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Eugene Onegin, lyric opera in three acts (1879), music by Piotr Ilych Tchaikovsky; libretto by the composer, Konstantin Shilovsky, and Modest Tchaikovsky, based on the novel of the same title (1833) by Alexander Pushkin
Produced by Opera Carolina at the Belk Theather, Blumenthal Performing Arts Center, in Charlotte, NC, USA; opening night on March 17, 2012
The Charlotte Symphony Orchestra conducted by James Meena
The Opera Carolina Chorus
Stage Director - Brian Deedrick
Set Design - Peter Dean Beck
Choreography - Mark Diamond
Costumes - AT Jones
Cast, in order of appearance:
Madame Larina - Martha Bartz
Tatyana - Dina Kuznetsova
Olga - Dawn Pierce
Filipevna - Victoria Livengood
Vladimir Lenski - Yeghishe Manucharyan
Eugene Onegin - Vasily Ladyuk
Monsieur Triquet - John Kaneklides
Zaretsky - Donald Hartman
Captain - Charles Lang
Prince Gremin - Kristopher Irmiter
A beautiful spring day in Charlotte, very luminous and crisp thanks to some scattered showers that left the air and the streets clean and shiny, with flowers everywhere. It's St. Patrick's day, and oh boy, these folks from the Queen City take it seriously: there are crowds wearing green everywhere.
I'm walking to the theater from my hotel just four blocks away, and I confess that I can't wait, I have high expectations after the build-up of the Eugene Onegin in-depth series, and the interviews with Maestro Meena and four of the members of the cast, with whom I'm by now on first name bases after several e-mail exchanges and phone calls. I feel like I know these people a little better than professional acquaintances, and I'm rooting for them. I feel a bit apprehensive because I want them to do well.
So, yes, flowers. Young people everywhere. Nice urban landscape in beautiful Charlotte, NC.
Hotel. Flowers. City.
I walk some more, and get to the back of the house of our partners, Opera Carolina. I'm doing a bit of photo-journalism as well, because many of our members have been hearing a lot about Opera Carolina, and I want to give them a bit of a tour of the company. So here is the Blumenthal Performing Arts Center, first from the back which is actually a better way to see their modern building, then the next two pictures are the front, next is the beautiful chandelier in the lobby, finally the equally beautiful one at the Belk Theater, and then there's a shot of the balcony and mezzanine.
As you can see, a full house. All right. Now I'm seated. Orchestra, 5th row center, with a very direct line of vision to the podium. Nice, I'll be able to observe Maestro Meena's moves. Showing once more Opera Carolina's care of even the smallest detail, the blue curtain illuminated like a night sky works as a screen for a slide show. We read "Welcome to Opera Carolina" in English and Russian (with bona fide Cyrillic alphabet), and then we get a quiz with several interesting questions about the opera - four answers are projected, and they go eliminating one by one until the right one shows. To my surprise and after having studied this opera so much, I get only about half of the answers right, and learn a few more facts about it. Nice touch!
At precisely 8 PM the lights are dimmed, and without any further introduction, Maestro Meena takes the podium, bows briefly, and attacks the overture.
OK, so, now, my review of the performance.
Let's proceed element by element, starting by the non-musical ones.
Sets: They were good for the most part, but with a couple of problems. There are three clusters of tall columns that look like tree trunks; two on the right side, one more prominent on the left. The central area of the stage is organized in a path with the form of an S that contours the three clusters of tree trunks. (You've seen the production pictures in the first section of the Eugene Onegin series, I won't repeat the pictures here).
These clusters which pivot around themselves, are organized in semi-circles, so that when they turn, they either look like a small forest when the trunks are facing the public, or they look like background when the space ahead of them is facing the public.
In the latter disposition, other elements slide down from the roof: windows (which, when they are set over the more prominent cluster on the left, form Tatyana's bedroom), simple chandeliers for the Larins ballroom, and fancier chandeliers with heavy curtains for the more sophisticated Gremin ballroom. The duel scene gets just the tree trunks without other props, giving the feeling of desolate woods, with snow falling from the top.
It all seems simple and efficient, right? Yes and no. It depends on the scene. They work well for the first scene with Madame Larina and Filipevna peeling potatoes on the right of the stage, in the semi-circle of the smaller cluster of tree trunks. But then when the peasants come for the chorus and dance, they get in the way and the stage feels too cluttered.
This gets particularly bad during Tatyana's Name Day ball, in which the path in form of an S is insufficient for dynamic use of the space, and dancing couples keep bumping on each other (literally). What happens is that the cluster on the left is too prominent and doesn't leave enough stage space for the ball. It does work beautifully for the Letter Scene, and also for the duel, which is very beautifully staged, since it is done on the perpendicular axis accross the S, with nice lighting - we only see Lensky as a shadow, while Onegin is in the proscenium.
I was expecting the same problems with dynamic use of the space for the Gremin ball, but surprisingly, the sets again work nicely, since the party goers seemed to have pressed themselves more to the back, to the very limit that the tree trunks (now doubling as columns of the Gremin ballroom) permit, leaving more space for the dancing couples. Maybe the stage director noticed the problem with the Name Day ball, and corrected the location of the actors/dancers mid-course.
Finally, the last scene in the Gremin drawing room again is not very successful in terms of staging: there is one chair in the middle of the stage, and the tree trunks get the same disposition of the duel scene. This doesn't suggest the drawing room, and the repetition of the configuration suggests again the desolate woods, which feels a little repetitious - unless it was done in purpose, since the music does recover elements from the first Tatyana-Onegin interaction for the final scene. Even if intentional, the effect just isn't as beautiful as those of some of the other scenes.
In summary, the sets work well for about two thirds of the scenes, and could have been better for the other third. But overall, this traditional staging can be called good.
Lighting: Very good. Atmospheric, beautiful, with smooth transitions, impeccable.
Costumes and make-up: Very accomplished. The simple life in the countryside is well depicted. Olga appears sexier from the beginning, matching her lively personality, and Tatyana appears appropriately awkward and tacky. The rustic clothes of Filipevna and the peasants are well done. During the Name Day ball, the neighbors try to dress up but still look provincial - which is the intended effect. Monsieur Triquet shows hilarious clothes and make up, in a very nice comic relief that the audience much appreciated.
Then the transformation that the costumes exhibit for the Gremin ball is quite striking and successful. The costumes displayed by the characters in the Gremin palace are simply stunning, very very beautiful, sober, elegant, and sophisticated, with dark colors (purple, bordeaux, grey, black). In summary, these elements were perfect, flawless.
Acoustics - The Belk Theater has nice acoustics. The sound from the pit was sharp and clear, and the singers were easily heard.
Choreography - One of the high points, with very Russian movements performed by four young dancers, all four attractive and competent. Some touches were rather nice: the Name Day ball shows some party goers who can't dance well, reflecting the lack of sophistication of the country folks. During the Gremin ball, however, presumably the same actors/chorus members dance a lot better, showing that the initial lack of finesse was intentional.
Acting direction, acting - Dynamic use of the stage was a bit chaotic in the first half of the show (counting the first act and the ball during the second act). From that point on, the dynamics improved significantly, starting with the very oiled duel scene. Entrances and exits and stage location of the characters were very good in the second half of the opera.
Victoria Livengood showed phenomenal acting. She was perfect in all scenes, and the younger actresses had a bit of a hard time getting the focus of the attention back on them, since Ms. Livengood, a very seasoned performer, threatened to steal the scene every time she was on.
In general, the women were more proficient in acting than the men. Ms. Kuznetsova found the right emotional tone for Tatyana virtually at all times. She contrasted very nicely the febrile teenager in love during the Letter Scene, with the heartbroken girl when Onegin rejects her, then appeared very regal during the Gremin Palace scene, and got at her peak in the final scene, which was one of the best acted Tatyana's I've seen. She was very convincing and touching in her ambivalence followed by resolve.
Ms. Pierce was a lively, flirtatious, and sexy Olga. She was playful and very natural, very relaxed on stage. She is also a very beautiful woman.
Ms. Bartz also acted the Madame Larina part well.
Among the men, Mr. Kaneklides was a very funny Triquet. Mr. Manucharyan at first seemed a bit uninvolved, but then he delivered big during the duel scene. Donald Hartman gave to Zaretsky the appropriate gravitas. Mr. Irmiter wasn't totally convincing as Gremin, because in spite of the make-up, his youth relative to the character was showing a bit. Mr. Ladyuk conveyed well Onegin's boredom during the first two acts, but was less successful when he had to turn passionate in the third act.
