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Discontinued Product
39-Inch Piano Design Stainless Steel Gas Cooktop
Sorry, the manufacturer is no longer producing this product.
Description & Highlights
Smeg 39-Inch Piano Design Stainless Steel Gas Cooktop - Stainless Steel
The largest of the Smeg Piano Design's gas cooktop line, the Smeg 39-Inch Piano Design Stainless Steel Gas Cooktop (PU106) features six (6) sealed gas burners in total that cover a complete range of sizes and power ratings for any cooking adventure. Each side of the cooktop features a powerful 12,300 BTU double inset super burner that easily accommodates larger cookware and foods that require exceptionally high heat levels, and the center space holds four (4) smaller burners. The two (2) front auxiliary burners are rated at 3500 BTUs making them ideal for smaller side pots, the rear left semi-rapid burner is rated at 5500 BTUs, and the rear right medium rapid burner is rated at 8000 BTUs. All of the burners feature safety valves and automatic electronic ignition to ensure quick and easy lighting every time.
This advanced 39-inch built-in gas cooktop is part of Smeg's exclusive Piano Design line that incorporates the use of brilliant polished stainless steel throughout. The cooktop base, control knobs, grates, and burner caps are all constructed from high-quality stainless steel, built to perfectly match for a completely seamless appearance. The grates themselves feature an ultra-simplistic design with clean lines for an understated look, and the burners are fully sealed to prevent spills from sullying the beautiful stainless steel finish. The Smeg 39-Inch Piano Design Stainless Steel Gas Cooktop provides all the room and cooking power you need to prepare meals for the largest of crowds.
Full Polished Stainless Steel Design:With Smeg's exclusive Piano Design, this gas cooktop's base, controls knobs, grates, and burner caps are all constructed from high-quality stainless steel
Dual 12,300 BTU Super Burners:The cooktop is equipped with two (2) 12,300 BTU double inset super burners for amazingly fast cook times, and foods that require exceptionally high heat
Automatic Electronic Ignition:Getting the fire going is easy with burners that automatically light when you press and turn the knob counter-clockwise
- Model: PU106Smeg 39-Inch Piano Design Stainless Steel Gas Cooktop
- Brand: SmegAdaptable for LP gas
- Exclusive Piano DesignLeft Burner: 12300 BTU double inset super burner
- Full polished stainless steel constructionCenter Front Left Burner: 3500 BTU
- Six (6) sealed gas burnersCenter Rear Left Burner: 5500 BTU
- Two (2) double inset super burnersCenter Front Right Burner: 3500 BTU
- Automatic electronic ignitionCenter Rear Right Burner: 8000 BTU
- Safety valvesRight Burner: 12300 BTU double inset super burner
- Stainless steel baseInput Voltage: 120 V/60 Hz
- Stainless steel control knobsPower: 0.1 A
- Stainless steel gratesWeight: 56 lbs
- Stainless steel burner capsCutout Dimensions: 1.94" min. H x 33.69" - 33.88" W x 19.13" - 19.31" D
- Warranty: 1 yearOverall Dimensions: 1.75" H x 39.56" W x 20.06" D
Cutout Dimensions:
- Height: 1.94" min.
- Width: 33.69" - 33.88"
- Depth: 19.13" - 19.31"
Overall Dimensions:
- Height: 1.75"
- Width: 39.56"
- Depth: 20.06"


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I've been on a WWII kick for a while, but decided to take a break when I finished a book over the weekend.
Read an excellent book about Omaha Beach, called Omaha Beach. Detailed account of the planning and the D-Day invasion, including the airborne landings. It's a little slow and meticulous in some parts but interesting.
Finished Inside Hitler's Bunker by Fest. This book doesn't get bogged down with too many details or theories on what happened during the final days in April 1945. A real straight-forward account. It was a fast read.

subset: commoncrawl


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Ethiopia releases imprisoned journalist Reeyot Alemu
New York, July 9, 2015--The Committee to Protect Journalists welcomes the release from prison today of Ethiopian journalist Reeyot Alemu, a critical columnist who has been jailed since June 2011 on terrorism charges. Reeyot was sentenced in 2012 to 14 years in prison, which was reduced to five years on appeal. Reeyot told CPJ today that she was happy to be free and that her health was "okay," but that she was still taking painkillers. The journalist suffered from breast tumors while in prison.


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So :iconalligator-neesan: and I were hanging out and had a fun idea to help raise some money so we could afford rent.
We've joined together to sell some cute sketches! :iconlubplz:
Pay half price for double the art! <33
$20 - Half-body sketch from both artists
$30 - Full-body sketch from both artist
+ $10 for colour
You can contact my email at firstname.lastname@example.com if you're interested. We're only accepting payment by paypal (sorry!) and it must be sent in canadian dollars. If anyone commissions us, we would be eternally grateful!!
also on tumblr....
Thanks guys! :iconrubcheeksplz:


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Between seasons is a time I spend doing some thinking, usually a lot thinking about the next hunt.
