Η ταινία προβλήθηκε με επιτυχία στην Αθήνα το 1939 και η ιστορία της Κάρμεν από την Τριάνα (παλιά λαϊκή συνοικία της Σεβίλλης με φλαμέγκο, τσιγγάνους κλπ) συγκίνησε βαθύτατα το ελληνικό κοινό. Σχεδόν αμέσως τα τραγούδια της ταινίας ντύθηκαν με ελληνικούς στίχους  από τον  στιχουργό Μιχάλη Γαϊτάνο και με βασικό κορμό αυτά ανέβηκε στο θέατρο Μικάδο της Θεσσαλονίκης η επιθεώρηση "Κάρμεν",  κατ΄εντολήν του  εκδότη Γιάννη Βελίδη για να προωθηθεί η "προστατευομένη" του ηθοποιός Μιμόζα.
Την ίδια χρονιά σε δίσκο,το τραγούδι "Αντόνιο Βάργκας Χερέδια" κυκλοφόρησε με την φωνή της Δανάης:
[audio http://www.fileden.com/files/2008/4/12/1863451/Antonio%20Vargas%20Heredia-Danae-1939.mp3]

Έχει δύο χείλια, γαρούφαλου χρώμα
και δυό μάτια μαύρα που φλόγες σκορπάνε
και όπου περάσει ακούς μ' ένα στόμα
Αχ, Αντώνιο Βάργας Χερέδια Τσιγγάνε

Πηγαίνει μονάχος προς το μονοπάτι
να 'βρει των τσιγγάνων τρελή συντροφιά
και όπως τον λούζει χλωμό το φεγγάρι
του δίνει πιο πλάνα ακόμα ομορφιά

Αντώνιο Βάργας Χερέδια
με την μεγάλη καρδιά
ποθώ πολύ τα φιλιά σου
έστω και για μια βραδιά

Για το γερό σου το κορμί μιλάνε κάθε στιγμή
τρελές κοπέλες που ποθούν μαζί σου να φιληθούν.
Τα κορίτσια της Σιέρρα Μορένα
μπορούνε για σένα και να σκοτωθούν
Αντώνιο Βάργας Χερέδια
μπορούνε για σένα και να σκοτωθούν

Εμπνευσμένο κυρίως από την υπόθεση της ταινίας και κλέβοντας κάποια μέτρα από την μουσική του τραγουδιού "Antonio Vargas Heredia" κυκλοφορεί το 1939 το χασάπικο "ο Αντώνης, ο βαρκάρης". Η μουσική είναι του Σπύρου Περιστέρη και οι στίχοι του Μίνωα Μάτσα, που από νεαρός στιχουργός μέσα σε λίγα χρόνια έγινε το αφεντικό της ελληνικής δισκογραφίας. Στον δίσκο, ως στιχουργός αναφέρεται η Πιπίτσα Οικονόμου ,που ήταν υπάλληλος του Μ. Μάτσα, το όνομα της οποίας χρησιμοποίησε ως ψευδώνυμο ο Μάτσας για να υπογράψει τους στίχους του.
Εδώ ακούμε το τραγούδι από τον Μάρκο Βαμβακάρη και τον Απόστολο Χατζηχρήστο
[audio http://www.fileden.com/files/2008/4/12/1863451/O%20Antonis%20o%20Varkaris-M.Bambakaris-A.Xatzixristos.mp3]

Ο Αντώνης ο βαρκάρης,ο σερέτης
έπαψε να ζει ρεμπέτης,
θέλει πλούτη και παλάτια
και της Κάρμεν τα δυο μάτια.

Επαράτησε την βάρκα στο λιμάνι
κάτω στο πασαλιμάνι,
τραγουδάει κι όλο πίνει
ταυρομάχος πάει να γίνει.

Μα ο άκαρδος ο ταύρος τον σκοτώνει
και στην γης τον εξαπλώνει,
σαν τον βλέπει η Κάρμεν κλαίει
πάει κοντά του και του λέει:

Αχ Αντώνη μου βαρκάρη μου,σερέτη
τώρα μένω νέτη,σκέτη
μεσ' τον κόσμο η καημένη
χήρα,παραπονεμένη.

Και μπορεί ο Antonio Vargas Heredia να έγινε Αντώνης, βαρκάρης και σερέτης, ο Mostozo, συνθέτης του αυθεντικού τραγουδιού,αποδείχτηκε ότι ήταν κι αυτός... σερέτης (=ζόρικος).
Όταν πληροφορήθηκε την επιτυχία της ρεμπέτικης εκδοχής του τραγουδιού του, κατέφυγε στα ελληνικά δικαστήρια καταγγέλοντας τους Περιστέρη-Μάτσα για κλοπή πνευματικής ιδιοκτησίας και απαιτώντας αποζημίωση. Το δικαστήριο όμως δεν δικαίωσε τον Ισπανό συνθέτη μια και η μουσική ήταν αρκετά παραλλαγμένη και οι ελληνικοί στίχοι δεν ταυτίζονταν με τους αντίστοιχους ισπανικούς. Ο Μάτσας στους στίχους του "Αντώνη" απέδιδε περιληπτικά το στόρι της ταινίας  και όχι το νόημα των στίχων του αυθεντικού τραγουδιού. Λέγεται, ότι σαν μάρτυρα υπεράσπισης οι κατηγορούμενοι εμφάνισαν στο δικαστήριο κάποιον Αντώνη, βαρκάρη στο επάγγελμα, ο οποίος δήλωσε ότι το τραγούδι γράφτηκε ειδικά γι΄αυτόν.
Χωρίς να φοβηθεί από τις δικαστικές διαμάχες, λίγες μέρες αργότερα, ο Παναγιώτης Τούντας κυκλοφόρησε σε δίσκο την δικιά του εκδοχή για την Κάρμεν. Το τραγούδι "τηλεγράφημα στην Κάρμεν" σε στίχους του Β. Μαυροφρύδη, το ακούμε από τον Στράτο Παγιουμτζή και τον Στελλάκη Περπινιάδη:
[audio http://www.fileden.com/files/2008/4/12/1863451/THLEGAFHMA%20STHN%20KARMEN-STRATOS%20KAI%20STELAKHS%20PERPINIADHS.mp3]

Απόψε Καρμεντσίτα μου
μπαρκάρω απ' τον Περαία
και στη Σεβίλλη έρχομαι
να κάνουμε παρέα.