In summary, while nobody sank the ship, in general the women were more electrifying.
Now, the musical aspects.
Orchestra - extremely impressive. It followed commands perfectly, and delivered exactly what the conductor asked for. Volume modulation was impeccable: never overwhelming the singers, but delivering resonance and fullness when needed. Transitions were smooth and the harmony of sections was precise. One understands why this orchestra was selected to perform for the National Public Radio twice a year.
Chorus - very good, no complaints.
Conducting - one of the highlights of the evening. Maestro Meena was superlative. His tempi were lively, a bit on the fast side in pieces like the overture and the dances - as they should be, in my opinion. He kept things moving nicely. But then, the lyrical moments were very delicate. He took good care of the singers, providing always the right volume and never allowing anybody to be rushed, never lagging behind. All of this was very good, but the best part is that he was able to find the right dose of romanticism in this score, never getting cloying.
Since I was very close to him, observing his command of his forces was very entertaining. Sometimes Mr. Meena would look incisively at a section of his orchestra and would vibrate his left hand insistently, like he was saying "come on, come on, come on, engage more!" and woop, the sound with thicken up and become more vibrant.
Martha Bartz provided a very competent Larina. She was sure of herself and had good volume and projection.
Victoria Livengood was phenomenal! This veteran singer not only has a sensational stage presence as described above, but also has a booming voice that doesn't show signs of wear and tear beyond the age-appropriate stage. She is a mature lady, singing the role of a mature lady, and oh boy, she is good!
Dina Kuznetsova was a bit uneven in the first act, and seemed to need a little time to warm up. By the middle of the Letter Scene, however, she blossomed - I remember what she said in her interview, that one feels pumped up after the Letter Scene. She finished the scene in grand style and earned a very long ovation with shouts of Brava! From that point on, she sustained a high level of quality throughout the opera, and was especially touching in the last scene.
Dawn Pierce was delightful. Her voice is warm and velvety and she has very good technique with flawless pitch control and breathing, in spite of the fact that she was the most physically active character on stage, running up and down and behaving like a bundle of energy.
Yeghishe Manucharyan's tenor voice is very beautiful in timbre and he knows how to use it well. His Lensky Aria was heartfelt, and one of the best moments of the evening, also drawing a prolonged ovation. His voice is light and lyrical; one wonders if he's not better suited for the Bel Canto repertoire.
Vasily Ladyuk did not seem to connect with the public as much as his peers, and drew subdued applause during the opera. However his vocal performance improved as the show went on, and he was particularly strong in his singing in the very last scene, down to the very well delivered last line, Pozor!... Toska!... O zhalki zhrebi moi!.
John Kaneklides was very good in his singing; one would want to hear him in a longer role. Donald Hartmann was a good Zaretsky, in spite of a couple of problems with the bottom of his range. Charles Lang was less than ideal as the Captain, and Prince Gremin's beautiful aria could have been better delivered by Kristopher Irmiter.
Overall, Opera Carolina delivered again a world-class performance, maintaining the level of quality observed in Madama Butterfly in January: sets that worked well more often than not; impeccable lighting, costumes, and make-up; nice choreography; good acting especially from the ladies; excellent orchestra, exquisite conducting, and very good singing with a few exceptions. I give this performance a score of A-.
After the show, I again enjoyed the hospitality of Opera Carolina, with delicious Mediterranean appetizers and the exclusive cocktail "Operatini," while mingling with the cast. Mr. Manucharyan was very friendly backstage and gave me a bear hug, but unfortunately didn't attend the reception so I don't have a personal photo of him.
Here are some of my pictures of the singers:
Ms. Kuznetsova
Ms. Pierce
Ms. Livengood
Mr. Ladyuk
And then, a walk back to the hotel, under in the colorful Charlotte lights.
Tomorrow, Piedmont Opera and The Crucible. Stay tuned.
If you came to this page as directed by our partners Opera Carolina, please do consider staying around a bit, and exploring our other interviews with major opera stars by clicking on the Home tab above, and our active opera discussion forum by clicking on the Forum tab above. If you like what you see, bookmark us and become a member by registering; it's entirely free and gives you the right to post on our forum and to comment upon our articles and interviews. Thank you.

subset: commoncrawl


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Last week, we showed you a poster and some brief footage from the upcoming animated TV series, TRON: Uprising, and now a new TV spot and image have gone online. The series takes place between 1982's TRON and 2010's TRON: Legacy. In the animated series, the protagonist, a program named Beck (voiced by Elijah Wood), starts an uprising (the title isn't misleading!) in the fight against Clu and his second-in-command, General Tesler (Lance Henriksen). Beck was previously trained to fight by Tron (Bruce Boxleitner), but then Tron disappeared.
TRON: Uprising will have to carry the TRON brand while Disney mulls giving the greenlight to TRON 3, but I don't know how interesting the series can be since Beck's "uprising" clearly didn't do much to stop Clu. Then again, Star Wars: The Clone Wars is ridiculously popular, and everyone knows how that story ends. TRON obviously has a lot more work to do to build up that kind of audience, but at least there's a precedent. Hit the jump to check out the TV spot and image. The show also features the voices of Emmanuelle Chriqui, Mandy Moore, Paul Reubens, Nate Corddry, and Reginald VelJohnson. TRON: Uprising premieres on Disney XD in June.
TV spot and image via USA Today.
Here's the official synopsis for TRON: Uprising:
Produced by Disney Television Animation, the series follows Beck, a young program who becomes the unlikely leader of a revolution inside the computer world of The Grid. His mission is to free his home and friends from the reign of the villainous Clu and his henchman General Tesler. Beck will be trained by Tron – the greatest warrior the Grid has ever known. Tron will not only teach Beck the fighting skills he needs to challenge this brutal military occupation, but will be a guide and mentor to him as he grows beyond his youthful, impulsive nature into a courageous, powerful leader. Destined to become the new protector of the system, Beck adopts Tron's persona and becomes the archenemy of Tesler and his oppressive forces.


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Truly Stupid Ideas: Adding DRM To HTML5
from the it-burns dept
You would have thought by now that people would understand that DRM is not only a bad idea, but totally unnecessary: Apple dropped DRM from music downloads in 2009 and seems to be making ends meet. Despite these obvious truths, the stupidity that is DRM continues to spread. Here, for example, is a particularly stupid example of DRM stupidity, as revealed by Manu Sporny:
A few days ago, a new proposal was put forward in the HTML Working Group (HTML WG) by Microsoft, Netflix, and Google to take DRM in HTML5 to the next stage of standardization at W3C.
After all, this is exactly what Web users have been crying out for: "just give us DRM for the Web, and our lives will be complete...."
Sporny runs through some technical reasons why this is doomed to failure -- little things like sending decryption keys in the clear -- and points out the awful re-balkanization of the Web that it would cause:
The EME [Encrypted Media Extensions] specification does not specify a DRM scheme in the specification, rather it explains the architecture for a DRM plug-in mechanism. This will lead to plug-in proliferation on the Web. Plugins are something that are detrimental to inter-operability because it is inevitable that the DRM plugin vendors will not be able to support all platforms at all times. So, some people will be able to view content, others will not.
He also notes a fundamental problem with the following Use Case for the proposed technology:
What use cases does this support?
That clearly implies that when people are not sharing their own content with family and friends, then they are indeed adversaries:
Everything from user-generated content to be shared with family (user is not an adversary) to online radio to feature-length movies.
This "user is not an adversary" text can be found in the first question about use cases. It insinuates that people that listen to radio and watch movies online are potential adversaries. As a business owner, I think that's a terrible way to frame your customers.
This is the fundamental reason why DRM is doomed and should be discarded: the only people it annoys are the ones who have tried to support creators by acquiring legal copies. How stupid is that?
Thinking of the people that are using the technology that you're specifying as "adversaries" is also largely wrong. 99.999% of people using DRM-based systems to view content are doing it legally. The folks that are pirating content are not sitting down and viewing the DRM stream, they have acquired a non-DRM stream from somewhere else, like Mega or The Pirate Bay, and are watching that.
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Late night TV host Jimmy Kimmel made an impassioned plea Thursday for President Donald Trump to do more to prevent gun violence in the wake of the latest most recent school shooting, which took the lives of 17 at a Florida high school.
Kimmel's eyes teared up and his voice cracked as he condemned Trump for offering "thoughts and prayers" instead of taking action to prevent gun violence.
"You still haven't done anything, nothing, you've literally done nothing," Kimmel said. "Actually, you've done worse than nothing."