This led to thinking about carrying capacity..
By all accounts there are more poults across WI landscape than there has ever been. If this is true then it might be time to take out some of the surplus population this fall. If winter is tough as it was in 2010 when there were massive die offs of turkeys we could lose all those new poults plus part of core population due to, too many mouths to feed.
What you think is it time to kick up the fall harvest?


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Before we chat with today's author, I want to announce that the winner of the signed copy of Roseanna White's novel, Love Finds You in Annapolis, Maryland, is:
followsjc@ . . .
Congratulations! I'll contact you today for your snail mail address, and we'll get your book to you right away. I encourage readers to keep commenting and/or subscribe at right (above my list of books) in order to participate in future book give-aways!
Now let's chat with novelist Alice J. Wisler, author of A Wedding Invitation (Bethany House, October 2011). Tell us about yourself, Alice.
I was raised in Japan as a missionary kid, and spent twenty years in Japan. No wonder sushi is my favorite food. After college, I taught English as a Second Language in a refugee camp in the Philippines.
Since the death of my four-year-old son Daniel in 1997, I teach online grief-writing workshops and speak at bereavement conferences.
My four published novels are Rain Song, How Sweet It Is, Hatteras Girl and A Wedding Invitation.
How heartbreaking, Alice, about your son. I'm so sorry. And how loving of you to help others struggling with grief.
Please tell us five random things we might not know about you.
--My first modeling experience was when I was eight, for a poster advertising melodeons (this was a hand-held instrument) for a Japanese company.
--I love turkey skin almost as much as I love the meat. (I do know it's not good for me.)
--I was in the Amazon Jungle when my daughter caught a piranha on a fishing trip.
--I skipped school after an Eagles concert in 1976 and went with friends to meet them at their hotel in Osaka (we'd gone backstage the night before and Joe Walsh invited us to hang out with the band).
--My uncle is Eugene Peterson (author of The Message) and is a wonderful person.
I feel as if my life has been awfully sheltered, in that I only identify with the turkey skin item. Sigh.
Please tell us a bit more about the plot of A Wedding Invitation.
Samantha visits her Aunt Dovie in Winston-Salem, NC, (after attending the wrong wedding) and from there, things are set in motion for her life to change. She comes face-to-face with a student she once taught in the Philippines at a refugee camp, and later is reunited with a Carson, a fellow teacher---the one she fell in love with.
Together, Carson and Samantha are asked to help Lien, a young Amerasian girl, find her birth mother before Lien's wedding.
What is it about Samantha that will make your readers care about her?
Samantha is down to earth, a bit of a flirt, flawed, protective of her heart, and funny.
If you were the casting director for the film version of your novel, who would play your lead roles?
I have no idea. I suppose Aunt Dovie would be someone sweet like Mary Steenburgen.
Many authors—including multi-published authors—have started taking their out-of-print books and even original books straight to e-books, which they've essentially self-published. What are your thoughts about the idea? Have you done it, or are you likely to?
Very tempting, but have not gone down that path yet.
What is the last book you read that you would recommend?
Under the Mesquite, by Guadalupe Garcia McCall. This is a YA book about a girl who finds out her mother has cancer. Very touching and poetically written. (A review of it is at my blog.)
What are you working on now?
Thanks for asking! I'm writing a novel about a man who gives up his Amish heritage and moves to the mountains of North Carolina to help other dissatisfied Amish youth start new lives in English society. This novel, Still Life in Shadows (my title that may or may not stick), has just been accepted by Moody Publishers (the new River North) and should be out fall 2012. I'm excited!
Congrats on that! Where else can readers find you online?
My website is a good place to find me. www.alicewisler.com. I have a newsletter, Literary Lyrics, and love it when readers sign up for it at my website. It's free!
I have two blogs, too. One is Patchwork Quilt at: www.alicewisler.blogspot.com and the other is Writing the Heartache: www.writingtheheartache.blogspot.com.
The book is available at fine book stores and for online purchase via the following buttons:
Finally, what question would you like to ask my readers?
If I rented a beach house on the Outer Banks of North Carolina, would you join me for a weekend?
Thank you, Alice, for visiting with us and telling us about your novel. Readers, Alice has offered to give a signed copy of her book to the winner of our drawing on Thursday, December 22. To enter, leave a comment below in answer to Alice's question, above. "Please enter me" won't get you entered. Leave your email address, in case you win, like so: trish[at]trishperry[dot]com.
Be sure to check out my post about the raffle for Sandi Rog and my interview with Susan Sleeman, below. Leave an appropriate comment at the bottom of Susan's post to enter the drawing for signed copy of her book.
And I'd love it if you'd connect with me on Facebook. Just click on my name at the right of today's post.
Annoying legal disclaimer: drawings void where prohibited; open only to U.S. residents; the odds of winning depend upon the number of participants. See full disclaimer HERE.


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Don't you love when you spend two hours searching for the source of a bug that ends up taking two lines to fix.
