066 Title: Bastien und Bastienne : K. 50 (46b) ; a one act comic opera. Author: Wolfgang Amadeus Mozart; Edith Mathis; Claes-Håkan Ahnsjö; Walter Berry; Leopold Hager; Mozarteum-Orchester, Publisher: [Villingen, Germany] : [Köln, Germany] : MPS ; BASF [New York, N.Y.] : Audiofidelity Enterprises, [1976] [1976] ℗1976 OCLC:5982066 The ReCaptcha terms you entered were incorrect. Please try to match the 2 words shown in the window, or try the audio version.


What is the title of the only opera written by Beethoven?

Fidelio: The Problem of Beethoven and his Only Opera – Lesson 1 ~ THE MUSICIAN'S LOUNGE Lesson One: Composition and Disastrous Premiere(s) by Luke Howard It might seem strange that one of the most innovative and talented composers in the history of Western music, the man who single-handedly revolutionized the symphony, string quartet, and piano sonata in the early 19th century, should write only one opera. Music seemed to flow naturally from Beethoven. It’s true that, unlike Mozart, his music did not emerge with seemingly effortless facility; we know from his sketchbooks and letters something of the struggles he endured to compose. But it was almost always produced with supreme artistry and, yes, genius. Nobody questions Beethoven’s gift. So why only one opera? And why should he feel the need to revise it so frequently? Why are there four different overtures for the opera? Clearly, the gestation of Fidelio was a challenge that created more than the usual amount of trouble for the composer. Joseph Sonnleithner and Jean-Nicolas Bouilly Beethoven started work on Fidelio in early 1804, but it was not premiered until 1805. It was revised the following year (and performed with almost exactly the same cast), and revised again in 1814. All three versions were published together as his Op. 72. The libretto Beethoven used in the 1805 version was by Joseph Sonnleithner, based on a French libretto by Jean-Nicolas Bouilly for the 1798 opera Léonore, ou L’amour conjugal composed by Pierre Gaveaux. (According to some sources, the original plot is based on a true story.) Bouilly’s libretto also served as the basis for the 1804 opera Leonora by Ferdinando Paer. At some point Beethoven procured a copy of Paer’s score for his own library, but no one is certain whether he had heard Paer’s opera yet or had access to the score while working on his own version. Certainly, he had begun thinking about his own opera before Paer’s was produced in Dresden in October 1804. Pierre Gaveaux and Ferdinando Paer These various versions of the opera tell a roughly similar story. Leonore, disguised as a young (male) prison guard named Fidelio, manages to find her husband, Florestan, who has been kept as a political prisoner under the orders of a malevolent governor. She rescues him just as he is about to be murdered by the governor, and the couple are happily reunited. These kinds of “rescue” operas, very popular in post-revolutionary France, were enjoying a renewed vogue as Napoleon’s army swept across Europe in the first decade of the 19th century. Although the plot is primarily about Leonore’s courage and her love for Florestan, the political undercurrents—highlighted in Beethoven’s version, especially—added some historical depth to the story. Fidelio was premiered at the Theater an der Wien in November 1805, only days after Napoleon and his army had occupied Vienna. With a popular storyline, contemporary political relevance, and nearly two years of effort by Europe’s leading composer of the day, Fidelio seemed to have all the ingredients for a success. But the performances were a disaster, attended by almost no one except for some of the composer’s friends and a handful of stray French soldiers. (Ironically, Beethoven’s Third Symphony, the “Eroica,” which expressed both admiration for and disappointment with Napoleon, had been premiered in the same theater several months earlier in 1805.) Problems with the libretto, and Beethoven’s inherent difficulty with producing convincing music for the stage, were the main issues. When he revised the opera the following year, it was performed by almost the same cast, and was slightly more successful. Beethoven had composed a new overture for the 1806 revision (now known as the “Leonore Overture No. 3”—the original 1805 overture is usually designated “Leonore Overture No. 2”), and tightened up the libretto, especially in the first half of the opera. It would have had a longer run had not Beethoven run into difficulties with the theater management. For a planned 1808 revival in Prague, Beetho


The first public opera house opened in 1637 in which European city?

HISTORY OF OPERA Enjoy the Famous Daily Roman revivals and intermezzi: 16th century In the spirit of the Renaissance , Roman plays are performed on festive occasions at the courts of Italian princes. Perhaps they prove a little heavy going for some of the guests. It becomes the custom to have rather more lavish musical entertainments (intermezzi, or intermediate pieces) between the acts, with spectacular stage effects, beautiful costumes and much singing and dancing. Isabella d'Este, in the audience for a performance of Plautus in Ferrara in 1502, much prefers the intermezzi in which satyrs chase wild beasts in time to a musical clock, Swiss soldiers engage in a dance of war, and a golden ball melts away to reveal four Virtues who sing a quartet.   The first intermezzi to be preserved in detail for posterity (because they are the first to be published as etchings) are performed to celebrate a wedding at the Medici court in Florence in 1589. The scenes are now close to those which will become familiar to opera audiences over the next two centuries - they include a heaven made up of clouds (in which the characters can sit and sing), a delightful garden, a rocky cave guarded by a dragon, and a sea scene with mermaids, dolphins and a ship. This combination of music and spectacle is now so popular with courtly audiences that it leads to a new development in Florence in 1597 .   Dafne: 1597 An unusual entertainment takes place at the palace of Jacopo Corsi in Florence, probably as part of the carnival festivities before Lent in 1597. The novelty is that the singers enact an entire drama, with music throughout, telling the story of Daphne who is changed into a laurel to escape the attentions of Apollo. The select audience is delighted. The author of the words, Ottavio Rinuccini, says that this first opera 'gave pleasure beyond belief to the few who heard it'. Most of the music of Dafne is lost but its composer, Jacopo Peri, describes eloquently the style of musical speech which he is pioneering - 'a harmony surpassing that of ordinary speech, but falling so far below the melody of song as to take an intermediate form'.   Monteverdi: 1607-1642 The director of music at the court of Mantua, Claudio Monteverdi, presents a festivity before Lent in 1607. His entertainment adopts the latest musical style, that of opera, which is just ten years old this year. La Favola d'Orfeo, described as a 'fable in music', tells in a prologue and five acts the story of Orpheus' love for Eurydice and his descent to the underworld to rescue her. Orfeo is Monteverdi's first attempt at opera. The part of Orpheus is sung by a castrato, starting an operatic tradition using castrati which will last for two centuries. A successful blend of recitative, songs and instrumental sequences makes Orfeo the earliest opera to hold a place, nearly four centuries later, in the repertory.   When the duke of Mantua dies, in 1612, Monteverdi accepts the post of Master of Music for the Venetian republic. His main task becomes the composition of sacred music for performance in St Mark's, and it is these pieces which first spread his fame through Europe. Fortunately for us the prosperous citizens of republican Venice see no reason why the new musical form of the day, opera, should be restricted to private performances for the aristocracy. In 1637 Venice opens the first public opera house, the Teatro San Cassiano. Monteverdi is now seventy, but his interest in the form is rekindled. Two operas survive from these last years, both of them masterpieces.   Il ritorno d'Ulisse in patria (The return of Ulysses to his country) is premiered in the Teatro San Cassiano in 1641. By then another public opera house on a grander scale, the Teatro Santi Giovanni e Paolo, has opened in the city. Here Monteverdi's L'Incoronazione di Poppea (The Coronation of Poppea) is presented in 1642. Monteverdi has a special ability to express emotion and drama in vocal music, even in an operatic convention which now seems formal. Contemporary accounts mention people weeping at his arias, and the Venet


Gioachino Rossini wrote the opera ‘The ‘what’ of Seville’?

The Barber of Seville | opera by Rossini | Britannica.com The Barber of Seville Alternative Titles: “Almaviva o sia l’inutile precauzione”, “Almaviva, or The Useless Precaution”, “Il barbiere di Siviglia” Related Topics musical composition The Barber of Seville, Italian Il barbiere di Siviglia, comic opera in two acts by Italian composer Gioachino Rossini ( libretto in Italian by Cesare Sterbini) that was first performed under the title Almaviva o sia l’inutile precauzione (Almaviva; or, The Useless Precaution) at the Teatro Argentina in Rome on February 20, 1816. With a plot based on Pierre-Augustin Caron de Beaumarchais ’s 1775 play Le Barbier de Séville , Rossini’s opera remains one of the most frequently performed comic operas in the repertoire . The barber of the title is Figaro , whose impressive entrance aria (“ Largo al factotum ”)—with its repeated proclamations of his own name—is one of the best-known of all opera arias. Background and context The Barber of Seville was commissioned by the impresario of the Teatro Argentina at the end of 1815, when Rossini was nearly 24 years of age. In deference to Giovanni Paisiello , a popular Italian composer who in 1782 had himself based an opera on the Beaumarchais play, Rossini called his own work Almaviva. (The title was permanently changed to Il barbiere di Siviglia for the Bologna revival August 10, 1816, after Paisiello’s death.) Nonetheless, the production was viewed by Paisiello’s supporters as an affront; a group of them came to Rossini’s premiere, and they booed and hissed throughout the performance. The work was barely ready, and the performers were underprepared. Overall, the opening night was plagued by mishaps and pranks. Gioachino Rossini. © Photos.com/Thinkstock Not surprisingly, for the opera’s second performance Rossini decided to stay home. But this time the audience—presumably lacking Paisiello’s disruptive fans—was wildly enthusiastic; afterward they took to the streets and gathered outside the composer’s house to cheer. Before long, productions were mounted across Europe and beyond; in 1825 the opera became the first to be sung in Italian in New York City . Similar Topics Carmina Burana During the 19th and 20th centuries, performances of the opera reflected common changes in fashion, some of which can be heard in recordings that remain in circulation. In the 19th century it was common for operas to be split into additional acts so that elaborate scene changes could be accomplished. The Barber of Seville was turned into a three-act production by splitting Act I between the outdoors serenade scene and the interior scene at Bartolo’s house. The most frequent change to the opera was the transposition of Rosina’s part from the original mezzo-soprano into a higher soprano range to accommodate the usual leading singers; when that was done, Berta’s range was lowered to mezzo-soprano so that contrast between the women’s voices was preserved. (Rossini’s use of highly ornamented mezzo-soprano coloratura roles is distinctive and rare in the repertoire.) In addition to these large-scale changes, the opera became laden with errors and changes in orchestration and structure that accumulated to become performance tradition. For example, in published scores Rossini’s piccolo part was changed to a flute part, extra bass and percussion parts were added, and copyists’ errors were perpetuated. There was nothing approaching an authoritative score—that is, one based on evidence from the composer’s original materials—until 1969. Count Almaviva , a young nobleman ( tenor ) Rosina, a young lady and ward of Doctor Bartolo (mezzo-soprano) Doctor Bartolo, Rosina’s guardian ( bass ) Don Basilio, a music teacher (bass) Fiorello, Almaviva’s servant (baritone) Berta, Bartolo’s housekeeper (soprano) Ambrosio, Bartolo’s servant (bass) Notary, constable, musicians, servants, soldiers Setting and story summary The Barber of Seville is set in Sevilla , Spain , in the 17th century. Act I Scene 1. Dawn, outside Dr. Bartolo’s house near Sevilla. Young Count Almaviva is in love with Rosina, wa


