Happy 70Th Wso Arrival from Sweden

Total Page:16

File Type:pdf, Size:1020Kb

Happy 70Th Wso Arrival from Sweden SEPTEMBER – OCTOBER 2017 I ISSUE 1 HAPPY 70TH WSO ARRIVAL FROM SWEDEN: THE MUSIC OF ABBA SCHEHERAZADE FALL FESTIVAL: ANGELS & DEMONS wso.ca I 204-949-3999 ECSTASY AND DESPAIR,yin and yang,the duality of the human spirit… For this year’s Autumn Festival, the WSO dives into musical visions of our highest aspirations and darkest conceits. Liszt’s massive tone poem inspired by Dante’s Inferno.Kurt Weill’s ground-breaking musical Seven Deadly Sins.Henryk Górecki’s masterpiece Symphony of Sorrowful Songs. Visionary works of art inspired by powerful themes. Oct 27/28 Beethoven, Chopin and a Oct 30 Natasha Paremski plays Pictures at an Exhibition Sorrowful Song (WSO) Oct 31 Frankenstein!! (WSO) Oct 29 Songs of Darkness and Light Nov 1 Winnipeg Chamber Music Society (Winnipeg Philharmonic Choir) Nov 3/4 Seven Deadly Sins (WSO) wso.ca/autumn-festival MESSAGE FROM THE MUSIC DIRECTOR Welcome to the Winnipeg Symphony Orchestra’s 70th Anniversary Season! From the bottom of my heart, I would like to thank the musicians, board, staff, supporters, and most importantly, you, our audience, for helping us create this 70-year legacy. We are incredibly grateful for this city that has embraced our orchestra. As always, this season we will hear symphonic music in many different ways. Arrival from Sweden brings an incomparable tribute to ABBA. In October, the enfant terrible himself Ashley MacIsaac fiddles Cape Breton style like no one else. Our Great-West Life Kids Concerts start with Scheherazade:Sinbad,Aladdin,and other magical tales from The Arabian Nights – a musical treat parents will like just as much as the kids, or even more so. Our first Classics concert Happy 70th WSO! pays homage to the orchestra’s anniversary. Victor Feldbrill, WSO Music Director from 1958-1968, now 92, joins us with his selection of Beethoven’s dramatic Lenore Overture No. 3.I can only hope to have his stamina when I’m his age. This year’s Autumn Festival is a personal highlight for me.The music we selected for this week with our partners plays to the theme of Angels & Demons.There’s mysticism and paranormal themes in this music and it gives us the chance to wade deep into the emotional waters of the human spirit where we’ll go from ecstasy to despair. As audience members, I invite you to experience where these composers can take us as we all open the door to an alternative reality. I don’t have enough room here to dig into the breadth of the festival, so please visit wso.ca for more about this music and concept of the festival. If you, or someone you know, is interested in taking in some WSO concerts this year but are not sure where to start, we’ve created something called the Beginner’s Guide to the Symphony.Visit our website and we will help you navigate this exciting world and get you into experiences that will speak to your soul – because that’s what it’s really all about. This year is my final season at the helm of the WSO, and throughout the year I will have many celebratory moments, passion projects, and music I can’t wait to conduct. It’s bitter sweet to leave this wonderfully cultural city and the many friends I have made, but I can’t wait for this new adventure professionally, musically, and personally for my family and me. I wouldn’t trade the memories I’ve made here for anything, and I can only hope that I have inspired a passion for music in Winnipeg. Here’s to this year of celebration and music! Auf Wiedersehen, Alexander Mickelthwate Music Director September – October 2017 I OVERTURE 1 The 70th anniversary of the Winnipeg Symphony Orchestra is a wonderful time to look back in gratitude to those who have been a part of our history. We are so grateful to those members of our community who have shaped our present accomplishments, especially our Maestro, Alexander Mickelthwate. In honour of Alexander’s final year as our Music Director we are establishing an endowment fund in his name. This means that every year, in