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Kimmel also criticized some members of Congress for rehearsed responses to mass shootings that blame the mental health of the gunmen rather than the weapons they use.
"You like to say this is a mental health issue, but one of your very first acts as president, Mr. Trump, was to actually roll back the regulations that were designed to keep firearms out of the hands of the mentally ill. You did that. Your party voted to repeal the mandates on coverage for mental health. So, I agree, this is a mental illness issue because if you don't agree we need to do something about it, you're obviously mentally ill."
Kimmel was referring to a bill Trump signed last February that, as NBC News reported, rolled back an Obama-era regulation that would have added about 75,000 people to the national gun background check database to make it harder for people with mental illness buy a gun.
Kimmel called out lawmakers backed by the NRA, saying, "We're not gonna allow you to bow your head in prayer for two weeks until you get an all-clear and we move on to the next thing."
Kimmel urged viewers to call their representatives and visit everytown.org, a nonprofit group that advocates for gun control.


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|This page uses Creative Commons Licensed content from Wikipedia (view authors).
|Liesl Obrecht
|Kathleen Gati as Dr. Liesl Obrecht
|General Hospital
|Portrayed by
| Kathleen Gati
Finola Hughes
(2013; disguised as Anna)
|Current status
|First appearance
|August 24, 2012
|Last appearance
|April 13, 2020[1]
|Wrongfully extradited to The Hague
|Created by
|Ron Carlivati
|Introduced by
|Frank Valentini
|Birth name
|Liesl Westbourne
| Anna Devane
Adele Dazeem
| The Brutchess, Mama Doc
(by Felix)
Dr. Demented (by Spinelli)
|Swiss German
|Zurich, Switzerland
| Metro Court Hotel
1420 Quartz Lane
Port Charles, New York
|Finola Hughes as Liesl Obrecht masquerading as Anna Devane
Dr. Liesl Obrecht[4] is a fictional character on the ABC soap opera General Hospital. She is the sister of socialite, Madeline Reeves and the mother of Dr. Britt Westbourne and the late, Det. Nathan West.
She has been portrayed by actress Kathleen Gati since the character's debut on August 24, 2012.
Liesl was introduced as a doctor who helped Cesar Faison hold Robin Scorpio-Drake and Duke Lavery captive.
"They needed a German doctor to say a few things and then go" Gati remarked to Soaps In Depth of how her character came to be.
However, the writers were so impressed that they kept bringing Gati back. Gati said her status with the series "was always precarious and still is," despite the role being expanded.[5]
The role was only meant to last a few days to "take Robin (Kimberly McCullough) from Room A to Room B and talk to Tony Geary [Luke] in the hall to help him avoid seeing Robin and Anna Devane (Finola Hughes)."
It was actually Tony Geary who sang Gati's praises to the executive producer, Frank Valentini after their scenes. Immediately impressed, Valentini sent head writer Ron Carlivati a piece of her scenes knowing Carlivati would be inspired to write more for her.[6]
Gati made her first appearance on August 24, 2012.
Valentini chose Gati out of five other actresses that were up for the role. Valentini immediately informed his Carlivati of how good she was.[7]
Though she was finding success in other recurring gigs, Gati insisted that "if GH asks me to sign a contract, I'll say yes. I feel like I'm at home here. I've been in Los Angeles for 15 years, and for the first time, I actually feel like I belong to a family."[5]
In October 2013, the role was briefly played by Finola Hughes when Dr. Obrecht tries to pass herself off as Anna Devane.[8]
Her final episode before going on a three-month hiatus aired on December 17, 2012. She reprised the role of Dr. Liesl Obrecht on March 22, 2013 for a short few week stint and returned to the screen once again on July 26, 2013.
On April 10, 2020, Soaps.com confirmed that Gati will temporarily be exiting GH when her character, Liesl Obrecht is extradited to The Hague. However, they also revealed that this will not be the last we see of her as she will return at a later date.[9] She made her last appearance for the time being on April 13, 2020.
Kathleen Gati said Obrecht is a "very focused woman, very educated, very serious." Obrecht is a "force to be reckoned with," the actress said. Dr. Obrecht usually very "self-sufficient."[5] Mara Levinsky described the character as a "sharp-tongued scene-stealer." Gati saw the potential for her character very early on and described Obrecht as "delicious and nasty." As the role continued to expand, "the writers gave me so many colors I could bring to the role. She was evil, she was kind, she was painful."[6] Gati rejected the notion that Obrecht could be "rational" and said "She basically is evil" However, the actress insisted that Obrecht is a "person" who has "emotions" and shows "sensitivity" and a "soft side."
She is not just "the campy, the broad, the evil, and the dark."[10] Gati insisted Obrecht's "most redeeming" quality is the humor. Gati explained: "If Obrecht didn't get bonked on the head here and there when she made a big mistake, or if they didn't throw in an 'oops' every now and then, viewers wouldn't enjoy the character as much." That humor serves as a "relief" for viewers.[11] When compared to herself, Gati said Obrecht is "dark and terrorizing" and characterized her as a "powerhouse."[12] While the character has traits that humanize her, she was never given an actual redemption story. Soaps In Depth described Obrecht as "strong, smart, powerful, and has a humorous way with words."[11] Maria Ciaccia of About.com described the character as "cold and domineering."[12]
Of the way her character speaks, Gait said "She speaks with a certain style, intelligent and harsh." Obrecht is a "German character, but Swiss German, bright and sharp."[12] When it comes to her character's dialogue, Gati explained that she tried to be as "verbatim as possible" because the character is written "stylized, broad and it's very detailed." As for the character's accent, the script is written in English and Gati inserts later.[10]
Kathleen Gati said she tries to get her scripts early so she can work in the character's accent. Gati described the accent as not being "quite Swiss. It's not quite German. It's something in between. It's sort of a British... I have developed some kind of accent, sort of a neutral something, because she's very educated so she's obviously spent time in England and United Kingdom." Gati then reviews her work and picks out things she thinks went over well and words or phrases she thinks need to be improved on.
Kathleen Gati on the freedom of her portrayal. (2014),
- "I think it's great that I am allowed to show everything, the rawness and the vulnerability and the evilness and the cuckoo-ness and the comedy. It's a feast for an actor, for sure."[6]
Dr. Liesl Obrecht first appears at a hospital in Lucerne, Switzerland. Luke Spencer goes to the hospital looking for Anna Devane, who has gone there in search for her presumed dead daughter, Robin Scorpio-Drake. Liesl approaches Luke, who's dressed as "Dr. Riet Von Schimmerman," and Luke show her a picture of Anna and asks if she's there. Liesl confirms she is and takes Luke to see her. Later, Liesl figures out that Luke isn't really a doctor and he tells her that they're really looking for Robin. Anna has found a girl that looks like Robin from behind, but isn't her. Liesl tells her that that girl had been transferred from Ferncliff, and Anna believes that Robin is dead after all. After Luke and Anna leave, Dr. Obrecht talks to an unseen man, saying that she's sorry he had to see Anna struggle since he cares for her so much. She also tells him that it's good that he moved Robin before Anna could find her. The man is then shown, and looks exactly like Duke Lavery, who has been presumed dead for over twenty years.
Later, it is revealed that the man appearing to be Duke is actually Cesar Faison in disguise, and that he also is keeping the real Duke hostage at the same clinic in Switzerland. In November, Liesl calls Faison and tells him that Robin has become more resourceful and he needs to come and take care of her. Robin knocks Liesl out, steals her phone, and calls home. When Liesl comes to, she gets the phone from Robin and has her restrained. Liesl listens to the phone and hears Robin's husband Patrick Drake on the other end, who doesn't believe that Robin is actually on the phone like his daughter Emma said. Faison goes to Switzerland and reprimands Liesl for letting Robin get to a phone and call home. In December, Liesl is at Faison's apartment in Port Charles when Robert Scorpio breaks in to search for evidence that Duke is actually Faison. Liesl is able to hide and then escape before Robert sees her. She learns that Cesar Faison has been captured with the real Duke Lavery being rescued. Robert Scorpio is stabbed with a lethal dose of a drug, but no official mentioning of if it was indeed fatal. She then takes Robin to Jerry Jacks.
Dr. Obrecht re-appears in Port Charles on March 22 episode in a city park with Lucy Coe giving her a flyer noting the missing Lulu Spencer-Falconeri. She later meets up with her daughter, who is revealed to be Dr. Britt Westbourne. Britt has just been dumped by Patrick, and tried to sabotage the career of Sabrina Santiago, who had a crush on Patrick. When that plan failed, Dr. Obrecht decided to pull off another scheme. During the Nurses' Ball, Britt announced to Patrick, on stage, that she was pregnant in front of the guests. Dr. Obrecht is watching from a live web feed, and it's revealed that Faison is Britt's father. Patrick and Sabrina try to prove the baby isn't his by secretly taking a paternity test. It ends up proving Patrick is the father, but soon after, it's revealed that Obrecht was able to fake the paternity test.
