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09 Jul 2017
Die Frau ohne Schatten at Munich
It was fascinating to see — and of course, to hear — Krzysztof Warlikowsi's productions of Die Gezeichneten and Die Frau ohne Schatten on consecutive nights of this year's Munich Opera Festival.
When Marc-Antoine Charpentier returned from Rome to Paris in 1669 or 1670, he found a musical culture in his native city that was beginning to reject the Italian style, which he had spent several years studying with the Jesuit composer Giacomo Carissimi, in favour of a new national style of music.
In 1979, the Franco-American harpsichordist and conductor, William Christie, founded an early music ensemble, naming it Les Arts Florissants, after a short opera by Marc-Antoine Charpentier.
Gian Carlo Menotti's holiday classic, Amahl and the Night Visitors, was the first recorded opera I ever heard. Each Christmas Eve, while decorating the tree, our family sang along with the (still unmatched) original cast version. We knew the recording by heart, right down to the nicks in the LP. Ever since, no matter what the setting or the quality of a performance, I cannot get through it without tearing up.
It is perhaps not surprising that the Hamburg-born composer Detlev Glanert should count Hans Werner Henze as one of the formative influences on his work - he did, after all, study with him between 1984 to 1988.
This death in Venice is not the end, but the beginning.
There were eighteen rather than sixteen singers. And, though the concert was entitled Saint Cecilia the repertoire paid homage more emphatically to Mary, Mother of Jesus, and to the spirit of Christmas.
At the Wigmore Hall, Andrè Schuen and Daniel Heide in a recital of Schubert and Mahler's Lieder eines fahrenden Gesellen and Rückert-Lieder. Schuen has most definitely arrived, at least among the long-term cognoscenti at the Wigmore Hall who appreciate the intelligence and sensitivity that marks true Lieder interpretation.
It's an opera by Vicentino composer Domenico Freschi that premiered in 1681 at the country home of the son of the doge of Venice. Villa Contarini is a couple of hours on horseback from Vicenza, and a few hours by gondola from Venice).
It would be an extraordinary, even an unimaginable Wozzeck that failed to move, to chill one to the bone. This was certainly no such Wozzeck; Marie's reading from the Bible, Wozzeck's demise, the final scene with their son and the other children: all brought that particular Wozzeck combination of tears and horror.
I approached this evening as something of a sceptic regarding work and director. My sole prior encounter with Simon Stone's work had not been, to put it mildly, a happy one. Nor do I count myself a subscriber or even affiliate to the Korngold fan club, considerable in number and still more considerable in fervency.
Thanks to the enterprise and vision of Lynton Atkinson - Artistic Director of Dorset-based Hurn Court Opera - two promising young singers on the threshold of glittering careers gave an outstanding recital at Salisbury's prestigious Art Centre.
An exceptional Lohengrin, this. I had better explain. Yes, it was exceptional in the quality of much of the singing, especially the two principal female roles, yet also in luxury casting such as Martin Gantner as the King's Herald.
This Grimm's fairytale in its operatic version found its way onto the War Memorial stage in the guise of a new "family friendly" production first seen last holiday season at London's Royal Opera House.
Spot-lit in the prevailing darkness, Gustav von Aschenbach frowns restively as he picks up an hour-glass from a desk strewn with literary paraphernalia, objects d'art, time-pieces and a pair of tall candles in silver holders - by the light of which, so Thomas Mann tells us in his novella Death in Venice, the elderly writer 'would offer up to art, for two or three ardently conscientious morning hours, the strength he had garnered during sleep'.
Jean Cocteau's 1950 Orphée - and Philip Glass's chamber opera based on the film - are so closely intertwined it should not be a surprise that this new production for English National Opera often seems unable to distinguish the two. There is never a shred of ambiguity that cinema and theatre are like mirrors, a recurring feature of this production; and nor is there much doubt that this is as opera noir it gets.
"Don't miss this final chance – ever! – to see Die Walküre", urges the Dutch National Opera website.
A little under a month ago, I reflected on Vladimir Jurowski's tempi in Mahler's 'Resurrection'. That willingness to range between extremes, often within the same work, was a very striking feature of this second concert, which also fielded a Mahler symphony - this time the Fifth. But we also had a Wagner prelude and Strauss songs to leave some of us scratching our heads.
Of the San Francisco Opera Manon Lescauts (in past seasons Leontyne Price, Mirella Freni, Karita Mattila among others, all in their full maturity) the latest is Armenian born Parisian finished soprano Lianna Haroutounian in her role debut. And Mme. Haroutounian is surely the finest of them all.
A double celebration was the occasion for a packed house at the Barbican: the 150th anniversary of Berlioz's birth, alongside Michael Tilson Thomas's fifty-year association with the London Symphony Orchestra.
The Anvil in Basingstoke was the first location for a strenuous seven-concert UK tour by the Prague Symphony Orchestra - a venue-hopping trip, criss-crossing the country from Hampshire to Wales, with four northern cities and a pit-stop in London spliced between Edinburgh and Nottingham.