Don't you love when you spend two hours searching for the source of a bug that ends up taking two lines to fix.
"Most code is absolute crap. GNOME, KDE, it's all mostly crap. Yet overall it generally works. If we just wrote beautiful code that is all theoretically correct and only uses nice well designed APIs, we wouldn't have shit...Unix APIs are utter shit...Same with X11. Let's produce free software desktops that work, rather then lots of beautiful code that will never be finished."
Tabbed MDI Strikes Mozilla Again
In attempt to deal with the monstrosity known as tabbed MDI, mozilla developers have now added a "Do you really want to close all these tabs" dialog, a variation on the horribly annoying "Do you really want to quit" dialog.
The solution to this problem is really not all that difficult. Instead of trying to deal with the data loss caused by allowing users to close a group of documents at once, simply only allow the user to close one tab at a time. Epiphany gets this right. The file menu close item only closes the current tab. If there is only one tab in a window, the window is closed. Now if I can only get them to implement the same behavior for the window border close button.
Why are bookmarks in the web browser only? It seems so limiting to me. Shouldn't any file or folder be bookmarkable?
Anyway here's my idea. Remove the bookmarks menu from every application that has one. Instead add a "Bookmarks" menu to the desktop panel menus. This menu would list the 15 most used [1] bookmarks and a "More Bookmarks..." menu item. Selecting "More Bookmarks..." opens the bookmarks folder [2], giving you access to all of your bookmarks and automagically opens them in the correct application.
How do I bookmark a page than? Well quite simply File->Bookmark should be available for every document. [3]
Question and Answers
Well hierarichal menus are slow and hard to use. The main goal of the bookmarks menu is to provide quick access to the most commonly used bookmarks. Including all bookmarks in the bookmarks menu makes the menu inefficient at which point a desktop launcher to open the bookmarks folder makes more sense. The bookmarks folder should provide quick enough access for less commonly used bookmarks.
File is the most correct menu in which to place this entry. All document actions appear in this menu including print and save.
[1] Note I say "most used" and not "most recently used" there is a difference.
[2] I use the term "folder" loosely here, it need not be a unix directory.
[3] Of course for this to work we're going to need a cross-desktop standard for bookmarks.
[4] This assumes a hierarichal bookmarks system of course, which I actually don't support but thats another issue.
For those not in the know, the open applet is a simple panel applet that allows you to open web address, file system files and folders, remote ftp files and folders, or search the web.
Well my originally simple panel applet has run into some issues. The function it uses to open a url with is gnome_vfs_url_show from GNOME VFS. The main issue is that mime-sniffing remote files is costly [1] and the sync i/o leads to a noticeable lockup in the ui. My original solution was to set application handlers for common schemes like http:// and ftp://. This works all fine and dandy until you consider the fact that opening a web browser to view a pdf file that just happens to be stored on a webserver doesn't really make sense nor does it make sense to open webdav directories in a web browser either [2].
What to do, what to do?
UI wise I have it all figured out in my head. For the most part mime-sniffing single remote files does not take that terribly long. On average I'd guess its taking about 5 seconds for the average website. I'd need to take a look at the GNOME HIG, but afair if an operation takes more than around 3-5 seconds some sort of visual affordance that work is being done should be provided. In the case of the open applet poping up a dialog which informs the user that the file is being loaded along with a button to cancel the operation would suffice [3]. However the key here is to not block the main ui so that the user can open other urls at the same time that he/she is waiting for the blocked one/s.
One idea I had to avoid the worst of the UI locking was to fork off gnome-open processes instead of directly opening the url with gnome_vfs_url_show in my app. This would work but obviously wouldn't scale very well :/
[1] Especially for those of us in the majority who still use dialup.
[2] I believe kde uses webdav:// in this case, but to the best of my knowledge gnome's use of http:// is more correct. It doesn't really matter though, even in the webdav case you need to be able to sniff out the mime-type of the file to open.
[3] Libifying functions to provide UI would be useful to other apps that can open hyperlinked data such as irc clients, word processors etc.
"The fact that the much of computer world equates simple with dumb and complex with powerful is an unfortunate accident of history."
hadess: The GNOME VFS method provided by sound juicer is a start but the ui still sucks due to the lack of steps 2 and 3. Expecting users to be familiar with gnome-vfs schemes is an even worst ui than using an application. [1]
Anyway, while we're on the subject of code, any chance this patch can get applied to gnome-mime-data. I need it so that the open applet can be used to open folders.
[1] Once again i'm not picking on sound juicer here specifically.
Ross Burton works on a nice little app called sound juicer. This app aims to provide a simple to use cd ripping interface. The thing thats strikes me though is the fact that no one ever thought "Hey this is a form of file management, lets put it into the file manager!" The file manager, what you say? Thats crack! Think again. The file manager provides the exact required interface here. Ripping cd's is just another form of managing your files (these just happen to cd audio tracks).