perpetuity, Alexander’s legacy will continue to be a source of support, stability, and inspiration to us. With an endowment fund in his name, every year, we will remember Alexander’s legacy as one of energy, a passion for achievement, and the confidence to break new ground. Making a gift to his endowment will ensure his years of dedication to our orchestra have continuing impact on the WSO. If you would like to make a gift to the Alexander Mickelthwate Endowment, you can do so by going to wso.ca/support or call Shenna Song at (204) 494-3973. Make your endowment donation by November 15th and it will be eligible to be matched! Market Value of WSO Endowment Fund: $7.29 million Current annual dispersal: $300,000 per year WSO SPONSORS, FUNDERS AND ACKNOWLEDGEMENTS The WSO proudly acknowledges the ongoing support of the following sponsors, media and funders: COMMUNITY ENGAGEMENT PARTNER EDUCATION & COMMUNITY ENGAGEMENT PROGRAMS IN MEMORY OF PETER D. CURRY POPS KIDS CONCERTS CLASSICS A SERIES SERIES SERIES WSO IN BRANDON INDIVIDUAL CONCERTS DANIEL FRIEDMAN ARNOLD & MYRA & ROB DALGLIESH FRIEMAN MICHAEL NESBITT MANITOBA HYDRO SOUNDCHECK POPS PRESENTING OFFICIAL RADIO STATION HOLIDAY TOUR PROGRAM MEDIA PARTNER OF THE WSO CLASSICS PIANO RAFFLE CAR RAFFLE CORPORATE SUSTAINABILITY Women’s Committee of the Winnipeg Symphony Orchestra FUNDERS September – October 2017 I OVERTURE 3 CONDUCTORS AND COMPOSERS Alexander Mickelthwate, Music Director German conductor Alexander Mickelthwate is renowned for his “splendid, richly idiomatic readings” (LA Weekly),“fearless” approach and “first-rate technique” (Los Angeles Times). Critics have noted Alexander’s extraordinary command over the Austro-Germanic repertoire, commenting on the “passion, profundity, emotional intensity, subtlety and degree of perfection achieved” in Bruckner’s Symphony Photographer: Grajewski Fotograph Inc. No. 7 as “miraculous” (Anton Kuerti, 2011). Following on from his tenure as Assistant Conductor with the Atlanta Symphony Orchestra, which he completed in 2004, Alexander Mickelthwate was Associate Conductor of the Los Angeles Philharmonic for three years, under the direction of Essa-Pekka Salonen. Now in his tenth season as Music Director of the Winnipeg Symphony Orchestra, Alexander has significantly developed the orchestra’s profile through active community engagement and innovative programming initiatives like the annual Winnipeg New Music Festival and the Indigenous Music Festival. Chosen to perform at the Carnegie Hall Spring For Music Festival in New York, May 2014, due to “creative and innovative programming”(CBC Manitoba Scene), the orchestra was the only Canadian ensemble in the showcase. Julian Pellicano, Resident Conductor A conductor with expansive musical interests, Julian Pellicano is a formidable interpreter of the symphonic repertoire.The Winnipeg Free Press says of Pellicano,“His versatility is truly astonishing…”Marking his fifth season with the WSO, the 2017-2018 season includes appearances at the inaugural edition of the Ciclo de Música Contemporánea in Oviedo, Spain, a return to the Louisiana Philharmonic and his first appearance conducting the Photographer: Nardella Photography Inc. Royal Winnipeg Ballet among many other highlights. The creation, with Dr. Paul Lehrman, of a new performance edition of George Antheil's Ballet Mecanique first brought Pellicano to the public’s attention. Conductor of the Norfolk Contemporary Ensemble since 2008, Pellicano is recognized for his transparent interpretations of contemporary music. He studied conducting as a fellow at the Yale School of Music. An autodidact, he was accepted to the Peabody Conservatory as a percussionist without typical classical training, and continued his studies at the Royal College of Music in Stockholm, Sweden and at the Yale School of Music and was a member of the critically acclaimed Yale Percussion Group. Pellicano also holds a degree in philosophy from The Johns Hopkins University. Harry Stafylakis, Composer-in-Residence,WNMF Festival Director Harry Stafylakis(b. 