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|By Marketwired .
Article Rating:
|May 12, 2014 06:00 AM EDT
MIAMI, FL--(Marketwired - May 12, 2014) - A recent consumer survey on 2014 fitness trends revealed more than half of all active American adults described their level of physical activity as "high" or "very high." Furthermore, nearly 70% of those respondents perceive Zumba® classes to have significantly higher cardio benefits as compared to other exercise groups, including core training, body weight training and yoga. This parallels the American Council of Exercise (ACE) study stating that people who take a Zumba class burn more calories than cardio kickboxing, step aerobics, hooping and power yoga.
Of 1,000 consumers surveyed -- all of whom belong to a gym or work out at least once a week -- 97% of respondents who practice dance-fitness cardio are likely to continue Zumba classes in the next 12 months, so it's no surprise they think their workout is more fun and fulfilling than a basic workout. Adversely, fewer consumers have expressed interest in attending Boot Camp and Circuit Training in the next 12 months, with the lowest attendance expected for High Interval Intensity Training (HIIT).
Among the top survey findings:
- 70% of respondents perceive Zumba classes to have significantly higher cardio benefits as compared to other exercise groups, including core training, body weight training and yoga
- Nearly 3 out of 4 (74%) consumers surveyed agree dance-based fitness classes are more popular than ever
- 97% of current Zumba
®participants are likely to continue said classes in the next 12 months, an indication that they are satisfied with their results and enjoy the routine
- Fewer consumers have expressed interest in attending Boot Camp and Circuit Training in the next 12 months, with the lowest attendance expected for HIIT
"Fitness shouldn't be something that you dread, like the treadmill; it should be physically and emotionally rewarding," said Alberto Perlman, CEO of Zumba. "The survey emphasizes what we have known for years at Zumba: You are more likely to stick with an activity that you enjoy."
When asked what elements they would like to include in their 2014 workouts, steps (51%) and kettle bells (58%) were the top elements cited by dance correspondents; thus the future looks bright for workouts that feature dance and steps, including the recently launched Zumba® Step program.
To find a Zumba
This survey was conducted online within the United States by USamp on behalf of Zumba from Jan. 16-23, 2014, among 1,000 adults 18+ who are currently a member of a gym or health club, or attend a class/workout at least once a week.
About Zumba Fitness, LLC
Zumba Fitness is a global lifestyle brand that fuses fitness, entertainment and culture into an exhilarating dance-party workout. Known as the ultimate "fitness-party", Zumba
A quick note about the Zumba® Mark
Zumba® was coined by us to identify our company as the source of fun and effective fitness programs combining easy-to-follow moves with invigorating world rhythms. When referring to our mark, we ask that you help us protect the thousands of instructors who teach Zumba® classes by following these guidelines:
- Capitalize the letter "Z" in our Zumba® mark
- Use the mark to describe our products or services (e.g., "the Zumba® program," "Zumba® class," "Zumba® instructor," or "Zumba® DVDs")
- Use the ® symbol after the word Zumba®
- Never use "Zumba" as a noun or verb (e.g., "You'll love to Zumba" or "They went to Zumba")
- Never alter the mark (e.g., "Zumbamania" or "Zumbatastic")
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Anna Brodetsky
MWW Group
[email protected]
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Fairfield Inn & Suites Harrisburg Hershey, Harrisburg
- Free hot/cold buffet breakfast, free WiFi, and free parking
Main amenities
- 94 smoke-free guestrooms
- Indoor pool
- Fitness center
- 24-hour business center
- Coffee/tea in a common area
- Air conditioning
- Daily housekeeping
- Computer station
- Front desk safe
- Snack bar/deli
- Laundry service
- Meeting room
- Free hot/cold buffet breakfast, free WiFi, and free parking
For families
- Sofa bed
- Refrigerator
- Connecting/adjoining rooms available
- Premium TV channels
- Free toiletries
- Daily housekeeping
What's around
- Kohl Memorial Park (1.3 mi / 2.1 km)
- National Civil War Museum (2.3 mi / 3.7 km)
- Shoppes at Susquehanna Marketplace (3 mi / 4.9 km)
- Pennsylvania State Capitol (3.7 mi / 5.9 km)
- Appalachian Brewing Company (3.4 mi / 5.4 km)
Fairfield Inn & Suites Harrisburg Hershey, Harrisburg
Hotel Info: 855-239-9483from $118
- Single Double Bed Room
- Executive Suite, Multiple Beds
- Executive Suite, 1 King Bed with Sofa bed
- Standard Room, 1 King Bed (Extended)
- Standard Room, 2 Double Beds
- Standard Room, 1 King Bed
More great choices
At a glance
Key facts
Hotel size
- This hotel has 94 rooms
- This hotel is arranged over 3 floors
- 24-hour check-in
- Check-out time is noon
- Express check-in/out
Required at check in
- Credit card or cash deposit required
- Government-issued photo ID required
- Minimum check-in age is 21
Travelling with others
- Up to 3 children (18 years old and younger) stay free when occupying the parent or guardian's room, using existing bedding
- No cribs (infant beds)
- Pets not allowed (service animals welcome)
- Free WiFi and wired Internet access in public areas
- Free WiFi and wired Internet access in rooms
- Free self parking
- Free RV/bus/truck parking
Other information
- Smoke-free property
- No alcohol served onsite
Nearby Two Star Harrisburg hotels
In the hotel
- Free hot/cold buffet breakfast
- Snack bar/deli
- Coffee/tea in a common area
- Barbecue grills
- Indoor pool
- Fitness facilities
- Spa tub
- Golfing nearby
- Hiking/biking trails nearby
- Mountain biking nearby
- Downhill skiing nearby
- Snow tubing nearby
- Snowboarding nearby
- 24-hour business center
- One meeting room
- Computer station
- Dry cleaning/laundry service
- Laundry facilities
- Free newspapers in lobby
- Multilingual staff
- Year Built 1999
- Elevator/lift
- Safe-deposit box at front desk
- Picnic area
- Television in common areas
- Accessible bathroom
- In-room accessibility
- Roll-in shower
In the room
- In-room climate control (air conditioning)
- Air conditioning
- Coffee/tea maker
- Iron/ironing board
- Hypo-allergenic bedding available
- Blackout drapes/curtains
- Sofa bed
- Partially open bathroom
- Bathtub only
- Free toiletries
- Hair dryer
- 32-inch LCD TV
- Premium TV channels
- Desk
- Free WiFi
- Free local calls
- Refrigerator
- Daily housekeeping
- Connecting/adjoining rooms available
Top Harrisburg hotels
Recently reviewed hotels in Harrisburg
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"I HIGHLY recommend this hotel. It has a new, modern feel to it with excellent service. Our suite had a full kitchen (including dishes and a dishwasher), a full bathroom, etc.…"Jun 15, 2017
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"Room was renovated and nice. Room 19. The maid did not refresh the toiletries. Bed sheets were suspect, some stains were found. Biggest annoyance, the air conditioner, on any…"Jun 15, 2017
Nearby hotels
Also popular with travelers from the USA
Special features
On Site
- Fitness facilities
- Spa tub
- Golfing nearby
- Hiking/biking trails nearby
- Mountain biking nearby
- Downhill skiing nearby
- Snow tubing nearby
- Snowboarding nearby
Awards and affiliations
- The property is a member of Preferred Hotels & Resorts.