What was the first name of Italian tenor Caruso, born in 1873?

Enrico Caruso | Italian opera singer | Britannica.com Italian opera singer Marian Anderson Enrico Caruso, original name Errico Caruso (born Feb. 25, 1873, Naples, Italy —died Aug. 2, 1921, Naples), the most admired Italian operatic tenor of the early 20th century and one of the first musicians to document his voice on gramophone recordings. Caruso was born into a poor family. Although he was a musical child who sang Neapolitan folk songs everywhere and joined his parish choir at the age of nine, he received no formal music training until his study with Guglielmo Vergine at age 18. Within three years, in 1894, he made his operatic debut, in Mario Morelli’s L’Amico Francesco in Naples at the Teatro Nuovo. Four years later, after adding a number of impressive roles to his repertoire , he was asked to create the role of Loris in the premiere of Umberto Giordano’s Fedora in Milan . He was a sensation and soon had engagements in Moscow, St. Petersburg (Russia), and Buenos Aires . He made his La Scala debut with La Bohème (1900). In 1901, after being unfavourably received in his performance in L’elisir d’amore in Naples, he vowed never again to sing in Naples, and he kept his word. Caruso then created the chief tenor parts in Adriana Lecouvreur, Germania, and La fanciulla del West, and for the La Scala company the tenor roles in Le Maschere and L’elisir d’amore. World recognition came in the spring of 1902 after he sang in La Bohème at Monte Carlo and in Rigoletto at London’s Covent Garden . He made his American debut in Rigoletto at the opening night of the Metropolitan Opera in New York City on Nov. 23, 1903, and continued to open each season there for the next 17 years, presenting 36 roles in all. His last public appearance—his 607th performance with the Metropolitan—was as Eléazar in La Juive (Dec. 24, 1920). Enrico Caruso as Canio (the clown) in Ruggero Leoncavallo’s opera … © Photos.com/Thinkstock Listen: Verdi, Giuseppe: excerpt from “Rigoletto” as performed by Caruso An excerpt from “


Who composed the 19th Century opera ‘La Boheme’?

opera: Opera in the Nineteenth Century Opera in the Nineteenth Century The Romantic Movement in Germany Hero worship, a return to nature, idealism, and fantasy are elements of late 18th-century romanticism that found their way into 19th-century German opera. Ludwig van Beethoven 's only opera, Fidelio (1805, rev. 1814), is set against the background of French rescue opera and the theme of personal freedom versus political tyranny. But it was Mozart's Die Zauberflöte, which rested on the foundations of singspiel, that was really the point of departure for German romantic opera—for E. T. A. Hoffmann 's Undine (1816) and Carl Maria von Weber 's Der Freischütz (1821) and Oberon (1826). These operas, although somewhat limited in melodic invention, fused in their plots the natural and the supernatural and paved the way for the grandiose music dramas of Richard Wagner , who also wrote his own librettos. Wagner's early operas, such as Rienzi (1842), based on Edward Bulwer-Lytton's novel of the same name, and Der Fliegende Holländer ( The Flying Dutchman, 1843) are Italian-style operas, with arias, duets, trios, and choral pieces. In the romantic tradition, he turned to medieval lore for Tannhäuser (1845) and to tales of chivalry and knighthood for Lohengrin (1850), Tristan und Isolde (1865), and Parsifal (1882). Die Meistersinger von Nürnberg (1868), Wagner's only comic opera, used the real-life cobbler and poet Hans Sachs as the central character. The set pieces of the Italian school were put aside in favor of leitmotifs (leading motifs) that were used to identify individual characters and situations and present a continuous flow of music, at times almost symphonic in nature, which was uninterrupted by recitative. The culmination of this technique was Der Ring des Nibelungen ( The Ring of the Nibelungs ), a tetralogy composed of Das Rheingold (1869), Die Walküre (1870), Siegfried (1876), and Götterdämmerung (1876). The Development of French Grand Opera and Opéra Comique After the French Revolution (1789), spectacular and melodramatic operas became popular. Outstanding examples are by Luigi Cherubini , Étienne Nicolas Méhul , Jean François Lesueur , and Gasparo Spontini . Extensive use was made of plots involving rescue. Paris had now become the center of operatic activity, and the performance there of Daniel François Esprit Auber 's La Muette de Portici ( The Mute Girl of Portici, 1828), also known after its hero as Masaniello, Gioacchino Rossini 's Guillaume Tell ( William Tell, 1829), Giacomo Meyerbeer 's Robert le Diable (1831), and Jacques Halévy 's La Juive ( The Jewess, 1835) established the grand opera tradition. Grand opera, of which Meyerbeer's works are the outstanding examples, typically feature historical subjects with pointed reference to contemporary issues, religious elements, and violent passions. The influence of French grand opera was enormous, reaching even to the early works of Wagner and Verdi. Hector Berlioz 's masterpiece Les Troyens ( The Trojans, 1856–58), while owing nothing to Meyerbeer, may also be considered grand opera. Opéra comique (distinguished from grand opera in that it had spoken dialogue) took two directions in the middle of the 19th cent., one lead toward operetta, the other toward a more serious, lyrical opera. Of that genre Ambroise Thomas , Charles Gounod , Georges Bizet , Léo Delibes , and Jules Massenet were the chief composers. Gounod's Faust (1859) and Bizet's Carmen (1875), two of the most popular French operas ever written, actually had spoken dialogue in their original versions, but this qualification for works given at the Opéra Comique Theater was ultimately dropped. The operas of Emmanuel Chabrier and Vincent D'Indy show the influence of Wagner, while Gustave Charpentier 's Louise (1900) is representative of naturalism. Perhaps the most complete realization of the ideals that had marked French opera from its beginning was Claude Debussy 's Pelléas et Mélisande (1902). Early-Nineteenth-Century Italian Opera In Italy, the voice remained master of the orchestra, and melody, prese


Tamino, Sarastro, Pamina and Papageno are all characters from which opera by Mozart?

The Magic Flute: characters | The Magic Flute The Magic Flute Characters The characters of Die Zauberflöte: thumbnail sketches Die Zauberflöte is a fairytale. The traditional oppositions between the characters of the chosen ones (Tamino/Pamina) and the non-initiated (Papageno), the good and wise (Sarastro, the priests) and their enemies (the Queen of the Night, the Three Ladies, Monostatos), are clearly motivated in dramaturgical terms, even if this does not forbid us from seeing them in a slightly different light. Here are a few cursory – and personal – sketches of them, rather like those one might make for use, say, in a little puppet theatre. Papageno : the birdcatcher, a clumsy, comical character written for the librettist to play, is the heir to the Kasperl and Hanswurst figures of Viennese popular theatre, a trace of whose accent he retains. The attribute of this ‘know-all’ who really knows nothing is a set of panpipes that can charm birds (he will also make incidental use of a set of magic bells). In a sense he lies at the centre of the opera: his failed, even parodic initiation sets in perspective the gravity of the itinerary followed by the Tamino/Pamina couple and the solemnity of a discourse which thus always remains human and accessible. He emerges as an amiable coward with a tendency to put his foot in it, deeply in love with life and with his Papagena, and his feathered person and catchy tunes add a touch of bright colour to the austere interplay of shadows and light which structures the drama. Tamino : the young man is in love with Princess Pamina. We admire his fine bearing, his extreme sensibility, his steadfastness in the trials, his sublime arias. Yet he makes an unexpected entrance by fainting before a serpent that pursues him. Of course it is not the serpent that frightens him, but what it symbolises. The Three Ladies save the young prince, the better to deceive his innocence and subject him to the power of the Queen of the Night. Only once he is inside the Temple does he understand that he has been tricked, a sign that his initiation has been successful. It is on this initiation of Tamino and Pamina – and alongside them the audience – that the entire drama rests. His attribute is a flute. As his initiation progresses, he will discover all its enchanted powers: it can charm the animals of the forest and will assist him in passing through the terrible trials of Fire and Water, thus helping to make the world a better place. Pamina : the object of both the noblest and the basest desires (Tamino and Monostatos respectively), she is Tamino’s reward for successfully undergoing his initiation. She is depicted in a portrait given to Tamino by the Three Ladies, in which, according to Papageno, she is seen with dark eyes, red lips and blonde hair. She encounters her beloved in a particularly dramatic scene, only to be separated from him again until they are at last reunited to accomplish the final trials of purification together. As the daughter of the Queen of the Night, she is torn between her filial love and her love for Tamino. She plays an active role on the path towards wisdom, leading Tamino behind her in the final trials. Mozart assigned her the most deeply-felt arias, quivering with emotion, sometimes desperate, in which she displays a nobility and resolution that foreshadow the qualities of the heroines of early Romanticism, such as Beethoven’s Leonore or Agathe in Der Freischütz). Papagena : she appears quite late in the opera, in a comic role (disguised as an old woman both physically and vocally) that culminates in a magnificent love duet with Papageno (the only true love duet in the opera). The Second Priest had promised her to Papageno if he passed his trials. Since such is not the case, she appears to him in the least attractive form imaginable. Yet love will transform her into a beautiful female birdcatcher. Her role is at once tender and mischievous. The father and the mother : Sarastro and the Queen of the Night. They too may be seen though the eyes of childhood. Sarastro : outward appearan


In 1991, who made 101 curtain calls and set a world record of one hour 20 minutes for applause for his role in Verdi’s ‘Otello’?