1982) hails from Montreal and is now based in NYC. He is the Winnipeg Symphony Orchestra's Composer-In-Residence and Festival Director of the WSO's Winnipeg New Music Festival. His works have been performed by the American Composers Orchestra, the Toronto,Winnipeg,Vancouver, Spokane, Stamford,Victoria, and PEI symphonies, McGill Chamber Orchestra, ICE, Contemporaneous, Mivos Quartet, Quatuor Bozzini, and Aspen Contemporary Ensemble, among others. Awards include the Charles Ives Fellowship from the American Academy of Arts and Letters, the ASCAP Foundation’s Leonard Bernstein Award, four SOCAN Foundation Awards for Young Composers, and grants from the Canada Council, NYSCA, and New Music USA. He is an Associate Composer of the Canadian Music Centre and a member of the NYC composer collective ICEBERG New Music. Stafylakis holds degrees from McGill University and The Graduate Center, CUNY,and lectures at the City College of New York. His doctoral research, supported by SSHRC, examines rhythm and meter in progressive metal. www.hstafylakis.com 4 OVERTURE I September – October 2017 WINNIPEG SYMPHONY ORCHESTRA 2017-2018 SEASON MUSIC DIRECTOR CELLOS TRUMPETS Alexander Mickelthwate Yuri Hooker, Principal Chris Fensom, Principal Leana Rutt, Assistant Principal Paul Jeffrey RESIDENT CONDUCTOR Isaac Pulford **Desiree Abbey Julian Pellicano Alex Adaman TROMBONES COMPOSER-IN-RESIDENCE Arlene Dahl Steven Dyer, Principal Harry Stafylakis Carolyn Nagelberg Keith Dyrda Emma Quackenbush FIRST VIOLINS Sean Taubner BASS TROMBONE Gwen Hoebig, Concertmaster **Stephen Clayton, Principal The Sophie-Carmen Eckhardt- *Julia McIntyre, Principal BASSES Gramatté Memorial Chair, endowed Meredith Johnson, Principal by the Eckhardt-Gramatté Foundation TUBA Karl Stobbe, Associate Concertmaster Andrew Goodlett, Assistant Principal Chris Lee, Principal Mary Lawton, Assistant Concertmaster Travis Harrison Chris Anstey Paul Nagelberg TIMPANI Mona Coarda Bruce Okrainec Mike Kemp, Principal Teodora Dimova Daniel Perry Tara Fensom PERCUSSION **Anna Scheider Hong Tian Jia Frederick Liessens, Principal Meredith McCallum Sonia Shklarov FLUTES HARP Julie Savard Jan Kocman, Principal Richard Turner, Principal Jun Shao Endowed by W.H.
Recommended publications
  • Press Information Eno 2013/14 Season
    PRESS INFORMATION ENO 2013/14 SEASON 1 #ENGLISHENO1314 NATIONAL OPERA Press Information 2013/4 CONTENTS Autumn 2013 4 FIDELIO Beethoven 6 DIE FLEDERMAUS Strauss 8 MADAM BUtteRFLY Puccini 10 THE MAGIC FLUte Mozart 12 SATYAGRAHA Glass Spring 2014 14 PeteR GRIMES Britten 18 RIGOLetto Verdi 20 RoDELINDA Handel 22 POWDER HeR FAce Adès Summer 2014 24 THEBANS Anderson 26 COSI FAN TUtte Mozart 28 BenvenUTO CELLINI Berlioz 30 THE PEARL FISHERS Bizet 32 RIveR OF FUNDAMent Barney & Bepler ENGLISH NATIONAL OPERA Press Information 2013/4 3 FIDELIO NEW PRODUCTION BEETHoven (1770–1827) Opens: 25 September 2013 (7 performances) One of the most sought-after opera and theatre directors of his generation, Calixto Bieito returns to ENO to direct a new production of Beethoven’s only opera, Fidelio. Bieito’s continued association with the company shows ENO’s commitment to highly theatrical and new interpretations of core repertoire. Following the success of his Carmen at ENO in 2012, described by The Guardian as ‘a cogent, gripping piece of work’, Bieito’s production of Fidelio comes to the London Coliseum after its 2010 premiere in Munich. Working with designer Rebecca Ringst, Bieito presents a vast Escher-like labyrinth set, symbolising the powerfully claustrophobic nature of the opera. Edward Gardner, ENO’s highly acclaimed Music Director, 2013 Olivier Award-nominee and recipient of an OBE for services to music, conducts an outstanding cast led by Stuart Skelton singing Florestan and Emma Bell as Leonore. Since his definitive performance of Peter Grimes at ENO, Skelton is now recognised as one of the finest heldentenors of his generation, appearing at the world’s major opera houses, including the Metropolitan Opera, New York, and Opéra National de Paris.