Fairfield Inn & Suites Harrisburg Hershey, Harrisburg's small print
Also known as
- Fairfield Inn Harrisburg Hershey
- Fairfield Inn Marriott Harrisburg Hershey
- Fairfield Inn Marriott Hotel Harrisburg Hershey
- Marriott Harrisburg Hershey
- Fairfield Inn Marriott Harrisburg Hershey Hotel
- Fairfield Inn Harrisburg Hershey Hotel
- Harrisburg Fairfield Inn
- Fairfield Harrisburg
- Fairfield Inn by Marriott Harrisburg / Hershey
The property has connecting/adjoining rooms, which are subject to availability and can be requested by contacting the property using the number on the booking confirmation.
Noise-free guestrooms cannot be guaranteed.
Children under 15 years old are not allowed in the fitness facility without adult supervision.
Guests under 15 years old are not allowed in the spa tub.
We have included all charges provided to us by this hotel. However, charges can vary, for example, based on length of stay or the room you book.
Is the description of this hotel not correct? Tell us

subset: commoncrawl


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Category Archives: Best Cars
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Does my box contain any hard or crunchy ingredients?
Ingredients in our snacks, such as nuts and corn, are dried or roasted before they're packed in your boxes so it may be the case that they're a little hard or crunchy and have a natural variance in texture. If you don't have healthy, strong teeth then we do ask that you proceed with caution when eating our mixes.
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Don't let the summer travel season stress you out. Have you ever seen other travelers who zip through airport security without a care in the world? Now you can be one of them! You don't need to be a frequent flyer to have a stress-free travel experience. I'll share with you 5 secret tips that will turn your trip into a relaxing experience. Watch this video for five tips to help you de-stress, so you can truly relax and enjoy your vacation. Bonus: To find out which travel sites and apps that Komando.com readers recommend, click here.
Whether you're planning to go on a walk or stopping at the convenience store on your way home, you never know when trouble could be lurking. Stay safe with body cams like the ones police wear. But you don't have to spend a fortune to get one! I'll give you three low-cost solutions that will get the job done. Watch this video to learn more about low-cost ways to turn your smartphone into a body cam. For more information about the affordable body cam apps and gadgets I mention in this video click here.
James from Santa Rosa, CA owns a small vineyard near his home but the signal from his router doesn't reach very far outside the house. In order for his hearing aids to work everywhere on his property, he needs to extend the network so that it covers about two acres of land. So, he called me for some advice. Watch this clip from my show to learn about getting Wi-Fi across large properties.
Debra from Illinois is concerned about what her kids can see online, so she called The Kim Komando Show for some advice. Watch this video to hear what Kim had to say about controlling what kids can and can't see on the internet.
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Mozart had reached the grand old age of 14 when he came to write Mitridate and had three operas under his belt already. This was his first opera seria, giving him with the opportunity to try the genre's conventions on for size. It also brought him head to head with star singers and their many demands. So the music of Mitridate is the young Mozart's response to these two challenges – but certain movements also reveal the maturing composer's remarkable genius for emotional truth through music. Sifare's aria 'Lungi da te', from Act II, is one of them.
The story of Mitridate has all the trappings Mozart's audience would have expected from an opera seria, with its tale of a noble family from a distant time torn between love and duty. 'Lungi da te' arises from one such conflict: Sifare and Aspasia have fallen in love, but Aspasia is engaged to Sifare's father, King Mitridate. To preserve both their honours the prince determines to leave his love, and in 'Lungi da te' bids his poignant farewell to a distraught Aspasia.
The first Sifare was Pietro Benedetti, a soprano castrato who gave everyone the jitters by turning up several weeks late for rehearsal. Mozart's father, Leopold, wrote of how his son was holding off composing Benedetti's arias as 'he doesn't want to do the work twice… it is better to wait until he arrives in order to measure the suit correctly on the body'. There are three different surviving versions of 'Lungi da te', suggesting that this Sifare's third aria needed extra tailoring. (Another Leopold letter indicates the castrato was happy with the results: 'The primo uomo said that if [his duet with Aspasia] did not please the public, he would have himself castrated a second time.')
'Lungi da te' accordingly allows its singer (now sung by a female soprano or mezzo-soprano) plenty of opportunity to show off. The aria requires extraordinary breath control and a vocal range that happily covers two octaves. Across that range the singer must be able to sing with both agility and lyricism. There are two opportunities for cadenzas, and the 'da capo' format, where the opening part of the aria is repeated after a contrasting middle section, demands additional ornamentation. The aria is also written with a striking horn obbligato or solo, allowing the singer's voice to intertwine and play off a virtuoso soloist from the orchestra.
And yet, as you would expect from Mozart, 'Lungi da te' is so much more than a show-off aria. Every element that fulfils the demands of the opera seria genre, or that Benedetti might have made, also serves a precise and effective dramatic purpose. The horn obbligato imparts the aria both a sense of melancholy and a luminous beauty: the sorrow of parting, the sweetness of love. Sifare's long lines draw this out further, while the wide range and extensive ornamentation enhance both Sifare's heroic character and the anguish he suffers.
Most striking is Mozart's response to the text within the da capo structure, in which he uses the obligatory contrasting middle section and repeated opening section to sharpen the aria's dramatic intention. The middle section is very different from what has gone before: tempo, key and time signature are all changed. In a few short phrases Sifare delivers the text of the second section, firmly telling himself that if he stays with Aspasia any longer he will forget his duty. And then… The music and text of the first part return, Sifare urging Aspasia not to think of the torments she might suffer as he leaves in long-spun and mellifluous music. As he warned himself in the middle section, he has stayed and forgot his duty.
Mitridate satisfied the audience at its 1770 premiere, with the opera famously repeated a further 21 times that season. Now, nearly 350 years on, we can also savour 'Lungi da te' and the rest of Mitridate for what it is: an insightful response to the operatic structures of the day from a composer just at the beginning of his remarkable opera journey.