52 Interesting Facts about Opera | FactRetriever.com 52 Interesting Facts about Opera By Karin Lehnardt, Senior Writer Published January 7, 2017 The term “opera” comes from the Latin opus, or “work.” The term “soap opera” was first recorded in 1939 as a derogatory term for daytime radio shows that were sponsored by soap manufacturers.[6] When the notorious soprano Francesca Cuzzoni refused to sing the aria “Falsa immagine” from Handel’s Ottone, Handel grabbed her by the waist and swore he would throw her out the window if she did not agree.[3] In eighteenth-century opera seria (serious opera), the main singers would stand in ballet’s third position, with bent, bowlegged knees and heels together, with one ankle in front of the other. They remained in that position the entire song.[10] During the seventeenth century, women were not allowed to sing onstage, not even in a chorus. Castrated males, or castrati, would sing the soprano/mezzo/alto parts. The first of the great castrati was Baldassare Ferri (1610-1680). He was so famous that the town’s people met him three miles outside the city and filled his carriage with flowers.[5] After hearing of scandalous behavior at the Tor di Nona in 1697, Pope Innocent XII (1615-1700) decreed the opera house immoral and ordered it to be burned to the ground.[3] Amalie Materna, who played Brünnhilde during Wagner's lifetime (1876), may be the first proverbial "fat lady" The famous proverb “the opera ain’t over ‘til the fat lady sings” in reference to buxom Brunhilde’s 10-minute aria at the end of Wagner’s Ring cycle operas is usually attributed to pro basketball coach Dick Motta, who in turn attributes it to San Antonio sportswriter/broadcaster Dan Cook, who says he overheard a friend say it.[1] Jean-Baptiste Lully (1632-1687) is considered the father of French opera, though he was actually born in Italy. He pioneered the concept of the conducting stick but, unfortunately, he hit his own foot with a heavy conducting staff. His foot became gangrenous, ultimately killing him.[3] When Charles Gounod’s (1818-1893) opera Faust wasn’t selling tickets, the producer gave away tickets for the first three performances to people out of town and declared the performances were sold out. Wondering what all the fuss was about, the public began buying tickets, and Faust became a hit.[10] The founder of German opera is Christoph Willibald von Gluck (1714-1787) who was a major force in moving opera away from unnatural and dramatic practices to more realistic performances. He influenced greats such as Mozart and Wagner.[9] Mozart wrote his first opera, Bastien und Bastienne, a parody of Jean-Jacques Rousseau’s operatic intermezzo Le devin du village (The Village Soothsayer), when he was only 12 years old.[12] Beethoven wrote only one opera, Fidelio, a fiercely humanistic opera. He worked on it for 11 years, revising it over and over again. It was produced in 1805, just as his deafness was plunging him into depression.[10] Richard Wagner’s “Walkürenritt“ (“Ride of the Valkyries”) from Die Walküre (The Valkyrie), which debuted in 1870, is extremely popular in movies and TV shows, most notably in Apocalypse Now when U.S. soldiers blast this music from their helicopters to terrify the Vietnamese.[3] I love the smell of opera in the morning Wagner revolutionized opera by disposing of existing operatic rules and structures. He also created the “Leitmotif” (or leading theme), which is a musical theme that is associated with a main character. For example, in Star Wars, there is a different musical theme associated with Princess Leia, with Luke Skywalker, with Obi-Wan Kenobi, and with Yoda.[4] After an opera, it is appropriate to yell bravo for a man and brava for a woman. If you want to cheer for two or more singers, use the plural form, which is bravi. If the group consists only of women, yell brave (BRAH-vay).[11] In 1994, Warner Brother’s 1957 classic “What’s Opera, Doc?” featuring Elmer Fudd chasing Bugs Bunny in a parody of Richard Wagner’s Ring cycle operas, was voted #1 of the 50 Greatest Cartoons. It was a


The opera ‘Deliverence of Theseus’ by Darius Milhaud lasts how many minutes?

20 interesting Opera facts | Facts About All Facts About All 20 interesting Opera facts The word opera means "work" in Italian (it is the plural of Latin opus meaning "work" or "labour") The words of an opera are known as the libretto (literally "little book"). Some composers, notably Richard Wagner, have written their own libretti. During the seventeenth century, women were not allowed to sing onstage, not even in a chorus. Castrated males, or castrati, would sing the soprano/mezzo/alto parts. The shortest opera is only seven minutes long and is Darius Milhaud’s The Deliverance of Theseus. Traditional opera, often referred to as "number opera," consists of two modes of singing: recitative, the plot-driving passages sung in a style designed to imitate and emphasize the inflections of speech, and aria (an "air" or formal song) in which the characters express their emotions in a more structured melodic style. Opera composers would sometimes hire a group of people to cheer their works or boo the works of their rivals. Dafne by Jacopo Peri was the earliest composition considered opera, as understood today. It was written around 1597, largely under the inspiration of an elite circle of literate Florentine humanists who gathered as the "Camerata de' Bardi". When Charles Gounod’s (1818-1893) opera Faust wasn’t selling tickets, the producer gave away tickets for the first three performances to people out of town and declared the performances were sold out. Wondering what all the fuss was about, the public began buying tickets, and Faust became a hit. The honour of being the first opera still to be regularly performed, goes to Claudio Monteverdi's L'Orfeo, composed for the court of Mantua in 1607. Mozart wrote his first opera, Bastien und Bastienne, a parody of Jean-Jacques Rousseau’s operatic intermezzo Le devin du village (The Village Soothsayer), when he was only 12 years old. Beethoven wrote only one opera, Fidelio. Wagner revolutionized opera by disposing of existing operatic rules and structures. He also created the “Leitmotif” (or leading theme), which is a musical theme that is associated with a main character. Whistling at many European operas actually means “boo!” The earliest surviving opera (written by Jacopo Peri and Ottavio Rinuccini) is Euridice which was performed in Florence in 1600. Opera quickly spread from Florence to Rome, Venice, and all other major cities in Italy. Gioacchino Rossini (1792-1868) wrote one of the most famous operas, The Barber of Seville, in just two weeks. Enrico Caruso (1873-1921), arguably the greatest opera singer of all time, was the 18th of 21 children, only three of whom lived beyond infancy. After Plácido Domingo performed the title role in Verdi's Otello in Vienna on July 30, 1991, the audience clapped for one hour and 20 minutes (and 101 curtain calls), setting a new world record for the longest applause ever. Luciano Pavarotti received 165 curtain calls on February 24, 1988, after singing in Donizetti’s L’elisir d’amore in Berlin. Later in life, Wagner considered writing operas about Jesus Christ and Buddah. Contraltos are the lowest and most rare female voice category. They were often assigned roles originally written for castrati, or male singers who were castrated before puberty.


Which opera singer was born Claire Mary Teresa Rawston in 1944?

Dame Kiri Te Kanawa | New Zealand opera singer | Britannica.com Dame Kiri Te Kanawa Alternative Title: Claire Mary Teresa Rawstron Dame Kiri Te Kanawa Hildegard Behrens Dame Kiri Te Kanawa, original name in full Claire Mary Teresa Rawstron (born March 6, 1944, Gisborne , North Island , New Zealand ), critically acclaimed lyric soprano best known for her repertoire of works by Mozart and Richard Strauss . As a five-week-old infant, she was adopted by Tom and Nell Te Kanawa and given the name Kiri; Tom, like her biological father, was Maori , and his wife, like Kiri’s biological mother, was of Irish descent. Kiri attended a Roman Catholic girls’ college in Auckland, where one of the nuns was a well-known teacher of singing . After leaving school, she won various singing competitions in New Zealand and Australia, and, in 1966, after a period as a popular singer and recording artist, she became a student at the London Opera Centre. As a soprano, Te Kanawa shot to stardom in the 1970s with a series of appearances at the Royal Opera House , Covent Garden , London, and the enthusiastic support of conductors such as Sir Colin Davis and Sir Georg Solti . Her first big success was as the Countess in Mozart’s The Marriage of Figaro in 1971. That was followed by a run of Mozart operas and, among others, a production of Puccini’s La Bohème in which she sang Mimi. Her debut at New York’s Metropolitan Opera in 1974 as Desdemona in Verdi’s Otello was widely acclaimed. In 1981 she sang at the wedding of Prince Charles and Lady Diana Spencer, and her rendering of Handel’s “ Let the Bright Seraphim ” reached a worldwide television audience of more than 600 million. She was created a Dame Commander of the Order of the British Empire in 1982. She received similar honours in Australia (1990) and New Zealand (1995). Kiri Te Kanawa as the Countess in The Marriage of Figaro. © Hulton-Deutsch Collection/Corbis In addition to singing in a great number of opera recordings, Te Kanawa produced a number of popular recordings, including such works as Kiri Sings Gershwin (1987), Kiri Sings Porter (1994), Kiri Sings Berlin (1998), and Maori Songs (1999). Although in 2002 she began to scale back her appearances on the opera stage, she actively continued to perform concerts and recitals in connection with the Kiri Te Kanawa Foundation (2004), whose mission it is to provide support and financial aid to struggling singers and musicians of New Zealand. In August 2009 Te Kanawa announced that she would fully retire from opera the following year. Learn More in these related articles:


‘Premiere’ is the 2004 debut album of which opera singer?