It was fascinating to see — and of course, to hear — Krzysztof Warlikowsi's productions of Die Gezeichneten and Die Frau ohne Schatten on consecutive nights of this year's Munich Opera Festival.
First, and perhaps most important: both received outstanding performances, fully worthy of any festival in the world, let alone one such as this which offers both new productions and stagings from the repertory. This FroSch may have been the latter, but who would have known? There are clearly advantages to being conducted by the Music Director — not least the identity of this particular music director — but even so…
Both works offered the director considerable challenges. In the Schreker opera, Warlikowski rose admirably to the challenge of drawing out what was of greatest interest in a flawed work and, indeed, even to criticising certain of its more problematical aspects. Die Frau ohne Schatten is not without its problematical aspects either, of course, not least Hofmannsthal's bizarre pronatalism — perhaps a staging that made more of its wartime origins might help, but I have yet to see one — and, more broadly, the mismatch between Strauss and Hofmannsthal here. If Strauss misunderstands Hofmannsthal, though — and we should be wary of awarding priority simply on a chronological basis, especially with so complex a composer-librettist relationship as this — it is, to borrow a term from Webern and the post-war avant garde, a productive misreading.
Sebastian Holecek (Der Geisterbote), Michaela Schuster (Die Amme), Ricarda Merbeth (Die Kaiserin), Statisterie der Bayerischen Staatsoper
How does Warlikowski deal with that, in a production first seen in 2013? I am not entirely sure that he does, but it may well be that I am missing something. What he certainly does accomplish is to present a number of standpoints, which may, to an extent, like those presented in the work 'itself', be reconciled, or even set against each other. The world of medicalised hysteria, of the sanatorium is present, just as in Claus Guth's production (seen at La Scala, Covent Garden, and the Berlin State Opera). Perhaps counter-intuitively, for a work in which, laboriously at times, Hofmannsthal at least seems to offer layer upon layer of symbolism, often highly referential or at least allusive, Warlikowski penetrates to a very human drama at the work's heart. It might sound banal; perhaps in some ways it is; but why not actually present this as a drama concerning a woman, the Dyer's Wife rather than the Empress, who wishes to have children, is pressured to renounce her desire, and then achieves what would seem to be genuine fulfilment by doing so? There are various answers to that, of course, or at least to why such a drama might be problematical; but they are not unanswerable answers.
Freud hangs less heavily over the production than he does over Guth's, but he is there, glimpsed indeed in video projections at the end alongside a motley crew that includes (I think) Gandhi, Christ, the Buddha, King Kong, and Marilyn Monroe. (I have no idea, I am afraid; I suspect I am missing something terribly obvious, but never mind…) More overtly present is Last Year in Marienbad. Pictures from the film lead us in to the opening of the opera and accompany its course, far from obtrusively, yet offering connections should we wish to follow them. A sadness born of lack of fulfilment, perceived or otherwise, hangs over what we see — and interacts, sometimes harmoniously, sometimes less so, with what we hear. Even the Nurse seems a far more human figure than usual. There is, perhaps, loss there too, but to see her a broken woman, trying to deal with an impossible situation that is not of her choosing is fascinating: it certainly made me reconsider the role.
Ricarda Merbeth (Die Kaiserin), Michaela Schuster (Die Amme)
Where Ingo Metzmacher had given a commanding account of Schreker's score the previous night, Kirill Petrenko went further still in Strauss's score. It does no harm, of course, that Strauss is by far the greater composer and musical dramatist. But that can come to naught, or at least be severely diminished in the wrong hands. Musical performance is certainly not a matter of league tables, but I can certainly say, hand on heart, that I have never heard the opera better conducted or played. This was at the very least a musical performance to set alongside those by Christoph von Dohnányi and Semyon Bychkov at Covent Garden, and superior to any of the others I have heard. Petrenko's ear for Strauss's complex orchestral polyphony is second to none, not only amongst any conductor alive but any I know from recorded performances.
The similarities and differences between Strauss and Schoenberg — you will have to forgive me for having the latter very much on my mind at the moment — are as complex as their music 'in itself'. There is, though, something here which, ironically, given Strauss's reported remarks on Schoenberg's score, brings Strauss closer than one might expect to the Five Orchestral Pieces, op.16. Alma Mahler just could not help herself in telling Schoenberg that Strauss had said Schoenberg would be 'better off shovelling snow' than 'scribbling on manuscript paper'. (What is less often reported is that he recommended the younger composer for the Mahler Foundation grant in any case. Schoenberg, unsurprisingly, never forgave him; when asked the following year for a fiftieth-birthday tribute, he responded angrily: 'He is no longer of the slightest artistic interest to me, and whatever I may once have learned from him, may God be thanked, [I had] misunderstood.') Petrenko is a very fine Schoenberg conductor; indeed, it was in Erwartung at Covent Garden that I first heard him. The interplay between colour, line, harmony, every changing parameter was such that I could not help but think I was hearing Strauss with somewhat Schoenbergian ears — and that was not entirely to be attributed to my own present preoccupations. The Bavarian State Orchestra was at least equally responsible: in every respect worthy of the most exalted comparisons, past or present. I do not think I have ever heard the solo cello part played with greater tenderness and yet with such a sense of where, motivically and harmonically, it is heading. Nor have I heard the full orchestra sound more thrillingly present and yet more transparent. It was not only seeing the glass harmonica in one of the boxes overlooking the pit that meant I could hear it so well.