Mitridate, re di Ponto runs 26 June–7 July 2017. Tickets are still available.
The production is given with generous philanthropic support from Hélène and Jean Peters.]]>
Whether cast as heroic warriors, ardent lovers, romantic poets or revolutionary outsiders, tenors are the undisputed kings of opera. We look at a few of the greatest – and most challenging – tenor roles:
Idomeneo is a rare example of a tenor role with no love interest. However, Mozart more than makes up for it by giving the eponymous King of Crete one of the greatest virtuoso arias in the tenor repertory, 'Fuor del mar', and through his moving musical representation of Idomeneo's struggle to reconcile paternal love and religious duty.
Arnold famously led to the birth of the 'modern tenor', when an early interpreter, Gilbert Duprez, sang the high C in the Act IV cabaletta 'Amis, amis' in full voice rather than the customary falsetto. From the flamboyance of this stirring cabaletta to the lyricism of Arnold's Act II duet with his beloved Mathilde and his mournful Act IV aria 'Asile héréditaire', there are plenty of vocal delights for any tenor bold enough to take on the challenge.
Luciano Pavarotti described the role of the heroic monarchist Arturo, caught between love and political duty during England's Civil War, as 'pure tightrope walking'. Particularly demanding episodes include the Act I aria 'A te, o cara' and the Act III ensemble 'Credeasi misera', in which the courageous Arturo has to sing some of the highest notes ever written for tenor.
Stamina and versatility are the key skills for interpreters of Berlioz's Trojan hero. Aeneas bursts onto the stage in Act I with high, declamatory music – but the role also calls for a singer capable of delicate lyricism, particularly in the sublime Act IV duet with Dido, 'Nuit d'ivresse'. Keeping back enough energy for Act V's heroic and despairing aria 'Inutile regrets', with its huge vocal range, is also crucial.
Wagner's Siegfried is arguably the hardest role in the dramatic tenor repertory. Episodes such as the Forging Song require immense vocal power, easy top notes and boundless energy. But it's not all about decibels: the singer also has to convince as the tender, sympathetic lover of Act III of Siegfried and of Götterdämmerung's death scene. Most importantly, he needs the stamina to keep going throughout two five-hour operas and still sound fresh at the end!
Otello is perhaps Verdi's most challenging tenor role. It requires a wide vocal range, and the singer needs to project over a powerful orchestra. Otello also presents a host of dramatic challenges: his interpreter must convince as Act I's heroic commander, and as the troubled, ultimately broken man of the later acts – and remain sympathetic despite his appalling actions.
The role of Gherman not only requires a singer of great stamina – he's rarely offstage – but also one with the acting skills to convey the character's mental instability and obsessiveness, while making us sympathize with him in his love for Liza and his loneliness. The rewards for the tenor are great, though: Plácido Domingo described Gherman as 'dramatically one of the most interesting characters I have ever played'.
Rodolfo is a character that many singers find it easy to empathize with: his enthusiasm for life, youthful romantic passion and fun-loving, humorous streak. The role also contains much glorious music, including 'Che gelida manina', one of opera's most beautiful lyric tenor arias. No wonder that great tenors including Enrico Caruso, José Carreras and Pavarotti have listed Rodolfo among their favourite roles.
Strauss never gave tenors an easy time of it, and the Emperor outdoes even the role of Bacchus from Ariadne auf Naxos in its vocal difficulty. He makes his first appearance with a heroic aria set fiendishly high in the voice, and further challenges await in Act II when he sings a 12-minute monologue of almost unbearable intensity. Fortunately, the music is as consistently glorious as it is difficult!
Peter Grimes's ambivalent nature makes him one of opera's most dramatically interesting roles. Is he a hero or a villain? A murderer or a visionary? And how much should we sympathize with him? Jon Vickers saw him as a Christ-like figure, Anthony Rolfe-Johnson as 'a dangerous, violent, quixotic and very valuable person for whom things go wrong'. But whoever Grimes is, there's no doubting his wonderful music, including the Act I aria 'Now the Great Bear and Pleiades'.
Otello runs 21 June–15 July 2017. Tickets are still available.
The production will be broadcast live to cinemas around the world on 28 June 2017. Find your nearest cinema.
The production is generously supported by Rolex and is given with generous philanthropic support from Mrs Aline Foriel-Destezet, Mrs Susan A. Olde OBE, Alfiya and Timur Kuanyshev, Lord and Lady Laidlaw, Mr and Mrs Baha Bassatne, John G. Turner and Jerry G. Fischer, Ian and Helen Andrews, Mercedes T. Bass, Maggie Copus, Martin and Jane Houston, Mrs Trevor Swete, Beth Madison, John McGinn and Cary Davis, the Otello Production Syndicate, The American Friends of Covent Garden, The Royal Opera House Endowment Fund and an anonymous donor.]]>
The first half hour of any Royal Opera performance of Mitridate is usually spent marvelling at the frocks. We might have seen enormous dresses like these in historical portraits – but watching them swaying from the waists of modern singers is quite another matter. How do they cope with corners?
This remarkable dress had a hold on European courts for more than a hundred years – and to understand why, we have to go back to the 1640s in Spain. There the noblewomen replaced their bell-shaped farthingales (the sort of thing Elizabeth I would have worn) with a wide a skirt support worn on the hips, called a tontillo or garde-infant. Despite some unflattering descriptions ('monstrous' was the kindest), the frocks remained in vogue at the Spanish court for decades, and the fashion passed on to the Habsburg court in Vienna.
The fashion was curiously sexless. The stays and bodice produced a flat-chested look, while the huge skirt made so little concession to the actual human form beneath that, were it not for the bobbing motion, you might almost have thought Spanish ladies had no legs.
By the 1720s a similar look had established itself in England and France, and ladies were wearing hoops of three circles of whalebone or steel strips with a circumference of about eleven feet. They came in all sorts of shapes – funnels, domes, useful ledges placed so high that a woman could rest her elbows on them, or flattened sofa shapes – as we see in Mitridate. But they were all alike in inconvenience and discomfort.
Even the Mitridate ones are a trial. The Royal Opera House wardrobe has put a lot of work into making the skirt frames lighter (with bamboo or fibreglass) and found ways to hang the whole superstructure from the shoulder (instead of the waist) but even so, some fitting sessions have been masterpieces of diplomacy, and singers have had to work on moving in their costumes. Forward and back is the best option, turning sideways is fraught with difficulties – and getting into a lift is not to be thought of.
Back in the 18th century, costumes like this were even worse, much heavier; no comfortable sports bra to flatten your chest; and a huge head of hair to manage as well. Everybody criticized the fashion; women took to dressing later so as to put off the evil moment when they donned a cage, yet everybody wore them. Why was that?