BBC - Wales - Katherine Jenkins biography Katherine Jenkins biography top Last updated: 28 March 2011 In 2004, at the age of 23, Katherine Jenkins signed the largest record deal in UK classical recording history. But it was hardly an overnight success for this mezzo-soprano from Neath. By the age of seven, Katherine's early interest in pop had given way to a love of classical music, and she began taking piano lessons and joined the local choir. My three ambitions have always been to sing at the Millennium Stadium and the Sydney Opera House, and to get to number one in the classical charts. I can't believe I've done all three. Katherine Jenkins In the decade that followed she represented Wales three times in the Choirgirl Of The Year competition, twice won the BBC Radio 2 Welsh Choirgirl Of The Year contest, and won the BET Welsh Choirgirl Of The Year. She was a member of the Royal School of Church Music Cathedral Singers and the National Youth Choir of Wakes. Katherine won a scholarship to study at the Royal Academy of Music in London and graduated with honours. In October 2003 she sang at a mass honouring the Pope's silver jubilee at Westminster Cathedral. The same month she supported Aled Jones on tour, before performing at the Sydney Opera House as a special guest of Max Boyce . Since then she has become the official mascot for the Wales rugby team. Before the 2003 Rugby World Cup she recorded the Welsh team's official song, a version of Bread Of Heaven backed by a 100-piece male voice choir. Prior to that, she'd sung the Welsh national anthem Hen Wlad Fy Nhadau at Cardiff's Millennium Stadium before the Wales/England game. "I was so nervous before," she said, "but as I walked along the tunnel 70,000 people were singing Delilah. I just felt so at home that I wasn't the least bit nervous. I sang, walked off, and halfway up the tunnel I turned to jelly." Released in April 2004, Katherine's classical chart-topping debut album Premiere, is a mix of old standards including Ave Maria and The Lord Is My Shepherd, plus a smattering of traditional Welsh songs and new interpretations of classic tunes by Handel, Bach, Erik Satie and others. Before signing to Universal Classics, Katherine had worked as a music teacher. The catalyst for her pursuit of success was the death of her father when she was just 15 years old. In 2004 she performed at Westminster Cathedral, Sydney Opera House, the Royal Albert Hall and Cardiff's Millennium Stadium. In October the same year, Katherine's second album, Second Nature, was released, reaching number 16 in the UK pop charts. 2005 saw appearances at Tsunami Relief Cardiff and the G8 concert, Live 8, in Berlin. Katherine also became the new forces' sweetheart, performing at the VE Day anniversary concert at Trafalgar Square, at which she was introduced by Dame Vera Lynn. She went on to perform for the troops in Iraq in December 2005 and 2006. Following the release of Katherine's third album, Living A Dream, in October 2005, her three albums occupied the first three positions in the classical crossover music charts, making her the first artist to achieve this. The album earned Katherine her second Classical Brit award, following her win the previous year for Second Nature. Her fourth, Serenade, was released in 2006, followed by Rejoice in 2007 and Sacred Arias in 2008, her last recording for Universal before signing with Warner Music for allegedly the biggest classical recording deal in history. The album Believe was released in 2009. Katherine's high profile has led to appearances on many different platforms. She's had a cameo role in Emmerdale; modelled on the catwalk for Naomi Campbell's Fashion Relief charity event; appeared in The Apprentice and the Last Night Of The Proms in Hyde Park; toured with ballerina Darcey Bussell in their Viva La Diva tour; and sang alongside Rhydian Roberts in the X Factor final In 2010, she was a mentor on the ITV show, Popstar to Operastar, and made her TV acting debut in the Doctor Who Christmas special. Bookmark this page:


Which opera by Puccini was completed after his death by Franco Alfano?

Giacomo Puccini: Composer's life & music | Classic FM Giacomo Puccini Biography Giacomo Puccini (1858–1924) was an Italian composer whose operas, including La Bohème, Tosca, Madama Butterfly, and Turandot are among the most frequently performed. Life and Music Judged by contemporary standards, Puccini was something of a conservative. He described Stravinsky's Rite of Spring as "the creation of a madman". Puccini could hardly have wished for a better start then with his first opera Le Villi which was premiered in May 1884. Even the critics loved it, one journalist excitedly referring to Puccini as the "next Bizet or Massenet". La Boheme, premiered by Toscanini in 1896 and arguably Puccini's finest opera, caused the critics all sorts of problems, both in terms of the 'Oriental' harmonies of the third act and its generally fast-moving, almost conversational styles. The premiere of Madam Butterfly in 1904 was greeted by an uproar of jeers, whistles and farmyard noises, largely engineered by Puccini's enemies who were by this time understandably worried about his rapid rise to fame. In 1908 alone, Tosca was heard in 53 French opera houses, 12 in Spain, eight in both Austria and Germany and three in Switzerland. Puccini's final opera Turandot was left incomplete at the time of his death from heart failure, and was completed from his sketches by Franco Alfano in time for its 1926 premiere. Nonetheless it scored a resounding success and remains one of the few 20th-century operas to have sustained a firm foothold in opera houses throughout the world. The last word should go to Puccini himself who, when working on his final opera Turandot, commented: "Almighty God touched me with his little finger and said: "Write for the theatre - mind, only for the theatre.  And I have obeyed his supreme command". Did you know? Puccini composed Turandot, which includes one of the most famous arias ever written, Nessun Dorma. You might have heard it being sung at football matches, where it has become very popular due to The Three Tenors.


Carlos Marin, Urs Buhler, Sebastien Izambard and David Miller are members of which operatic pop vocal group?

Il Divo - Il Divo Merch Il Divo In their career to date, Il Divo have already proven how the power of music transcends category and defies definition.  And now their latest album appears certain to bring a whole new level of Latin fuego to the extraordinary Il Divo story, whilst showing how – after more than a decade topping charts around the world – they still ooze with their legendary passion. This is Il Divo’s seventh studio album – and their most ambitious yet. It is also, they are convinced, their sexiest. The flavours and sultry rhythms of Spain and Cuba, Argentina and Mexico give a nod to the quartet’s beginnings, whilst marking an exciting new chapter in their career. “AMOR & PASION” – an album full of love and romance. Il Divo have performed in front of the world’s great and good – from President Barack Obama to Her Majesty the Queen. They have shared microphones with fellow superstars from Barbara Streisand to Celine Dion and their sell-out concerts have been attended by Hollywood icons including Tom Hanks and Robert De Niro. To date, Il Divo have 30 million album sales under their belts. They have collected 160 gold and platinum awards in 33 countries. Not bad, considering the group worried there might not be a demand for their unique style of music.  Urs Buhler, Sebastien Izambard, Carlos Marin and David Miller were first brought together by Simon Cowell, in 2003. None of them suspected what a monumental impact their union would have. “I never thought we would be successful,” says Carlos. “I thought maybe we would do one record and then I would go back to my opera or my musical theatre or whatever.” Twelve years, and four world tours later, Carlos is delighted to admit he was wrong. “You stop, and you think: Wow! We’ve preformed for royalty and presidents. Gorbachev came to meet us – Obama, Bush. When we played Madison Square Gardens with Barbara Streisand, there was a knock on the door in the intermission and there was Hilary Clinton. She said: Hello I’m a big fan. Can I have a photo? And then Bill Clinton arrived and said: Hey, I play the saxophone. We could do a duet.  “We’ve had amazing experiences. I see everything as a film passing in front of my eyes. Sometimes you don’t really believe what you have achieved…” At their outset, Il Divo were four strangers of different nationalities, each with a distinguished but very different musical background. American tenor, David was a conservatory-trained opera singer, whose performance in Baz Luhrman’s La Boheme on Broadway had been critically acclaimed. Baritone, Carlos had been a child vocal prodigy – the ‘Little Caruso’ – recording his first album aged eight, with a career spanning stage and opera. Accomplished tenor, Urs, from Switzerland, played violin, clarinet, piano, guitar and drums and had even fronted a heavy metal band as a teenager, before choosing a classical route. Sebastien was a talented singer-songwriter, whose single Si Tu Savais had reached number one in the French charts. Initially, all they shared was their passion for their music, together with a certain curiosity at having been recruited into the quartet. But when they sang together, something exceptional happened.  The stellar success of their first album, Il Divo (2004), which sold more than a million copies in the UK alone in its first six weeks, and in total topped the charts in 12 countries, left no doubt that Il Divo were far more than music industry hype.  Their crossover of the classical and the popular, the multiple languages, the crescendo the operatic brings to much-loved hits and their refusal to be intimidated by the preconceptions of what was high-brow and what  was commercial – all stirred a longing in audiences. Around the world, a record buying public – who had long been dismissed as not quite discerning enough for opera, yet who had embraced the Three Tenors and Andrea Bocelli – welcomed the depths and textures and the thrilling sensuality the four very different voices of Il Divo created together.  Of course, their Armani-clad physiques did not hurt either. When Il Divo


‘I Don’t Know How to Love Him’ is a song from which rock opera?

