John Gamble Vidéos
compositeur ou compositrice
- royaume d'Angleterre
Dernière mise à jour
2024-04-27
Actualiser
Cox Plessis Gamble Bowman McLean Barlow
Wild At Heart Series 5 Episode 7 Part 4 *I DO NOT OWN THIS VIDEO ITV TAKES ALL THE CREDIT* Info: Danny's (Stehen Tompkinson) continued estrangement from Alice (Dawn Steele) is really starting to take its toll. Over at Mara, Alice puts on a brave face as she meets Tom Cox (Eckard Rabe), the owner of a rare male black leopard. Rowan (Cal Macaninch)has organised a breeding programme with Mara's female black leopard and there's a lot of money riding on the outcome. Alice is called away to look at an injured wildebeest in the bush so when a ranger alerts Rowan to a problem with Cox's leopard, Rowan calls Danny for help. On arrival, Danny diagnoses lungworm and is about to give the leopard more anaesthetic when Alice arrives. The atmosphere between them is tense and as a distracted Danny gives a second dose of anaesthetic, the leopard's heart stops. Danny and Alice work frantically to revive him but it appears that Danny has caused the animal's death. Cox demands retribution and insists the Veterinary Institute are called in to investigate Danny's malpractice. Danny takes full responsibility but when Alice tries to console him he insists this is his problem, and that their relationship was a mistake. No one at Leopard's Den can believe that it was Danny's fault, least of all Du Plessis (Deon Stewardson). When he hears that his old love rival, Cox, is involved, Du Plessis rallies his troops, Olivia (Olivia Scott-Taylor) and Fatani (Thapelo Mokoena), to help investigate. Danny is devastated when he's told by the Veterinary Institute that he's unable to practice whilst the investigation is underway and Alice is shocked to see a sign outside the animal hospital declaring it closed for business. However, when Jana the leopard takes a turn for the worst, Danny feels compelled to operate but his gamble doesn't pay off when he's caught by the investigator from the Veterinary Institute. Meanwhile a tip off from Fatani leads DuP and Olivia to Tom's game reserve. When they show Alice fertility drugs that they've found in Tom's rubbish, she confirms that combined with the anaesthetic these could have killed the leopard. Delighted, Du Plessis confronts Tom with the evidence but is dismayed to discover he was using the pills to treat his own impotence. All seems lost for Danny until Alice arrives determined to make another go of things with him and the couple are reunited. Everyone is elated until Danny receives more bad news;the blood tests revealed the leopard was given the wrong drug. Danny is devastated to discover that he's being struck off. Created and written by by Ashley Pharoah Produced by Nick Goding Series producer Serena Bowman Directed by Nick Lagughland,David Richards,Roger Gartland,Paul Harrison Cast: Stephen Tompkinson - Danny Trevanion Dawn Steele - Alice Collins Deon Stewardson - Anders Du Plessis Hayley Mills - Caroline Du Plessis Olivia Scott-Taylor- Olivia Adams Cal MacAninch - Rowan Collins Nomsa Xaba - Nomsa Nguni Megan Martell- Charlotte Collins Abigail Kubeka- Cebile Fatani Naima McLean- Buhle Kagiso Legoadi- Cashile Mary-Anne Barlow - Vanessa Tom Cox- Eckard Rabe
Cecere Procter Gamble Dreyer Quilter Aborn
Source: (http•••) Supply Chain Digital Transformation offers a wealth of new strategic, financial, and time saving opportunities. Transportation management systems, blockchain, Internet of Things (IoT), automation, autonomous vehicles, 3D printing, and wearables are just some of the exciting new tools that companies can build upon. However, new tech means new challenges. This week Lora Cecere, founder of Supply Chain Insights, joins the podcast to discuss things that businesses need to be mindful of when adopting new technology.About our guest: Lora Cecere has over 35 years of diverse supply chain experience. She has spent nine years as an industry analyst with Gartner Group, AMR Research, Altimeter Group and is now the founder of her own firm. Prior to becoming a supply chain analyst, she spent fifteen years as a leader in the building of supply chain software at Manugistics and Descartes Systems Group, and twenty years as a supply chain practitioner at Procter & Gamble, Kraft/General Foods, Clorox, and Dreyer’s Grand Ice Cream (now a division of Nestle). When not working, Lora is taking ballet, training for the triathlon season, or cooking up something special in the kitchen. She also loves textiles and is an avid quilter and knitter. Visit her at: (http•••) Visit our site at: www.abornandco.com If you enjoyed the show please rate and review on iTunes: (http•••)