A few months later, Dr. Obrecht comes back to town to warn Britt that Sabrina and Felix DuBois are onto her scheme. However, Britt says she can handle them, but not Patrick. She has lost faith in the scheme because Patrick is now dating Sabrina, and is falling more in love with her and caring less about Britt. Obrecht is upset that Britt wants to give up and tell Patrick the truth that her baby isn't his. Meanwhile, Sabrina and Felix ask for help from Damian Spinelli to dig up Britt's background. He finds out about Dr. Obrecht, born Liesl Westbourne. Spinelli tells Sabrina and Felix that her medical license was revoked years ago for performing illegal procedures on live patients before she disappeared.
Britt reveals that Obrecht was in love with Faison, but he never returned her affections, even after she gave him a child. Dr. Obrecht later reveals that Faison never loved her because he was in love with Anna. Obrecht, furious at Faison's rejection of her for Anna, seeks to destroy her rival, and goes to the Floating Rib, where Anna is attending a party for Mac Scorpio and Felicia Jones' engagement. She poisons a bottle of beer meant for Anna, but Duke ends up drinking it instead. Britt finds out what her mother did the next day. Meanwhile, Spinelli finds out that Liesl Westbourne is now Liesl Obrecht. Duke tells Anna that Obrecht poisoned him, and she puts out an APB for Dr. Obrecht. Spinelli and Felix overhear Anna, and let her know about Obrecht's connection to Britt. Anna heads down to Felix's apartment, where Britt is staying, but by the time she arrives, Obrecht is gone.
Obrecht appears again after Britt has given birth to "her" son, Ben. She is now living at Wyndemere, the estate and home of Nikolas Cassadine. Obrecht thinks she's living there to make Patrick jealous, but Britt informs her that Patrick knows he's not "Ben's" father because she told him. Obrecht is furious, but Britt won't back off, saying all her schemes failed and landed Britt in trouble, so she's done with her. Obrecht doesn't believe that, but Britt says she is forbidden from being around her grandson, and she'll call the police to make sure of it. However, Obrecht knocks Britt out and kidnaps Ben.
Dr. Obrecht takes Ben, whom she calls Cesar, to Cassadine Island, where Jerry is holding Robin captive. She leaves Ben with Robin, convincing her to take of "Cesar" by claiming Patrick is the baby's father. She then goes to the prison in Geneva, where Faison is being held, and disguises herself as Anna. She then pulls off her mask and reveals to Faison that he has a grandson, and he's planning to get him out by getting "Anna" to order him released. However, Anna also shows up, and she and Obrecht get into a fight. She knocks Obrecht out, and trains her gun on Faison, who tells Anna that Robin is, in fact, alive. Before she can get any more, Obrecht wakes up and knocks Anna unconscious, then escapes with Faison. They travel to Cassadine Island where she introduces Faison to his "grandson".
Obrecht tries to seduce Faison, who tells her he will sleep with her if she puts on the Anna mask. Obrecht slaps Faison and leaves the room, encountering Britt downstairs. Obrecht tries to stop Britt from going upstairs, but she falls and hits her head on the corner of the table. She is woken up by Robert and Anna and tells them that Robin is in the lab before Robert knocks her out. Jerry locks Robert and Anna in the lab and sends Robin, Britt, and Nikolas back to Port Charles, accompanied by Faison and Obrecht to synthesize Luke's blood, so Robin can create a new antidote. While hiding out at Wyndemere, Duke comes to see Nikolas and is captured by Faison and Obrecht. They lock Duke in the catacombs and Obrecht brings him food, which makes Britt suspicious.
Duke convinces Obrecht to turn on Faison, so Faison knocks her out and ties her up with Duke. Nikolas finds them both and attemps to free them, but Faison captures him. Obrecht gets free and threatens to shoot Duke, but she is defeated and tied up by Anna, who escaped from Cassadine Island with Robert and headed to Wyndemere to rescue Robin. After Robin is rescued, Obrecht is taken into custody. While in jail, Obrecht blackmails her daughter into helping her by threatening to reveal the truth that she and Britt stole Lulu and Dante Falconeri's embryo in order to impregnate Britt, and Ben is actually their son. Afterwards, she met Robin's longtime friend and mob boss Sonny Corinthos who was arrested after the shootout at the warehouse.
Obrecht is revealed to be out of police custody and has been chosen to be the Chief of Staff at GH, a shock to all including her daughter and the rest of the "Chief of Staff" contenders - Robin, Silas Clay, and Monica Quartermaine. When Victor Cassadine arrives in town in early February, it's revealed that Liesl and Victor have a romantic past and he is the reason the charges against her were dropped and she got the COS position at GH. On March 12, Liesl and her daughter have a heart to heart and she promises to keep the secret about Ben. In March the truth about Ben comes out and Obrecht kidnaps him and holds Elizabeth and Nikolas hostage.
On April 8, Ben is rescued but during the rescue she shoots Elizabeth. In the holding cell, Liesl is put across from Madeline Reeves, and it's revealed the two women are sisters. The two share animosity towards each other, but the two both reveal they were trying to help their children when they were arrested. Soon after, Detective Nathan West comes in to talk to Madeline. After he leaves, it's revealed that Nathan is actually Obrecht's biological son. On April 11, Obrecht calls Dante and tells him that all of the charges will be dropped because she has his other child. Dante and Lulu release Obrecht and she gives them their embryo. Obrecht wants to perform at the Nurses Ball but Lucy says no. Obrecht sabotages the nurses performance at the Nurses Ball and does a performance of her own. She also tried to reach out to Britt and Nathan, which was the first step.
Obrecht agreed to help Britt try and win Nikolas back. She also hired Franco, a former artist she greatly admired, as am art teacher at the hospital, and met her niece Nina Clay. When Nathan went missing, Obrecht was beside herself with grief. When talking to Britt, Obrecht told Britt that Anna had killed Faison, and was trying to get rid of Nathan. Britt asked Obrecht who Nathan's father was, but Obrecht didn't want to tell her. Britt deduced that Victor Cassadine was Nathan's father, which Obrecht dismissed as a crazy theory. Obrecht charged into Anna's office, accusing her of getting Nathan killed just like she killed Faison. Obrecht left in anger and called Victor for help. Victor shocked Obrecht when he asked her if Nathan was his son. He told Obrecht that if he found out she kept his son from him, their would be a reckoning for her.
Obrecht then told Anna that Victor was the head of the WSB and shared her suspicions that he has Nathan. Obrecht refused to tell Anna where Victor was unless Anna told Obrecht what happened to Faison, but Britt convinced Obrecht to just tell Anna, without learning what happened to Faison. Obrecht and Anna teamed up to save everyone, Outfitted with a communicator, Obrecht went to see Victor and asked about Nathan. Victor confirmed he had Nathan. Anna asked Obrecht to ask about the other hostages, but Obrecht blocked the earpiece so Anna couldn't listen to the conversation. Victor told Obrecht she can see Nathan after the DNA test, so Obrecht told Victor that he was Nathan's father. Victor asked Obrecht why she would keep this from him and Obrecht said it was because of Faison. Victor lashed out at Obrecht for keeping his son away from him because of "that imbecile". Nathan burst into Victor's office and said he would kill Victor if he didn't tell Nathan where Maxie was. Victor told Nathan he wouldn't kill his father, and Obrecht confirmed that Nathan was a Cassadine.
After Nathan left, the DNA results came back and said Victor wasn't Nathan's father. Victor pulled out a gun and was ready to shoot Obrecht when Anna bursts in with her gun raised. Obrecht knocks something off of Victor's desk to distract him and Anna shoots Victor's hand, disarming him. Ana arrests Victor, but Obrecht shoots him with his gun. After Anna leaves, Obrecht apologizes to Victor and finds out he is still alive. Obrecht explains to Victor that everyone has to think he is Nathan's father because the truth is far worse. Victor asks who Nathan's father is, but Obrecht says it isn't his concern. She goes to smother Victor with a pillow, but he activates a self destruct sequence, so Obrecht is forced to leave. After escaping the explosion of the clinic, Anna arrests Obrecht for Victor's murder. Nathan is furious that Obrecht murdered his "father", saying he traded one psycho for another. After Obrecht was released, she went to see Nathan and the as surprised when Madeline opened the door.