    [Show full text]
  • Billboard 1976-05-22
    08120 NEWSPAPER SOUTH *J09 1331 JUL79 52 +.. 312 318270141214 SOUTHERN MUSIC PUB CO BB 6922 HOLLYWOOD BLVD LCS ANGELES CA 90028 The International Music -Record -Tape Newsweekly May 22, 1976 $1.50 A Billboard Publication v N.Y. Looms As Cut -Rate Mecca; BACK ON ANNUAL BASIS Shelf & Special Prices Plunge Amsterdam Picked By IS HOROWITZ, JIM MELANSON & STEPHEN TRAIMAN holding He characterizes them as IMIC-7 chain has been conditions. For 1977 NEW YORK -Records aren't yet Korvette ® By BOB KIRSCH being given away gratis here. but sales on huge segments of their stock "not too different" from what the thrusts and counter- thrusts by some at $3.64 for $6.98 product. chain has done in the past, but LOS ANGELES -Billboard's In- IMIC that saw a greater injection fig- of the largest area dealers continue Of perhaps even greater signifi- agrees that the extent of the $3.64 ternational Music Industry Confer- than ever before of non -industry to force prices down. cance is the drop by local Korvettes (Continued on page 16) ence (IMIC) returns to an annual ures into the panels and discussions, For two weeks running the giant stores of non -sale shelf prices to a basis next year following several figures from such industries as new standard of $4.99, a level being years of biannual conferences, with (Continued on page 12) matched by some of the Sam Goody Joyce Out With IMIC -7 set for Amsterdam, Hol- TV Time Tight stores and by the string of Alex- land. May 9 -12, 1977.
    [Show full text]
  • Performance Arrival Time 2019
    Arrival times for Performances of “The Accidental Stowaway” Please make every effort to stick to these times as they are designed to minimise congestion. YES to snacks, drinks and quiet activities to do. A dressing gown or comfortable clothing is also a good idea PLEASE NAME ALL CLOTHING, BOOKS, AND GAMES EQUIPMENT. NO to NUTS and SEEDS, noisy activities, and items that could ruin costumes such as chocolate, ribena, or chewing gum. NO to any photography or recording of any kind. NO to fitbits! Thursday (Purple) and Friday (Orange) Night at Harpenden Public Halls, Southdown Road 5:20: All Aboard (except Kids Playing) – Passengers – Cocktails – Sailors 5:3 0: Jobs – Kids Club – Chefs – Engineers – Chambermaids 5:45 : Spain – Gypsies – Convent School – Paso Doble – Spanish Ballet 6:00 : Mamma Mia – Honey honey – Dancing Queen – Slipping Through - Waterloo 6:10: Carnival and Cape Horn – Party Starters – Skeletons – Hummingbirds – Party Time! – Iceburg – Penguins - Albatross – Storm 6:20: Under the Sea and Captains Ball – Seahorses – Jellyfish – Scuba Divers – Coral – Ballroom 1 – Ballroom 2 – TV Show – Kids Playing All dancers* should be picked up at 9:30pm. See ‘Leaving Early’ form available from the website or registration team at rehearsals if you wish to pick up children Grade 2 and below at an earlier time. Saturday Matinee (Purple) at Harpenden Public Halls, Southdown Road 12:20: All Aboard (except Kids Playing) – Passengers – Cocktails – Sailors 12:30: Jobs – Kids Club – Chefs – Engineers – Chambermaids 12:45: Spain – Gypsies – Convent School – Paso Doble – Spanish Ballet 1:00: Mamma Mia – Honey honey – Dancing Queen – Slipping Through - Waterloo 1:10: Carnival and Cape Horn – Party Starters – Skeletons – Hummingbirds – Party Time! – Iceburg – Penguins - Albatross – Storm 1:20: Under the Sea and Captains Ball – Seahorses – Jellyfish – Scuba Divers – Coral – Ballroom 1 – Ballroom 2 – TV Show – Kids Playing All dancers should be picked up at 4:30pm.