Ricarda Merbeth (Die Kaiserin), Burkhard Fritz (Der Kaiser), Kinderstatisterie der Bayerischen Staatsoper
Vocal performances were almost equally magnificent. Burkhard Fritz greatly impressed in Berlin earlier this year, and did so again here: quite tireless and perfectly capable of riding Strauss's orchestral wave. The Emperor is, perhaps, the best role in which I have heard of him. Ricarda Merbeth was more than his equal as his consort: as tenderly moving as, when required, imperious. She truly drew one into her particular drama, as did the Dyer and his Wife, even, as mentioned above, the Nurse. Elena Pankratova and Wolfgang Koch were also in previous casts I had seen, London and Berlin respectively. Fine though their performances had been then, Petrenko's conducting seemed to incite them to still greater things in Munich. (The more I consider Zubin Mehta in Berlin, the more uncomprehending his conducting seems by comparison.) Theirs was at root a human, commonplace relationship, exalted by particular musico-dramatic circumstance and by musical performance into something transformative, in a sense that both Strauss and Hofmannsthal might have acknowledged. The sadness both felt could be perceived in their faces, their body language, but still more in the alchemy of stage, words, and music that is opera at its greatest — and which, with the best will in the world, a lesser composer such as Schreker could never have summoned. To her trademark malevolence in the role, Michael Schuster was here fully enabled to offer a poignancy one rarely sees and hears in the Nurse. Sebastian Heleck's Spirit Messenger was perhaps first among equals — intelligent, deeply musical singing — amongst the 'smaller' roles, but there was no weak link here. Choral singing and acting were equally outstanding. Likewise those roles played by non-singing actors: the Apparition of a Youth here our first among equals, sporting an excellent line in gigolo contempt when collecting his earnings for unachieved attempted seduction from the Nurse. As had been the case in the previous night's performance, the dramatic whole was greater than the sum of its parts — just not quite in the same way. Now how about a Moses und Aron
Mark Berry
Cast and production information:
Nurse: Michaela Schuster; Spirit Messenger: Sebastian Holececk; Emperor: Burkhard Fritz; Empress: Ricarda Merbeth; Voice of the Falcon, Guardian of the Threshold of the Temple: Elsa Benoit; The One-Eyed: Tim Kuypers; The One-Armed: Christian Rieger; The Hunchback, Apparition of a Youth: Dean Power; Dyer's Wife: Elena Pankratova; Barak: Wolfgang Koch; Serving Maids: Elsa Benoit, Paula Iancic, Rachael Wilson; Voices of Unborn Children: Elsa Benoit, Paula Iancic, Alla El-Khashem, Rachael Wilson, Okka von der Damerau; Voices of Night-Watchmen: Johannes Kammler, Sean Michael Plumb, Milan Siljanov. Director: Krzysztof Warlikowski; Designs: Malgorzata Szczęśniak; Lighting: Felice Ross; Video: Denis Guéguin; Video Animation: Kamil Polak; Abendspielleitung: Georgine Balk; Dramaturge: Miron Hakenbeck; Children's Chorus (chorus master: Stellario Fagone) and Chorus (chorus master: Sören Eckhoff) of the Bavarian State Opera/Bavarian State Opera/Kirill Petrenko (conductor). Nationaltheater, Munich, Wednesday 5 July 2017.


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Week 13 1st Division write up –
The Marshside Elite kept their noses in front at the top of the table after Fleetwood Hesketh A eased past the visiting S & B lads 5-1 to open up a 2point lead over the chasing pack. Andy Booth made a welcomed return to the side, edging out Paul Parker 70-62 with Mike Roberts beating Russ Thornley with a bit to spare. The scoring didn't ease in the middle pairings as Martin Brown beat James Payne on the final colours 78-66 as Dean Oliver racked up his best score at home this year beating Dave Green easily 81-30. Four nil down, only five men on the night, Fleetwood still to play Gareth Hibbott, surely a 6-0 whitewash was on the cards, but no, step forward S & B's captain Dave Palmer to save the day. In only his third meeting against Gareth in the league, 2-0 down and a points record of 23 for and some 203 against, with breaks of 52, 66 & 34 put past him, Mario Brothers long lost cousin Dave Palmer came out a 69-59 winner to land a blow to Gareth's impressive recent run. As things stand, the Cricket lad's havn't won one in five now and face the basement side Bretherton next, with the divisional leaders looking to maintain their winning streak when taking on Southport Cons.