Well, principally the look. The shape might have been odd, but picture after picture shows us fashionable ladies draped in yards of magnificent silk and brocade. This was a society rioting in frocks. Servant girls might put on hoops, but they could achieve nothing like the width of a court dress. European aristocrats were, of course, members of the ruling elite, but the political climate was turning against them, and they responded by becoming more aristocratic, formal and ceremonious. Theatre (particularly opera), which was financed by these courts, fell into line at once and the wide skirt became a uniform, both for the duchess and the tragic heroine.
Mozart lived within the purlieus of the most formal court of them all. Under the Empress Maria Theresia, Austrian court clothes had become strictly regulated and though her son Joseph II was more relaxed about court procedure, he kept to the dress code. At his court noblemen wore red and gold coats; his orchestras practically adopted the style as a livery and Michael Kelly (the first Don Basilio) never forgot seeing Mozart take the first rehearsal of Le nozze di Figaro in a red coat and gold trimmed hat.
Given Mozart's penchant for scarlet coats – and gold lace – it's unlikely that he found the court costume a problem. There was nothing of the bohemian about Mozart, or his father. Leopold kitted the whole family out in the most fashionable clothes he could find and it is interesting to reflect that, whatever extravagant costume the first Aspasia, Sifare and Mitridate wore on stage, their teenage creator would have been sitting at the keyboard as stiff, ruffled and brocaded as they.
This is an edited extract from Sarah Lenton's article 'Dressing for Opera', available to read in full in The Royal Opera's programme book for Mitridate, re di Ponto.
Mitridate, re di Ponto runs 26 June–7 July 2017. Tickets are still available.
The production is given with generous philanthropic support from Hélène and Jean Peters.]]>
Defeated by the Romans in battle, King Mitridate returns home to his fiancée, Aspasia. But he soon finds himself embroiled in a conflict with his treacherous older son, Farnace, who wants Aspasia himself. Meanwhile, Mitridate's younger son Sifare and Aspasia have fallen in love. Will Mitridate renounce his bride, or punish both his sons?
Mozart was just 14 when he began work on Mitridate, re di Ponto, to a commission from the Teatro Regio Ducal in Milan. Mozart tailored each of the opera's roles precisely to the singer performing, and provided the full, complex orchestral textures that the Milanese favoured. Mitridate began rehearsals on 5 or 6 December 1770, around the same time as Mozart's 15th birthday. The premiere was on 26 December, with the young composer conducting. Although the opera was successful and ran for 22 performances, it then disappeared from the repertory for two centuries.
Mitridate, re di Ponto has a libretto (by Vittorio Amadeo Cigna-Santi) loosely based on the French dramatist Racine's acclaimed 17th century play Mithridate, in turn based very loosely on the real-life story of the despotic king Mithridates VI of Pontus. The subject was popular with 18th-century opera composers. Mozart's opera, even more than Racine's play, deviates considerably from historical fact, in order to accommodate the love triangles and themes of honour and ambition expected in opera seria.
Mitridate follows traditional opera seria practices in having the drama's action conducted through recitatives, while the characters express their emotion in arias; there are only two ensembles. The arias range from virtuosic displays such as Sifare's 'Soffre il mio cor' to more reflective, soul-searching numbers such as Aspasia's 'Nel sen mi palpita dolente il cor'.
Graham Vick's production pays tribute to the spectacle of 18th-century opera (and Mozart's own fascination with fashion), with elaborate crinolined richly-coloured costumes, decorated in sumptuous embroidery. The acting style is influenced both by Baroque gesture and oriental theatre.
Mitridate, re di Ponto runs 26 June–7 July 2017. Tickets are still available.
The production is staged with generous philanthropic support from Hélène and Jean Peters.]]>
Opera's lowest male voice type is used to explore the best and worst in human nature, from murderous villainy to benign wisdom. Here are some of our favourite examples of bass roles from more than two centuries of opera and what makes them so impressive:
Zoroastro – whom Handel's anonymous librettist loosely modelled on the Persian sage Zoroaster – is the voice of reason in this opera of insanity and unruly passions. From his commanding opening aria 'Lascia amor' onwards, Zoroastro attempts to persuade the unstable hero Orlando to give up his unreciprocated passion for Angelica and return to deeds of valour. Being a wise magician, he eventually succeeds, and in Act III expresses his joy in one of the most jubilantly virtuoso arias in the bass repertory, 'Sorge infausta'.
Inspired by Handel, Mozart created his own Zoroaster-inspired sage in Sarastro (Die Zauberflöte/The Magic Flute), whose arias 'O Isis und Osiris' and 'In diesen heil'gen Hallen' are among opera's noblest. The bullying harem-keeper Osmin is altogether different: his blustering aria 'Solche hergelauf'ne Laffen' and drunken duet 'Vivat Bacchus!' (both using 'Turkish' percussion), his futile attempts to control the spirited character Blonde and his bravura Act III rondo 'O, wie will ich triumphieren' (which is a must-hear due to its use of one of the lowest notes in the bass register) make him one of opera's greatest comic villains.
Méphistophélès's charm, wit, and chocolate-rich bass voice – shown to best advantage in such episodes as his demure Act I entrance, zestful Act II aria 'Le veau d'or' and dapper seduction of Marthe Schwertlein in the Act III quartet – give him a demonic appeal. His underlying viciousness comes to the fore in his sardonic Act IV serenade to Marguerite and in the terrifying Act V trio – but this doesn't stop us feeling that in Faust the devil has the best tunes!
Philip II's evolution from authoritarian ruler to suffering husband makes him perhaps Don Carlo's most interesting character. Until the end of Act III we are inclined to dislike Philip for his tyrannical behaviour towards his wife and son. However, in his aria 'Ella giammai m'amò!', with its haunting introduction for solo cello, Philip laments his loneliness and his loveless marriage with a dignity, sorrow and resignation that arouse our sympathies, and that the bass voice's rich, dark timbre makes all the more poignant.
Wagner uses the sonorous richness of the bass voice to convey the wisdom and benign nature of the veteran Grail Knight Gurnemanz. This part requires tremendous stamina – Gurnemanz is on stage for the whole of the two-hour Act I and 90-minute Act III, and has several lengthy monologues. But the beauty of his music, particularly the sublime 'Good Friday' monologue, makes the effort more than worthwhile.
Strauss pulls off a near-impossible feat in his first great comedy, and creates a character who is as appealing as he is comically repellent. Ochs's loutish entrance in Act I, boorish behaviour towards Sophie in Act II and sleazy seduction scene in Act III make us thoroughly glad when he gets his comeuppance. And yet, his warm bass voice, exuberance and the lilt of his favourite waltz in Act II give him a certain charm.