Γλυκιά μου Κάρμεν έρχομαι,
κοντά να γνωριστούμε
και δίχως άλλο κούκλα μου
ταιράκια να γινούμε.

Να δείς μπουζούκι να σταθείς
με ανοιχτό το στόμα,
που θα ξεχάσεις, ξέρε το
και τον Χερέδια ακόμα.

Κι από τον ταύρο, ξέρε το,
δε θα 'χω αβαρία,
γιατί έξι χρόνια έκανα
χασάπης στα σφαγεία.

Το τηλεγράφημα βεβαίως δεν έφτασε ποτέ στα χέρια της "Καρμεντσίτας", το τραγούδι όμως γνώρισε επιτυχία. Βλέποντας την επιτυχία του τραγουδιού αυτού ο Περιστέρης και ο Μάτσας έδωσαν συνέχεια στις περιπέτειες της Κάρμεν, με ένα δεύτερο χασάπικο, με το οποίο ερχόταν "η Κάρμεν στην Αθήνα". Στο τραγούδι αυτό γίνεται έμμεση αναφορά στη δικαστική διαμάχη που αναφέραμε πιο πάνω, μια και η Κάρμεν έρχεται στην Αθήνα για να πάρει την κληρονομιά του Αντώνη, όπως ο Μοστόζο ήρθε για να πάρει τα δικαιώματα του τραγουδιού του. Στο τέλος όμως η Κάρμεν, όπως και ο Μοστόζο, έπεσε θύμα της ελληνικής καπατσοσύνης. Ακούμε την άφιξη της Κάρμεν στην Αθήνα από τους Μάρκο Βαμβακάρη και Στράτο Παγιουμτζή.
[audio http://www.fileden.com/files/2008/4/12/1863451/H%20KARMEN%20STHN%20ATHINA-MARKOS%20KAI%20STRATOS.mp3]

Ήρθε η Κάρμεν στην Αθήνα
η Ιμπέριο Αρτζεντίνα
την κληρονομιά να πάρει
του Αντώνη του βαρκάρη.

Απ’ το τρένο μόλις φτάνει
τρέχει στο Πασαλιμάνι
την βαρκούλα ν’ αντικρίσει
τα κουπιά της να φιλήσει.

Κι που γύριζε η καημένη
βλέπει κατατρομαγμένη
μες την βάρκα τον Αντώνη
τα πανιά του να απλώνει.

Αντωνάκη μου βαρκάρη
ταυρομάχε παλικάρι
ζεις ακόμη ή γελιέμαι
σε θωρώ κι αναρωτιέμαι.

Κάρμεν Κάρμεν μη φωνάζεις
μη με βλέπεις και τρομάζεις
να πεθάνω ήταν κρίμα
κι έκανα το ψευτοθύμα.

Κάνοντας το ψευτοθύμα, ο Αντώνης την γλύτωσε φτηνά χωρίς να χυθεί ούτε μια σταγόνα από το αίμα του για τα μάτια της ωραίας Κάρμεν. Η Ευρώπη όμως ήδη στέναζε πλημμυρισμένη στο αίμα, από τα σχέδια για τη νέα τάξη πραγμάτων που θέλησε να επιβάλει ο Χίτλερ, ο μεγάλος όπως είδαμε θαυμαστής της Ιμπέριο Αρτζεντίνα. Η επίθεση της φασιστικής Ιταλίας κατά της χώρας μας, σύντομα έσπρωξε την πατρίδα μας στο αιματηρό ποτάμι του παγκόσμιου πολέμου.
Ο Περιστέρης και ο Μάτσας "επιστρατεύουν" τον Αντώνη τον Βαρκάρη και ντύνουν το τραγούδι στο χακί, με νέους σκωπτικούς στίχους, αυτή τη φορά κατά του Μουσολίνι. Το τραγούδι κυκλοφορεί σε δίσκο στο τέλος του 1940 με τίτλο "το Όνειρο του Μπενίτο". Το ακούμε και πάλι από τον Μάρκο Βαμβακάρη και τον Απόστολο Χατζηχρήστο:
[audio http://www.fileden.com/files/2008/4/12/1863451/TO%20ONEIRO%20TOY%20BENITO-MARKOS-XATZHXRHSTOS.mp3]

Ο Μπενίτο κάποια νύχτα ζαλισμένος είδε όνειρο ο καημένος,
πως βρισκόταν στην Αθήνα σε μια φίνα λιμουζίνα,
πως βρισκόταν στην Αθήνα σε μια φίνα λιμουζίνα.

Μα σα ξύπνησε και ρίχνει ένα βλέμμα, είπε κρίμα να ‘ναι ψέμα,
ένα τέτοιο μεγαλείο, βρε παιδιά, δεν είν’ αστείο,
ένα τέτοιο μεγαλείο, βρε παιδιά, δεν είν’ αστείο.