Argyle LTC are two points back on Fleetwood after beating Birkdale Cons A 4-2, their fourth win on the bounce now, keeping them in touch to maybe hold on to their Champions title come April the 9th. John Holmes gave Phil Fitzgerald a torrid time in the opening frame, beating him 69-8, though Tony Roberts squared things up when beating Brian Jarrett by 50 points 78-28. The middle frames all went the way of the home side as they saw wins for Danny Jassi, Ste Forshaw & Paddy Tyndall, Danny making a solid break of 45 on his way to beating Mick Wardle 91-45. But Birkdale kept the result a bit more manageable when Paul Shawcross beat Ste Cooper on the final colours 68-60 to keep the loss down to the minimum 2 points. Birkdale stay best placed of the chasing pack sitting third in the table as Argyle stay in the hunt trying to stay in touch with Fleetwood.
Due to results going their way Churchtown Cons A moved up to 4th in the table despite only registering a 3-3 draw with the visiting Southport Cons A team. The opening frames where bossed by the home side as Craig Rice dished up a 30 point victory over Matty Pollock, and Trevor Wetton seeing off Drake Crook 76-42. Churchtown's Dave Harwood moved to 5 wins on the season when beating Mike Langford by plenty, 70-27, with Tom Mortimore handing James Shaw his 5th league defeat of the season, coming on the final black 61-54. Three-One up and the potential of win number 5 on the cards you would have got short odds one of Mick Coxon or Les Prescott getting one of the last two frames to register that win, but the Bath Street pair of Nobby Lee & Andy Ward had other ideas. Nobby produced his best form so far when beating Mick by 45 points as Andy Ward got the better of Les on the final black 49-42, to gain a valuable 3-3 draw on the night for the Bath street side.
The Tarleton Derby matches have produced some strange result over their times, some stuffing's and some right ole ding-dong results, and there was another classic upset last week when the lowly D team beat the A Team 4-2 so holding on to the bragging rights for a while now. The two captains went on first with the D teams Dale Roberts beating Colin Boston 76-45 as the A teams Rob Iddon fired in breaks of 44 & 39 to comfortably beat Richard Gaskell 90-30. The D team pair of Paul Crabtree and John Greenwood stepped up to the mark in their matches as young Crabby beat Tim Dutton with a bit to spare and John Greenwood, using the years' experience he has, to see off Chris Hoare well before the final colours 77 points to 10. Three-One up, just needing the one frame to register a big win over their big boy A team brothers, Andy Bolton was in no mood to give in as he comfortably beat Kyle 'Cheezy' Prescott 80-32, making a fine 34 break in doing so, but young Connor Ormerod seems to be finding his feet now as he beat Marcus Jackson 69-31 to gain the frame and 4-2 victory for his side.
Banks A have managed to put a little bit more daylight between themselves and bottom placed Bretherton A after coming out of last week's match a 4-2 winner. The opening frames got shared out as Martin Sephton lost out to Dave Cottam 36-65 with Al Sutton beating Gordon Russell helped along by a nice break of 25 in doing so. Nothing could split the sides after the conclusion of the middle frames got played out either. Alan Johnson broke his duck for the season, at last, when beating Grant Mackenzie on the final black 54-47 as Ron Dickinson got one over Billy Cummings to register win number six for the Bretherton man. But it was the home advantage that counted in the end as both John Prescott & Mark Rollins brought home team win number three when they beat Jim Holden & Callum Mackenzie.
Division 2 -
Our Lady's maintained their position at the top of the table, cut to three points now, after losing 4-2 against Birkdale Cons D, though it could have been so much different on the night had things gone their way. Close frame number one went to Alan Parker when he beat Steve McClusky 62-51 with no doubt about who was winning the other opening frame as Tony Brookfield blasted past Ian Knowles 74 points to 7. Close call frames then became the story of the night as Mark Abbott took a slim 10 point victory over Danny Mycek for Birkdale as Mark Winkley got the final black for his 47-43 frame win. That black ball finish was repeated in the frame between John Delahunty & Luke Marshall with John taking it by the narrowest of margins 57-56, phew, with Alec Davies cruising to a 63-22 victory over Ged Aindow. This was the Formby mobs first defeat since the beginning of October. So watch out Scarisbrick A next week, as Birkdale travel to 2nd placed Tarleton B.
As with the first division Tarleton Derby, this one between the Tarleton B team and the C team went the way of the form book as the B team ran out 4-2 winners, to maintain their hunt of the Formby lads at the top of the table. Things got off to a flyer for the B team as Ste Gautrey got a birthday win over Pete Burns followed up with Jason Swarbrick easing past Dean Bond 70-31. The C teams Shaun Fisher showed some good potting form to see off Andy Marsden by 50 points in his frame as Neil Rigden upset the odds when beating the one time Player Rankings leader Andy Johnson 57-39, this being Neil's first win of the season…!! The win for the B team was completed when Sugar Ray Forshaw posted a 40 point win over Jimmy Jones with as Phil Keep got one back when turning over John Gautrey on the final colours 67-41.