Bartók offers an unconventional reading of the Bluebeard story, presenting Bluebeard not as a murdering psychopath, but as a fiercely private man, who appears to love his new wife Judith but hesitates to reveal his secrets to her. Bluebeard's mysterious vocal style – predominantly plain declamation, but with passages of tender lyricism, particularly in the heartrending final scene – makes him one of opera's most fascinating enigmas. It is up to each singer of the role to decide how villainous, or how noble, he might be.
There's no doubting the villainy of Boris Ismailov, who scolds his daughter-in-law Katerina in growling tirades, dreams of seducing her to the sounds of a sleazy waltz, brutally attacks her lover Sergey and terrifyingly returns after his death to haunt Katerina. And yet, one can't wholly despise Boris Ismailov. As John Tomlinson, one of the role's greatest interpreters, has remarked: 'Boris… is completely unredeemable… but there's something admirable about the sheer energy of the guy'.
Claggart is another great bass villain – the low, hollow sound of his voice make his mixture of brutality and Machiavellian cunning particularly terrifying. He's not one-dimensionally evil though: his great Act I monologue 'O beauty, handsomeness, goodness' – which Britten's librettist E.M. Forster considered the most 'important piece of writing' in the libretto – conveys emotional confusion and loneliness as well as a nihilistic compulsion to destroy what is good.
Schoenberg movingly portrays Moses's inarticulacy by writing his part entirely in growling, halting Sprechstimme (half-song, half-speech), while casting his articulate but untrustworthy brother Aron as a mellifluous lyric tenor. But the dramatic intensity and psychological complexity of Moses's part more than compensates for its limited melodic content, particularly in the final soliloquy, which ends with the heart-breaking words 'O Wort, du Wort, das mir fehlt!' (O Word, you Word that I lack!).
Don Carlo runs 12–29 May 2017. Tickets are still available.
The production is a co-production with Norwegian National Opera and the Metropolitan Opera, New York and is sponsored by Coutts with generous philanthropic support from Ian and Tina Taylor and The Taylor Family Foundation, Aud Jebsen, Simon and Virginia Robertson, the Patrons of Covent Garden, The Royal Opera House Endowment Fund and The Kiri Te Kanawa Foundation Cover awards.]]>
The bass-baritone voice may have only been officially categorized in the late 19th century, but from Classical opera to the present day it has inspired many composers to create psychologically compelling and musically beautiful roles for those with more heft to their voice than your average tenor. Here are ten of our favourites:
Mozart's clever servant offers the bass-baritone a rare chance to play the romantic hero, with ravishing duets for Figaro and his bride-to-be, Susanna. There's plenty of comic cunning to relish too, not least Figaro's mock-militaristic Act I aria 'Non più andrai', and his attempts to deceive the Count in the Act II ensemble. Mozart's other memorable bass-baritone creations include the seductive Don Giovanni and his comic side-kick Leporello.
Dulcamara's flamboyant Act I aria 'Udite, udite, o rustici!' and his ensuing duet with the gullible Nemorino provide bass-baritones with the ultimate tongue-twisting challenge, as the comic con-man chatters away at break-neck speed. But the 'doctor' has a good heart for all his deception, urging Adina to tell Nemorino her true feelings in their charming Act II duet.
Boris is one of opera's most psychologically engrossing roles. He has almost certainly committed a horrific crime to further his ambitions. And yet, the remorse he expresses in his monologues, coupled with his deep love for his people, make it impossible for us not to sympathize with him. Once the property of basses, Boris has been performed in recent years by notable bass-baritones.
Bizet makes up for the brevity of Escamillo's role by giving him one of opera's most exciting and rousing entrance arias: the Toreador's Song, describing his triumphs in the bullring. Other lesser-known highlights include a lovely duet for Escamillo and Carmen in Act IV, which hints that these fiery spirits have found peace with each other.
Wagner wrote some of the greatest bass-baritone roles, and none more so than Hans Sachs. Pensive and wise, with a sense of fun and something of a temper, Sachs is one of the most humane and intriguing characters in opera – with wonderfully varied music, from the jovial 'Cobbling Song' in Act II to the introspective 'Wahn' Monologue in Act III. Wagner's other fascinating bass-baritone protagonists include the Flying Dutchman and the mighty (three-opera!) role of Wotan in Der Ring des Nibelungen.
Verdi turned to the bass-baritone at the end of his career to create one of opera's best comic characters: the Shakespearian fat knight Sir John Falstaff. This loveable rogue's music moves like quicksilver from the grand 'Onore' monologue in Act I, through delicate nostalgia in the arietta 'Quand'ero paggio' in Act II to the melancholic Act III monologue 'Mondo ladro' – though a glass of mulled wine soon cheers him up!
Puccini uses the bass-baritone voice's large range and varied vocal colours to deftly convey Scarpia's suave villainy. The exaggerated courtesy of his Act I exchange with Tosca, the growling menace of the Act I Te Deum, the violent excitement of his Act II soliloquy and the brutality of his Act II duologues with Tosca all create a vivid impression of a psychotic yet strangely charismatic man.
John the Baptist's low-pitched, rapt prophecies from his prison cell – all the more unearthly as he is unseen – make Salome's opening scene one of the most memorable in opera. Brought up from his dungeon, Jokanaan reveals a ferocious will as he forcefully rejects Salome's seduction. Only when he urges her to seek salvation does his music shift to ardent, beautiful lyricism – if only she had listened!
He may be less well-known than Puccini's creation, but Nick Shadow ('Old Nick') gives Scarpia a run for his money for the title of Best Bass-Baritone Villain. Charmingly debonair in Act I, roguishly destructive in Act II, Shadow finally shows his true colours in Act III's furious aria 'I burn, I freeze!', the dark timbre, wide range and sheer power of his voice creating a terrifying impression of devilish malignance as he condemns Tom Rakewell to insanity and descends to Hell.
The Protector is an operatic descendant of Debussy's jealous husband Golaud in Pelléas et Mélisande. Just as Debussy contrasted Golaud's dark bass-baritone with the boyish high baritone of Pelléas, Benjamin contrasts the anguished low-pitched utterances of the Protector – occasionally shifting into speech – with the serene purity of the Boy's countertenor, offering a brilliant portrayal of a troubled and dangerously jealous man.
Die Meistersinger von Nürnberg runs 11–31 March 2017. Tickets are still available.
The production is a co-production with National Centre for Performing Arts, Beijing, and Opera Australia and is given with generous philanthropic support from Mrs Susan A. Olde OBE, Dr Genevieve Davies, Mrs Aline Foriel-Destezet, Maggie Copus, Peter and Fiona Espenhahn, Malcolm Herring, The Metherell Family, Die Meistersinger Production Syndicate and the Wagner Circle.