Dave's Proposed CD Ripping Interface
Compare the above steps to rip a cd to the similar steps to copying files from a floppy disk. *gasp* you can replace the term CD Player with floppy disk and rip with copy, and you have virtually the exact same steps.
Addendum, July 8th
I whipped up a quick mockup dialog for the UI mentioned above. One issue that came to mind is that users may not want to be bothered every time they try to copy files from an audio cd to a folder. This leaves us with two choices. A lesser designer might suggest adding a "Don't ask me again" checkbox, but as mpt says "oh, so you didn't really need to annoy me, but you thought you would anyway?." The other option is to provide the preferences from the within file manager preference dialog.[1] The issue of a dialog vs preferences really requires two questions to be answered, "How often do users actually rip their cd's?" and "Will they most likely always choose the same format and endoding?" If the answers are quite often and yes, I think a preference available from the file manager preferences might be a better ui, if the opposite answers are true, than perhaps a dialog is better.
2:36 AM, time to go to bed....
[1] I do think these preferences are useful/necessary. A hi-fi audio fanatic will likely choose a high-bit rate to encode at, a linux geek will want to use OGG and your traditional file swapper will most likely want to use MP3.
sisob, maybe gnome needs a gnome-rants list :). For the time being usability list will have to do.
In other news, I spent the day painting kitchen walls. It was kind of fun and I made a nice slice of cash as well, considering my current complete lack of income. I have now returned to my normal daily activity, staring at a computer screen.
So I'm back at it once again, trying to convince gnome developers that a concrete document based object model is needed in order for gnome to extend its usability. I wonder if anything will come out of it this time. I'm honestly not holding much hope, but maybe I should join auspex's effort to produce a written document. He claims that he "could present (it) in person on a napkin." I don't doubt this.
So Marco convinced me to put my "OpenApplet" (or as I like to call it "Text Box for Opening Stuff with...") into gnome cvs. He even was nice enough to fix up configure.in and to add an italian translation. Have a bunch of little fixes i need to do, plus i need to decide if i'm going to support keywords, smart bookmarks or both. Smart bookmarks will probably require supporting epiphany's bookmarks system. Also need to provide as easy way for users to configure their gnome-vfs schemes, something minimal is probably best i guess.
New HTML Parser: The long-awaited libxml2 based HTML parser code is live. It needs further work but already handles most markup better than the original parser.
Keep up with the latest Advogato features by reading the Advogato status blog.
If you're a C programmer with some spare time, take a look at the mod_virgule project page and help us with one of the tasks on the ToDo list!


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For any entrepreneur, moving into your business into its first office can be a daunting task, especially as there are a range of issues to keep in mind that can range anywhere from logistical to legal.
Any office relocation should be strategically planned and executed to prevent last-minute hurdles. This blog post will help you examine some of the crucial issues that come with moving and how to deal with them as well as access the following six areas.


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Latest Headlines
EPL midseason review of 1-4
Posted on 5 Jan 2011 by Allan Jiang.
One word defines Manchester United's progress at midseason point – unbeaten. The football United have played has been lacklustre however Sir Alex Ferguson has encapsulated a winning mentality, the mentality which has allowed United to rescue solitary points against Fulham and Aston Villa whilst winning ugly against Wolverhampton Wanderers and Arsenal. Wayne Rooney's form has been well be...


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Very Central Studio Apartment Natalie
Size30 m²
Floor No.
- Kitchen
- Air conditioning
- Hot tub
- Parking available
- Internet/WiFi
Accommodation summary
|ul. Tsar Samuil, 1301 Sofia, Bulgaria
|Property type
|Property ID
Small but comfortable studio on the top floor of an old and romantic building from the beginning of the last century. The studio is situated in the very center of Sofia.
In the limited living space a place for relaxation, an eating area, a kitchen corner with all the necessary appliances, a double bed, a bathroom with a WC, a bath-tub and a small balcony are compactly combined. The substandard ceiling and the whole interior creates coziness and artistic atmosphere in the apartment and makes it the ideal place for work or rest.
The beautiful view from the decorated with flowers balcony complements your pleasure of the morning coffee. There is also Internet connection (Wireless, Cable), a cable TV, an air-conditioner and kitchen appliances (a hot-plate, a coffee-maker, a microwave oven, a fridge and a set of dishes).
There is a quiet back yard with a table and chairs, that can be used by our guests.
House rulesNo charge for extra people. Minimum stay: 2 nights.
|Weekly rate for up to 2 guests
|Monthly rate for up to 2 guests
|Check-in after
|Check-in before
|On arrangement
|Check-out before
|Cancellation Policy
Reviews of this property
We enjoyed our stay in this very nice and comfortable appartment. The city center and lots of shops are at walking distance. So we didn't need to use the public transport at all. Also restaurants are close by. Thank you!
Great and comfortable apartment in a fantastic location (very close to the central Metro station and excellent connection to the airport). Very friendly and nice communication with Polina. I would absolutely recommend to choose this apartment if you are going to visit Sofia.
Thank you very much for the great stay!