    [Show full text]
  • Klappersangernes Repertoireliste Alle Sange
    KlapperSangernes repertoireliste alle sange Nr Titel Komponist/forfatter 78 When my sugar walks down the street Simmons/Austin/McHugh/Mills 77 Ud ad landevej’n B. Christensen/H.D. Koppel 76 Svantes lykkelige dag B. Andersen 75 Nevertheless B. Kalmar/H. Ruby 74 Keltisk bortsendelsessalme 73 Java Jive M. Drake/B. Oakland 72 All of me S. Simons/G. Marks 71 Over the rainbow H. Arlen/E.Y. Harburg 70 Kvinde min Gasolin 68 In the mood G. Miller 67 Flicka från Backafall G. Turesson/G. Jönsson 66 Scarborough Fair Eng. Trad. 65 Vad har du i fickan, Jan? G. Svensson/H. Alfredson/T. Danielsson 64 Hist, hvor vejen slår en bugt J.C. Gebauer/ H.C. Andersen 63 Den allersidste dans K. Normann Andersen/ B. Müller 62 With a little help from my friends J. Lennon/P. McCartney 61 Save your kisses for me T. Hiller/ L. Sheridan/ M. Lee 60 Moskva-nætter V.Solovjoj-Sedoj/W. Jelsager 59 S.O.S. B. Andersson/S.Andersson/ B.Ulvaeus 58 Byens lys B. Christensen/ P. Henningsen 57 Itsy bitsy teenie weenie yellow Poul Vance/ Lee Pockriss 56 Bei mir bist du schön Cahn-Chaplin/ Scolum Secunda 55 The sound of music R. Rodgers/ O. Hammerstein 54 Joanna Kim Larsen 53 Begynd dagen med en sang B. Christensen/ P. Henningsen 52 That’s Amore H. Warren/ J. Brooks 51 Stemningsmelodien K. Normann Andersen/ A. Müller 50 Sakta vi gå genom sta’n F.E. Ahlert, R. Turk /B. Wolgers 49 Ole sad på en knold og sang A. Toft/ J. Aakjær 48 Gedehyrdens sang R.