I DON'T KNOW HOW TO LOVE HIM (Lyrics) - SARAH BRIGHTMAN - YouTube I DON'T KNOW HOW TO LOVE HIM (Lyrics) - SARAH BRIGHTMAN Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Jan 30, 2012 "I Don't Know How to Love Him" is a song from the 1970 rock opera Jesus Christ Superstar written by Andrew Lloyd Webber (music) and Tim Rice (lyrics), a torch ballad sung by the character of Mary Magdalene who in Jesus Christ Superstar is presented as bearing an unrequited love for the title character. The song has been much recorded with "I Don't Know How to Love Him" long being unique for having two versions concurrently in the Top 30 of the Hot 100 chart in Billboard magazine, specifically those recorded by Helen Reddy and Yvonne Elliman. Sarah Brightman (born 14 August 1960) is an English classical crossover soprano, actress, songwriter and dancer. She is famous for possessing a vocal range of over 3 octaves and singing in the whistle register. She sings in many languages including English, Spanish, French, Latin, German, Italian, Russian, Hindi, Mandarin Chinese and Japanese. Brightman began her career as a member of the dance troupe Hot Gossip and released several disco singles as a solo performer. In 1981, she made her West End musical theatre debut in Cats and met composer Andrew Lloyd Webber, whom she married. She went on to star in several Broadway musicals, including The Phantom of the Opera, where she originated the role of Christine Daaé. The Original London Cast Album of the musical was released in CD format in 1987 and sold over 40 million copies worldwide, making it the biggest-selling cast album of all time. For complete text pls visit Wikipedia, the free encyclopedia Category


The Chiffon cake, made with vegetable oil instead of butter, originated in which country?

As American as chiffon cake As American as chiffon cake June 29, 2016 12:00 AM Michael Heninger/Post-Gazette Orange chiffon cake is perfect for a Fourth of July picnic. Michael Heninger/Post-Gazette By Arthi Subramaniam / Pittsburgh Post-Gazette When it comes to cakes, it doesn’t get more American than a chiffon. The chiffon cake was born in California and changed the way America baked, says cake cognoscente Anne Byrn, who wrote the runaway best-seller, “The Cake Mix Doctor,” and the sequels, “Chocolate From the Cake Mix Doctor”; “The Dinner Doctor” and “Cupcakes From the Cake Mix Doctor.” Presidential cakes Presidents had their favorite cakes, too, and here are what some of them craved: • George Washington: Martha Washington Great Cake (a fruitcake made with wine). • Thomas Jefferson: An orange-flavored sponge cake. • Chester Arthur: Devil’s Food Cake. • Franklin D. Roosevelt: Fruitcake (dark, dense chocolate cake). • Richard Nixon: Baked Alaska (a sponge cake topped by a thick slab of ice cream and blanketed by meringue. It is then baked for about 5 minutes or until the top is golden brown). • Jimmy Carter: Lane Cake (a three-layered cake filled and frosted with a boozy custard packed with pecans, raisins and maraschino cherries). It was served in the Carter home during his childhood. — Anne Byrn Instead of butter, the chiffon cake uses vegetable oil for moistness and relies on beaten egg whites for volume and lightness, Ms. Byrn writes in her upcoming cookbook, “American Cake: From Colonial Gingerbread to Classic Layer, the Story Behind Our Best-Loved Cakes From Past to Present,” which will be released Sept. 6 by Rodale Books. The book methodically looks at how cakes have evolved from the Colonists’ era to now. The chiffon cake is quintessential American, Ms. Byrn says, unlike the gingerbread cake that came with the settlers, the sponge cake that had roots in England and France, the pound cake that originated in England and the angel food and crumb coffee cakes that immigrated with the Pennsylvania Dutch. Harry Baker, an insurance salesman whose hobby was baking, is credited to have created the first chiffon cake in 1927, using vegetable oil. He made it for the famous Brown Derby Restaurant in Los Angeles, which sold the cake to Hollywood stars. The story goes that he held the secret ingredient so close to his heart that he disposed his garbage of himself so that no one could find out why his cakes turned out so moist. He eventually sold the recipe to General Mills in 1948, so that “Betty Crocker could give the secret to the women of America.” Ms. Byrn spoke last week in a phone interview from Nashville, Tenn., on how to master baking a chiffon cake. Q: What do you think prompted Harry Baker to use vegetable oil instead of butter? A: I would have been fascinated to have interviewed Harry Baker about that. Vegetable oil was a key ingredient at that time, and he must have tasted a cake with it. After all, Wesson oil was a 20th-century game changer. Q: In addition to the oil, what are the key basics for a chiffon? A: Flour, sugar, a bit of leavening, salt and a lot of eggs. Also, the egg whites need to be beaten separately from the yolks. Strong citrus flavors like orange and lemon can be added as well. The cake is a very good keeper. Q: Other than a citrus chiffon, what other flavors appeal to you? A: Instead of oranges and lemons in the batter and an orange glaze, you can add a teaspoon of espresso and top the cake with a chocolate glaze. Or you can add coconut milk and coconut extract and top it with desiccated coconut. The chiffon is a good canvas and can go with anything. It is like an angel food cake in that regard. Q: What’s the best way to slice the cake? A: A serrated knife is the best because it helps to preserve the height of a tall cake. You work so hard on the volume and you don’t want to push it down. Instead saw into it gently. Q: Is it imperative to bake a chiffon in a tube pan or can it be baked in a Bundt, loaf pan or as cupcakes? A: It’s best to bake a chiffon in a tube pan because it offers the height


Which playing card is known as ‘The Curse of Mexico’?

Guide to games: Fascinating card facts | Life and style | The Guardian Fascinating card facts Share on Messenger Close Without cards, there would be no sarnies. You're probably aware the sandwich was named after the 18th-century earl. But do you know why John Montagu dreamed up his eponymous snack? Because he didn't want to leave the cribbage table to go to dinner. Many individual cards have picked up nicknames over the years. For example, the four of clubs is often known as Ned Stokes, the Devil's four-poster, or the Curse of Mexico; the queen of clubs, Queen Bess; the nine of diamonds, the curse of Scotland; the king of hearts, the suicide king (because he appears to be stabbing himself through the head); the king of diamonds, the man with the axe; the ace of clubs, the horseshoe; the ace of spades, old frizzle. The king of hearts is the only without a moustache - but not because of superior personal hygiene. He originally had one, but it was lost in the reproduction of the original design. A similar mistake caused his axe to become a sword. Ever wondered why the ace of spades' spade is larger and more ornate than the others? It's a tax thing. The first systematic duty was imposed on cards in 1711, and in order to indicate that the fee had been paid, a tax stamp was placed on the top card, which was usually the ace of spades. In 1828 it was decided instead that the Stamp Office would print an official ace of spades with the royal coat of arms to signal that the tax had been paid. Chemistry lessons would be a lot harder if it weren't for cards. For it was while playing his beloved patience that Russian scientist Dmitri Mendeleev had his brainwave about the organisation of the elements - and thus was born the periodic table. Gunfighter Wild Bill Hickok, who was shot dead at the poker table in 1876, is not the only famous person to have died while playing - comedian Buster Keaton and singer Al Jolson also pegged it at the card table. Cards were freely available in Britain from the 15th century onwards - until April 1940, when the Nazi invasion of Norway interrupted our supply of cardboard. Winston Churchill insisted that playing card manufacture be maintained at any cost, as they were the soldiers' principal form of entertainment in the trenches. During the Vietnam war, the US Playing Card Company manufactured crates of aces of spades to ship out to troops. Rumour had it that the Vietcong held the card in mortal dread, believing it to be the symbol of death. Rumour was wrong, but airdropping the cards over Vietnamese villages apparently helped the US soldiers' morale. A few common English phrases taken from the table: on the cards, play your cards right, steal a march (euchre), not my strong suit, streets ahead (cribbage), ace up your sleeve, beats me, call your bluff, high roller, pass the buck, up the ante, when the chips are down, left in the lurch, raw deal, follow suit, come up trumps.


What is the name of the Muppet rock band which features on the children’s television show ‘The Muppet Show’?

The Muppet Show Theme | Muppet Wiki | Fandom powered by Wikia The Muppet Show Theme Share Ad blocker interference detected! Wikia is a free-to-use site that makes money from advertising. We have a modified experience for viewers using ad blockers Wikia is not accessible if you’ve made further modifications. Remove the custom ad blocker rule(s) and the page will load as expected. Written by Publisher Fuzzy Muppet Songs "The Muppet Show Theme" was played at the beginning and end of every episode of The Muppet Show . Although it evolved visually over the course of the show's five seasons, the musical composition remained substantially the same. Contents Openings Season One Each episode of The Muppet Show opened on a shot of the title card, which in the first season was less ornate than the one that would replace it the following year. As the camera zoomed in, a spotlight immediately lit up the O, the center of which swung back to reveal Kermit , who introduced the "very special guest star" from this position before retreating behind the sign. The title card then lifted up to reveal the curtains and the camera pulled back to reveal the Muppet orchestra , including close-ups of Crazy Harry on the triangle, Zoot on sax, an uncharacteristically calm Animal on the drums, and Rowlf at the piano. Trumpet Girl and conductor Nigel could be also be seen in the pit in the long shot. Two kicklines, one of four chorus girls (a bewigged Janice , Miss Piggy , an apparently space-bending Trumpet Girl, and a female Whatnot ) and one of four chorus boys (a horned Whatnot monster, Blue Frackle , a Pig , and Green Frackle ) then took turns crossing the stage , the former group entering from stage right and the latter from stage left. The curtains then parted to reveal Fozzie Bear , who attempted a different joke each week, even though he was often cut off. As the curtains closed on Fozzie, Kermit appeared in front of them to introduce the guest star who, to much applause, was usually shown among an assortment of Muppets he or she would appear with later in the episode. In first season's earliest episodes, after the presentation verse by Kermit, the guest stars appeared in a position announcing their performance in the episode : Juliet Prowse teased by the Green Gazelles , Connie Stevens and the Mutations bumping each others as they do at the end of " A Teenager in Love ", Ruth Buzzi in her medieval dress hugging Sweetums , Rita Moreno attacked by Animal ... Jim Nabors was the first guest star surrounded by casual Muppets in the opening theme, as it will be usual in the next episodes of the season, with some exceptions ( Florence Henderson shown with the Frackles , Harvey Korman flirting with Miss Piggy , Sandy Duncan alone, Avery Schreiber and Ben Vereen with weird creatures, and Vincent Price with his gruesome team). The last verse of the theme song was then performed from a set of cake-like risers. Kermit and the chorus of Muppets, which also include Wayne, Wanda , and Snake Frackle , raised their arms as the song finished and the logo was once again lowered into place. From his perch on the topmost layer of the risers, Gonzo finished the theme each week by trying to hit the O like a gong, with a different result each week . Even when he managed to make contact, the results were never quite what he expected. The original, unaired pilot episodes for 101 and 102 featured a longer version of the theme. This earliest version had different shots of the chorus girls and boys, an additional verse sung by a kickline of monsters and creatures, and T.R. (performed by Frank Oz instead of Jerry Nelson ) introducing Kermit. The frog then showcased both a song by Wayne and Wanda and a dance, in addition to Fozzie's joke, before introducing the guest, who sang a verse of the theme. The opening can be currently found at the beginning of the unaired pilot version of episode 101, seen at the Paley Center for Media . Episode 103 featured the standard Season One theme but included an extra verse after the guest star introduction, in which Kermit previewed a cli


In the human body, Inguinal, Femoral, Epigastric ans Spigelian are all types of what?