Obrecht and Madeline argue about Nathan and Nina, and Madeline confesses to Obrecht that there is something about Nina she doesn't know. Nathan comes in before Madeline can make her confession, and orders Madeline and Obrecht to leave. Obrecht becomes annoyed with a new patient named Jake, who is actually Jason Morgan with amnesia. She is also becomes suspicious when she finds Nina and Madeline are in her office, and acting suspicious. Obrecht receives a visit from Agent Sloan, who wants to find proof that Anna and Robert murdered Faison. Obrecht blackmails Britt into cooperating with the investigation. With the threat of being charged for murder, Anna is finally forced to tell Obrecht that she didn't kill Faison, but left him trapped underground under the stables at away Wyndemere; however, Faison is gone.
Obrecht spends Thanksgiving at Wyndermere with Britt, Nikolas, and Spencer. As they leave to go to dinner, Spencer forgot his pilgrim hat. Obrecht head back to get it, and is shocked to see Faison. Obrecht's greatest wish comes true when Faison admits his feelings for her and they kiss as Britt re-enters the room.
In December 2014, Obrecht helps her daughter, Britt and the love of her life, Cesar Faison flee the country to avoid criminal prosecution.
On April 30, 2015, Obrecht is reunited with her daughter.
In December, Obrecht attends the Nutcracker Gala.
In February 2016, Liesl is seen with her son, Nathan at General Hospital, after he was shot by Dixon. While he is there she, Nina and Maxie makes sure that he doesn't leave the hospital. Later on, she shows Nina a close moment between Franco and Ava.
In April, Obrecht was fired from her position as chief of staff by Tracy.
Later in 2016, Obrecht became a suspect in the deaths of patients at the hospital.
On December 19, Liesl was reunited with her daughter Britt once again.
In 2018, Liesl finally admits that Cesar Faison is Nathan's father.
Liesl kept Peter hostage in a cabin for months and was finally caught.
On August 28, Nina received a call from Pentonville that revealed Madeline was dead. Liesl shows up to the funeral and sees Valentine get the DNA from Madelines body. It is later revealed that she knows that Sasha is not Ninas real daughter and she uses that information to blackmail Valentine. [13]
Peter drops the charges on Liesl, because Valentin says to. Valentin also forces Peter to hire Liesl as a medical writer for The Invader.
On March 6, 2020, Obrecht was framed by Peter for Drew Cain's presumed death and for the attempted murders of Franco Baldwin and Andre Maddox. Anna gleefully has two WSB agents arrest Obrecht who ranted about the frame-up being an outrage and a miscarriage of justice.
On March 13, Liesl was visited by Nina and she tried to tell Nina that she was framed. Nina refused to believe her due to her history which left her feeling disappointed. Later on, Britt came to visit her and she was disappointed when Britt didn't want to get involved and didn't seem to believe her. Eventually, Obrecht was not happy when Robert came to visit her since she believed that he was going to gloat about her being behind bars but she was surprised when Robert told her that maybe she's not guilty and that they might be able to help each other.
On April 9, it's revealed that Liesl has two new family members: Nelle Benson and her son Wiley Quartermaine-Corinthos.
Crimes Committed
- Conspiracy; helped Cesar Faison, Jerry Jacks and Dr. Ewen Keenan to kidnap Dr. Robin Scorpio-Drake and hold her against her will [2012]
- Kept Robin Scorpio-Drake and Duke Lavery captive at the Swiss Clinic on the orders of Cesar Faison
- Covering up the true identities of the two Jason Morgan's [2012-present; revealed Nov 2017]
- Tried to kill Robin Scorpio-Drake [Dec 2012]
- Injected Robert Scorpio with a neurotoxin [Dec 2012]
- Took Robin to Jerry Jacks [Dec 2012]
- Fraud; conspired with her daughter, Dr. Britt Westbourne and Brad Cooper to steal Dante and Lulu Falconeri's remaining two embryos and used one of them to impregnate her daughter, Britt and she later gave birth to their son, Ben [Feb 2013; revealed Dec 2013; revealed that it was only one Apr 2014]
- Slapped her daughter, Britt [Mar 2013]
- Slapped her pregnant daughter [Jul 2013]
- Conspired with Britt Westbourne to pass another man's child off as Patrick Drake's (which included altering a paternity test) [Jul-Aug 2013]
- Poisoned Duke Lavery with the sedative propofol in an attempt to kill Anna Devane [Aug 2013]
- Knocked out Holly Sutton [Aug 2013]
- Clobbered her daughter, Britt Westbourne over the head and rendered her unconscious [Sept 2013]
- Kidnapped Ben [Sept 2013]
- Impersonated Anna Devane and used Anna's credentials to visit Cesar Faison in prison [Oct 2013]
- Rendered Anna Devane temporarily unconscious [Oct 2013]
- Shot a guard at Steinmauer Prison [Oct 2013]
- Helped Cesar Faison escape from Steinmauer Prison in Geneva, Switzerland [Oct 2013]
- Slapped Cesar Faison [Oct 2013]
- Was about to rip Brad Cooper's tongue out with a dagger because she was worried about him telling Lucas about Ben/Rocco not really being Britt's son (didn't) [Mar 2014]
- Pushed Brad Cooper off a parapet [Mar 2014]
- Kidnapped Ben again [Mar 25-Apr 8, 2014]
- Threatened Ben and his parents, Dante and Lulu with a dagger [Mar 26, 2014]
- Broke into Elizabeth Webber's house [revealed on Mar 28, 2014]
- Held Elizabeth hostage at gunpoint [revealed Mar 28-Apr 8, 2014]
- Held Nikolas Cassadine hostage at gunpoint [Apr 7-8, 2014]
- Tried to shoot Nikolas in a struggle for a gun [Apr 8, 2014]
- Accidentally shot Elizabeth in the shoulder while engaged in a struggle for a gun with Nikolas [Apr 8, 2014]
- Held Dante and Lulu Falconeri's remaining embryo hostage as leverage [revealed Apr 11-14, 2014; the embryo was returned on May 1, 2014]
- Schemed with her daughter to get her (meaning Britt) and Nikolas back together [Jun 25-Oct 2014]
- Held Anna Devane at gunpoint [Sep 15-16, 2014]
- Shot and killed Victor Cassadine [Sep 16, 2014]
- Hid Nina in her office at GH, knowing Nathan was looking for her [Nov 7, 2014]
- Slapped Britt [Nov 18, 2014]
- Attacked Anna Devane and tried to strangle her [Nov 23, 2014]
- Blackmailed Britt into keeping quiet about Faison's visit to Wyndemere [Nov 26, 2014]
- Threatened to fire Dr. Monica Quartermaine if she didn't get Judge David Walters to reverse his ruling on Maxie's custody [revealed Dec 24, 2014]
- Helped Cesar Faison and her daughter, Britt Westbourne flee the country to avoid criminal prosecution [Dec 8, 2014]
- Conspiracy; helped Kyle Sloane take over as commissioner of the PCPD [Jan 2015; succeeded]
- Helped Olivia Falconeri and Ned Aston fake the death of Olivia's son [May 19, 2015]
- Withheld the information that Denise DeMuccio was actually Ava Jerome [Aug 7-24, 2015]
- Stole the glass "Denise" was drinking out of from Julian's penthouse to get a sample of her DNA to prove that "Denise" was actually Ava, without anyone's consent [Aug 24, 2015]
- Knew that Nathan shot Dr. Griffin Munro but is choosing to keep that information to herself [Jun 6, 2016-present]
- Conspired with Brad Cooper to alter Dr. Hamilton Finn's drug test [Apr-Jul 2017]
- Tampered with Finn's drug test [May 19, 2017]
- Kidnapped Peter August and held him captive (along with Nina) [May 31-Jul 20, 2018; revealed Jun 4, 2018]
- Almost cut of Peter's finger [Jun 6, 2018; Nina reeves stopped her]
- Hit Peter in the hand with a bat (probably broken it) [Jun 12, 2018]
- Nearly smothered Peter with a pillow (stopped by Nina) [Jul 10, 2018]
- Knocked Franco unconscious with a bottle [Jul 18, 2018]
- Set fire to a barn on Spoon Island with Peter and Nina inside [Jul 19-20, 2018; both were saved]
- Stole a prison guard's weapon and left the convoy after it had crashed into Michael Corinthos's car [Jul 29, 2018; shown on Jul 30, 2018]
- Fugitive, hunted by the PCPD and WSB [Jul 31-Dec 11, 2018]
- Fled town and hid in Cuba [revealed on Nov 29, 2018]
- Withheld the information that Jonah Corinthos is alive and being raised as Brad Cooper and Lucas Jones' deceased adoptive son [Dec 26, 2018-Feb 19, 2020]