The trouser (or breeches) role – a young male character sung by a woman – has been part of opera since its early days. And the role type has flourished since, in a variety of contexts.
In the 18th century, the bulk of heroic male roles were written for soprano or alto castratos – but the trouser role was never just a 'castrato substitute': Handel's Radamisto and his heroic adolescent Sesto in Giulio Cesare are the most famous examples.
Towards the end of the century, Mozart became probably the first composer to recognize the trouser role's erotic potential, with Cherubino in Le nozze di Figaro. His adolescent passion for Countess Almaviva is made all the more risqué by the fact that the lovesick page is sung by a woman, and Mozart and his librettist Da Ponte have additional fun when Cherubino dresses up as a serving maid.
As castratos became a dying breed in the early 19th century, mezzo-sopranos increasingly took on Italian opera's heroic lead male roles. Rossini wrote several principal breeches roles, including the title role of Tancredi and the soldier Arsace in Semiramide. Donizetti also created a few, although he tended to demote his trouser roles from heroes to sidekicks – as with Maffeo Orsini in Lucrezia Borgia, or Smeton in Anna Bolena. The tradition reached its culmination in 1830 with Bellini's Romeo in I Capuleti e i Montecchi; the virtuoso writing for mezzo-soprano perfectly expresses the hero's youthful ardour and impetuosity.
Over in France, 19th-century grand and comic opera alike saw an explosion of trouser roles: chiefly pages and lovesick adolescents. Although they were rarely in the first rank of dramatic importance, they were usually given beautiful arias, such as Ascanio's 'Mais qu'ai-je donc?' in Berlioz's Benvenuto Cellini or Siébel's 'Faites-lui mes aveux' in Gounod's Faust. The page-boy became such a popular character type that composers even added them to scenarios, as with the invented Stéphano in Gounod's Roméo et Juliette, with his lovely aria 'Que fais-tu, blanche tourterelle?'. In French comic opera, a girl could even play the hero on occasion, as with the title role of Massenet's Chérubin, or Prince Charmant in Massenet's Cendrillon (a nod to pantomime's Principal Boy tradition).
In 19th-century German opera, trouser roles were usually limited to children and supernatural beings, such as Puck in Weber's Oberon. Two notable exceptions were the young warrior Adriano in Wagner's Rienzi, a virtuoso role modelled on Bellini's Romeo, and the flamboyant Prince Orlofsky in Johann Strauss's Die Fledermaus. But the the trouser role really came into his own in Germany from 1890 to 1930, with a number of feisty boy characters including Humperdinck's Hänsel and the Schoolboy in Berg's Lulu. Meanwhile in the former Czechoslovakia Janáček created one of the most poignant breeches roles in his 1930 opera From the House of the Dead: the boy prisoner Aljeja, described by the composer as 'such a tender, dear person'.
But before this, in 1911, came Octavian in Richard Strauss's Der Rosenkavalier, perhaps the greatest trouser role of all. With this young nobleman, in love with an older woman, Strauss fully exploits the breeches role's capacity to convey youth through the high female voice, and also its slightly risqué sensuality, particularly in the opening scene with Octavian and the Marschallin in bed. He playfully draws attention to the trouser role's inherent artificiality by having Octavian dress up as a girl. And he provides one of the most satisfying portrayals of late-adolescent love through Octavian's stunning duets with the Marschallin and Sophie, and the sublime trio for all three characters in Act III. Small wonder that in his next opera Strauss insisted on writing the ardent male Composer in Ariadne auf Naxos for mezzo-soprano. His breeches roles are a crowning glory of a distinguished tradition.
Der Rosenkavalier runs until 24 January 2017. Tickets are still available.
The production is a co-production with the Metropolitan Opera, New York, Teatro Regio, Turin, and Teatro Colón, Buenos Aires, and is given with generous philanthropic support from the Monument Trust, Mrs Aline Foriel-Destezet, Simon and Virginia Robertson, Susan and John Singer, the Friends of Covent Garden and The Royal Opera House Endowment Fund.]]>
'Suddenly you realize how much deeper Mozart goes in proving who we are,' says Russian conductor Semyon Bychkov of Wolfgang Amadeus Mozart's third and final collaboration with the librettist Lorenzo da Ponte.
Jan Philipp Gloger's new production was broadcast live cinemas across the world on 17 October 2016. In two films, shown before the performance and during the interval, the cast and creative teams discuss the complex (yet comedic) plot, which follows four young lovers on a journey through their emotions.
'The opera deals with two young men making a bet with their friend that their women would never be unfaithful,' reveals German director Gloger.
The two men, Guglielmo and Ferrando, performed by Italian baritone Alessio Arduini and German tenor Daniel Behle, soon discover that the art of romance is more complex than they first thought when they are introduced to each other's lovers, Fiordiligi performed by American soprano Corinne Winters and Dorabella, sung by American mezzo-soprano Angela Brower.
'He thinks he loves Fiordiligi,' reveals Arduini, 'but then when he sees Dorabella, he thinks, "Okay, maybe I can also love Dorabella, why not!"'
Gloger sets his new production in a theatre, adding to the opera's exploration of performance and pretense in love.
'If you have to perform an opera about truths and false, you have to clearly mark when they are lying and when are they true,' he notes of the modern staging.
The cast explain how underneath the playfulness and humour, Mozart and Da Ponte created a work that powerfully expresses both the calamity and elation that comes with discovering love.
'You'll never stop finding things', smiles American soprano Winters. 'It's brilliant!'
Bychkov says it is the richness of Mozart's music that grounds the opera. 'The music is so incredibly expressive that somehow you feel what they are going through. That is the genius of Mozart.'
In this second film, set designer Ben Baur reveals how he created the theatre staging for the opera – by using props from past productions found at the Royal Opera House. Bauer even designed a replica of The Crush Room – the space that sits directly behind the auditorium, enlisting The Props Department to mirror exact details, such as the lighting fixtures, paintings and skirting boards.
Baur, who studied at Berlin School of Art and Design, describes how he brought Gloger's understanding of love into the fabric of his staging:
'He wanted different images, lots of pictures of love, about love, with love, because Jan Phillip strongly feels love is not just a matter of something that comes from you as a person, but also a matter of your surroundings and situation,' Baur explains.
The set presents a series of surprises, mirroring the twists and turns in the opera's narrative, including a replica of a theatre's dressing rooms that comes up through the stage as it has been lifted out from the basement.
Così fan tutte runs until 19 October 2016. Tickets are still available.
