Renata Scotto Book Review
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Psychoanalysis and Politics Psychodynamics in Times of Austerity Spring Symposium in the Portuguese Psychoanalytic Society May 18 Th – 20 Th 2018
PSYCHOANALYSIS AND POLITICS PSYCHODYNAMICS IN TIMES OF AUSTERITY SPRING SYMPOSIUM IN THE PORTUGUESE PSYCHOANALYTIC SOCIETY MAY 18 TH – 20 TH 2018 FRIDAY 18 th 09.00-09.30 Opening address with presentation round 09.30-10.20 TERESA SANTOS NEVES/ CARLOS FERRAZ – When Shock is not Shocking: Psychodynamcis Underlying the Acceptance of Austerity 10.30-11.20 LENE AUESTAD – Austerity, Time and the Common World 11.30-12.20 DUARTE ROLO – Psychoanalysis and Social Suffering: From Psychologisation to Politisation 12.30-13.20 RENÉE DANZIGER – We're All in This Together: The Myth of Austerity 13.20-15.00 Lunch 15.00-15.50 MARGARITA PALACIOS – Becoming the People: A Critique to Populist Aesthetics of Visibility 16.00-16.50 ZELJKA MATIJAŠEVIĆ – The Reduction of Melancholy to Depression: What is Being Lost? 17.00-17.50 NAYLA DEBS – Clinical Practice in Neoliberal Times: Individual Distress, Global Precariousness and the Need to Define New Forms of Materialism 18.00-18.50 RAFAEL DAUD – Anorexia as Austerity's Other Side of the Coin SATURDAY 19 th 09.00-09.50 SAMIR GANDESHA – The Authoritarian Personality Reconsidered 10.00-10.50 JAMIE STEELE – Can Psychoanalysis save us from this Pain? Reflections on Moving Through a Sociology of Sadistic Privilege 11.00-11.50 PHILIP HEWITT – Austerity as a Governing Mental State 12.00-12.50 SZYMON WRÓBEL – Productivity of Poverty. Managing Poverty in Philosophy from Benjamin and Heidegger to Agamben, Negri and Hardt 12.50-14.30 Lunch 14.30-15.20 EFI KOUTANTOU – Loss and Trauma during the Greek Crisis: A Collapse of an Ideal? 15.30-16.20 MARINA PRENTOULIS – Violent Encounters: 'Acting Out' before redrawing the Political Frontiers 16.30-17.20 ANDREAS MURRAY – Political Extremism and Religious Terror 17.30-18.20 JENYU PENG – Utopian Imagination as a Way of Revolt against Realpolitik. -
2013 Year in Review
OPERA AMERICA 2013 GROWING ONSTAGE AND OFF OPTION 1 TABLE OF CONTENTS A SURGE OF INNOVATION 6 RESONATING IN NEW SPACES 14 A COMMUNITY OF VOICES 20 OPERA AMERICA FINANCIAL REPORT 28 ANNUAL FIELD REPORT 30 SUPPORT FOR OPERA AMERICA 55 COVER: Maria Aleida as Queen of the Night in Opera Carolina’s production of The Magic Flute. Photo by Jon Silla. LEFT: Nina Yoshida Nelsen, Ji Hyun Jang and Mihoko Kinoshita in Houston Grand Opera’s production of The Memory Stone by Marty Regan and Kenny Fries. Photo by Felix Sanchez. CONCEPT AND DESIGN FOR ANNUAL REPORT BY THE LETTER FROM THE CHAIRMAN Since its inception OPERA America has existed as a community of like-minded individuals committed to the artistic and financial strength of the field. This past year, our definition of community expanded: our conference, held in Vancouver, affirmed our commitment to all of North America, while our growing partnership with Opera Europa continued to bridge the continents through our shared dedication to an art form that knows no borders. Most profoundly, however, the opening of the National Opera Center in New York has created a new center for our community, a tangible space where individual and company members can gather for auditions, recitals and professional learning programs. The center’s technology capabilities enable us to share these offerings globally, even as its flexible amenities enable us to share our love for opera locally. We are delighted to present our global, national and local achievements of the past year through this Annual Report. To our members we offer gratitude for your support of these achievements. -
La Sonnambula 3 Content
Florida Grand Opera gratefully recognizes the following donors who have provided support of its education programs. Study Guide 2012 / 2013 Batchelor MIAMI BEACH Foundation Inc. Dear Friends, Welcome to our exciting 2012-2013 season! Florida Grand Opera is pleased to present the magical world of opera to the diverse audience of © FLORIDA GRAND OPERA © FLORIDA South Florida. We begin our season with a classic Italian production of Giacomo Puccini’s La bohème. We continue with a supernatural singspiel, Mozart’s The Magic Flute and Vincenzo Bellini’s famous opera La sonnam- bula, with music from the bel canto tradition. The main stage season is completed with a timeless opera with Giuseppe Verdi’s La traviata. As our RHWIEWSRÁREPI[ILEZIEHHIHERI\XVESTIVEXSSYVWGLIHYPIMRSYV