    [Show full text]
  • Queer Futurity and Hybridity in Arrival and Embrace of the Serpent
    Queer Futurity and Hybridity in Arrival and Embrace of the Serpent By: Emma Breitman Women and Gender Studies, University of Colorado Boulder Defense Date: October 8, 2019 Committee: Thesis Advisor: Dr. Emmanuel David, Department of Women and Gender Studies Dr. Robert Wyrod, Department of Women and Gender Studies Dr. Leila Gomez, Department of Spanish and Portuguese 1 Table of Contents Abstract _________________________________________________3 List of Figures ____________________________________________4 Introduction______________________________________________5 I. Creating the Other 1. The Other _______________________________________14 2. The Queer Other __________________________________17 3. The Racial Other __________________________________22 II. Alien Ailments 1. Queering the Heptapods ______________________________29 i. Things Seen __________________________________30 ii. Things Heard _________________________________38 2. The Infection of the Heptapods _________________________44 i. The Infecting _________________________________45 ii. The Infected _________________________________54 III. Indigenous Infection 1. Queering Karamakate________________________________65 i. Wildness and Mess _____________________________67 ii. Dreams _____________________________________76 iii. Out of Time __________________________________79 2. Preventative Actions ________________________________82 i. The Individual to be Corrected _____________________86 ii. The Monster to Be Eliminated _____________________90 3. The Hybrids ______________________________________95
    [Show full text]
  • Contents Price Code an Introduction to Chandos
    CONTENTS AN INTRODUCTION TO CHANDOS RECORDS An Introduction to Chandos Records ... ...2 Harpsichord ... ......................................................... .269 A-Z CD listing by composer ... .5 Guitar ... ..........................................................................271 Chandos Records was founded in 1979 and quickly established itself as one of the world’s leading independent classical labels. The company records all over Collections: Woodwind ... ............................................................ .273 the world and markets its recordings from offices and studios in Colchester, Military ... ...208 Violin ... ...........................................................................277 England. It is distributed worldwide to over forty countries as well as online from Brass ... ..212 Christmas... ........................................................ ..279 its own website and other online suppliers. Concert Band... ..229 Light Music... ..................................................... ...281 Opera in English ... ...231 Various Popular Light... ......................................... ..283 The company has championed rare and neglected repertoire, filling in many Orchestral ... .239 Compilations ... ...................................................... ...287 gaps in the record catalogues. Initially focussing on British composers (Alwyn, Bax, Bliss, Dyson, Moeran, Rubbra et al.), it subsequently embraced a much Chamber ... ...245 Conductor Index ... ............................................... .296
    [Show full text]
  • Programme Officiel Chant 2018
    PAGE 3 SGT JOHANIE MAHEU MESSAGE DE LA MESSAGE FROM GOUVERNEURE THE GOVERNOR GÉNÉRALE DU CANADA GENERAL OF CANADA La musique est à la fois un art rassembleur et un Music is both a unifying art and a means of escape. It moyen de s’évader. Elle dépasse les frontières lin- trans cends linguistic, cultural and temporal borders guistiques, culturelles et temporelles et elle donne and takes us on the most beautiful voyages. Stimulating lieu aux plus beaux voyages. Stimulant les esprits et minds and capturing the imagination, it resonates even suscitant l’imaginaire, elle résonne même dans les in the most distant lands. contrées les plus lointaines. Mastering the complex art of singing requires great MESSAGES Maîtriser cet art complexe qu’est le chant requiert discipline and perseverance, and more than a little 2018 passion. The incredible musicians taking part in the beaucoup de rigueur et de persévérance, sans ou- Concours musical international de Montréal (CMIM) blier de la passion. Les musiciens exceptionnels qui understand this and have devoted a significant part of prennent part au Concours musical international de their lives to cultivating their talent in the hope of one Montréal (CMIM) en savent quelque chose, eux qui day making their dreams come true. While spectators ont consacré une bonne partie de leur vie à cultiver can expect to witness breathtaking performances, the leur talent pour, un jour, concrétiser leurs rêves. Si participants themselves will have an experience like no les spectateurs peuvent s’attendre à assister à des other. performances à couper le souffle, les participants vivront quant à eux des expériences uniques.