With the division playing out as tight as it is at the moment, only five points separate the top six in the division, none of the chasing pack can count themselves out of it. So avoiding any sort of defeat is paramount, something the Railway B team did last week coming back from 3-1 down to secure a 3-3 draw against Scarisbrick A. John Mullard got the ball rolling when beating Martin Wood with plenty to spare 63-21 as Dennis Woodward beat Ian Tinsley, helped along by a good break of 29, 72 points to 44. But the middle frames belonged to the home side as Mark Sowerby beat Andy Linaker ably assisted by Ron Calder who proved too good for Ray Highton. But the two Phil's of the Railway, Phil Gaskell & Phil Kitchen managed to drag their side back in to the game when Phil Gaskell beat Chris Starkie on the final black 61-54, with Phil Kitchen serving up a more palatable 67-29 victory against Norman Hallsworth.
The Railway A team kept their hopes of bouncing straight back to the 1st division on track after beating Fleetwood Hesketh C 4-2, who themselves are trying to regain their top flight status to the top division. A great start to the match for the Railwaymen as Gary Flynn beat Andy Reynolds with a bit to spare 63-18 with Mark Tomlin sealing a 2-0 start after beating Dave Mills by 30 points. That lead was soon lost as the Fleetwood pair of Save Brown and Danny Clegg both saw off the challenge of Ally Iddon & Stephen Metcalfe, Danny making some good pots in his 63-21 victory. But the senior players of the team Billy Evans out-potted Paul Rodgers with his usual gusto to run out a 76-51 winner with Paul Taylor saving his best frame of the season in beating Ian Lindsay 74-18 and securing only the Railwaymen's third win of the season.
3rd division –
Scarisbrick C brought up win number eight for the season when beating Birkdale Cons C 5-1, making them the team to chase for the rest of the pack. Birkdale's Dean McDerby got the better of Dennis Glover in a scrappy opening frame as Chris Devlin beat Geoff Wright on the final colours to level things up one each. The match then swung to the home side big time as Dan Lawrence managed to see off John Melvin 65-52 with Howard Lawrence easing past Phil Green by some 40-odd points. Martin Cusack & David Williams made sure of the big win when they ran out comfortable winners, both by over 30 points, to secure the big 5-1 win.
Keeping pace with the leaders are the Churchtown Cons C team, sitting just a point back, after completing a hard fought 4-2 win over Scarisbrick B last week. Tony Baldwin confirmed his status as a scratch player when compiling a very nice break of 30 in his frame to dispatch Wayne Cooper 59-21 as Mick Hodge matched that when beating Peter Parkinson 58-15. The middle frames turned the match towards the Con club as Malcolm Green and Nathan Browne both won to give them a solid 3-1 lead. But, as is always the case, winning those close call, final colour frames, is the key to where you end up in the league and both sides had a black ball win from the last pair. Peter Simpson claimed a close 65-58 win over Adam Rothwell for the visitors as Brian Sheil won by just the 3 points to see off Ian Lowery 60-57.
Banks B played out a 3-3 draw with the visiting Churchtown Cons D team with the opening two frames of the match seeing the two top players from either side slugging it out over the green baize. Andy Hardisty, giving Trevor Ford 10 start on the handicap, managed to get the better of his opponent to eek out a close 42-29 win as a potting duel between Dave Quinn and Lee Holmes ended up with Dave coming out on top by 87 points to 48. Banks then took the middle frames to move 3-1 up after Graham Melvin won yet again, his 10th win for the season, against Russ Walsh with Chris Powell seeing off Mike Pickles to gain at least a share of the spoils from the night. But the Con club team had the last say on the night as Tony Wakefield, returning to his old stomping ground saw off Ricky Roberts 55-26 ably supported by Ste Mentha's close 54-43 win over Chris Aughton.
For a team who usually receives a 6-0 thrashing it would have been quiet a feeling for The Railway C team when it was them who thrashed someone 6-0, Fleetwood Hesketh B the team getting it right and proper last week. In fact searching through my records, I stopped when I got back 12 years, it's safe to say it's this side first ever full house 6-0 win. Well played gentlemen…!! The other side to that is that the Fleetwood Hesketh B, who have yet to register a win yet this term, and have drawn six of their 11 matches so far, have all of the division ahead of them now sitting as they do rock bottom in the division. As it happened, Ian Brownhill lost on the final black 66-62 to Dave Brown, Max Riley completed a narrow win over Lawrence Renshaw with Jake Wheeler securing a 10 point victory over Brain Kimberly, and so they can count themselves a little hard done too. Keep smiling lads, always next week, the Fleetwood B v D Derby match…!!
And the Fleetwood Hesketh D team will be going in to that big Derby match up off the back of a 4-2 defeat to Southport Cons B, for whom this was their first team win since the beginning of October. The young Harry Pollock got the better of Larry Scholes, just mind, when beating him 56-47 as John Blackhurst fell just short of a century of points against Andy Bridge running out an impressive 96-44 winner. Fleetwood did fight back though, taking both of the middle pairings as John E Gearie saw off the challenge of Craig Thomas and Neil Rimmer beating Peter Jackson, both by a similar 30 points difference. But Peter Yates served it up to Colin Coffey, dishing out a 53-19 drubbing as John Barton got the better of Dave Martindale to give the Bath Street side the win and 4 points from the night.