Φέρτε πένα διατάζει και μελάνι, τηλεσίγραφο μας κάνει,
μα του λέμε εν τω άμα, αν βαστάς κάνε το θαύμα,
μα του λέμε εν τω άμα, αν βαστάς κάνε το θαύμα.

Δεν περάσανε παρά ολίγες μέρες κι οι θαυματουργιές μας σφαίρες,
το τσαρούχι κι η αρβύλα κάναν στον Μπενίτο νίλα,
το τσαρούχι κι η αρβύλα κάναν στον Μπενίτο νίλα.

Βρε Μπενίτο μη θαρρείς για μακαρόνια τα Ελληνικά κανόνια,
τα ‘χουν χέρια δοξασμένα, παληκάρια ανδρειωμένα,
τα ‘χουν χέρια δοξασμένα, παληκάρια ανδρειωμένα.

Τελειώνοντας κι αυτό το ταξίδι, που κάναμε με την εκλεκτή παρέα της Carmen του Antonio και του Αντώνη, θα πρέπει  εδώ να θυμίσω δύο περσινά ποστ που σαν θέμα είχαν τις «Μνήμες του Δημήτρη Σαραντάκου από τα σατιρικά τραγούδια της Μυτιλήνης στα χρόνια της Κατοχής, της Αντίστασης και του Εμφύλιου». Το πρώτο είχε τίτλο "Ο Δημήτρης Σαραντάκος θυμάται και τραγουδάει" και το δεύτερο, η συνέχεια του, είχε τίτλο "Κατ’ αγριγιαθρώπ’ μας φέραν…"
Σ' αυτό το 2_ο ποστ, ο Δημήτρης Σαραντάκος (πατέρας του Νίκου) τραγουδάει μια παρωδία του αυθεντικού Antonio Vargas Heredia, σε στίχους του Αργύρη Αραβανόπουλου, που αναφέρεται στην προσπάθεια κατάληψης της Μυτιλήνης από τους Άγγλους το Δεκέμβρη του 1944.
[audio http://www.fileden.com/files/2007/11/12/1580157/sar3.mp3]
Ακούστε το τραγούδι εδώ, αλλά πιστέψτε με... Αξίζει να αφιερώσετε χρόνο για να διαβάσετε τις αναμνήσεις του κ. Δημήτρη Σαραντάκου,ακολουθώντας τα παραπάνω λινκ.
Γράφοντας αυτό το ποστ, πραγματικά απόρησα κι εγώ για το πόση Ιστορία μπορεί να βρει κανείς τελικά αν ψάξει στις πτυχές ενός τραγουδιού...
Μόνο που το ποστ βγήκε πολύ μεγάλο. Πίστευα,και ακόμα πιστεύω, ότι σπάνια διαβάζει κάποιος σε blog κείμενα που έχουν περισσότερες από 500 με 600 λέξεις. Ελπίζω κάποιοι να με διαψεύσετε φτάνοντας μέχρι τον... βυθό αυτού εδώ του ποστ, για το οποίο το word count μετράει, όι όι μάνα'μ, 1615 λέξεις ακριβώς!

They are doing a fantastic rendition of Habanera from Bizet's Carmen.  If watching this video results in an ear-worm, well you have been warned, and it'll totally be worth it.

Pencă n-am timp acum de mai mult, pun poză să vadă mama că sunt în stare să-mi fac şi io părul bello.

(Oricât de puţin timp aş avea TRE să zic că distribuţia a fo super. Deci Carmen ştiţi e o puştoaică de vreo 14 ani, cu graţie interpretată de o basistă de vreo 45 iar José era chel, scund şi cu burtă. G. a zis apoi că nah, îs rari José-ii pe lume. Limitele operei) Mdam repet n-a fo ideea mea.

Mâine curs 10h00-16h00. Cu o profă de origine română. uuu

Gossip News

Carmen Electra……una disaster!

Carmen Electra è sbarcata a Roma per presentare la nuova pellicola demenziale: Disaster Movie! Nel film Carmen è Beautiful Assassin, la parodia di Angelina Jolie nel film Wanted. Intanto ha dichiarato di voler interpretare personaggi più impegnativi nella rassegna stampa del film.

Mio giudizio: Carmen vai così!!! Ma la Jolie non si tocca!

High School Musical……4?

Ebbene si amici! Il regista Kenny Ortega sembra propenso a una nuova pellicola del film. “Potrebbe essere divertente - ha affermato Kenny – immaginare cosa farebbe la prossima generazione di High School Musical”. Per nuova generazione il regista si riferiva alla new entry del terzo episodio: Jemma McKenzie-Brown.

E basta Kenny! Non c’è 2 senza 3 ma 4 son troppi!

Halle Berry: la più sexy!

Halle Berry è stata incoronata dalla rivista maschile Esquire la donna più sexy del mondo!

“Non so cosa significhi essere la più sexy – ha rilasciato – ma a 42 anni e dopo aver avuto un figlio posso accettarlo. Voglio condividere questo riconoscimento con tutte le donne del mondo, perché ogni donna è candidata ad esserlo in qualsiasi momento”.

E brava la nostra Catwoman!

(Da Gossip.it ---> http://www.gossipnews.it/index.php)

Blackguard News (notizie mascalzoni)

Barney ubriaco! PS= è una novità?

Per l’ennesima volta Barney è stato fermato dalla polizia per guida in stato di ebrezza. Dopo solo 5 minuti è stato rilasciato grazie alla gentile donazione di ciambelle della mamma di Barney al generale Winchester. A tal punto il generale non ha saputo resistere!

Caro Winchester ringrazia che Homer non sia passato di lì!

Gohan arriva al quarto livello!