The production was broadcast to cinemas around the world on 17 October 2016. If you missed it, find your nearest encore cinema screenings here.]]>
What fun! Immensely enjoying the delightfully cheeky #ROHcosi @TheRoyalOpera!
— Viola van de Sandt (@ViolavdS) October 17, 2016
#ROHcosi the opera is superb but the story does leave a bitter taste,doesn't it? — mgc (@mgcapitani) October 17, 2016
#ROHcosi I find more in this opera every time I experience it. Fabulous blend of voices. Loving it.
— Tim Scott (@RustlingsTim) October 17, 2016
#ROHcosi - If you cant be at Covent Garden then Everyman Leeds is THE place to watch from!
— Prof David Sebag (@MontefioreD) October 17, 2016
#ROHcosi watching in Bologna, magnificent! — Emanuela Deluigi (@emanueladeluigi) October 17, 2016
Local cinema screening in Sidmouth, Devon. Bringing back score reading memories of university #ROHcosi
— Robyn Perryman (@perryman_robyn) October 17, 2016
Date night with my husband @michaelmonks39 seeing Cosí Fan Tutte at Odeon Llanelli. His first ever opera. A fantastic performance. #ROHcosi — SarahElizabeth Monks (@SarahEMonks) October 17, 2016
@RoyalOperaHouse hate to say it but.. Really do not like the decor and costumes of #ROHcosi . looks like austerity hit the ROH. — Jeroen Wijnands (@wijnands) October 17, 2016
Mozart fixes almost everything. Watching #ROHcosi at @CineBaix in Sant Feliu de Llobregat #Catalonia
— Norma Jorba (@berry_bearing) October 17, 2016
In the projection room at Cottage Road, Leeds watching #ROHcosi pic.twitter.com/o3JYSLPMXM — Steve Moore (@Steve_J_Moore) October 17, 2016
Great to see a cosi of depth and sensitivity #ROHcosi
— The Fingal Pimpernel (@fingalpimpernel) October 17, 2016
This has gone from slightly uncomplimentary to downright demeaning for women #ROHcosi — Seemin Suleri (@seeminsuleri) October 17, 2016
Watching #ROHcosi at the cinema - although operas always seems to rely on the disguising power of a fake moustache
— James (@JamesWH85) October 17, 2016
Watching from Belfast and in envy of all the heathens across the world who can have a glass of wine in the interval! Not in #NI #ROHcosi — Felipe (@feclips83) October 17, 2016
The next live cinema relay of the 2016/17 Season will be The Royal Ballet's Anastasia on 2 November 2016. Find your nearest cinema and sign up to our mailing list.
If you experienced technical issues during this live cinema relay, please email details to firstname.lastname@example.com]]>
With their hummable tunes and engaging characters, Mozart's operas are often viewed as a suitable 'way in' to the art form for a first timer looking to dip their toe in the operatic waters. Following 13 years of performances with The Royal Opera, however, conductor Semyon Bychkov is well used to life at the deep end.
While he's no stranger to conducting Mozart's symphonic works and concertos, the operas have been absent from his repertory – until now, as he returns to Covent Garden to conduct his first Mozart opera: Così fan tutte.
'It's first of all trying to understand the meaning of the piece', he says. 'It's not always been popular. In its own time it was hugely misunderstood, hugely attacked by eminent personalities such as Beethoven, Wagner, by contemporaries of Mozart, because the whole subject made them extremely uncomfortable.'
While attempts to repackage classic works for a 'modern audience' risk being met with rolled eyes, Bychkov is clear: it's not just The Royal Opera's production that brings the 1790 opera up to date. Rather, the themes and subject matter are more universal now than they were at the opera's premiere.
'Today I think we relate to it very differently from those who grew up in the time of Mozart, because the world has evolved', he says.
'Certain subjects were a taboo and couldn't be easily accepted: the idea of switching partners, the idea of women not being so different from men in how they feel and what their needs and desires are. It's particularly relevant for a modern audience; I would say that perhaps it's the first feminist opera I know.'
True, Jan Philipp Gloger's production plays with the language of the title, transforming the Italian tutte, the feminine ending tarring 'all women' with the same brush through the use of a single letter E, into tutti: everyone, regardless of gender. The characters, for a 2016 audience at least, make a point: we're all as bad as each other. Perhaps not the cheeriest of realizations for those who don't enjoy their evenings at the opera served with a side of forced introspection.
'It starts as a game, but it develops into something that is completely unexpected to all concerned', Bychkov says. 'Eventually when they switch partners, they discover that they find themselves with the other person who they should have been with in the beginning. We learn so much about ourselves by watching them go through what begins as something very joyful and then becomes a real drama.'
At least it's a real drama with a five-star soundtrack: for lovers of a good tune, the score certainly delivers hit after hit, including 'Come scoglio', 'Tradito, schernito' and 'È amore un ladroncello'. But much like the plot, Bychkov explains, there's an undercurrent of uncertainty throughout the music.
'Fundamentally Mozart is joyful', he begins, 'with certain exceptions – his G minor symphony is a very tragic work. Yet even in the majority of his works where the spirit of joy, humour or dance pervades the entire work, suddenly from nowhere comes something that makes your heart skip a beat with sadness, with melancholy, with a tragic aspect.'
'The music is constantly changeable', Bychkov explains. 'You always have an expectation to find yourself in a particular tonality and a lot of the time your expectation is betrayed. This is the genius of Mozart because Mozart cannot be predicted. Behind these extraordinary melodies, he's able to write this unbelievable complexity.
'There is not one moment where we do not discover something, or do not have to question the way we do it', he continues. 'And so one has to decide, because the possibilities of shifting the emphasis are infinite, and the moment you shift it somehow the meaning of what you are saying is going to change. And so this is something that one lives with one's whole life and one never has a feeling that one has exhausted the possibilities, because they are inexhaustible.'
Suddenly it's not clear if Bychkov is discussing untapped musical possibilities, or the sheer number of options we have when searching for a partner. Or, indeed, both. At least there are a number of operatic highlights to keep us entertained as we question our life choices from the stalls – aren't there?
'There are no "highlights"', Bychkov replies, and couples planning to attend a performance prepare themselves for something of an awkward date night, until he continues:
'The whole thing is so high and so light, full of light, that one could not identify, one should not even try to identify one specific moment which is above the others because they all serve the other – they are inseparable. And that is the greatness of this music because there is not one second where you are not amazed by what is going on, because it's anything except what you expected.'
Così fan tutte runs until 19 October 2016. Tickets are still available.