- Blackmailed Valentin Cassadine with the truth about Sasha Gilmore [Jan-Oct 2019]
- Slapped "Drew Cain" [Aug 27, 2019]
Health and Vitals
- Held at gunpoint by Holly Sutton [Aug 2013]
- Clobbered over the head with a graduated cylinder by Robin Scorpio-Drake and briefly rendered unconscious [Oct 4, 2013]
- Hit her head and was rendered temporarily unconscious after being shoved by Britt Westbourne [Oct 18, 2013]
- Almost got shot by Robert Scorpio (Anna stopped him) [Oct 21, 2013]
- Clobbered over the head by Robert Scorpio and rendered unconscious [Oct 21, 2013]
- Attacked by Cesar Faison and imprisoned in the catacombs at Wyndemere [Nov 18, 2013]
- Strangled by Robin after bragging about being the new Chief of Staff until Patrick pulled her off [Jan 21, 2014]
- Almost got shot by Nikolas Cassadine in a struggle for the gun [Apr 8, 2014]
- Threatened by Victor Cassadine [Sep 8, 2014]
- Almost got shot by Victor Cassadine [Sep 15, 2014]
- Was trapped in a building that was about to blow up, but got out before it did [Sep 16-17, 2014]
- Kidnapped by masked men (dancers in the Ball) and tied to a toilet so she couldn't crash the 2016 Nurses' Ball [May 24, 2016]
- Unlawful imprisonment; locked in a closet by (grabbed) Michael Quartermaine and Felix DuBois [Jun 27, 2016]
- Threatened by Hamilton Finn [Aug 23, 2016]
- Knocked out and tied to a pillar by Cesar Faison [Jan 19-22, 2018]
- Held captive in a locked room by Faison (along with Lulu) [Jan 22-26, 2018]
- Passed out from a toxic gas [Jan 26, 2018]
- Rendered unconscious in a car accident [Jul 29, 2018; shown on Jul 30, 2018]
- Pushed off the Haunted Star by Dr. Brad Cooper and nearly drowned [Jul 8-9, 2019; saved by Jax and Curtis; revealed on Aug 5, 2019]
- Blackmailed by Brad to keep quiet about 'Wiley' or else he'd send her daughter Britt back to jail [Aug 5, 2019-Feb 19, 2020]
- Bribed by Hayden Barnes into keeping quiet about her breaking into Nikolas' office [Aug 15, 2019]
- Drugged and nearly killed by Julian Jerome under Brad's orders [Sep 12, 2019]
- Being framed by Peter August for presumably killing Drew Cain and nearly killing Franco and Andre Maddox [Mar 6, 2020-present; arrested]
- Wrongfully extradited to the Hague [Apr 13, 2020]
Family tree
Positions held at General Hospital
|Chief of Staff
| Monica Quartermaine
| Liesl Obrecht
| Monica Quartermaine
- ↑ Kathleen Gati has temporarily exited GH as Liesl Obrecht for the time being, but she'll be back at a later date.
- ↑ German for "The Clinic to Heal the Mind"
- ↑ Disguised as Anna
- ↑ http://www.soapcentral.com/gh/recaps.php?day=mon
- ↑ 5.0 5.1 5.2 Rossi, Rosemary (September 16, 2013). Feature Interview. "Dr. Evil". ABC Soaps In Depth (Bauer Media Group) 17 (37): 44-47.
- ↑ 6.0 6.1 6.2 Levinsky, Mara (February 3, 2014). "Breaking Bad". Soap Opera Digest (American Media, Inc.) 39 (5): 38-41.
- ↑ The Frank Valentini and Ron Carlivati Interview – General Hospital – Soapmakers of the Year 2013. Retrieved on January 21, 2014.
- ↑ GENERAL HOSPITAL: Obrecht Dons An "Anna" False Face! Halloween Came Early For Faison!. Retrieved on January 21, 2014.
- ↑ "Kathleen Gati Temporarily Exits General Hospital as Liesl Obrecht", Soaps.com, SkeKnows Media, April 10, 2020. Retrieved on April 10, 2020.
- ↑ 10.0 10.1 The Finola Hughes and Kathleen Gati Interview – General Hospital. Retrieved on January 21, 2014.
- ↑ 11.0 11.1 "Wickedly Amusing". Up Close & Personal. ABC Soaps In Depth (Bauer Media Group) 18 (21): 50. May 26, 2014.
- ↑ 12.0 12.1 12.2 Kathleen Gati/Liesl Obrecht: Faison's Wife!. The New York Times Company. Retrieved on January 21, 2014.
- ↑ http://soaps.sheknows.com/general-hospital/recaps/27425/the-identity-of-the-patient-in-ferncliff-is-revealed
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Fund performance: CLO funds keep up the momentum for second month running1 month ago
May returns have been led by continued momentum from CLO funds. In the last month, funds that invest in CLO notes in some capacity have made up 90% of our top 10, while 97% of funds listed generated positive returns - an improvement of 15% on last month's figures.
Credit funds at a glance (July 2020)1 month ago
A round-up of fundraising and people moves
Ucits at a glance: Ucits recover lost ground1 month ago
The foot has come off the gas for many funds - 57% of funds did not break the 2% return barrier.
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A round-up of fund performance
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The 2006 schedule boasts nine Invitational events to be held throughout the year. Part three of the five-part series focusing on the 2006 schedule highlights the courses, new and old, that will be visited during these exciting tournaments.
The Thunderbird International Junior will kick off the Invitationals May 26-29.The seventh annual event will be played on the Raptor Course at Grayhawk Golf Club in Scottsdale, Ariz. This par-72 course plays at a distance of 7,108 yards and is sure to challenge anyone who makes his or her way to the tee. Designed by legendary golf course architect Tom Fazio, the course opened for play in 1994 and has since hosted a number of world-class events. The 84-player field will have the opportunity to experience the desert as they make their way around this world-class facility.
June will bring about two more Invitationals at the Rolex Girls Junior Championship and the FootJoy Boys Invitational. The Rolex Girls Junior Championship will be held in Park City, Utah, at the Glenwild Golf Club and Spa. Another Fazio-designed course, Golf Digest ranks Glenwild #1 in the state of Utah. Open in 2001, the course is sure to challenge the field. The FootJoy Boys Invitational will visit Forest Oaks Country Club in Greenboro, N.C., for the third straight year. Home of the PGA TOUR's Chrysler Classic of Greensboro, Forest Oaks was redesigned in 2003 with the help of AJGA alumnus Davis Love III.
The Rolex Tournament of Champions is the next stop on the summer's Invitational schedule. Hiwan Golf Club will host its first Invitational event after three years of hosting AJGA Open events. At nearly 8,000 feet in elevation, the prestigious course founded and hosted the Colorado Open PGA event from 1964-1991. Small, undulating greens and incredible mountain views will be awaiting the Rolex Tournament of Champions field.
The McDonald's Betsy Rawls Girls Championship is scheduled to make its way back to Malvern, Pa., where it will again be held at White Manor Country Club. In its third year at the club, the field is already aware of the many challenges that are laid out before them. Previously home to the LPGA McDonald's Classic, White Manor has recently undergone major renovations and is looking forward to another exciting year with the AJGA.
The HP Boys Junior Championship will be held July 24-28 at Arnold Palmer's Bay Hill Club and Lodge. One of the most prestigious events on the AJGA's schedule, the HP Boys Junior Championship looks forward to the opportunity to once again return to Bay Hill, home of the PGA TOUR's Bay Hill Invitational. Designed with wide fairways and many "risk and reward" options, Bay Hill will prove a challenge for the elite tournament field.
The 2006 Canon Cup will return to the host facility of the 2002 event, Conway Farms Golf Club in Lake Forest, Ill. Originally a dairy farm set outside of Chicago, the course has become recognized as one of the best in the state. The Fazio design is certain to hold plenty of challenges for the 2006 Canon Cup teams. In addition to hosting AJGA events, it was also the site of the 1997 NCAA Men's Division I Championship and the 1998 U.S. Junior Amateur.
Langdon Farms Golf Club in Aurora, Ore., will host the Nike Golf Junior Championship for the fourth straight year. Having previously hosted the Polo Golf Junior at Langdon Farms and the PING Langdon Farms Junior Classic, the course is now a challenge for the 12-15 year old junior all-stars. Settled just south of Portland, Langdon Farms offers wide fairways and quick greens, which will certainly provide a challenge for the tournament field.