Si! Festeggiamo! Anche Gohan è riuscito ad arrivare al quarto livello di super sayan! Finalmente! Se lo meritava! Il figlio del più grande sayan di tutti i tempi è riuscito a raggiungere il massimo livello dei sayan mentre si stava allenando con Naruto.

Un mio consiglio: Naruto, mi sa che hai sbagliato cartone!

Alla prossima!

Dal vostro blogghista MascalzoneSimpa

5.) The Classic Opera "Carmen"--Muppets Style!

--Featuring my three favorite Muppets--The Swedish Chef, Beeker, and Animal...

4.) A New Obama Commerical

--I try to stay away from issues and topics in my bloglinks and post fun stuff to get your mind off of all the crap that's going on. That said, I am never above shameless promotion of myself or my friends. So here is a new Obama ad that a friend of mine worked on. Watch it and pass it on!

3.) Flaming Cursor

--This will waste about 10 seconds of your time. Kinda neat...

2.) Sesame Street--Uncencored and Raw

--Not for the kids, this was taken from Jimmy Kimmel's show and it's pretty freakin' funny.

Wrong, but funny...

1.) The Bloggerator 3000

--Change we can believe in...

Petite Brunette planea una gran escapada...

.

No lo parece pero es Carmen Kass... La fotografía es de Yelena Yemchuk y el excelente estilismo de Anastasia Barbieri... una artista!

One Wednesday all our dorm friends went dancing at Fat Black Pussycat. The place didn’t card because they were expecting all law students, who tended to be 21+. I picked up a hot undergrad named Samantha. All we did was make out in the hallway of her dorm because her roommate was asleep.

When Carmen asked if we’d hooked up I said of course.

“I can not respect that,” Carmen said. “She was there with Andrew. He’s in our section.”

“He’d only spent like five dollars on her.”

“You’re so weird.”

“You’re mean.”

Twenty minutes later I returned upstairs to my computer and checked out xoxohth. Law students posted opinions of their classmates’ hotness and now that I was a 1L I was... curious... to see my own appearance critiqued one day.

That Wednesday there was a thread titled NYU section 1. My section! I clicked. The post was by CIV PRO VOCATEUR. Probably a reference to civil procedure, aka civ pro, one of our classes.

“Andrew got cock blocked by a lesbian at Fat Black Pussycat,” CIV PRO VOCATEUR said. The post's neatness --in terms of spelling, punctuation, and concision-- struck me almost as hard as the substance.

“TTTypical NYU faggotry,” said the first reply (I'm cleaning up the spelling and punctuation to make it easier for you to read). “Bet Andouche is sorry he turned down Chicago now.”

No description of me.

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Carmen was tougher than I.

Both of us lived in dorm rooms behind the school that operated more like lockers than homes. The slick little beds were shelves that stored us when we weren’t out studying. Up until the third time I met Carmen I planned never to have sex in that place.

I hoped to hook up with older women.

The first time we met Carmen said my fake ID problems made her nostalgic (she was 21.5). I resolved not to be friends with her. The next night I ran into her at the gay people mixer. No one else wanted to talk to me. Carmen tussled my bangs and told me I should be straight because boys were so much nicer than girls. I resolved not to hook up with her.

The night after that I ran into her in someone else’s dorm room. “So many breeders,” she said. We took the elevator to my locker. Residue from MacDougal Street’s flourescence fell on us and I thought about how in the suburbs they had to buy candles.

Carmen and I hooked up all the time since there was no reason not to. In retrospect our mutual dislike should’ve been a reason not to.

Carmen thought I was weird and she told me so frequently. If I looked her in the eye while we were hooking up, she said “don’t look at me like that. You’re so weird.” When I looked at the ceiling when we were finished, she said she didn’t understand me because I was so weird. I’d look her in the eye and she’d say “don’t look at me like that. You’re so weird.”

At first I was embarrassed about my weirdness. I replied every time, “you’re so mean.” But Carmen kept showing up so I decided that weirdness was a turn-on for her. Or being mean was.

I wanted to tell Carmen that she was beautiful. I really thought so when she let me take off her pastel collared shirts. But she was such a lawyer that I worried she would argue the point and win.

Only seven lesbians of color showed up at the first gay people meeting so they formed a spin-off called Lesbians of Color. Carmen (half white, half Asian) was one of the first invited to join. The club met for drinks after class every Thursday, with the option of eating dinner together too. One week I read the organizational email over Carmen’s shoulder.

“Do you guys want to have a mixer with the white lesbians?” I asked. Carmen’s connections made me jealous because there was only one other white lesbian.

“You can’t handle the lesbians of color happy hour,” Carmen said. “We’re intense.”

Carmen explained to me that she needed her space and that we were not “involved.” I nodded solemnly as if she were a teacher justifying her strict detention policy for talking during morning announcements.

I resolved to make her hate her detention policy.

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Shelley does beautiful hand sewn craft and I will be doing stationery and my bookbinding and other bits!

He said they work great, which makes me really excited to start sewing stuff for my little boy that's coming!

I just thought this picture of Carmen eating breakfast with her daddy was so cute,  So I slapped it on here too.  She is just so happy.

One of the endless joys of journalism is being sent out to see things you know very little about, at extremely short notice. Last night it was Bivet's opera, Carmen, the review of which sneaks on to this page by virtue of you all being extremely culturally literate, and me being a newfound opera buff.

Normal service resumed tomorrow, with a review of my newest hardcore-heroes, Rolo Tomassi.

Sheffield City Opera Presents:

Carmen

University of Sheffield Drama Studio

Wednesday 1^st October 2008

A slice of Spanish passion comes to South Yorkshire this week, as Bizet’s most famous opera, Carmen, visits Sheffield.