I wish you all good luck for the new season, and lets hope for some close battles and tight finishes in this the Southport Leagues 75th year of competition.


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When you stay at Harvest House in Krabi, you'll be near the beach, within a 5-minute drive of Nopparat Thara Beach and Ao Nang Beach. This hotel is 9.6 mi (15.5 km) from Khlong Muang Beach and 9.9 mi (16 km) from Khao Khanap Nam.Rooms
Make yourself at home in one of the 12 air-conditioned rooms featuring refrigerators and LED televisions. Rooms have private balconies. Complimentary wireless Internet access keeps you connected, and cable programming is available for your entertainment. Private bathrooms with shower/tub combinations feature deep soaking bathtubs and complimentary toiletries.Amenities
Enjoy recreation amenities such as bicycles to rent or take in the view from a terrace. This hotel also features complimentary wireless Internet access, a television in a common area, and tour/ticket assistance. If you'd like to spend the day shopping, you can hop on the shuttle (surcharge).Dining
Wrap up your day with a drink at the bar/lounge. Breakfast is available daily from 7:30 AM to 10 AM for a fee.Business, Other Amenities
Featured amenities include limo/town car service, a computer station, and dry cleaning/laundry services. A roundtrip airport shuttle is available for a surcharge.Attractions
Distances are displayed to the nearest 0.1 mile and kilometer.
Khao Ao Nam Mao - 0.1 km / 0.1 mi
Ao Nang Beach - 1.2 km / 0.7 mi
Ao Phai Plong Beach - 1.6 km / 1 mi
Nopparat Thara Beach - 2.1 km / 1.3 mi
Pai Plong Bay - 2.2 km / 1.3 mi
Ao Nang Krabi Boxing Stadium - 3.6 km / 2.3 mi
West Railay Beach - 4.8 km / 3 mi
Ao Nam Mao - 4.9 km / 3 mi
Phra Nang Beach - 4.9 km / 3 mi
Spirit Mountain - 6.4 km / 4 mi
Shell Fossil Beach - 7.2 km / 4.5 mi
East Railay Beach - 8.1 km / 5 mi
Princess Lagoon - 8.9 km / 5.5 mi
Koh Kwang Beach - 15.1 km / 9.4 mi
Khlong Muang Beach - 15.5 km / 9.6 mi
The preferred airport for Harvest House is Krabi (KBV-Krabi Intl.) - 25.1 km / 15.6 mi
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Physics > Optics
Title: Shaping the longitudinal intensity pattern of Cartesian beams in lossless and lossy media
(Submitted on 20 Apr 2017 (v1), last revised 28 Jul 2017 (this version, v2))
Abstract: Several applications, such as optical tweezers and atom guiding, benefit from techniques that allow the engineering of optical fields' spatial profiles, in particular their longitudinal intensity patterns. In cylindrical coordinates, methods such as Frozen Waves allow an advanced control of beams' characteristics, but in Cartesian coordinates there is no analogous technique. Since Cartesian beams may also be useful for applications, we develop here a method to modulate on-demand the longitudinal intensity pattern of any (initially) unidimensional Cartesian beam with concentrated wavevector spectrum, thus encompassing all paraxial unidimensional beams. To this end, we write the total beam as a product of two unidimensional beams and explore the degree of freedom provided by the additional Cartesian coordinate. While in the plane where this coordinate is zero the chosen unidimensional beam keeps its structure with the additional desired intensity modulation, a sinusoidal-like oscillation appears in the direction of this variable and creates a spot whose size is tunable. Examples with Gaussian and Airy beams are presented and their corresponding experimental demonstrations are performed to show the validity of the method.
Submission historyFrom: Mateus Corato-Zanarella [view email]
[v1] Thu, 20 Apr 2017 16:30:20 GMT (7432kb,D)
[v2] Fri, 28 Jul 2017 14:07:56 GMT (7847kb,D)
Link back to: arXiv, form interface, contact.


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Discussion in 'General Instruction [BG]' started by Dr. Cheese, Jun 27, 2019.
That means to me that I'm being lazy and playing below my ability.
You're not actually telling me anything I don't already know. I know a lot of people use tab and just hang on to it for dear life.
The internet is interesting, because people from all over can easily explain away why they do what they do because they claim it has been so successful. It doesn't really matter. I still don't know you from Adam and if any of those students hit up an MTI part-book for something like Hair, Rent, or Next To Normal, they better be able to read dots, not tab.
That's just my experience. I've never been in a situation where TAB was useful. Maybe because I'm playing with other musicians for whom tab is not used. Even when I took classical guitar and piano, we never even looked at TAB beyond the very first page of instructions where they diagrammatically lay out the fingerboard/home-position. Unless you're teaching kids 14 century lute tunes or organ tunes, TAB is just another rock n'roll shortcut.
We have a joke around here (which I'm sure didn't originate in my city):
"How do you get a guitar player to turn down? Put staff notation in front of them..."