The final event of 2006 will take place in November at the Polo Golf Junior Classic. This Invitational is traditionally held Thanksgiving weekend and will be held again at Sea Island Golf Club in St. Simon's Island, Ga. The Seaside and Plantation Courses will be utilized in both the stroke play and match play formats. No stranger to world-class events, Sea Island was the home of the 2004 Mid-Amateur Championship and will host the 2006 U.S. Senior Women's Open. Before becoming the home of the Polo Golf Junior Classic, Sea Island hosted the 2003 Canon Cup. The Robb Report ranks Sea Island as the #1 Golf Resort in the U.S. The talented field that will be present in Sea Island will enjoy all the challenges that the course holds.
Coming Monday, part four of the five-part schedule release series will focus on the Nike Golf Junior All-Star Series. With new venues scheduled for the Series, it is sure to be an exciting season.
Click here to view the entire 2006 schedule.


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LEHI, Utah — It was an emotional night on July 24, 2009, at Rio Tinto Stadium.
Leading up to Real Salt Lake's match against FC Dallas, coach Jason Kreis had called out his players for poor performances. Six points out of playoff position with nearly two-thirds of the season gone, RSL were watching their year slip away.
Dallas were coming in with an even more desperate situation, trailing RSL by three points in the standings. Ex-Salt Laker Jeff Cunningham entered the match just one goal behind Kreis for No. 3 on the MLS all-time scoring list, but had been exiled to the bench. However, against New York two fixtures prior, he had shown his scoring touch with a brace.
The game started out with a bang for the visitors. Cunningham stripped his former team of the ball in the 13th minute and buried it for his 108th MLS career goal, tying him with Kreis, his former teammate and the coach that had shipped him out of Salt Lake two seasons prior.
It was an obviously emotional moment for the Jamaican-born forward, and he let everyone in the stadium know it. He took his team into the halftime break with a 2-0 lead.
WATCH HIGHLIGHTS: Real Salt Lake outlasts FC Dallas 4-2
"The first half was pure frustration," recalled RSL defender Nat Borchers recently of the game. "We had come out of the gates really flat."
Emotions were high for another striker in this match. RSL forward Yura Movsisyan had recently signed a pre-contract with Randers FC, and it seemed that there was quite a deal of turmoil going on behind the scenes as a result of it.
The Armenian came onto the pitch after the half and quickly paid dividends, as he began to put pressure on the Dallas back line, much like Cunningham had delivered in the first half.
In the 55th minute, Movsisyan beat Dallas 'keeper Ray Burse to pull the game level, and equaled Cunningham's exuberance afterwards.
But it was a penalty kick that set the stage for the most intense drama of the night. Cunningham stepped up to the spot with the potential of surpassing Kreis' all-time mark, but goalkeeper Nick Rimando was able to get a hand on the ball and stop the attempt.
On the sideline, Kreis pumped his fist in the air, celebrating the missed attempt. Still emotional from what he felt was an errant call, RSL's coach immediately resumed his verbal assault of the fourth referee and earned a red card.
"That was a game-changing play from someone who is a leader on this team," Kreis said of Rimando's save after the match. "But then I got ridiculous … and got myself thrown [out]."
It was unclear whether Kreis celebrated because he felt Rimando's save was vindication for what he felt was an undeserved penalty, or relief that his MLS career goal mark hadn't been surpassed on RSL's home turf.
As it turned out, Real Salt Lake won the game by a 4-2 margin. The total damage on the night included seven yellow cards and two ejections, including Kreis'.
"For me, that was the most pivotal game of the year for us," explained Borchers. "We had been playing quite poorly the previous couple of games. That was a statement game that we needed to come out and make, and we obviously did it."


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Cold weather overnight did not harm oranges and other fruit across Florida's citrus-growing regions, the state's leading growers association said on Tuesday.
"We came through fine. It didn't get cold enough, for long enough anywhere in all our different regions," said Andrew Meadows, a spokesman for Florida Citrus Mutual.
Typically, citrus can be damaged by four or more hours of temperatures below 28 degrees Fahrenheit (minus 2 Celsius) but Meadows said that had not happened, even in northern citrus-producing regions of Florida.
Low temperatures in the heart of the orange production region ranged from the middle 30s Fahrenheit to low 40s, said U.S. meteorologist World Weather.
(Read more: Airlines cancel flights as cold hobbles operations)
"Similar to slightly cooler tonight with no significant damage expected," said Drew Lerner, senior agricultural meteorologist at World Weather, in an email to Reuters.
Meadows said, "Actually, chilling days like this can be good for the fruit. It sweetens them up. It's supposed to heat up a couple of degrees, one or two degrees tonight, so we're optimistic," Meadows said.
He did not elaborate, but even when orange groves are mauled by a freeze the fruit is usually salvageable but will yield less juice than normal.
(Read more: Chart of the Day: Cold enough to freeze YOUR gas?)
"While temperatures did drop below freezing across far northern portions of the citrus belt, lows were mainly in the lower 30s in these areas and any damage is likely to be very limited," said Kyle Tapley of MDA Weather Services in an email.
Expectations for a potential frost on Monday caused the frozen concentrated orange juice market on ICE Futures U.S. to jump more than 3 percent to a three-week high on concern about Florida's citrus groves, though they later pared gains.
On Tuesday, the benchmark March frozen concentrated orange juice futures gave back these gains and dropped by 1.10 cents, or 0.8 percent, to $1.4250 per lb by 10:34 a.m. EST (1534 GMT) in thin dealings.
Florida accounts for about 75 percent of the U.S. orange crop and as much as 40 percent of the world's orange juice supply. It is second to Brazil in orange juice production.
(Read more: What is a polar vortex? And when is it going away?)
The unwelcome cold weather comes after Florida lost billions of dollars in revenues from the bacterial crop disease "citrus greening" that is killing orange trees faster than they can be replaced. It makes the fruit unpalatable and kills trees within a few years, setting the state's orange production on a downward trend.
In a November report, the U.S. Department of Agriculture forecast Florida's orange production for the current 2013/14 crop year to drop 6 percent from the prior year to 5.63 million tons. It forecast the state's frozen concentrated orange juice yield up 1 percent from a year ago.
—By Reuters


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STARmeterSEE RANK
Down 5,405 this week
Greg Fitzsimmons
Greg is a stand-up comedian and television writer/producer. A regular guest on The Howard Stern Show, Chelsea Lately, The Adam Carolla Show, and The Joe Rogan Experience. His 2011 book, Dear Mrs. Fitzsimmons received critical praise from NPR and Vanity Fair. Since 2006, Greg has hosted a radio show on Howard Stern's Sirius/XM channel and his own ... See full bio »
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Bungee outhouse, jet-ski jumping over topiary, lounging in an airplane's exhaust, giant high-fives, fish slapping, duck hunting, rampaging gorillas... the trailer for "Jackass 3D" teases exactly the flavor of idiocy fans of the show and previous films have come to expect and love.
Johnny Knoxville, Bam Margera, Steve-O, Chris Pontius, Jason "Wee Man" Acuna and the rest of the gang have reunited with director Jeff Tremain, who helmed the first two "Jackass" epics, to bring more bizarre, ill-conceived stunts to the big screen in magnificent 3D.
"Jackass 3D" will be here Nov. 5.


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Hima Bindu Ornament - Festive
Our Hima Bindu Ornament Collection combines the art of traditional Indian wood craft with festive holiday designs, featuring solid wood block ornaments with a snow-kissed white rub finish. Artisans use hand tools to skillfully carve blocks of sustainably harvested wood into blocks which are dipped in dye and carefully applied to textiles by hand to create stunning block printed patterns. Traditional Indian wood craft requires mastery, passed on thru generations, to create the intricate carvings and refined finish.
Dimensions: 2.5" H x 2.5" W; 3.5" Drop
- Artforms
- Artisans
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The traditional craft of woodcarving plays an important role for many artisan communities in small towns and agricultural villages in north central India. Each artisan uses hand tools to skillfully carve blocks of sustainably harvested wood into fine treasures. This art form requires mastery to create the intricate carving, filigree, and inlay work. Many of the patterns are deeply influenced by cultural motifs from Muslim dynasties that ruled the region centuries ago. Artisans finish and detail each item with natural wax and non-toxic paints.