Sheffield City Opera have tempted German-based singer Nicholas Sales back to the city where he made his operatic debut, to take the role of Don Jose, a Spanish soldier who falls for the seductive Carmen.

Jilting childhood sweetheart Micaela, he follows the gipsy temptress (played by Debbie Michaels) to a smugglers’ den, only to discover that he is not alone in vying for her affections.

As the audience’s toe-tapping proved, almost all of the songs from Carmen are instantly recognisable and they were solidly performed by a cast of seasoned opera regulars and younger singers.

The company have expressed their desire to perform Bizet’s classic in an intimate venue, and the cosy Sheffield Drama Studio proved the perfect place.

The costumes were all evocative of the period, particularly those of bull-fighter Escamillo, who strutted and preened with gusto.

And whilst Sales and Michaels were both extremely polished, a special mention must go to Andrea Tweedale, who despite her relative youth turned in a superb performance as Frasquita.

Even allowing for the wealth of high-drama which precedes it, the opera really hinges on the famous final scene between Don Jose and Carmen. The scene aptly demonstrated the skills of the principle performers, and rounded off a successful first evening for the company.

If lust, betrayal and raucous singalongs sound like the perfect ingredients for a good night out, then be sure to book a seat – performances run until 4^th October.

RF: There was a period of years where I just worked insanely, saying yes to almost everything- and that one horrible season when I had something like ten new roles scheduled.  One or two of them fell by the wayside, but it was still too much.

ON: Did you do that at the time because you learn music so easily?

RF: Yeah, and that becomes a bad habit.  Unfortunately, people who are facile, like me, do more, do more.  That can be hard on your voice.

God, that sounds like me.  This year especially.  How many roles have I done this year?  Kate in Pirates (small role and on book, but had to learn the chorus parts and understudy Edith and Mabel), Mascha in Chocolate Soldier (that one was on book), Rose Maybud in Ruddigore, Nedda in Pagliacci, Serpina in La Serva Padrona (those two were huge), Madame Herz (that one was on book again), Adele, Bastienne, Frasquita has been newly checked off... And before the year is out I'll be adding Marie in La Fille du Regiment and Mabel.  So more or less, nine down and two more to go.  Not counting the two lead roles I did in John Thomas's operettas.  And I got a new church job.  On one hand I'm kind of bragging, but on the other I'm exhausted.  I mean, there hasn't just been this stuff.  There's been hacking away at my technique, preparing for the (admittedly few) auditions in which I've participated (I tend to prepare stuff specifically for each audition if I can), and the concerts (especially Opera on Tap, which I've done almost every month).  I'm not even touching on the rock, except to say does anyone know a bass player who wants to join my band??

Well anyone can complain about how busy they are, so I'll stop sniveling and get onto Carmen.

First off, I went to Philly Saturday, as you know, and crashed at Jessica Kasinski's house.  While waiting to meet up with her, I enjoyed the most incredible salad ever, from the Tuscany Cafe on Rittenhouse Square.  First off, it was so beautiful that I could hardly bring myself to eat it.

Baby spinach, slivered almonds, fresh sliced strawberries, dried cranberries, and I substituted feta for the blue cheese.  Some sort of lemon poppy dressing that added to the sweetness.  I didn't expect to be impressed, but that salad made me so happy.

Here's a strong message from the Ethical Society.

Jessica and I went to a cafe for breakfast that served us oatmeal in goblets.  Damn.

Anyways, enough about food.  We should be talking about opera.

The opera went very well overall- much better than could have been predicted from rehearsals.  There were a few gaffes- even a minor one or two on my part which I assure you is highly unusual- but musically things went way better than I expected, even the quintet.

Blocking didn't feel too comfortable to me.  Blocking at Amici is pretty much DIY, and we were much more in synch in rehearsals than in the performance.  Standing around and not moving, clustering towards the back of the stage, almost getting run over by dancers, failed attempts at interactions.  I guess it's easier in rehearsal, when generally people feel more open to play around.  Nothing went wrong per se, just a lack of chemistry.  Overall though everything went really well, no disasters, people knew the music, and we even got those annoying chorus parts we had to learn.  (Except the first one, which we missed entirely, but no one noticed!)

The absolute highlight of my day was that my costume did not suck.  I think it was lent to us by the troup of dancers that performed during what would normally be choruses.  (They were fun!!) It was a light dress that fit me to a t.  I wish I'd gotten more pics, but this is a good one.

I had to run off right after rehearsal to catch a ride with Micaela, and I got home totally wiped.  Monday I had Pirates rehearsal, where we delightfully choreographed Climbing Over Rocky Mountain with parasols.  Oh, and great news!  My double, Elizabeth, and I have managed to get out of singing in the chorus on our off-nights.  We will still be singing with the chorus at all appropriate moments when we are Mabel, but when we are not Mabel we don't have to go, THANK GOD.  You know my deal by now- it's not the singing chorus I mind, it's just the time commitment.

Yesterday was my first Fille du Regiment rehearsal, though it ended up being a coaching just for me.  We had a load of fun working through the duet with Tonio.

Tonight was Opera on Tap and I more or less memorized two new pieces for it, starting last night.  The theme was Germany, and I sang the pretty aria from Bastien, except I had to finish learning it in German, as I had started doing before I found out we were doing the opera in English, and I decided for good times to sing My Hero from the Chocolate Soldier, which would have been in German except I only have the English version!  Yes technically both of those composers are Austrian, not German, but it's all good. :) Oh, and then my friend and I decided to do a tag-team version of Zerbinetta, which was a circus!!!!

I have to finish this article for Classical Singer.  Talk to you later!!!