I know
I don't think you knew jack about me, yet you assumed and seemed to jump to the worst-case scenario in addressing my experience and methods as a teacher.
I can assure you all my students who stayed with me became competent sight readers in standard notation. Nobody paid me to serve solely as a live TAB subscription.
Exactly... You eventually got them on to notation. That's fine by me.
Operational cues (like tablature) have a place on "Page One" to help you find the notes initially.
But I think we can agree that it's WAY overused.
Your key word is ME. I had put in good shed time on the song. I just did not notice something I should have noticed.
I just meant generally speaking, peace.
No harm, no foul.
Part of learning to get better at sight reading is keeping your head on the page, as opposed to going by what you think sounds "right".
But nothing wrong with talking with your teacher if you have questions about his/her methods.
Edited... there's a big difference between annoyed and mad.
I'll add...another edit.... I'm ashamed that there are so many snowflake bassists... I thought we were tougher than that.
That's cool. You just hit the most common tripping point in the sight reading process: anything that says "D.S. al XXXX" or "D.C. al XXXX". The two are different. Now you know that's the first thing to check when you see the chart, to make sure you know how it flows.
I had to ask on a gig this week for one tune, since the chart in iRealPro did not have the sign that matched up with a D.S. al Fine. It turned out it should have been a D.C. al Fine.
Did your bass teacher beat you much?
I don't like the word snowflake, but I will agree that artists of all types should be able to field constructive criticism easily. It's hard to fully tell whether that's what we're talking about here though. I don't think wigging out as a student is productive though.
If there was a better term than snowflake, I couldn't come up with it. I'd be more than willing to accept an alternative term.
My guess, (and that's all it is is a guess) is that the OP made a thread title, then described the situation more accurately in the thread. In my experience, if a student under performs, an instructor should know what motivates the student enough to react in an appropriate way. In this case... the OP did what needed to be done and improved his performance. The teacher did his job. Is it always the best way to motivate... no... but a perfect example is high level athletes, and the military. They strive to be the best and typically when they underachive, there's negative reinforcement to get them on track.
Realistically, if a teacher isn't annoyed with subpar performance... I'd assume they're just taking up space, and collecting my cash for a lesson.
You guys ever seen Whiplash? Now THAT teacher was mad. What you describe about your teacher is not an issue in my opinion. I don't understand the negative feedback here stating he's a bad teacher. That's ridiculous. Being mad is simply an emotion and a lot of teachers that I've had have gotten mad at me because they expected more. As a result it pushed me.
Flower Children Get Dumber After Every Bummer
Fast Cars Get Driven Away, Even Buicks
Okay, hard to know the exact situation here, but... I am a teacher. If I had a student who was committed to learning how to read, I would be overjoyed. Either you are not telling us everything that goes on in the lesson, or your teacher needs a serious beating. Reading is a mystery that can be cleared up but it takes patience. Maybe your teacher is not a good reader and it is a challenge for him also? I don't know... as an educator your attitude would make me ecstatic.
I figured out years ago the less I read the better I play ...
Also most sheet music and tabs are wrong and some badly wrong ...
For me a good ear is more important than good reading skills
It is, up to a certain point. But David Santos can say what happens better than I can. He's worked for Billy Joel, John Fogerty, and Toto, among others.
Real talk, I teach for a living (not music related) this is a surefire sign. Also, just because you can do something doesn't mean you will be a good teacher. Knowing thing and effectively conveying that information are two separate skill sets.


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Once we have received your order we will contact you via email or phone or both to discuss your stand number and availability.
Alternatively you can call us on 01226 704682.
Please remember we don't bite and we'll do everything we can to make your experience with us a positive and profitable one.
Please note – All our shows are sold on a first come basis and we do have a cap on business categories,
therefore your order does not automatically guarantee you a stand at the exhibition.
But don't worry, if your category is full we will issue a prompt refund and can place you on a waiting list for future shows.
Alternatively you can check availability Call us on 01226 704682 (9am – 5pm)
Or email firstname.lastname@example.com
What Customers say
"Running a cake business we can sometimes be selective in our wedding shows that we attend. We have been to a couple of IDO wedding shows in Sheffield and from the offset we were very impressed with the friendliness and professionalism shown by Richard and his team. As soon as we knew IDo were exhibiting in Derby, there was no hesitation in booking our place at the show.
At every show they have never failed to attract brides through the door. We have to date ran out of samples and leaflets at every show and have always had great feedback, enquiries and bookings. It seems the more we take, the more we run out.
Each of their shows we have attended have always proved to be money well spent and would recommend the IDO Wedding shows to both suppliers and brides alike
Keep up the great work. Always a pleasure to attend your "Well Organised" shows. All the brides we spoke to at the Derby show (and there were a lot of them) have all passed great comments about the venue and show as a whole.
I forgot to mention, we have also already booked in for next years show in Derby"
Kim Ames - Kimbos Cakes
"We had a great day at our GoCruise stand at yesterday's I Do Magazine Wedding Exhibition. The day was very well organised and had great attendance. The friendly atmosphere and great venue made for a lovely day."