Tchaikovsky Jennie Tourel Evelyn Mandac John Reardon Falcone Robert Jones Adler Gamble 1971
Rare video footage of a trimmed down version of the opera (sung in English) with Vahan Khanzadian (Gherman); Jennie Tourel (Countess); Evelyn Mandac (Lisa); John Reardon (Tomsky); Mary Lou Falcone (Masha); Jack Trussel (Naroumov); James Fleetwood (Sourin); and Robert Jones (Tchekalinsky). Peter Herman Adler produced and conducted this performance by the National Education Television's Opera Theater. Following the abridged performance of the opera are scenes from rehearsals beginning at 1:26:32 Link to my Jennie Tourel playlist: (http•••) And a link to my John Reardon playlist: (http•••) Donal Henahan of the New York Times wrote: "If you must risk shrinking an opera down to the size of a television screen, what better gamble than Tchaikovsky's “Queen of Spades?” National Educational Television's Opera Theater last night presented the melodrama known to operagoers as “Pique Dame” on Channel 13, in a tightly edited English language version produced and conducted by Peter Herman Adler, an experienced hand at opera telescoping. All things considered, Mr. Adler and his director, Kirk Browning, walked away from the table winners. In planning his 90‐minute version, Mr. Adler went back to letters Tchaikovsky wrote his brother and librettist, Modeste, and to the Pushkin story that the opera uses in modified form. He eliminated arias and characters such as Prince Yeletzky and Pauline, shrank a few scenes including the pastoral Interlude, and otherwise shifted emphasis. Thus, the young officer, Gherman (well sung but flatly por trayed by the tenor Vahan Kahnzadian) appears from first to last as an insensitive, stupid man, a greed‐driven automaton. In the Tchaikovsky opera, as contrasted with N.E.T. Opera Theater's remodeling of it, Gherman is genuinely if fleetingly attracted to Lisa, the granddaughter of the ancient Countess whom he literally frightens to death while trying to force her to disclose a secret formula for winning at cards. For television, Gherman is simplified; he never sees Lisa as other than a tool he can use cynically to gain the presence of the Countess. Fortunately, the shift in emphasis throws the role of the Countess into sharp relief, and in Jennie Tourel the television, opera has an actress capable of sustaining any weight. Her death, a searing scene, takes on both a human horror and a symbolism that only a great actress could hold in balance. In fact, as should be demonstrated more often, putting opera on the intimate screen gives it certain great theatrical advantages: the close shots of Miss Tourel's fear‐contorted face in her confrontation with Gherman give a dimension to the opera that one could not experience in the opera house without military binoculars. And scenes such as Gherman's nightmare, though, indifferently done this time, do suggest what might be achieved at such moments (conventional opera is full of them, of course). “Queen of Spades” works especially well on television in the quasi‐choreographed scenes around the gaming table, when John Reardon and other adept actors are moving naturally and singing with conviction. Can even see into their card hands in the climactic game. A few scenes teeter toward grand‐opera laughability when Gherman's moment to sing his stormy aria of greed arrives, he steps out on a balcony while a thunderstorm is raging. Musically, comment on televised opera is difficult, but Evelyn Mandac, the Lisa, sang with an apt innocence, and the others seemed equally capable. Orchestral parts were safely in the hands of members of the Boston Symphony. Easily the musical highpoint, however, was the Countess's singing, in French, of her nostalgic little air from a Gretry opera, a touching moment to which Miss Tourel gave a special radiance. Over the years, televised opera has raised as many questions as it has answered. Is this really opera? If so, whose? How seriously should one, for instance, take a production that bends the original as far as N.E.T. Opera Theater's “Queen of Spades”? In the light of Mr. Adler's production, the answer would have to be that intelligent deviation is more acceptable than mindless adherence to score and libretto, if the qualification is added that televised opera must be granted a special license by the nature of its theatrical and musical limitations. In its way, “Queen of Spades” is a model of how to break the rules and win."