continuing efforts to be able to reach out to a newer and broader range of people in the community; a tango opera María de Buenoa Aires by Ástor Piazzolla. As a part of Florida Grand Opera’s Education Program and Stu- dent Dress Rehearsals, these informative and comprehensive study guides can help students better understand the opera through context and plot. )EGLSJXLIWIWXYH]KYMHIWEVIÁPPIH[MXLLMWXSVMGEPFEGOKVSYRHWWXSV]PMRI structures, a synopsis of the opera as well as a general history of Florida Grand Opera. Through this information, students can assess the plotline of each opera as well as gain an understanding of the why the librettos were written in their fashion. Florida Grand Opera believes that education for the arts is a vital enrich- QIRXXLEXQEOIWWXYHIRXW[IPPVSYRHIHERHLIPTWQEOIXLIMVPMZIWQSVI GYPXYVEPP]JYPÁPPMRK3RFILEPJSJXLI*PSVMHE+VERH3TIVE[ILSTIXLEX A message from these study guides will help students delve further into the opera. -
Narcissistic Personality and Selfie Taking Behavior Among College Students
International Journal of Medical and Health Research International Journal of Medical and Health Research ISSN: 2454-9142 www.medicalsciencejournal.com Volume 4; Issue 5; May 2018; Page No. 56-60 Narcissistic personality and selfie taking behavior among college students Kaur Sukhdeep1*, Maheshwari SK2, Sharma P3 1, University College of Nursing, Faridkot, Punjab, India 2Associate professor and HOD, Department of Psychiatric Nursing, University College of Nursing, Faridkot, Punjab, India 3Lecturer, University College of Nursing, Faridkot, Punjab, India Abstract Background: The tendency of taking own pictures through smart phones has turn into an observable fact of new culture of the young generation’s resulting in exponential rise in narcissistic features among users. Aim: This study aimed to investigates the narcissistic personality features and selfie taking behavior among college students of Punjab, India. Materials and Methods: Quantitative, descriptive, cross-sectional survey design was used to assess the narcissistic features and selfie taking behavior in 300 conveniently selected college going students of Punjab by using socio-demographic data sheet and Narcissistic personality inventory (NPI 16). Findings: Study found that mean narcissistic score of the college students was 4.44 (2.6) which is at moderate level. 8.4% of the college students fall under the category of severe narcissistic features, 39% of the college students under moderate narcissistic features and 49% of the college students under mild narcissistic features. Narcissistic features had a significant relationship with number of selfies on an average day, preference of act for selfies, edit selfies before posting and untag themselves from group selfies. Posting of selfies on facebook had significant relationship with narcissistic features at p level <0.05. -
Il Trovatore Was Made Stage Director Possible by a Generous Gift from Paula Williams the Annenberg Foundation
ilGIUSEPPE VERDItrovatore conductor Opera in four parts Marco Armiliato Libretto by Salvadore Cammarano and production Sir David McVicar Leone Emanuele Bardare, based on the play El Trovador by Antonio García Gutierrez set designer Charles Edwards Tuesday, September 29, 2015 costume designer 7:30–10:15 PM Brigitte Reiffenstuel lighting designed by Jennifer Tipton choreographer Leah Hausman The production of Il Trovatore was made stage director possible by a generous gift from Paula Williams The Annenberg Foundation The revival of this production is made possible by a gift of the Estate of Francine Berry general manager Peter Gelb music director James Levine A co-production of the Metropolitan Opera, Lyric Opera of Chicago, and the San Francisco principal conductor Fabio Luisi Opera Association 2015–16 SEASON The 639th Metropolitan Opera performance of GIUSEPPE VERDI’S il trovatore conductor Marco Armiliato in order of vocal appearance ferr ando Štefan Kocán ines Maria Zifchak leonor a Anna Netrebko count di luna Dmitri Hvorostovsky manrico Yonghoon Lee a zucena Dolora Zajick a gypsy This performance Edward Albert is being broadcast live on Metropolitan a messenger Opera Radio on David Lowe SiriusXM channel 74 and streamed at ruiz metopera.org. Raúl Melo Tuesday, September 29, 2015, 7:30–10:15PM KEN HOWARD/METROPOLITAN OPERA A scene from Chorus Master Donald Palumbo Verdi’s Il Trovatore Musical Preparation Yelena Kurdina, J. David Jackson, Liora Maurer, Jonathan C. Kelly, and Bryan Wagorn Assistant Stage Director Daniel Rigazzi Italian Coach Loretta Di Franco Prompter Yelena Kurdina Assistant to the Costume Designer Anna Watkins Fight Director Thomas Schall Scenery, properties, and electrical props constructed and painted by Cardiff Theatrical Services and Metropolitan Opera Shops Costumes executed by Lyric Opera of Chicago Costume Shop and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Ms. -