    [Show full text]
  • To See the Study Guide
    A Study Guide Music & Lyrics by BENNY ANDERSSON & BJORN ULVAEUS And some songs with Stig Anderson Book by Catherine Johnson Production Personnel Cast George Absi Ensemble / Dance Captain Kevin Aichele Sam Carmichael Paul Almeida Pepper / Ensemble Michelle Bardach Ensemble Danielle Benton Lisa / Ensemble Janet Gigliotti Rosie Mulligan Annie Chen Ensemble Rachel Clark Ensemble Austin Eckert Eddie / Ensemble Nicko Giannakos Father Alexandrios / Ensemble Mark Harapiak Bill Austin / Ensemble Alana Hibbert Tanya Cresham-Leigh Katie Kerr Sophie Sheridan Ben Montgomery Ensemble Desmond Osborne Ensemble Chelsea Preston Ali / Ensemble Antonette Rudder Ensemble Colin Sheen Sky / Ensemble Cailin Stadnyk Donna Sheridan Leon Willey Harry Bright / Ensemble 1 Musicians Kris Ruston Guitar Alex Ward Bass Ed Hilliard Drums Production Team Ron Ulrich Director Steve Thomas Musical Director Jeff Dimitriou Choreographer Ivan Brozic Set and Costume Designer Ken Wells Scenic Painter Gail Ksionyk Lighting Designer Greg Klohn Sound Engineer Beth Bruck Stage Manager Skylar Nakazawa Assistant Stage Manager Madison Henry Apprentice Stage Manager Andrew G. Cooper Assistant Director Christine Leroux Head Dresser Roya Mole Technician Liam Befurt Technician Robin Arundel Technician Joel Feenstra Technician 2 Contributors Music & Lyrics by BENNY ANDERSSON & BJORN ULVAEUS And some songs with Stig Anderson Book by Catherine Johnson Mamma Mia! is a jukebox musical written by British playwright Catherine Johnson, based on the songs of ABBA, which were composed by Benny Andersson and Björn Ulvaeus, former members of the band. The title of the musical is taken from the group's 1975 chart-topper "Mamma Mia!". Ulvaeus and Andersson were involved in the development of the show from the beginning. Anni-Frid Lyngstad, who was also a member of ABBA, has been involved financially in the production and been present at many of the premieres around the world.
    [Show full text]
  • Why Are Abba So Popular?
    http://www.bbc.com/culture/story/20140415-why-are-abba-so-popular 15 April 2014 Why are Abba so popular? By Andrew Harrison (AP) The Swedish group burst onto the world stage 40 years ago this month – and are still one of the most successful bands of all time. Andrew Harrison asks why. When you’ve sold as many records as Abba have – and only The Beatles have sold more – specific figures become hazy. They disappear into a statistical stratosphere occupied by a tiny elite of global megastars. There are simply too many territories to report on, too many releases to keep track of, too many vast numbers to juggle. All one can say with any certainty is that the Swedish quartet have sold in excess of 380m albums and singles since they first came to prominence 40 years ago this month, winning the 1974 Eurovision Song Contest with a performance of Waterloo that still ranks as the high point of the much-maligned transcontinental cheese-fest. At their commercial zenith in the late ‘70s Abba were reputedly second only to Volvo in their contribution to Sweden’s exports. Such was the demand for their music that their management had to arrange for royalties from the Soviet Union to be paid in oil commodity rights rather than the embargoed rouble. This was unprecedented popularity for an act from outside the English-speaking world, and as the recorded music business accustoms itself to the reduced circumstances of the digital age it seems unlikely that another artist will ever better it. Meanwhile, critically rehabilitated and driven on by the Mamma Mia! juke-box musical which has now played to over 54m people worldwide, the band’s records continue to sell.