Love,

Amanda

Well I just moved to Puerto Rico and I havent had that much time to watch films...sadly. But well the kiddies saved my mood when they took me to see the Sisterhood of the Traveling Pantas 2! I have a similar relationship and the books captivated me, yes even if they are books for younger souls, and the first movie was just as good. This second encounter wththe siterhood was filled with everlasting hunks, trouble and the normal conflicts. It's not an impressive film on a indie/less comercial/artsy way but it is good for a saunday night flick. For entertaining reasons alone haha believe me dont start analyzing symbols on this one you'll waste time for nothing.

Blake Lively and her looks clearly overshadow everyone....Well Blake Lively doesn't stay behind with her nice art class. (Watch it and you'll see what I mean). I'll leave the rest to you and yes I know this is'nt even remotely new but repeat I was in a kiddie day so "Lakeview Terrace" was totally uncalled for. (haha..I dont want to see it either way)

So GO and read the interview ladies! You wont regret it and well until the next further informative post!

Wow. I just discovered American mezzo Jennifer Larmore.

Here in a video clip from 1996 singing the Habanera from Bizet's Carmen. One of the best versions I've heard.

Carmen har en stooorr tre cylindrig maskin som tillverkar ett underbart dunka dunka ljud.

Ibland känns det lite typiskt, så fort fotoobjektet är utom räckhåll så kommer solen tillbaka:(

Following this exercise, markers were provided to each table and we were asked to make a drawing while listening to a recording of Bizet's Carmen to spur image development. This exercise reminded me of the influence of music on early abstract art, particularly the work of Wassily Kandinsky and his use of musical vocabulary to describe his work.

Once these two contrasting exercises were complete, we were combined into our table groups and given a large sheet of paper, scissors, glue, tape and staplers and asked to collage the images we had created. My group created a larger tree using the trunks as parts of a large trunk, the roots as both roots and branches, the Carmen sketches as rolled branches, tree fruit, and folded leaves. We also added small spruce branches gathered from outside as additional tree roots. Image development for these exercises was spurred by memory, observation and imagination.

Elements and principles of design applied during this project included:

Collage: from the French word coller, meaning "to glue". A new piece is created by assembling different materials, such as photographs, magazine images, drawings etc. We created collages by combining the preexisting tree trunk drawings, our own tree trunk drawings, root drawings and Carmen-inspired abstracts.

Line: a long, narrow mark or band. We focused on some of the qualities of line: sketchy, dark, light, layered and able to express music.

Colour: the interaction of the visible light spectrum and the human eye. The colours used in my Carmen-inspired drawing were red and black. I intentionally chose these colours because I felt they helped to express the mood of the music and because of my memory of seeing a performance of the ballet Carmen.

Value: the lightness or darkness of a colour. We explored the values of different lines and areas in the photocopy of the tree trunk drawing by attempting to replicate the drawing and by using different pencil grades.

Pattern: a set of recurring elements. In creating our final collage, we repeated images from our Carmen-inspired drawings to create patterns with the fruit and leaves of our collage tree.

Contrast: the degree of difference between one element of an image and another. We explored contrasting lights and darks in the tree trunk drawing exercise.

Mum, Bailey and I (Not the best, but hard to take a photo of yourself from across the room, with a cheap camera!) - Excuse my dress being pulled to the side!

Miss Bailey, all dressed up (in one of Cooper's dresses, awww!)

Me and my little girl!

Was an absolutely lovely evening, and it was so nice to be there to witness it... Congrats to Carmen and Fish!

Sorry for the neglect- I've been exhausted all week, just utterly wiped. I keep feeling like I'm coming down with something and it just never comes down. I'm still not sure.

Monday we had our second and final carmen rehearsal. We were supposed to run it in order, of course, but in practice we did nothing of the sort. Mostly because the micaela and I were caught in traffic and got to rehearsal late, and some other people were late I think, so we ran things in this order: parts of act 4, acts 2 & 3 (quintet twice!), then act 1. Never got all the way through act 4... Anyways some people in the production did it a couple times earlier in the year, so in theory they don't need a lot of rehearsal.

Yeah so it was interesting. My absolute favorite part was- when zuniga swaggars in, catches don jose with carmen and tells him, "allons, decampe!" which would be military French for "get the frick outta here"... In rehearsal, he accidentally said it to carmen. I was tickled pink! Not quite as good as canio trying to kill beppe, though.

In other news, my daughter of the regiment has been downgraded. Apparently they couldn't find a sulpice, so now instead of a fully staged opera with chamber orchestra, we're doing a concert highlights program with piano. Such a bummer!!! I really hope they change their mind and manage to find someone. I mean I'm still happy to do it but it's not going to be nearly as awesome.

I also am not doing john Thomas's show on nov 1st now, because he got a new baritone and pianist and they only gave him two potential rehearsal dates, neither of which I could make. (I've done these shows over and over, and every time there's a new baritone so we have to start rehearsals from scratch!) so I told him it was ok with me if he used a different sorano. I didn't think he would, since he booked me for this show 6 months in advance and has reminded me about it three dozen times since then, but I guess he had a new upstart waiting in the wings. I am relieved because at this point I am already overbooked. The gig was rewarding in that the audiences love it, but it didn't pay much and the music is not my thing. I might do it again in the future but not sure when- we had another show scheduled but it got postponed til ?.

So now I'm at the bolt bus to Philly. I'm sleeping at carmen's house tonight, and tomorrow afternoon is the show. I know I owe you a synopsis- I'll try to post one in a separate entry soon!