Types of hernia - A guide to Hernias Sports  hernia These are all discussed individually within this guide. These are the most commonly known group of hernias. However, a hernia can develop as a result of a protrusion of any internal organ or tissue and not just through the abdominal wall. There are types of less well known hernias which include: Sciatic hernia: a type of  hernia in which a section of the small intestine protrudes into an opening  within the pelvis called the ‘sacrosciatic foramen’. Scrotal hernia: a type of  inguinal hernia which has pushed down into the scrotum. Vaginal hernia: also known  as ‘vaginocele’ (or a prolapsed vagina). This type of hernia occurs  in the vagina. Ovarian hernia: a type of  hernia which occurs within an ovary. Perineal hernia: another  type of hernia which is a protrusion within the floor of the pelvis.  They often develop as a result of surgery within that area, e.g. prolapsed  rectum. There are many variations of an abdominal hernia which involve a range of organs, for example the bowel, bladder and colon. But for the purposes of this guide, we discuss the most popular types of hernia as listed above.


Cuthbert Ottaway was the first captain of which national football team in their first official international match?

Cuthbert Ottaway - The Full Wiki The Full Wiki More info on Cuthbert Ottaway   Wikis Advertisements    Note: Many of our articles have direct quotes from sources you can cite, within the Wikipedia article! This article doesn't yet, but we're working on it! See more info or our list of citable articles . Related top topics Encyclopedia From Wikipedia, the free encyclopedia Cuthbert Ottaway, first captain of the England international football team, was regarded by contemporaries as perhaps the most versatile sportsman of his generation. Cuthbert John Ottaway (19 July 1850 - 2 April 1878) [1 ] , one of the most talented and versatile sportsmen of the 1870s, was the first captain of the England football team and led his side in the first official international football match . Ottaway was also a noted cricketer until his retirement shortly before his early death at the age of only 27. Contents 9 External links Early life, professional career and death Cuthbert Ottaway was born in Dover and educated at Eton (where he was a King's Scholar ) and at Brasenose College , Oxford , where he displayed a versatility as a sportsman matched only by his near-contemporary Alfred Lyttelton . Winning Blues for representing his university at football (1874), cricket (1870-73), rackets (1870-3), athletics (1873) and real tennis (1870-2), Ottaway trained as a barrister and was called to the bar in 1873. He married, in August 1877, Marion Stinson of Hamilton, Ontario , whom he met while touring Canada with an England cricket team, [2] and practised law until his death, in London , as a result of complications "from a chill," according to some accounts, "caught in the course of a night's dancing." Ottaway, whose death family sources more plausibly attribute to "tubercular trouble", had one daughter, Lilian, who was born after his death. He is buried in Kensal Green Cemetery . Club career Ottaway's greatest successes came as a footballer. He attended school and university at a time when the new Association code was gaining considerable popularity, and - as was often the case in the earliest days of the amateur game - represented several teams, playing for Old Etonians , Oxford University , Crystal Palace and Marlow As a club player, Ottaway took part in three successive FA Cup finals between 1873 and 1875, losing 1-2 with Oxford University against Wanderers in 1873, winning 2-0 with Oxford against Royal Engineers a year later, and then representing Old Etonians against Royal Engineers in 1875. He was noted for his speed and dribbling ability - this at a time when "the dribbling game", in which one man retained control of the ball for as long as possible until tackled, had yet to be superseded by the "combination" (passing) game. Ottaway played an important part in two of his three finals. In 1874 he captained Oxford and helped to pin the Engineers back in their own half for long periods with extended excursions into opposition territory. [3] He also participated in a three-man dribble that took the ball almost the whole length of the pitch and resulted in the scoring of his team's second and decisive goal. In 1875, Ottaway represented Old Etonians in a match notable chiefly because it was played in a "howling gale". The conditions considerably favoured the Eton team, which had the wind at its backs for all but 10 minutes of the 90, and all 30 minutes of extra time (teams in this period changed ends after every goal). Ottaway himself received a severe hack on his ankle 37 minutes into the final and was forced to leave the field; in his absence, the Old Boys were regarded as fortunate to have held on for a 1-1 draw. Ottaway failed to recover in time for the replay, held only three days later, and Etonians also lost the services of three other players who had prior commitments. Unable to obtain adequate replacements, the Old Boys arrived at the ground an hour late and lost the delayed replay 0-2. International career As an international, Ottaway was selected to lead the England team travelling to Partick to meet Scotland on 30 November 1872 in what


Late actress Greta Garbo was born in which European country?

GRETA GARBO BIOGRAPHY GRETA GARBO BIOGRAPHY     Actress Greta Garbo had a greater impact on her craft than did any other actress in the 20th century.  She introduced what is now called method acting to the screen, and in twenty-eight films, twenty-five of them filmed in the United States, redefined the image of women on the screen.  Her stunning beauty and style captured the hearts of millions. Born in Stockholm, Sweden, she was the youngest of three children of a working class family.  In 1920, she took a job as a salesperson at the leading Swedish department store, PUB, a job which led to her appearance in two advertising shorts for the store.  This led to her first film role in the comedy Peter the Tramp (1922).  Later that year she won a full scholarship to the Academy of the Royal Dramatic Theatre, the training ground for nearly every Swedish actor. In 1923 Garbo left the Academy to star in Mauritz Stiller's classic Gosta Berling's Saga, which premiered in 1924.  The film was a critical and commercial success.  Garbo's appearance in this film, and in the even more renown Joseph Pabst film Street of Sorrow in 1925, solidified her position as one of the premier actresses in Europe. Louis B. Mayer, the president of MGM, signed Garbo to a contract after viewing Gosta Berling's Saga, and she moved to California in late 1925.  Her first American film was The Torrent, which premiered in March of 1926.  The Torrent, The Temptress and Flesh and the Devil accounted for 13% of the revenue generated by all MGM films produced during the 1925/26 production year.  Garbo was now an international star. Given this success, MGM tried to renegotiate its original three year contract with Greta Garbo.  A protracted six month contract dispute was resolved in June, 1927.  In the next two years Garbo made seven more silent films, and accounted for 14% of MGM's profit from those two production years.  In her film roles and personal life, Garbo demonstrated the new potential for women in the modern world.  Many of her films were controversial at the time of their release. Greta Garbo's first talkies were English and German versions of an adaptation of Eugene O'Neill's Anna Christie.  Released in 1930,  Anna Christie marked Garbo's successful transition from the silent screen to the new world of sound pictures, a transition few of the silent stars were able to make.  She went on to make thirteen more films for MGM.  In the movies, Camille (1937) and Ninotchka (1939), Garbo delivers two of her most magnificent performances.  She received a special Oscar for her work in 1954. During the Second World War Greta Garbo took a break from the movie business.  Although she signed a contract for the production of a film in 1947, and considered projects well into the fifties, Garbo never made another film. In addition to her film legacy, Garbo sat for a number of stunning portrait photographs by a wide range of photographers, including; Edward Steichen, Ruth Harriet Louise, Clarence Sinclair Bull, Nikolas Muray, Arnold Genthe and Cecil Beaton. After the war, Garbo moved to New York, where she lived until her death in 1990.  Beyond her impact on the world of film, her status as a clearly modern woman captivated the world.  She set styles in fashion and beauty for decades.  She was the first woman to be viewed as both assertive and feminine.


What was the name of American frontiersman Davy Crockett’s rifle which was presented to him for his service in the Tennessee State Assembly?