OPERAFASHION: OLTRE LO STILE DEL CANTO (Operafashion.Blog)
OPERAFASHION: OLTRE LO STILE DEL CANTO (Operafashion.blog) AN UNUSUAL INTERVIEW WITH ELENA MOSUC Elena Mosuc is considered by international critics among the most expressive and versatile sopranos of Belcanto. She will be Mimì in “La Boheme” at Puccini Festival 2018 in the new production directed by Alfonso Signorini and the conduction of Alberto Veronesi. The Primadonna granted an interview to Operafashion with a lot of music, memories and fashion! What have been the key steps of your artistic career? ©Paulo César First of all, the year 1990, when I won the international singing competition ARD-Wettbewerb in Munich, which completely changed my life. I had been studying singing privately for 10 years and at that point I was already very well prepared from a vocal point of view. Winning this competition has opened the doors to a new beautiful world, which has offered me so much but has also asked a lot of work, a lot of preparation, many sacrifices. Let’s say that this was the key to my musical life. I haven’t got anything because I have beautiful blue eyes! Even though I was already very well prepared, I had to work to grow in my profession. What all my colleagues and I do is a job where you never stop working. As my dear maestro in Zurich – Ion Buzea, a great tenor with a great career – says, “the job of the singer continues even after retirement!”. Of course it is true for those who really want to achieve something in life and have great respect for the public and for the stage, which I consider a temple. -
Music Man Meredith Willson
The Music Man Meredith Willson THEATER 16/17 FOR YOUR INFORMATION Do you want more information about upcoming events at the Jacobs School of Music? There are several ways to learn more about our recitals, concerts, lectures, and more! Events Online Visit our online events calendar at music.indiana.edu/events: an up-to-date and comprehensive listing of Jacobs School of Music performances and other events. Events to Your Inbox Subscribe to our weekly Upcoming Events email and several other electronic communications through music.indiana.edu/publicity. Stay “in the know” about the hundreds of events the Jacobs School of Music offers each year, most of which are free! In the News Visit our website for news releases, links to recent reviews, and articles about the Jacobs School of Music: music.indiana.edu/news. Musical Arts Center The Musical Arts Center (MAC) Box Office is open Monday – Friday, 11:30 a.m. – 5:30 p.m. Call 812-855-7433 for information and ticket sales. Tickets are also available at the box office three hours before any ticketed performance. In addition, tickets can be ordered online at music.indiana.edu/boxoffice. Entrance: The MAC lobby opens for all events one hour before the performance. The MAC auditorium opens one half hour before each performance. Late Seating: Patrons arriving late will be seated at the discretion of the management. Parking Valid IU Permit Holders access to IU Garages EM-P Permit: Free access to garages at all times. Other permit holders: Free access if entering after 5 p.m. any day of the week. -
Exploring the Selfie Phenomenon : the Idea of Self-Preservation and Its Implications Among Young Women
Smith ScholarWorks Theses, Dissertations, and Projects 2014 Exploring the selfie phenomenon : the idea of self-preservation and its implications among young women Amy J. Nguyen Smith College Follow this and additional works at: https://scholarworks.smith.edu/theses Part of the Social and Behavioral Sciences Commons Recommended Citation Nguyen, Amy J., "Exploring the selfie phenomenon : the idea of self-preservation and its implications among young women" (2014). Masters Thesis, Smith College, Northampton, MA. https://scholarworks.smith.edu/theses/792 This Masters Thesis has been accepted for inclusion in Theses, Dissertations, and Projects by an authorized administrator of Smith ScholarWorks. For more information, please contact [email protected]. Amy J. Nguyen Exploring the