Carl Orff Lege Constans Gamble Sacks
14. In taberna quando sumus (When we are in the tavern) In taberna quando sumus non curamus quid sit humus, sed ad ludum properamus, cui semper insudamus. Quid agatur in taberna ubi nummus est pincerna, hoc est opus ut queratur, si quid loquar, audiatur. Quidam ludunt, quidam bibunt, quidam indiscrete vivunt. Sed in ludo qui morantur, ex his quidam denudantur quidam ibi vestiuntur, quidam saccis induuntur. Ibi nullus timet mortem sed pro Baccho mittunt sortem: Primo pro nummata vini, ex hac bibunt libertini; semel bibunt pro captivis, post hec bibunt ter pro vivis, quater pro Christianis cunctis quinquies pro fidelibus defunctis, sexies pro sororibus vanis, septies pro militibus silvanis. Octies pro fratribus perversis, nonies pro monachis dispersis, decies pro navigantibus undecies pro discordaniibus, duodecies pro penitentibus, tredecies pro iter agentibus. Tam pro papa quam pro rege bibunt omnes sine lege. Bibit hera, bibit herus, bibit miles, bibit clerus, bibit ille, bibit illa, bibit servis cum ancilla, bibit velox, bibit piger, bibit albus, bibit niger, bibit constans, bibit vagus, bibit rudis, bibit magnus. Bibit pauper et egrotus, bibit exul et ignotus, bibit puer, bibit canus, bibit presul et decanus, bibit soror, bibit frater, bibit anus, bibit mater, bibit ista, bibit ille, bibunt centum, bibunt mille. Parum sexcente nummate durant, cum immoderate bibunt omnes sine meta. Quamvis bibant mente leta, sic nos rodunt omnes gentes et sic erimus egentes. Qui nos rodunt confundantur et cum iustis non scribantur. When we are in the tavern When we are in the tavern, we do not think how we will go to dust, but we hurry to gamble, which always makes us sweat. What happens in the tavern, where money is host, you may well ask, and hear what I say. Some gamble, some drink, some behave loosely. But of those who gamble, some are stripped bare, some win their clothes here, some are dressed in sacks. Here no-one fears death, but they throw the dice in the name of Bacchus. First of all is to the wine-merchant the libertines drink, one for the prisoners, three for the living, four for all Christians, five to faithful dead, six for the loose sisters, seven for the footpads in the wood, Eight for the errant brethren, nine for the dispersed monks, ten for the seamen, eleven for the squabblers, twelve for the penitent, thirteen for the wayfarers. To the Pope as to the king they all drink without restraint. the mistress drinks, the master drinks the soldier drinks, the priest drinks, the man drinks, the woman drinks, the servant drinks with the maid, the swift man drinks, the lazy man drinks, the settled man drinks, the wanderer drinks, the stupid man drinks, the wise man drinks, The poor man drinks, the sick man drinks, the exile drinks, and the stranger, the boy drinks, the old man drinks, the bishop drinks, and the deacon, the sister drinks, the brother drinks, the old lady drinks, the mother drinks, this man drinks, that man drinks, a hundred drink, a thousand drink. Six hundred pennies would hardly if everyone drinks immoderately and immeasurably. However much they cheerfully drink we are the ones whom everyone scolds, and thus we are destitute. May those who slander us be cursed, and may their names not be written in the book of the righteous.
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- chronologie: Compositeurs (Europe).
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