The most famous rifle of Texas! Recreating Colonel Crockett's rifle at the battle of the Alamo. - Free Online Library The most famous rifle of Texas! Recreating Colonel Crockett's rifle at the battle of the Alamo. <a href="https://www.thefreelibrary.com/The+most+famous+rifle+of+Texas!+Recreating+Colonel+Crockett%27s+rifle...-a0110470560 Citations: MLA style: "The most famous rifle of Texas! Recreating Colonel Crockett's rifle at the battle of the Alamo.." The Free Library. 2004 Publishers' Development Corporation 18 Jan. 2017 https://www.thefreelibrary.com/The+most+famous+rifle+of+Texas!+Recreating+Colonel+Crockett%27s+rifle...-a0110470560 Chicago style: The Free Library. S.v. The most famous rifle of Texas! Recreating Colonel Crockett's rifle at the battle of the Alamo.." Retrieved Jan 18 2017 from https://www.thefreelibrary.com/The+most+famous+rifle+of+Texas!+Recreating+Colonel+Crockett%27s+rifle...-a0110470560 APA style: The most famous rifle of Texas! Recreating Colonel Crockett's rifle at the battle of the Alamo.. (n.d.) >The Free Library. (2014). Retrieved Jan 18 2017 from https://www.thefreelibrary.com/The+most+famous+rifle+of+Texas!+Recreating+Colonel+Crockett%27s+rifle...-a0110470560 Mystery surrounds the most famous rifle of Texas--the one Colonel David Crockett used in combat at the battle of the Alamo. The guns Crockett fired during the siege of the Alamo, or which rifle finally fell from his hand when the Mexican infantry surprised the outnumbered Texans in a pre-dawn assault against the north-east fortress wall may never be known with certainty. Known Crockett Rifles His first rifle, a .48-caliber flintlock, hasn't been outside Tennessee since 1806, and now resides in the pioneer collection at the East Tennessee Historical Society Museum in Knoxville. For much appreciated service in the Tennessee State Assembly, Crockett's Lawrence County constituents presented him with a .40-caliber flintlock crafted by James Graham around 1822. Calling this rifle "Old Betsy", Crockett used it to kill 125 bears between 1825 and 1834. When he departed for Texas in 1835, Davy left "Old Betsy" with his son, John Wesley. Today, it resides in the Alamo Museum collection in San Antonio. "Pretty Betsy," a rifle presented to Crockett in 1834 by the Whigs of Philadelphia, is located at Nashville, Tenn. None of these rifles took part in the Alamo fighting in the closing weeks of Crockett's life. Historical documents record Davy Crockett sold two dries to Colonel Neal of the Texas Army in January 1836, and that he had not been paid for the rifles when the Alamo fell in March 1836. After subsequent entreaties by his daughter, the Texas government finally paid Crockett's estate for these two rifles. Unfortunately, no specific details exist about the rifles Crockett sold to the Texas Army. Echo Of A Craftsman In San Antonio's Alamo museum, visitors can view an old flintlock rifle with brass patchbox and barrel markings strongly suggesting a specific 19th century gunsmith, Jacob Dickert, as being the maker of the rifle. This display rifle, according to the museum curator, was re-constructed in the 1920s by a local gunsmith using various parts donated by many Texans, and reported to come from rifles once used at the Alamo. This rifle makes a powerful statement that Dickert rifles were used by at least one of the Alamo's defenders. As historian and master gun maker Mike Branson explains, original siege reports from Mexican officers at the Alamo record the presence of a tall, slender man wearing fringed leather clothing and a hat made from an animal skin, whose long-barreled rifle proved deadly at 100 and 250 yards. All historians agree Davy Crockett died at the battle of the Alamo, but actual facts are hard to pin down. Some hold the sharp-shooting frontiersman fell in battle, surrounded by piles of slain Mexican soldiers. Others argue Crockett realized the futility of continued resistance early in the crisp, smoke-filled dawn of March 6, 1836 and surrendered, only to be summarily executed at General Santa Anna's order later that same


The icing on a Tompouce cake is traditionally which colour?

15 Dutch foods to try in Amsterdam | I amsterdam 15 Dutch foods to try in Amsterdam 15 Dutch foods to try in Amsterdam From mini pancakes to croquettes from a vending machine, Amsterdam offers the hungry traveller plenty of unique culinary experiences. Don't go home without trying at least one of these traditional Dutch foods. Bitterballen So you went out for a few drinks. You forgot to eat dinner. Those 8% Belgian beers are beginning to take their toll. What to do? The answer is in the bitterballen. Delicious, deep fried crispy meatballs traditionally served with mustard for dipping – they’re the ultimate in Dutch pub snacks and can be found on the menu at most Amsterdam drinking establishments . Stroopwafel If you try one Dutch sweet treat, make it a stroopwafel. Two thin waffles stuck together with a layer of sweet syrup; these delectable delicacies are best enjoyed hot and gooey from a street market or bakery. Thick Dutch fries Yes, but not just any fries. Trust us. You might see these thick cut fries called patat or frites on menus, and traditionally they come served in a piping hot paper cone slathered with any manner of tasty toppings. Ask for 'patatje oorlog' for a dollop of peanut satay sauce, mayo and onions, or a 'patat speciaal' for a mix of curry ketchup, mayonnaise and onions.   Raw herring Raw herring may sound a little scary to the uninitiated, but every visitor to Amsterdam should give it a go. You’ll spot haringhandels (herring carts) serving up this Dutch speciality all over the city - ask for a ‘broodje haring’ to get the fish served in a small sandwich with pickles and onions. The best time to try raw herring is between May and July when the herring is said to be at its sweetest. Kibbeling If you’re not feeling quite brave enough to try raw herring (see above), then you can still get your fishy fix from kibbeling – battered and deep fried morsels of white fish; usually cod. They’re every bit as delicious as they look, and usually served with a mayonaisey herb sauce and lemon. Try it hot and fresh from a street market or food truck for the best kibbeling experience. Croquettes from a vending machine Now we’re not talking about Michelin standard cuisine here, but these hole-in-the-wall cafés get into this list of Dutch must-tries on novelty value alone. Head into any FEBO and you’ll see an array of hot snacks including hamburgers, kroketten and frinkandellen displayed behind glass doors. Put some coins into the slot and voila; dinner is served. Oliebollen The name literally means ‘oil balls’ - but don’t let that put you off.  Essentially they are deep fried sweet dumplings (sometimes containing fruit pieces) and dusted in powdered sugar, and they’re so delicious that they only come out around New Year’s Eve, just before the January diet kicks in.  Say cheese! Cheese is big business in the Netherlands, so don’t go home without visiting one of Amsterdam’s many 'kaas' shops or markets and tasting some Gouda, Geitenkaas or Maasdammer. For an introduction to the most popular Dutch cheeses, stop by the  Cheese Museum  or one of the  Henri Willig Cheese and More  shops. Next, visit the  Reypenaer Tasting Room  for a professionally-guided tasting of their award-winning cheese. In the  Negen Straatjes  (9 Streets) the  Kaaskamer ’s shelves are stuffed with cheese from the Netherlands and abroad. Now say ’poffertjes’! Repeat after us. 'PO-fer-jus'. These little fluffy clouds of battery goodness are served up at restaurants and pancake houses all over Amsterdam, but nothing can beat a bag of hot, buttery poffertjes from a street market vendor. Sprinkle them with powdered sugar and let the good times roll. Ontbijtkoek This delicious ginger cake comes in loaves, and is stodgy enough to ensure that one slice is always enough. The name literally translates to ‘breakfast cake’; though you can tuck in at any time of the day really because you’re a grown up and nobody's going to stop you. Spread some thick butter on it for extra yumminess.  Stamppot One for cold winter evenings, stamppot is the ultimate Dutch comfort fo


Which are the four mutable signs of the Zodiac?

Cardinal, Mutable & Fixed Signs: The Qualities in Astrology Cardinal, Mutable & Fixed Signs: The Qualities in Astrology Share What role do you play on a team? Are you a starter, a doer, or a finisher? The signs are categorized into qualities that can determine this. Each quality plays an important role in the world, and it’s good to have a balance of each on every team. If you were putting together a record deal, for example, it would work like this: Cardinal signs would be the stars, or the promoters, or the trendsetters who create the act. Fixed signs would be the patient workhorses who produce the album. Mutable signs would be the editors who take the near-finished product and do the final mastering and remixing. Which one are you? Cardinal Signs Aries, Cancer, Libra, Capricorn These signs start every season—Aries kicks off spring, Cancer starts summer, Libra begins fall and Capricorn is the first winter sign. Thus, they are the leaders and “idea people” of the zodiac. These signs prize originality and like to be first in everything they do. They’re the trendsetters and trendspotters, the ones who get the party started and the crowd hyped. Count on them to initiate a winning idea or plan. Fixed Signs Taurus, Leo, Scorpio, Aquarius These signs fall in the middle of every season. They’re the stabilizers—the ones who set up a solid goal or foundation, then start building. Fixed signs can take the enthusiastic ideas that cardinal signs spark, and craft them into something real. They pick up the ball when the cardinal sign passes it, and run the distance to the goal. Fixed signs are the trustworthy types who like “to-do” lists and fancy titles. If a cardinal signs says, “Let’s go on vacation!” the fixed sign will call the travel agency, book the tickets and hotel, and send everyone a list of what to pack. Mutable Signs Gemini, Virgo, Sagittarius, Pisces These signs end every season—and have learned the hard lessons taught by spring, summer, fall and winter. They know that all good things come to an end, and their role is to prepare everyone for the changing of seasons. Mutable signs are the adapters of the zodiac, a little bit older and wiser. More flexible and comfortable with change than other signs, they can “chameleon” themselves to fit into a variety of situations. Mutables are also the editors of the zodiac—the ones who complete the package with a winning touch. A plan can be sparked by a cardinal sign, built by a fixed sign, then perfected with the critical eye of a mutable sign. Share


Cascade, Mills Mess, Backcross and Tramline Pass are all terms used in which activity?