Selfie Phenomenon: The Idea of Self-Presentation and Its Implications Among Young Women ABSTRACT The purpose of this study is to explore how female users identify the act of uploading selfies as an expression of external affirmation or as an act of empowerment in terms of redefining beauty standards that are reinforced in society. In addition, this study attempts to provide a foundation for understanding the selfie phenomenon and its relationship to perceived sense of self-worth in young women from the usage of Instagram. As the literature review indicates, there is a lack of research presented on the user’s emotional state in relation to using Instagram. Thus, the most appropriate research design for this subject was a qualitative study. The interview questions were open-ended and structured to acquire knowledge about participant’s ability to believe in themselves, assumptions taught about what it means to be a woman, and motivations for personal aspirations and happiness. -
Bellini's Norma
Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation. -
Il Trovatore
Synopsis Act I: The Duel Count di Luna is obsessed with Leonora, a young noblewoman in the queen’s service, who does not return his love. Outside the royal residence, his soldiers keep watch at night. They have heard an unknown troubadour serenading Leonora, and the jealous count is determined to capture and punish him. To keep his troops awake, the captain, Ferrando, recounts the terrible story of a gypsy woman who was burned at the stake years ago for bewitching the count’s infant brother. The gypsy’s daughter then took revenge by kidnapping the boy and throwing him into the flames where her mother had died. The charred skeleton of a baby was discovered there, and di Luna’s father died of grief soon after. The gypsy’s daughter disappeared without a trace, but di Luna has sworn to find her. In the palace gardens, Leonora confides in her companion Ines that she is in love with a mysterious man she met before the outbreak of the war and that he is the troubadour who serenades her each night. After they have left, Count di Luna appears, looking for Leonora. When she hears the troubadour’s song in the darkness, Leonora rushes out to greet her beloved but mistakenly embraces di Luna. The troubadour reveals his true identity: He is Manrico, leader of the partisan rebel forces. Furious, the count challenges him to fight to the death. Act II: The Gypsy During the duel, Manrico overpowered the count, but some instinct stopped him from killing his rival. The war has raged on. -
Social Media Usage and Self-Esteem of College Students in Los Angeles Vs
Social Media Usage and Self-Esteem of College Students in Los Angeles vs. Other American Cities Abstract This study examines self-esteem levels of college students in accordance with their social media behaviors and residential cities. An online survey was used to compare Instagram behaviors and their Heatherton Self-Esteem scores between 51 college students from the Los Angeles area and 148 students from alternate American cities. It was hypothesized that college students from the Los Angeles area would report higher levels of social media activity and lower levels of self-esteem. Results did not show any significant trend in one’s residential location dictating social media behaviors, nor did one’s social media usage predict their levels of self-esteem. The study did find statistically significant results showing that students from Los Angeles reported higher levels of self-esteem than non-Los Angeles residents. Implications from this study can assist in determining how the social pressures from one’s geographical location may influence a person’s self-esteem and relationship with social media. Relationship Between Social Media and Overall Self-Esteem Since the invention of the very first iPhone in 2007, social media has been rapidly consuming the minds and lives of industrialized Americans. With the generation of media platforms such as Facebook, Snapchat, Twitter, and Instagram, its users are now able to craft the most idealized version of their lives and broadcast with innate selectivity. With that, social media has successfully consequently generated the perfect platform for breeding social comparison as its billions of users aimlessly scroll through falsified lives of their peers in return for the numeric validation of another “like” or “comment”. -
Verdi's Rigoletto
Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.