Love,
Amanda

This week we had the pleasure of Sitting down with Destune Recording Artist:

VANESSA CONDE  New Jersey, NJ

Listen to the Interview in its Entirety HERE:

[Audio http://www.8025alliance.com/DMA/dma confidential vanessa conde(128Kbps).mp3]

show length aprox 46. min. (All Tags below were topics of conversation during the interview.)

Vanessa Conde's Full Bio:

“THE PURE VOICE NEED NOT WHISPER-- In life, The sweetest dreams are made of what one desires most. Laughter, love and living among the blessings of the universe. It is the one true balance and essentials needed to grow, develop and progress. In a world where money fame and vanity enters and exit’s a stage faster than a flash of a paparazzo’s bulb, it is these dreams and desires that become a reality and a living antidote to the trails and tests of life. Although an average artist gets 15 minutes on stage in the spotlight to create an impact, it takes a lifetime to cultivate a legacy. To cultivate a legacy one needs to nurture oneself, evolve and let destiny take its course. At times, patience is the true virtue and in return life becomes a cocoon getting ready to burst , spread its wings and prepares to fly. These words are simple and could be used for encouragement, but simply reflect the life of a rising icon: Vanessa Conde.

Born to Dominican American parents in Washington Heights New York City, by the tender age of five, Vanessa Conde took singing lessons under much encouragement from her mom, Dr. Maredia Warren, an accomplished organist and music teacher who also was another source of Vanessa's personal and professional development. At age 17, Vanessa had been accepted into Westminster Choir College as a Vocal Performance Major, a prestigious music school in Princeton New Jersey. There she encountered exceptional teachers but faced many challenges. Her counselor discouraged her from becoming an opera singer, as the industry contained minimal representation of Hispanic American artists. This made Vanessa even more determined to succeed despite the odds. She studied exclusively at Westminster with Soprano Lorna MacDonald. She participated in the New Jersey State (National Association of Teachers of Singing) and placed 8th in the state as a Sophomore (1992) and 6th as a Senior Undergraduate (1997). Soon after She founded the Black and Hispanic Alliance Support Group for students. Its purpose was to support the dreams of the minority musician not discourage them. Before transferring to Montclair State, she was awarded the 1993 Campus Leadership Award. At Montclair State University, she majored in Vocal Performance and studied voice under former New York City Opera baritone Edward Pierson. Mr. Pierson was one of the first African Americans to perform at the New York City Opera. She performed stage versions of Hansel & Gretel as the mother, George Bizet’s Carmen as Carmen and Menotti’s The Old Maid & A Thief as Miss Todd. She was winner of the Oscar Ravina Vocalist Competition and performed with maestro Ravina and the University’s Orchestra. In addition she performed in two summer operas in central parks concert and was featured in the NJ Star Ledger along with other aspiring young soloists.

As a classical vocalist, Vanessa's voice has no limitations performing Italian arias and operatic roles such as: Delilah from Samson and Delilah, and as Carmen in Bizet's Carmen. Vanessa was featured in the January 2007 Issue of SKOPE National Music Magazine: “From the Opera Stage to the Dance Floor” by Jason McNeil available at Barnes and Noble book stores nationwide. Although Vanessa Conde was trained in the finer arts, as a child growing up in Washington Heights in New York , she also grew up on a musical diet of Latinhiphop/Freestyle/Dance and underground House music. Due to her personal social experiences and obstacles in her educational and professional life; she felt represented by pioneering American Hispanics opening new doors in uncharted musical markets for second generation 80’s Latin artist; such as Joey Kid, George LaMond, Safire, Sandee, and Expose. In the process, making it her life dedication to also follow in those footsteps and continue to keep that legacy alive.

Jump forward to 2008 and Vanessa can be heard in International Dance clubs and radio stations with her House club hit “Let The Music Play” with distribution through Shake Italy/Warner Brothers International . At the same time breaking new ground with another dance club release , also written by her, “Peace and Love” (Soundgroove records) with production by Midnight Society and Alma Matriz ( of Tribal Circuit anthem fame “Rapido” and “Music Electrica”). Already having cultivated a following from her previous Freestyle/Trance song “For You” on Detour records, she also has on her past belt several on stage cameo appearances and impromptu performances with fellow artist such as Amber, George Lamond and known for taking part in massive community events as the Jersey City Puerto Rican Festival, The Community Fair For Children and New Jersey City Gay Pride; just to name a few.

By late March 2008 Ms. Conde would wrap up her Winter Music Conference week tour in Miami and appeared in a line of showcases in Venues like Voodoo Lounge, Score, The world famous La Bodegita del Medio, Club BOOM and add them to her list of venues such as Heaven New York, Serena Night Club New York, the now defunct OZONE Miami, and even her performance on Telemundo “Despierta America” Channel 41 New York/Tri state area.

In the Summer of 2008 she gears up to release a line of new self written material on Miami’s DESTUNE records; with original traditional and Neo-Freestyle versions and remixes provided by a line of DJ/Producers including DJ Jorge Ojeda, DJ Connie Casserole, DJ Vidal , Maximus 3000 , and many more. In addition, Vanessa also will be debuting material with projects with Safire, Joey Kid, Alma Matriz and can also be found having label mates like CORONA (Shake/Warner) and SANDEE (DESTUNE). Praised by international producer Johnny Vicious as a “GRAND VOICE”, Vanessa is ready to bring her songwriting into another realm! As she continues to get club and radio play, including play on XM and Sirrius Satellite Radio, she will be making history in May 2008 as the first new generation NEO- Freestyle vocal artist to perform on the Pacha/DJ Peter Munch float during the New York Dance Music Parade, Alongside Major Recording Artists and DJs.