It's a very good location - easy walk to the metro and very close to ул. петротска and бул. витоша, for good shopping. The owners are very good people, very helpful, and with good language skills. The only negative is the shower - too high for anyone with disabilities. All-in-all, this is an excellent choice for most of us who don't require an expensive hotel room. I would certainly return.
Apartment very well located, close to all the attractions of the city. Great for our weekend !!! :)
Apartamento muy bien ubicado, cercano a todos los puntos de interés de la ciudad. Genial para nuestro fin de semana!!! :)
Hi, we were at the appartment for only two nights but everything was perfect! It's cosy and has a very personal and special feel to it. Polina and her mother were very nice and helped with everything needed. It was also great to have aircondition since it was rather hot out! If we go back to Sofia we'll definetly stay here again! Thanks!
Thank you Polina for everything! The apartment was very comfortable and had all that we need! We really enjoyed the location too, its in the very centre! I strongly recommend it... we will be back!
Apartment Natalie was a nice place to stay with a central location to all of Sofia's attractions. We had a little trouble with the hot water while we were there but the hosts were extremely helpful and worked things out for us. The apartment is beautifully decorated and has great facilities for cooking, cleaning etc.
The apartment was just like the pictures and we really enjoyed staying here. Definitely recommend staying here!
Stay in Sofia was very pleasant. We are satisfied. Highly recommended
Aufenthalt in Sofia war sehr angenehm. Wir sind zufrieden. Sehr zu empfehlen
- Quality assured accommodation
- Every host is verified by telephone
- Secure payment via SSL encryption


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By Nikita Gourski
The gowns, the romance, the tragedy! La Traviata is an opera filled with the passion and pathos opera is known for, but did you know that it stands for so much more? Check out our top 11 things you need to know about Verdi's romantic epic, La Traviata, and get your tickets before it's too late!
From the 1830s until his death, Verdi was the reigning opera composer in Italy. Over the course of his career the art form underwent significant changes, including shifts in preferred subject matter, staging conventions and techniques of composition. Verdi was front and centre in driving many of the innovations that modernized Italian opera.
La Traviata is based on the French play La dame aux Camélias (1852) by Alexandre Dumas fils, which the author had adapted for the stage from his own best-selling novel of the same name (1848). Dumas' play attracted Verdi's attention because it offered a new and invigorating realism. In this story, morality did not necessarily triumph, the scale was intimate and personal, focusing on people's private lives, and the characters and situations were recognizably contemporary, speaking to all manner of issues that were relevant to, and vigorously debated by, the public in mid-1800s Europe. As Verdi wrote to a friend, it was "a subject of the times. Others would not have done it because of the conventions, the epoch, and for a thousand other stupid scruples."
Verdi fought, but lost, to have La Traviata set in the present day—he wanted the sets and costumes to be continuous with the clothes and rooms of his 19th-century audience, as the opera depicted a part of their quickly changing, heady cultural world. But wherever Traviata was staged during Verdi's life, censors and theatre managers demanded that the time period be pushed into remote history—around 1700 was the preferred chronological remove—to dilute the shock and social critique inherent in the work. Its relevance to contemporary society was not lost on audiences, however, as evidenced by denunciations of La Traviata in many cities and countries. After its English premiere (1856), for example, The Times protested against the opera's "foul and hideous horrors," and sale of the English translation of the libretto was forbidden in the U.K.
La Traviata's premiere on March 6, 1853 at the La Fenice opera house in Venice received decidedly mixed reviews. The next year, staged in another theatre and with some alterations to the score by Verdi, La Traviata triumphed magnificently, and has only grown in popularity since. One unverifiable legend claims that in the last hundred years, there has been a performance of La Traviata every single night somewhere in the world.
La Traviata translates to "the woman led astray," and Violetta is without a doubt one of opera's most interesting examples of the "fallen woman." As she changes throughout the opera, Verdi gives her unforgettable music that charts an authentic psychological trajectory of change and growth, making her not only of the best-loved heroines in opera, but one of the most real and complete as well.
Dumas, the author of the novel and play that served as the basis of La Traviata, really did fall in love with a famous Parisian courtesan named Marie Duplessis (1824-1847) who was the model for the doomed heroine of La dame aux Camélias, as well as Verdi's opera. Duplessis was born in Normandy and by the time she was twelve her alcoholic father had forced her into prostitution. Three years later she came to Paris and worked briefly at a dance hall, and then gradually made her way into wealthier and more refined circles as a courtesan. In addition to her physical beauty, she was graceful and charming; having learnt to read and write, she amassed a library, read broadly, and was a smart and fascinating conversationalist. She charged extraordinary rates for appearing with clients in public and cultivated expensive tastes. Camellias, her preferred flowers, cost three francs each, roughly the daily salary of a labourer. She had many famous lovers drawn from high society, including a passionate affair with the composer Franz Liszt. Like Violetta she suffered from, and ultimately succumbed to, tuberculosis.