Woodcraft Artisans
Our woodcraft partner artisans belong to collectives in the region that provide basic services and development solutions to enable self-sufficiency, including healthcare and education. Literacy rates and income opportunities are quite limited in the area, so woodcraft production is vital for community livelihoods. Most woodcraft artisans are men and some women work in finishing and production assembly. Our main focus for their continued development is sustainable income generation, skills development and raw material allocation.
Shipping & Returns
We charge a flat-rate of $5 to ship any order. And if you spend more than $50, shipping is free! Once your order is received, we'll ship it within 2-3 business days. To return a purchase, visit our returns page (link in footer below) to request a return within 30 days of your purchase. We will provide a prepaid mailing label for item return. Once we receive and process your return, we will deduct the cost of the prepaid label from your refund and return the remaining amount of your original merchandise cost back to the purchase credit card. Original shipping charges will not be refunded.


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Let's face it: Smartphones, with their ever-improving cameras and ability to instantly share photos, are munching away at the digital camera market.
But some consumers still appreciate the features that a more powerful camera can provide, especially when it comes to shooting photos at weddings, on vacation or in situations that require a little more zoom.
That's where cameras like the Sony Cyber-shot TX66 and Canon PowerShot Elph 520 come in. This Sony costs $350, while the Canon camera costs $300, with some retailers offering it for $259.
The Sony is impossibly tiny and takes vivid 18-megapixel photos, but some photos I took didn't capture depth well, nor did they look much better than pictures taken with a cheaper point-and-shoot. The 10-megapixel images captured with the Canon were softer-looking, and the camera itself offers more manual control, as well as better optical zoom, which more serious photographers might appreciate. But the consumer looking for a simpler camera might not need all of these bells and whistles offered with the Canon.
Also, neither camera is Wi-Fi-enabled, and since they use microSD cards for storage, they won't work with something like a Wi-Fi-equipped Eye-Fi card, which wirelessly transmits images from the camera to a nearby computer. Users will be forced to transfer and share all photos the old-fashioned way: By plugging into a computer.
First, the Sony: It's 3.8 inches by 2.3 inches — about the size of a credit card — and just 0.5 inch thick. It weighs 3.9 ounces. The camera went on sale in March of this year and is available in four colors: White, purple, pink and silver.
Like Sony's earlier TX55, the Cyber-shot TX66 has a 3.3-inch OLED (organic light-emitting diode) touchscreen that I really liked. The display was bright, the screen was responsive to the touch and it was easy to navigate through all of the menu options of the camera from the screen. Shooting HD video required just one quick tap on a red "movie" button. (It's worth noting that audio capture on the video, however, was poor.)
The front of the camera is made up of two panels, one that slides up to reveal the lens. The lens doesn't project or extend from the camera when you shoot photos; instead, this camera has something called a "folded optic" design, so the lens extends within the body of the camera. My only gripe about the design is that the power button and elongated shoot button are too small, dictated by the slimness of the camera body.
I had both cameras with me during a recent trip to Los Angeles, so I took lots of photos of friends, scenery and the colorful characters at the annual E3 videogame conference.
Photos taken with the Sony in standard mode were vivid and bright. For example, I took pictures with both cameras of a flower bush in a front yard while walking down the street in Venice, Calif. The photo taken with the Sony popped with color; the photo taken with the Canon PowerShot Elph 520 was more muted.
The Sony has plenty of in-camera options for punching up your photos without feeling overwhelming, such as color-enhancing effects, background de-focusing options and the ability to change the tone of your photo. It even offers 3-D shooting, by capturing two images at once and splicing them together for the "stereo" effect needed for 3-D, though those images can only be viewed on a true 3-D screen.
The camera has a 10x digital zoom, but it still wasn't powerful enough to take great photos of the people onstage at a press event when I was seated in an area's mezzanine level. The Canon, by comparison, has a 12x zoom, and took better photos from far away.
In my experience, the Sony's battery life was better than the Canon's. The initial charge took around two hours, but the battery was still going after a few days of intermittent use, while the Canon's battery life was nearly drained under the same circumstances. Sony says the expected battery life for shooting still images is up to 250 images per charge.
The Canon PowerShot Elph 520, meanwhile, gets just 190 shots per charge. Plus, unlike the Sony's internal battery, its battery is a rounded stick that has to be removed from the camera and placed on a separate charger. I didn't lose it while I was testing it, but I could see that easily happening.
The Canon, which hit the market in early May, has a boxier, more substantial body than the Sony. It measures 3.34 inches by 2.12 inches by 0.76 inch, and weighs 5.5 ounces.
I felt better about throwing the Canon into a bag with a bunch of other gear, but it's just thick enough that it wouldn't fit into my pocket the way the Sony did. The Canon is available in blue, black, red and silver.
The Canon PowerShot Elph 520 has a nice, three-inch diagonal LCD screen, but it's not a touchscreen like the Sony's. There are a few buttons on top of the camera, including a big, round button for taking photos, and seven tiny buttons on the back of the camera for turning flash on and off, navigating through menu options and recording video.
For someone who isn't familiar with high-end DSLRs, especially a Canon DSLR, the menu options might seem confusing. It has more than two dozen scene settings and photo effects. It also offers some manual controls that more experienced photo-takers might appreciate, such as the ability to adjust the exposure and the ISO, or sensitivity of the camera in low-light situations.
Some consumers might initially like the softness of some of the Canon photos, especially in its auto mode, as I did. Others might find the photos to look too noisy. You can adjust the sharpness of the photos, but they still won't look super crisp.
If you're looking for a "real" camera to supplement your smartphone, both of these cameras will do the trick and save you space. But consumers who want a super-small — and simple — camera will likely prefer the Sony Cyber-shot TX66, while those used to a slightly more advanced camera may want to consider Canon's Power Shot Elph 520.


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Text of a presentation by Prof Rajiva Wijesinha, MP, at the Seminar on:
Crossed Perceptions: China, the United States, the European Union, Brazil and the Emerging World
October 22nd 2013, Rio de Janeiro
Let me begin with one of the formative myths of the Sri Lankan state. It deals with the introduction of Buddhism to the country, in the 2nd century BC. The king at the time, Devanampiyatissa, was out hunting when he came across a strange man in the forests of Mihintale. This was Mahinda, the son, or some say the brother, of the Mauryan Emperor Asoka, who had converted to Buddhism after a terrible war in which, to complete his conquest of India, he had slaughtered thousands.
When the monk saw Tissa, he asked him whether he saw the mango tree before them. Tissa said yes, and then the monk asked whether there were other mango trees. Tissa said yes, and then the monk asked if there were trees other than mango trees. Tissa said yes again, whereupon the monk asked whether, apart from all the other mango trees, and all the other trees that were not mango trees in the world, there were any other trees.
Tissa thought hard, and then replied that there was indeed the original mango tree the monk had pointed out. This was when Mahinda decided that Tissa was a fit person to understand the doctrines of Buddhism, so he preached to him and converted him and through him his people. Buddhism has since been the dominant religion in Sri Lanka, though, I think uniquely, we also have substantial proportions of our population belonging to the other principal faiths of the world, Hinduism and Islam and Christianity.
When I was young I used to think the story a silly one, but I have since understood its implications for the way we should look at the world. It seems to me now the epitome of what I would describe as the Eastern vision of the individual, society and the world, as opposed to the dichotomies the West believes in, and therefore often creates. In what I would posit as an ideal concept of our relations with the world, we should see ourselves as existing at the centre of several concentric circles, to all of which we belong. While we share aspects of identity with others belonging to those circles, ultimately we need also to be aware of the unique nature of our own individuality.


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Strong and durable double sided pet id tag. This product comes with up to 4 lines of personalized text on the back with a max of 20 characters on each line (name and phone number works the best, but we can also accommodate addresses). Each pet tag also comes with a metal split ring to attach your tag to your pet's collar. Please follow the instructions below to place your order:
- Enter your pet's name to be included on the front of the tag
- Enter your phone number to be included on the back of the tag
- Enter any additional information for the back of the tag/special instructions (eg: addresses, sayings, nicknames)
- Choose Size: Large or Small (small is for small dogs/cats)
- Click Add to Cart
Highlight the unique personality of your dog or cat with our custom pet tags. On one side is the image pictured above and on the other side of the tag we add your pet's contact information. We also include a metal ring to attach to your pet's collar. Our tags are crafted from durable aluminum and a special process called sublimation. Tags won't scratch or rub off (not engraved). The finished product is a beautiful and very durable tag.
We are a Canadian company, but we ship worldwide!
We pride ourselves in providing a great product with a fast turnaround! All our tags are sent to the customer within 3 business days.