Jill Rushby - GoCruise
"Good value for money due to level of potential customers."
Julie - Party Cakes
"What a busy show with lots of interest well worth attending."
Cal and Jenny photography
"Busy, but that's good. The brides have been well informed of event, very enjoyable show."
Eternal Images Photography Ltd
"Great for seeing lots of brides in a relatively short space of time."
Stacey - Urban Bride
"Our second big show with I Do and will continue to use them in the future and would also recommend the seminar before the show's."
Jenny Casey - Perfect Day Chairs
"Take the plunge & make the investment into 'I Do' you will not be disappointed."
Jooles - Photobooth4You
"A great show that has been well advertised, we'd rather pay the higher prices of the I Do shows as we know the money is being well spent. There is nothing more annoying than spending hundred and £80 on a sure and 50 bride show up all day thanks guys."
HBA photography
"After standing at a Sheffield show we were desperate for you to bring your show down to the Derby Nottingham area and WOW you really did! The numbers of brides was fantastic our appointment diaries covered in ink. The show was all we hoped it would be. The venue itself is a great one to work with setting up and breaking down easy! Parking no problem. I encouraged others to book this show and everyone of them are glad they did. Roll on 2017!! Your team have been fantastic leading up to the show and the show itself a big thank-you to all of you for your efforts in making sure worked for all of us. If you or you business felt the costs are high, will it work for me, will there be return on the investment.....yes. We will be booking again no doubts"
Mike Heavey - Love Stationery
What Brides say
"Fantastic! Had such a great girls day out"
"It was amazing, really enjoyed it, never been to anything like this."
"Brilliant! Got lots of ideas & some things booked - lovely gifts too"
"Bring all your bridesmaids, it's a great worthwhile day"
"It was great, my fiance' managed to book wedding cars for our wedding next year, i'm still on the hunt for my wedding dress"
"Fantastic range of things to look at"
"Very good variety of things to plan a wedding"


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Interdesign Power Lock Robe Hook 4.1 in. H x 6.5 in. L x 2.3 in. W Clear Clear Plastic(6 Pack)(51620
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ACE Hardware
2950 Menasha Avenue
Manitowoc, WI 54220


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HA NOI (VNS) — The prices of 50 types of milk products for children below 2 years of age will drop by between 0.4 and 4 per cent beginning today.
According to the Ministry of Finance, the new prices were set after the ministry required five milk producers and traders to review and remove advertising costs from the selling prices of products for children below 24 months of age, in accordance with regulations on trading and using nutritional products for infants, under decree 100/2014/ND-CP.
The new rates will be slashed by between 0.4 and 4 per cent, depending on the kind of milk products and the structure of selling prices they are suited for, as declared by the ministry, Head of the Price Management Department of the Ministry of Finance Nguyen Anh Tuan said.
The five companies are enterprises that were asked to set the selling prices of milk products meant for children below 6 years of age, according to existing regulations of the ministry.
These include Mead Johnson Nutrition Viet Nam Ltd Company, Friesland Campina Viet Nam Ltd Company, Nestle Viet Nam Ltd Company, 3A Nutrition Ltd Company, and Tien Tien Ltd Company, which supplies to Mead Johnson Viet Nam.
Moreover, other milk firms must announce the selling prices for their products in provinces or cities.
The ministry received declarations on reducing the selling prices of 50 types of milk products for children below 2 years of age from the five companies, Tuan affirmed.
According to the existing regulations, the ceiling cost of advertising, promotional activities and marketing is 15 per cent of an enterprise's total expenses.
Since June 2014, milk producers and traders reviewed and deducted advertising expenses from the selling prices of 686 lines of milk products for children below 6 years of age, as required by the ministry to stabilise the cost of milk products in the domestic market.
As a result, the selling prices of these products dropped by between 0.1 and 34 per cent, he noted.
This is the second time that the selling prices of milk products in the local market has been reduced, with the new rates coming into effect on April 20, he added. — VNS
Shark Hung's $12 million investment deal company signed cooperation with domestic and foreign partners
A rare opportunity to own King Palace – "Where Kings live"


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Independent Lens
The Hottest August
Ordinary New Yorkers share their anxieties around violent weather, climate change, and more, as they brace for what could be one of the hottest months ever.
Technology plays a role in deepening societal divisions, and lack of access to computers threatens to widen these gaps.
Learn more about funding opportunities with ITVS.
Digital Divide (two one-hour shows) is for anyone who questions their role in the Information Age, and every person of color who worries they will never see a reflection of their culture or language in the largely white, mainly English world of the Internet. For those who feel they are being left behind because they don't have a computer or Internet connection at work or at home, this series examines the role computers play in deepening societal divisions. Digital Divide explores how technology intersects with the social divisions of race, gender, and class — distinctions that have haunted the U.S. since its origin — as lack of access to computers threatens to widen these gaps in dramatic new ways.
We'll send you funding deadlines, events, and film news.