Astep not taken before, especially for a predominant “house” music event, but a reflection of the changing times and musical switch due to the “ELECTRO” awareness and preference of the current day. Although Vanessa Conde’s career is gearing into a higher chapter, her awareness of her position as a vocal dance artist and the positive influence she is now having on a new generation of independent freelance dance artist is what keeps her motivated, humble and well grounded. Vocal artist, BMI songwriter, Business Woman; It is her inner Love for Dance music she shares with her family and friends, the laughter she brings people and the joy of life which keeps her in balance as her dreams become real life blessings as she spread her wings from her cocoon.“

--JON PITO,2008

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Dont forget to leave us a wonderful comment, and Tune in LIVE every wednesday from 6-7 pm est on www.dancemixamerica.com baby!

Hier ist es jetzt 6:57 Uhr und ich bin wach... Draußen ist's dunkel und neblig, England halt. Die WG-Leute sind supernett und meiner Zimmer ist für WG- und Englandverhältnisse riiiiesig. Ich werd' euch demnächst mal Bilder schauen lassen, es ist nämlich auch echt schön.

Das Hundemonster hat sich gleich mit Rea angefreundet, die ist auch echt putzig, sieht aus wie ein Füchschen. Gestern Abend hat mich Gillian, meine Vermieterin und Rea's Frauchen gleich mal ein bisschen rumgeführt..wir haben die Hundeauslaufplätze und die City erkundet. Es ist echt wunderschön hier und erinnert an TÜ....

Sonst gibt's noch nicht so viel zu sagen.. außer: uns geht's gut...hoffe euch auch ...

Liebe Grüße Carmen

Cuando eres, como ahora, hermoso y fuerte,
yo te amo.
Cuando el viento se doblega para ti,
cuando a la tierra tú la rindes, yo te amo.
Yo te amo por osado,
y te amo por heroico, por audaz y porque ofreces
tu hermosura y tu valor. Por derramado.
Firme tú sobre las nubes, navegando los espacios.
Duro tú sobre las aguas, descollante tu estatura
en lo azul del océano... Hombre joven que lo afrontas
cual un elemento más, siendo tú el lazo
de elementos de creación. Yo así te amo.
Desde lejos y despacio, torpemente en el comienzo,
tu andadura cada siglo acelerando...
así has llegado.
Y ya domas a los mares y a los cielos; los cabalgas
como potros tan salvajes como fuiste. A los astros
los asedias sin temor. Igual que un astro, que otro astro
participas del secreto compartido, constelando
como ellos mi cenit. Hombre, te amo.

Yo te amo y te contemplo, yo te admiro y yo te exalto.
E ignorando cómo cantan los arcángeles, te canto.
Mientras seas como eres, una luz entre las sombras,
una luz sobre los bosques, un clamor desde los labios;
mientras cantes y sonrías, esperanza de otro tú
ya menos agrio,
hombre joven, hombre fuerte, hombre hermoso,
yo te amo.

Aunque guardas en tus ojos viejas piedras del basalto
que formaba las murallas de Proverbios y del Cántico,
ya despierta tu mirada a la ternura
enajenados resplandores fugitivos de piedad por lo creado.
Como un hacha cortas tú, y eres tan blando
que te rayan las plegarias y el amor.
Eres compacto
y flexible, quebradizo, vulnerable...
¿De qué rayo fulminose lo divino contra ti?
No te ha abrasado ni la cólera de Dios, ni su contacto.
Sobrepasas a tu propia lava impura, en sobresalto
de promesas y derrotas... Ajeno y amplio
como tierra y como el mar, como el espacio.

Pero, hermoso; pero, audaz. Loco de siembras
que, no estrellas sino mundos, vas hincando.
Empujaste las cavernas, destrozaste las pirámides,
desecaste los diluvios, apagaste los volcanes,
arrancan dando del planeta a los bienaventurados.
¡No volvías la cabeza de oro puro a lo pasado!
Por cruel y por ardiente, yo te amo.

Quién no aleja para ti lo que has huido;
quién no llora por tu amor lo que has matado?
Nunca yo que te contemplo; nunca yo
que me he entregado
a la sangre y al gemir de tantos duelos
como pueblan tu yacer y tus contactos.

Ahora, no. Que te liberas y me llevas por el aire,
confiando
en tu propia inteligencia, en tu arrebato.
¡Ah, los vuelos que gobiernas con sonrisa
y dócil mundo
de instrumentos que tú mismo has inventado!
Y te sirven, como sirven los esclavos.

No desciendas, no me abatas. Hombre amado,
te sostengo y me sostiene un interminable rapto.
No eres rojo ni eres negro. Eres blanco,
el fúlgido centellear de intactos arcos.
¡Atrévete con el Bien, sujétalo con tus brazos!

Hermoso varón que tanto presentía
y que he soñado.
Porque eres mi mejor yo, he ahí por qué te amo.

No te quiero cuando débil, sometido, acobardado.
Aunque torvo si acometes, más te busco despiadado
que humillando la cerviz como un toro sin sus mandos.

Que eres viejo, bien lo sé. Sé que debajo
de esta túnica de piel que te envuelve,
estás cansado de los siglos de rodar
para ver de Dios el brazo
que fulmina y que fulmina... Y, ¿no es cansancio
contemplar cómo te hundes en mi vientre,
deslizando tu niñez y tu vigor entre mis flancos
para luego desgajármelos despacio...?

¡Ah, si halláramos la brisa, si encontráramos el látigo
que flagela y que consuma a los más enamorados!
¡Por todo lo que venciste van tus piernas
de cobre forjando ajorcas para sujetar tu paso,
criatura que apretaría eternamente entre mis brazos!
Más allá de la vida y de la muerte,
Hombre, te amo.