Unlike Rigoletto, for example, in which the music does not carry any explicit messages about the historical or geographic setting of the action, La Traviata does. Verdi quite deliberately gives us music that is infused with the local colour of Paris in the mid-1800s. He does this by using and making frequent reference to the waltz, a dance that was symbolic of the very rhythm, pace and structure of 19th-century society, especially the fringes of respectability where courtesans and other persons of doubtful morality would have been located.
Tuberculosis in the 19th century was thought to be closely connected to city-living and the moral recklessness it entailed, so Violetta's ailment very specifically reflects her occupation and position in society. That being said, the illness also had a romantic aura. In the words of William Berger, suffering from it was the period's "version of 'heroin chic.'"
When Verdi was asked later in his career which of his operas was his favourite he replied "Speaking as an amateur, La Traviata, as a professional, Rigoletto."
This production is staged by Arin Arbus—"a star in the making" (New York Times)—who sets the work in the exciting demi-monde of 19th-century Paris, a world of parties, pleasure and debauchery, which Verdi's opera depicts with such pin-point accuracy.
Costumes by Cait O'Connor are both decadent and playful, befitting the excesses that constitute the opera's cultural ethos. Take a closer look at the designs with costume designer Cait O'Connor here, mobile version here.
To learn more about La Traviata and to buy tickets, click here.
Charles Castronovo as Alfredo and Ekaterina Siurina as Violetta in the COC's production of La Traviata, 2015. Photo: Michael Cooper.
Posted by Kiersten Hay / in La Traviata / comments (2) / permalink
The 2015/2016 Free Concert Series kicks off on September 22 with a performance featuring the COC's Ensemble Studio members. Spanning six sub-series (Vocal, Chamber Music, Jazz, Dance, World, and Piano Virtuoso), the 15/16 season is comprised of 72 concerts from September to May. We spoke with new Program Manager Claire Morley to learn more about the upcoming season.
The fact that we are able to offer over 70 concerts which feature an incredible array of world-class artists, for free—that is, in a broad sense, what makes the series so special. Our audiences are also amazingly diverse and they lend a unique energy to each and every performance, and the performers can feel that and can be very moved by it. And there's a real sense of discovery within the series—I have spoken with numerous people who might have gone into the concert knowing nothing about the repertoire, and have come away with a newfound love for it. On the other hand, we have audience members who come to hear music they might have known for decades, and they rediscover their passion for it. I think the series allows and encourages audience members to make it a very personal experience.
It's so hard to choose! I love hearing our COC musicians perform. Our orchestra members always present really compelling programs, and it's such a pleasure to hear and see them in the intimate setting of the Richard Bradshaw Amphitheatre, when we're used to hearing them in the pit! Watching our Ensemble Studio singers is inspiring, too, because we get the chance to witness some of the most incredible rising operatic talent grow right in front of us.
I'd say some of my highlights include baritone Quinn Kelsey's recital on October 27, when he'll be performing Vaughan Williams' Songs of Travel and Finzi's Let Us Garlands Bring as well as a few Brahms Lieder. Here's a clip of him singing "O du mein Holder Abendstern" from Wagner's Tannhäuser (get your tissues ready!).
The Eric St-Laurent Quintet on January 12 will kick some serious butt. He's got such an incredible technique—his playing is spellbinding.
For dance lovers, it's hard to beat the work of visionary choreographer and dancer Peggy Baker. She and her group of incredible dancers, Peggy Baker Dance Projects, always pull an audience in immediately, keeping them transfixed. You'll be able to catch them perform on January 28.
Young dynamite pianist Kara Huber returns to the series on April 14. Kara is a stellar performer, and has a special love for contemporary music. This program will feature a world premiere by David Rakowski, written specifically for Kara. Here she is playing one of his etudes, Fists of Fury.
In May, mezzo-soprano Anita Rachvelishvili sings a program of some of her favourite recital repertoire, including some rarely heard songs from her native Georgia. She's a powerhouse!
I think it does. I've spoken to audience members who have told me that the series opened their eyes to something new, something unexpected, and it has led them to try out opera for the first time. Whether or not it "hooks" them is up to them, but it's wonderful to know that they feel welcome in the Four Seasons Centre and encouraged to try out something new. Both the artists on the mainstage at the COC and the artists in the Free Concert Series all have a story to tell, no matter the art form. The Front of House team at the Four Seasons Centre has to be commended—they are a remarkable group of people who make it a top priority that everyone who walks through the front doors of our opera house feels welcome.
Photo: Claire Morley. Photo credit: Rider Dyce
Posted by Kiersten Hay / in Free Concert Series / comments (0) / permalink
This fall we're excited to present the world premiere of Canadian composer Barbara Monk Feldman's Pyramus and Thisbe in a brand new Canadian Opera Company production. We took a field trip up to the COC Scene Shop to give you an exclusive first look as the sets are being constructed in anticipation of opening night on October 20, 2015!
Three massive panels, partly inspired by the Abstract Expressionist canvases of American artist Mark Rothko, help divide the triple bill's three operas into three separate spaces, allowing the three scores to flow into each other without interruption.