Beatmap | Juggle Wiki | Fandom powered by Wikia Share Beatmap is a juggling notation system invented by Luke Burrage . A pattern is written in beatmap as a sequence of "beats", which are evenly spaced points in time. Everything a hand does with an object that is designated in the notation, such as throwing it, occurs on a beat. After you reach the end of the sequence of beats, the pattern repeats from the beginning. Each beat in a pattern is notated in a way similar to synchronous siteswap notation: A throw is represented by a number corresponding to the number of beats before that object will be notated again. All the throws that occur on the same beat are written inside parentheses. A comma is used to separate throws made by different hands on the same beat. A letter can be written after a number to indicate which hand the object is thrown to. A number without a letter means that the object will be caught by the same hand that throws it, and a number with an "x" after it is a throw that crosses to the juggler's other hand. An asterisk at the end of a pattern means that each time the sequence is repeated, the roles of the right and left hands are switched. Unlike siteswap, beatmap notation uses this same format for all kinds of patterns. The actions of every hand are always notated on every beat, even in patterns where only one hand throws at a time. On a beat where a certain hand isn't throwing, that hand is doing either a 0 (meaning that hand is empty) or a 1 (meaning that hand is holding an object until the next beat). In synch siteswap, pairs of throws are considered to be separated by an "empty beat" that isn't written in the notation, which makes the meanings of the numbers consistent with asynch siteswap, and also makes all the numbers in synch patterns even. In beatmap, there are no empty beats unless the notation specifies that there are empty beats. As a result, a throw in the beatmap notation for a synch two-handed pattern has half the value it would have if the pattern was written in siteswap. A hold is a 1 instead of a 2, a zip is a 1x instead of a 2x, and a two in one hand throw is a 2 instead of a 4. In one-handed patterns , each beat is written as a number inside parentheses, and no commas or letters are necessary. In multi-handed patterns , multiple commas are used inside a pair of parentheses to separate all the throws that are made by different hands on one beat. A vertical bar can be used instead of a comma to separate the hands of different jugglers. Since there are more than two hands, more letters are required to specify the destination of each throw. A capital letter is assigned to each hand: (A,B,C,D...). Writing one of these letters after a number indicates that the throw is directed to the hand associated with that letter. An "x" can still be used in passing patterns to mean that the object will be caught by the same juggler, but with the opposite hand. For 2-person passing patterns, you can use "p" (straight pass) and "px" (diagonal pass) to indicate passed throws, instead of using the hand-specific letters. No additional brackets are used for multiplex throws. To specify that two or more objects are thrown with the same hand on the same beat, you just write the numbers with no comma or parentheses between them. You can notate patterns involving objects being thrown by or bouncing off of various things such as the juggler's feet or head or the floor , by treating these things as "hands" in the notation. Other variables, such as the position of a hand or other manipulator or the position of a juggler can also be treated similarly to hands in beatmap notation, which makes it possible to describe tricks like Mills mess and 360s . Complex patterns like this may require a separate "key" to define what each field ("hand") represents. When a field is used for a position instead of a hand, numbers in that field indicate hands or jugglers that are in or leaving a certain position, instead of objects that are in or leaving a certain hand. Vertical bars can be used to separate different types of fields


Which are the two main ingredients in a Fluffernutter sandwich?

Fluffernutter : definition of Fluffernutter and synonyms of Fluffernutter (English) Peanut butter , marshmallow creme A Fluffernutter is a sandwich made with peanut butter and marshmallow creme , usually served on white bread . Variations of the sandwich include the substitution of wheat bread and the addition of various sweet, salty and savory ingredients. The term fluffernutter can also be used to describe other food items, primarily desserts, that incorporate peanut butter and marshmallow creme. The sandwich was first created in the early 20th century after marshmallow creme, a sweet marshmallow -like spread , was invented in the U.S. state of Massachusetts . Archibald Query of Somerville, Massachusetts , invented a product he called Marshmallow Creme in 1917, and Emma and Amory Curtis of Melrose, Massachusetts , invented Snowflake Marshmallow Creme in 1913. During World War I, Emma Curtis published a recipe for a peanut butter and marshmallow creme sandwich, which is the earliest known example of a Fluffernutter. Meanwhile, Query sold his recipe to Durkee-Mower Inc., who renamed it Marshmallow Fluff and continues to sell it under that name today. The term Fluffernutter was created in 1960 by an advertising agency hired by Durkee-Mower to find a more effective way to market the peanut butter and marshmallow sandwich. The sandwich is particularly popular in New England and has been proposed as the official state sandwich of Massachusetts. However, it has also sparked controversy because of its nutrition content and its possible contribution to childhood obesity . Contents   Recipe and variations   A completed Fluffernutter A Fluffernutter is made by spreading peanut butter on a slice of white bread, then spreading an equal amount of marshmallow creme on another slice and finally combining them to form a sandwich. [1] Variations of the recipe include wheat bread instead of white, [2] Nutella hazelnut spread instead of peanut butter, [3] and the addition of sweet ingredients like bananas [4] or savory and salty ingredients like bacon. [5] Though often seen as a food for children, [6] the Fluffernutter recipe has been adapted to appeal to adult tastes. For example a New York caterer serves a Fluffernutter hors d'oeuvre in a toasted ice cream cone with a spoon of peanut butter and torched marshmallow creme on top. [7] The term fluffernutter has also been used to describe other foods that feature peanut butter and marshmallow creme, including Fluffernutter cookies, bars and cupcakes. [8] [9] Durkee-Mower, the company that produces Marshmallow Fluff, a brand of marshmallow creme, produces a cookbook that features recipes for Fluffernutter bars, frosting, pie and a shake. [10] In 2006, Brigham's Ice Cream and Durkee-Mower introduced a Fluffernutter flavor, which featured peanut butter and Marshmallow Fluff in vanilla ice cream. [11] Fluffernutter was also the name of a candy briefly produced by the Boyer Brothers candy company beginning in 1969. [12]   History Marshmallow creme, one of the two main ingredients of a Fluffernutter, was invented in the early 20th century. Archibald Query invented a creation he called Marshmallow Creme in Somerville, Massachusetts , in 1917, while Amory and Emma Curtis of Melrose, Massachusetts , invented Snowflake Marshmallow Creme in 1913. During World War I, Emma Curtis published a recipe for the Liberty Sandwich, which consisted of peanut butter and Snowflake Marshmallow Creme on oat or barley bread. [13] The recipe was published in a promotional booklet sent to Curtis' customers in 1918 and may be the origin of the Fluffernutter sandwich. [14] Earlier labels and booklets published by the Curtises suggested combining Snow Flake Marshmallow Creme with peanut butter or eating it on sandwiches with chopped nuts or olives. [14] Meanwhile, sugar shortages during World War I hurt sales of Archibald Query's Marshmallow Creme, so Query sold his recipe in 1920 to two men from Swampscott, Massachusetts , H. Allen Durkee and Fred L. Mower, who began distributing the product through their company, Durkee


National Bird Of India, Indian National Bird, Indian Peacocks, Indian National Symbols, Blue Peacock. Home : National Symbols : National Bird of India Search National Bird of India The Peacock, Pavo cristatus (Linnaeus), is the     national bird of India. Emblematic of qualities such as beauty, grace,     pride and mysticism, it is a multihued, swan-sized bird, with a     fan-shaped crest of feathers, a white patch under the eye and a long,     slender neck. Much in contrast to the natural phenomenon, the male     specie of the bird is much more strikingly stunning than its female     counterpart. The male bird, peacock, flaunts a gleaming blue breast and     neck and a spectacular bronze-green train of around 200 elongated     feathers. It is capable of extending its tail erect like fan as ostentatious display. The elaborate courtship dance of the male, fanning out the tail and     preening its feathers is a beautiful sight. On the other hand, the     female bird, peahen, slightly smaller than its male counterpart.     Brownish in color, the female bird also lacks the train visible in the     male specie. Peacock is predominantly found in the Indian sub-continent,     ranging from the south to east of the Indus river. Jammu and Kashmir,     east Assam, south Mizoram and the whole of the Indian peninsula also is     home to this impeccable bird. The bird lives in jungle lands near water     and is thus, chiefly found in the wilds in India (sometimes,     domesticated in villages as well). Peacock is illustrated in pictures accompanying Indian Gods and     Goddesses. The sacred bird of the India, the bird was once bred for     food, but now hunting of peacocks is banned in India. It is protected     not only by a religious sentiment, but also by parliamentary statute.     Peacocks have been given full protection under the Indian Wildlife     (Protection) Act, 1972. Apart from India, it is also involved to the     cultures prevalent in Far East, Ancient Persia, Greek and Christian.     While the figure of peacock features in various Islamic religious     buildings, the bird is symbolic to 'Resurrection of Christ' in     Christianity. Coming back to Hinduism, peacock is portrayed as the image of the God     of thunder, rains and war, Indra. People believe that, when a peacock     extends its tail erect like fan for an enchanting and mesmerizing     demonstration, it indicates that rainfall is on the cards. Though this     might sound strange, but the fact is somewhat true. On seeing the dark     clouds, peacock outspreads its tail and starts dancing in rhythmic     fashion. Its dance movement has been incorporated in most of the Indian     folklore, including Bharatha Natyam. In southern part of India, peacock     is considered as a 'vahana' or vehilce of lord Muruga. Features Of Peacock The male specie, peacock, is characterized with a 2.12 m (7.3 ft)     length, in full breeding plumage, and weighs about 5 kg (11 lbs). The     female bird - peahen, on the other hand, is about 86 cm (34 in) long and     weighs about 3.4 kg (7.4 lbs). Adoring the glistening blue-green     plumage, the Indian peacock has an extension of feathers on its back.     Each feather is exemplified with an eye at its end. The Indian peahen is     a mixture of dull green, grey and iridescent blue, with the     greenish-grey color outweighing. The bird is mostly found in the dry     semi-desert grasslands, scrub and deciduous forests and feeds on mainly     seeds, but some also eat insects, fruits and reptiles.


Stillson Wrenches | FaithfullTools.com Stillson Wrenches Click image to enlarge × The 'Stillson' wrench is designed so that when pressure is applied, all the stress is transmitted through the hooked jaw and adjusting nut to the handle jaw, without the frame bearing any significant load. All parts are forged from high quality steel and are heat treated to ensure maximum strength. The teeth on each jaw oppose one another to enable a ratcheting action to be applied as the nut loosens and frees off. SAFETY TIP Wrenches are designed to withstand the maximum leverage generated by muscle power. Hammering or mechanical levering can cause a failure of the wrench. Code