    [Show full text]
  • Signal Hill Elementary School
    Half Hollow Hills Central School District SIGNAL HILL ELEMENTARY SCHOOL 670 Caledonia Road Dix Hills, NY 11746 631-592-3700 Parent / Student Handbook “Together We Can Make a Difference” Handbook Overview Some of the policies and procedures contained in this handbook come directly from district policies. District policies can be found in their entirety on the Half Hollow Hills Website at www.hhh.k12.ny.us . Some of the policies and procedures in this handbook only pertain to the Signal Hill Community. Many of our policies and procedures are intended to help students become more responsible and independent in preparation for experiences outside of school. We are very privileged to teach the students in the Signal Hill Community and our goal is to create a successful learning environment that accounts for all students’ needs. 2 Table of Contents Contact Information 4 Principal’s Message 5 Mission Statement 6 Hours/Attendance 7 Morning Arrival; Drop offs; Dismissal Pick-ups; Playdates; Absences Closings/Early Dismissal Parking Lot Traffic Pattern 10 Expectations for Bus Behavior 11 Health/Allergy Information 12 Breakfast/Lunch/Snack 14 Teaching and Learning 16 Curriculum; Specials; Band/Orchestra/Chorus Technology; Health; School Clubs Extra Learning; Parent/Teacher Conferences Support Services; Report Cards Testing; eBoards; Contacting Teachers REACH Program Homework Policy 19 General Policies 20 Visitors; Birthdays; Field Trips Cellphones / Electronic Devices Telephone Use; Lost and Found Items Left in School PTA/ BOE/ District-wide Administration
    [Show full text]
  • A Congregation of Wintering Bald Eagles
    SHORT COMMUNICATIONS 311 LITERATURE CITED mals in the canopy of a tropical rain forest. Malay. BAKER, E. C. S. 1927. The fauna of British India, in- For. 29: 182-203. cluding Ceylon and Burma, p. 357. Vol. 4. Taylor MCCLURE, H. E. 1977. The‘ secret life of a tree. Anim. and Francis, London. Kingdom 80: 16-23. CHASEN, F. N. 1939. The birds of the Malay Penin- MEDWAY, LORD. 1972. Phenology of a tropical rain sula, p. 126. Vol. 4. H. F. and G. Witherby, Lon- forest in Malaya. Biol. J, Linn. Sot. 4:117-146. don. PARKES, K. C. 1960. Geographic variations in the MADOC, G. C. 1947. An introduction to Malayan birds. Lesser Tree Swift. Condor 62:3-6. Malay. Nat. J. 2, parts 3 and 4. SHARPE, R. R. 1879. A list of the birds of Labuan Is- MADOC, G. C. 1956. An introduction to Malayan birds. land and its dependencies. Proc. Zool. Sot. Lond., Malayan Nat. Sot. and Caxton Press, Kuala Lum- p. 317-354. pur. SHELFORD, R. W. C. 1916. A naturalist in Borneo. MCCLURE, H. E. 1964. Some observations ofprimates London. in climax dipterocarp forest near Kuala Lumpur, Malaya. Primates 5:39-58. 69 East Loop Drioe, Camarillo, California 93010. Ac- MCCLUKE, H. E. 1966. Flowering, fruiting and ani- cepted for publication 29 September 1978. Condor, 81:311313 @ The Cooper Ornithological Society 1979 A CONGREGATION OF WINTERING able cover, but ornamental trees constitute most of the BALDEAGLES vegetation over 3 meters in height. The trees, mostly white and Lombardy poplars (Populus alba; Populus sp.), black locust (Robinia pseudacacia) and Siberian elm (Ulmus sp.), were planted as wind breaks or shade R.
    [Show full text]
  • ARRIVAL in SYDNEY - Grant's Review
    ARRIVAL IN SYDNEY - Grant's Review ARRIVAL - Simply Sensational Sensational. That’s the only word I can think of to describe the two ARRIVAL shows held in Sydney over the weekend. I am feeling quite lost for words and out of it today. A bit like feeling jet lagged. ARRIVAL are ABBA fans that much is obvious. The attention to detail, the respect, the song choices, the costumes everything is just so right and spot on. And no f##king cat dresses!!!!! As much as I loved the cat dresses way back when ABBA wore them, they have now become the symbol of cheap, tacky ABBA send-ups. ARRIVAL's 1977 tour costumes were just perfect and looked so real. The mini musical? I am lost for words. The narrator, the wigs, the choreography all perfect. Even at the best of times I really can’t get into “Thank You For The Music” but Anna (Agnetha) put in such an amazing vocal performance, I really sat up and took notice a more German cabaret type of vocal. Vicky’s (Frida) emotional rendition of “I Wonder” gave me goose bumps and a weird feeling inside. You often forget what an amazing song “I Wonder” is because the studio version is so flat and devoid of emotion. And “Marionette” really rocked. One of my favourite ABBA songs. :-) Singing in Swedish was a great touch. “Ring Ring (Bara Du Slog En Signal)” never sounded better. “Fernando” took on a new dimension hearing the first verse and chorus sung in Swedish as Frida's original version had been.
    [Show full text]