The scale of Pyramus and Thisbe's set demands a huge working space—luckily the COC Scene Shop's converted fruit distribution factory provides the perfect space to house the multi-story wooden backdrop.
One of the identifying factors of the set, beyond its beautiful deep pine-green colour, is a long bench extending its entire length. These benches will be the chorus's home for the majority of the opera.
When constructing a new production, many tests are undertaken to see which media best suit the theme, space and budget. For Pyramus and Thisbe, the creative team decided to use layers of acrylic paint on a heavily-grained wood in order to highlight natural textures and rich colour palettes.
After finding the perfect colour mix, the paint is applied to giant sheets of wood using brushes set on long wooden handles, set at about the angle of a hockey stick.
The paint is applied in various layers in order to achieve the desired consistency and colour throughout the multiple background and floor panels.
Because the wood is so deeply textured, the paint is absorbed to different levels, resulting in a deeper stain in certain areas.
After they are painted, the floor panels need to be allowed to dry completely undisturbed in order for the paint to come to a perfect, untouched finish.
In order to see this stunning set in its full glory (and populated with singers!), buy your tickets today for this innovative program, featuring the world premiere of Canadian composer Barbara Monk Feldman's Pyramus and Thisbe along with Claudio Monteverdi's Baroque classics Lamento d'Arianna and Il combattimento di Tancredi e Clorinda. See you at the opera!
Photos: Kiersten Hay
Posted by Kiersten Hay / in Pyramus and Thisbe / comments (0) / permalink
Sara Fulgoni in the COC production of Bluebeard's Castle. Photo: Michael Cooper © 2001


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LC Subject Heading: Tourism--Maine
Historical Items Showing 3 of 251 View All
Item 22230
Title: Postcard advertising Maine
Contributed by: Great Harbor Maritime Museum
Date: circa 1930
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Title: Vanity Fair Tea Room and Guest House back view, Surry, ca. 1930
Contributed by: Surry Historical Society
Date: circa 1930
Location: Surry
Media: Silver print photograph divided back postcard
Item 66109
Title: Greetings from the Pine Tree State, ca. 1938
Contributed by: Boston Public Library
Date: circa 1938
Media: Linen texture postcard


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3 Bedroom Flat in Amanzimtoti
Hilda Posthumus
Harcourts-Sapphire Coast
3 Bedroom Flat in Amanzimtoti
No stairs to this beautiful unit. Modern kitchen and spacious lounge and dining room area. Built in cupboards in bedrooms. Communal pool and braai area in complex. Walk to local doonside beach and shops. Easy N2 freeway access. Enjoy your morning coffee on your verandha.
The information herein is correct to the best of our knowledge as provided by various parties, however errors and omissions excepted.
We know that real estate clients want to deal with consultants that have knowledge, expertise, honesty and integrity, and are committed to achieving the best possible result for them.
Above all they want to deal with real people - that's why Harcourts Sapphire Coast puts absolute focus on creating a relationship of trust and respect with all our clients. We've found that this philosophy is great for achieving personal satisfaction, high morale and continued success.
Pop into our offices at the Harcourts House, 32 Seadoone Road to have a chat with one of our property experts about your property needs. We're always ready to help you in whatever way possible.
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Amanzimtoti, meaning 'the water is sweet' is a laid-back coastal town near Durban. This town attracts the young, old, retired and working class - all for the same reason.. the beach! With the beach being the main attraction in this neighbourhood, surfing, swimming and fishing are the most popular outdoor activities and holiday makers flock here in summer. Life moves a little slower in Amanzimtoti, and many people like to live here and commute to work in Durban.
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Family: Anoplopomatidae, Sablefishes view all from this family
Description The sablefish, Anoplopoma fimbria, is one of two members of the fish family Anoplopomatidae and the only species in the Anoplopoma genus. In English, common names for it include sable (USA), butterfish (USA/Australia), black cod (USA, UK, Canada), blue cod (UK), bluefish (UK), candlefish (UK), coal cod (UK), coalfish (Canada), beshow and skil(fish) (Canada), although many of these names also refer to other, unrelated, species. Of these, only "sablefish" is an Acceptable Market Name in the U.S. The sable fish is found in muddy sea beds in the North Pacific at depths of 300 to 2,700 m (1000 to 9000 ft) and is commercially important to Japan.
The white flesh of the sablefish is soft-textured and mild flavored. It is considered a delicacy in many countries. When cooked its flaky texture is similar to Patagonian toothfish (Chilean sea bass).
Dimensions Up to 3'4" (1 m); 126 lbs (57.2 kg).
Habitat Ocean or bay shallows, Open ocean.
Range California, Northwest, Western Canada, Alaska.


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|Thank you. That means the first manned "flight" took place on November 21, 1783, in Paris, France.