Così fan tutte will be broadcast live to cinemas around the world on 17 October 2016. Find your nearest cinema and sign up to our mailing list.]]>


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Tenby Arts Festival Midsummer Supper
Friday July 7th 2017 at 7pm
One of our famous festival feasts will be served at Church House. Come and enjoy a delicious meal and some excellent company. Great fun.
Booking by phone only 01834 845614 or 01834 845408
The Tenby Arts Festival Grand Raffle
Featuring this superb watercolour of a local scene kindly donated by artist Graham Hadlow, entitled Summer Morning North Beach Tenby.
Tickets £1 are available at the door at all Arts Festival events or by post or in the booking office if buying tickets in advance
Tenby Museum Events
2017 events to be announced later
Festival Shop Window Dressing Competition
This event is run by Tenby Chamber of Commerce. All the shops in town are invited to decorate their windows picking up a theme from one of the events in the Festival programme. A prize of £100 goes to the winner and pictures of the successful window are published in the local press.
Last year there were some fantastic entries. The winners were
First Prize Tenovus
Second Prize The Glass Shop
Third Prize The Shed
So come on all you shops and restaurants give the town a festive look and win yourselves some money and publicity.


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Here is a list of all Las Vegas Condos that are listed at $4,000,000 or more. These condos will be in all high rise towers. We have these units listed from newest to oldest.
Sorry, but we couldn't find any results in the MLS that match the specified search criteria.


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Ddong Chim
Try playing this Korean Ddong Chim video game. It's pretty easy. Click on the left mouse button and aim for the guy's butt. Collect the little babies for level ups, but avoid the guy's poop. It's easy and fun for 80 seconds or less.Click Here To See What the Heck I'm Blogging About


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Tone Finnanger is a talented designer and author of more than 10 craft books. Her recent books include Tilda's Studio, Tilda's Winter Ideas and Tilda's Spring Ideas. Tone formed the Tilda brand in 1999, which is now well-known for its cute, whimsical characters in the form of animals and dolls. The brand has also developed a range of craft products for sewing and papercraft including Tilda fabrics, embellishments and papers.
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So you want to do business with me! That's great. This page exists to provide you with more information about working with me.
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– Writing a guest article entails me writing something for you post on your site/blog, with a crediting link back to Sectumsempra. You can provide me with a list of subjects to see if I am fit to write on any of them. This is a free service; I will not accept any jobs that I feel go beyond the level of free writing.
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POSITION TITLE: CIVIC CENTER - Laborer/event Coordinator 1
DESCRIPTION OF DUTIES: Work performed is janitorial work to include mopping, waxing, scrubbing windows and wall cleaning, emptying trash refuse can, cleaning and servicing rest rooms. Sets up required tables, chairs, booths, stage, etc. Takes down and stores equipment after each event. Performs litter pick up and disposal on buildings, interior, exterior and adjacent parking lot. Operates forklift, scissorlift, pallet jacks, floor scrubbers, power sweeper, vacuum cleaners and vehicle. Replaces light bulbs. Complies with safety procedures and industrial housekeeping techniques and procedures. Assists in setting up house and portable sound systems and operates lighting systems. Assists in handling room separator walls, familiar with electrical circuits, lighting, air and heat systems. May supervise other Civic Center personnel and temporary hires. Acts as Duty Manager when required and opens and locks building when required.
EXPERIENCE REQUIRED: High school graduate. Ability to understand and comply with oral and written instructions. Ability to work well with the general public. A valid driver's license is required.
HOW TO APPLY: City of Bossier City employment applications will be used. Submit completed application to the Human Resources Office located at 620 Benton Rd., Bossier City, LA 71111.


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Mr & Mrs Herd, Greater Manchester
After two years of other agents failing to sell our home, we had at last found the right team. You certainly put all other agents in the shade.
It is important to note that this mortgage calculator is for guidance purposes only. Mortgage lenders have their own affordability criteria therefore it is important you speak to one of our Mortgage Advisers for further information and a more accurate indication of what products may be available to you and what your monthly mortgage payments are likely to be.
This property is part of our Chain Free Property promotion.
This two double bedroom terrace property is well presented throughout and offers an ideal purchase for first time buyer or buy to let investor. In brief the property comprises entrance hall, living room, dining room and kitchen. To the first floor are two double bedrooms and family bathroom.
Contact branch for relevant Energy Performance Certificate
UPVC double glazed door. Double glazed uPVC window facing the front. Radiator and open fire, laminate flooring, original coving, ceiling light.'
Double glazed uPVC window facing the rear overlooking the yard. Radiator, laminate flooring, ceiling light.'
UPVC double glazed door, opening onto the garden. Double glazed uPVC window facing the rear. Radiator, laminate flooring, ceiling light. Roll top work surface, wall and base units, sink with drainer, electric oven, gas hob, over hob extractor, space for washing machine, fridge.'
Double glazed uPVC window facing the front. Radiator, ceiling light.'
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Double glazed uPVC window facing the rear. Heated towel rail, downlights. Low level WC, panelled bath with mixer tap, shower over bath, pedestal sink with mixer tap


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New finds to brighten up your living space.
Your coupon will be applied to the highest regular-price, eligible item in your cart.
Offer good for one item at regular price only. Limit one coupon per customer per day. Must present coupon at time of purchase. Offer is not valid with any other coupon, discount or previous purchase. One cut or one bolt of fabric or trim "by the yard" equals one item. Online fabric & trim discount is limited to 10 yards, single cut. Excludes Heidi Swapp™ Minc.™ Foil Applicator, CRICUT® products, Gemini Machine™ Crafters Companion, Silhouette CAMEO® Machine, candy & snack products, gum & mints, helium tanks, gift cards, custom orders, special orders, labor, rentals or class fees. Cash Value 1/10¢.
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Ernest Hemingway. Love this so much.
These walls around this heart of mine, have stood collecting dust. But it's as though you've found the gate, that leads right to my trust.
Erigeneia_haekelschrift.gif 620×1,168 pixeles
Free crochet pattern! With just two skeins of Lion Brand Ice Cream yarn and this free pattern you can crochet this beautiful, summer weight shawl! An easy pattern with pictures to help you out.
Pattern: Vintage Sweet Shawl (EN) - ༺✿Teresa Restegui http://www.pinterest.com/teretegui/✿༻
The most true thing I've read in awhile
Then I tucked you away inside a place called Nostalgia, where you'll always remain unspoiled, somewhere between my lungs that used to breathe ocean air and my belly that fluttered with hope. --Victoria Erickson One day I'll fall in love again
The Wedding Readings You've Been Searching For | Lemon Pie Wedding Stationery, Bespoke Wedding Stationery, Ipswich, Suffolk, London & UK
If you cannot be a poet, be the poem.