Charles Albert Stebbins News
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2024-03-28
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2019-03-05 01:19:00
NOBLE Celebrates Women's History Month
The National Organization of Black Law Enforcement Executives (NOBLE) Celebrates Women's History Month [Alexandria, VA] The National Organization of Black Law Enforcement Executives (NOBLE) recognizes March as Women's History Month, and honors women in the past, present and future who have tirelessly worked to build our nation. We pay special tribute to Peggy Triplett who is one of NOBLE's founders and affectionately known as its "mother". "Millions of women, some known and unknown, have led the way to protect our democracy and civil rights," said NOBLE National President Vera Bumpers. "As a female leader serving in law enforcement, I recognize that it is women like Alice Stebbins Wells, the first woman to serve on a police force in our country, Georgia Ann Robinson, the first African-American female police officer, and Sheriff Jacqueline Harrison Barrett, the […]
2016-03-09 16:00:22
Say it with music
[…] tunes and voices personified by Niccolò Piccinni. It’s a little odd to think of post-1960s artists arguing over these two—both of whom are cited in the text and quoted in the music. But as with many contemporary productions of this piece the Opera Philadelphia/Curtis presentation was set vaguely in the late 20th century. There is quite a big cast in Capriccio, but only two roles have huge opportunities. One is the Countess (I saw Heather Stebbins, at the two other performances the role was taken by Kirsten Mackinnon). The Countess’ birthday has brought most of the characters to the chateau which she shares with her brother (The Major Domo and servants are always there and all get wonderful opportunities). The other great role is the much older, tougher, more cynical impresario, La Roche (Tyler Zimmerman in all performances). They form two sides of the heart of Capriccio: the Impresario from […]
The Boston Musical Intelligencer
2016-02-08 01:58:08
NEC’s Vivacious Vixen
[…] stage. One wonders what point Major intends to drive home with this gesture—that the world of the stage is an artificial one? That here the lesson endeth, and we must go out into the real world to put what we’ve learned into practice? Or is it merely to contrast the peace of a woodland landscape with a stark, urban backdrop? There must be a rationale behind this unveiling, but I confess it eludes me. Katherine Stebbins Remesch’s witty costumes skillfully evoked class and gender roles within the animal kingdom. Her outfits for the chickens in Act I were particularly inspired; hair arranged in mohawks died bright red to suggest the birds’ combs, the ladies strutted in glitzy high heels, corsets and gathered skirts provocatively hiked up at the sides, like a coterie of ragtime-era street walkers presided over by a louche rooster in suspenders and a bowler hat. This made […]
The Boston Musical Intelligencer
2015-05-18 21:32:47
The British Have Come: Sir John in Love
[…] and with rowdiness when necessary, as it occasionally was. Under the direction of Gil Rose the pacing, color, and balance were all excellent. Mare Bondi as Mrs. Ford and Courtney Miller as Mrs. Page (Kathy Wittman photo) Stephen Dobay’s scenic designs, mostly dominated by a half-timbered backdrop, with furniture and props brought on as necessary by members of the chorus, was uncluttered and effective in hinting at the period of the opera. Katherine Stebbins’s costumes contributed equally to the effect, ranging from beautiful gowns for the merry wives to wonderfully scruffy leathern outfits for Falstaff’s scruffy companions. Most opera-lovers who encounter Sir John in Love will come to it after knowing Verdi’s Falstaff very well, so it is perhaps worth noting some of the differences in the libretti, which have important consequences for the characters and their music. The Merry Wives of Windsor is centered on the fat, […]
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