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|Art of Casting Analysis, refinement of the cast
|Topic Review (Newest First)
|no responses on this for awhile hopefully you will see this. It sounds like you purchased a shooting head system all in one line. Normally a shooting head system is used with a stripping basket. Your coild running line, is in your basket and as someone said before you don't want to false cast past your shooting head. With one or two false casts you load your rod and doublle haul to increase line velocity and then shoot you head along with the running line following. ITs alot like c&d fishing for salmon, but instead of a heavy sinker your using a heavy head . When I first got my shooting head system I didn't have a shooting basket and I tried to cast coiling the line on the ground next to me or holding the loops in my hand. Using these methods I could only cast as far as I could normally with a wf line, with a shooting basket its a whole other ballgame. You should also have a fast action rod which helps with your line speed. Good luck!
Shooting heads are meant to be attached to a straight running line made just for that purpose. Which is a fairly thin level line .... kind of like the line that is behind to front end of a WF line.....You may be attaching your shooting head to a fly line that already has a Weight forward section built into it and that probably won't work.
The shooting line is meant to be set up.... Backing - running line - shooting head - leader - fly - huge fish
hope this helps
the T130 is a 24 feet shooting head S/F line of 130 grains, from the company "Jim teeny". I actually made the mistake of buying it thinking it was a regular sinktip, and was into a big surprise...
The strange thing is that, even though I´m an average-to crappy caster, I get better distance with my regular WF line. And if I practice too much with the shooting head, it worsens my casting later on with my WF line...
I´m getting both the hard bounce and whip effect. I´ll try out the long leader, sounds like a good idea
I tried lowering the thumb, good tip, worked well. If I think of that medieval weapon of a stick, a metal chain and an iron ball at the tip whirling above my head, while I cast the head, I get better results.
what are shooting heads used for anyways? its certainly not a "pick up-cast right away line", at least for me, ´cause when the 24 feet head sinks like a brick, its a bitch for me to bring it from the bottom of the water without 2 or 3 roll casts plus 2 or 3 false casts...
anyways, thanks as always
Short shooting heads are quick casting and can be useful,for instance to turn over big flies if the grains are high enough. They are also good for quick reaction casts.
On the downside they don't carry well false casting and have limited range - if the amount of energy passed into the loop from the rod is more than 24 feet of taper can handle it 'runs out of runway' hence the whip effect.
As bonehead points out increasing the leader will help because as the line and leader tapers it dissipates energy and softens the turnover. It's an air brake of sorts.
I prefer a longer head 35-38 ft when using heads.
I am not familiar with T130 - what is it? Sounds like T14 on steriods!
Tailing loops...
Don't have a lot of experience with shooting heads, but here's my 2 cents. First, you know that you don't want to extend much past the shooting portion beyond the rod tip for a cast, right? To make a good cast, wait until you get the shooting head about 5-10 ft past the rod tip then shoot the rest of the line. This should keep false casts to a minimum and give less chances for tailing loops.
Second, since the shooting head is heavier than a standard floater, you may be altering your casting motion to keep it in the air and off the water/ground behind you. If you drop your hand during the forward cast the rod tip travels in a straight line. This means that the line will travel in a straight path and collide with itself. Instead, keep the backcast low and merely turn your thumb down (parallel to the water) when you finish the cast. This should 'duck' the rod tip under the line and form a normal loop, with the line smoothly traveling over itself, instead of colliding and making tailing loops.
Finally, what length, type leader are you using. Shooting heads travel faster than floaters (more inertia) and too short a leader could cause too much energy to transfer to the fly which might cause it to 'bounce' at the end of the cast. This is particularly true with a heavier, sinking fly. If this is happening, you can open you loop to keep the fly traveling around a curve, instead of zipping to a halt at the end of a tight loop. Also, you can use a longer leader that disipates energy better.
Hope this helps.
casting a shooting head
Hello guys,
I have a 24 feet shooting head (T130). I´m having a bit more wind knots, tangles (for example forward casting straight into my rod) and tailing loops than with my average WF line.
I was wondering if the casting basics wich are recommender for regular lines apply to shooting heads or do I have to modify some of the mechanics of the cast?
I´ve read somewhere, for example, that for shooting heads the rod should stop in the backcast a bit more backwards and outwards to get a more open loop. Any truth in this? any other recommendations? thank you,.
Considering this topic might have been covered in other threads, I´ll settle for a link
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Watch This Promo Video For Badr Hari's Next Fight
- Written by Dave Walsh
For those that might have forgotten, Badr Hari is set to square off with Zabit Samedov again on May 25th in Russia at LEGEND FC, which also features the return to the ring of Aleks Emelianenko, the brother of Fedor Emelianenko. He'll be fighting none other than Bob Sapp. Yes, that Bob Sapp.
To top it off there will be a one-night, four-man tournament featuring 71kg fighters. It's Arture Kysheno vs. Yuri Bessmertny and Dzhabar Askerov vs. Enrico Gogokhia. That is a pretty good card, is it not? Anyway, here is the new official promo video for the event with a lot of Badr Hari featured in it.