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07.05.2015
WEAR SPF EVERYDAY, EVEN IF IT’S RAINING I must confess, I recently found out that my Vitamin D levels were low and starting taking a supplement. As a leader in skincare with an eye for emerging trends, Olay is bringing the first-ever mass market CC line of products to the United States {Canada} beginning in October 2012. The Olay Total Effects CC Tone Correcting UV Moisturizers fight seven signs of aging, while also providing immediate color correction with tinted formulas that include UV protection and tone correction over time. The quick answer is this: Nowadays, there are affordable Super Tuscans made all over Tuscany.
But to fully experience Super Tuscansa€™ seductive siren song, you have to go to the land of their birth: Bolgheri, a small town in the province of Livorno, in the coastal area known as the Upper Maremma. The Marquis planted his first thousand cuttings not in Sassicaia, but up in the hills where hea€™d hid from SS roundups during the war. The premise of Sassicaiaa€”an Italian wine using French varietals, nurtured in barrique, and intended for long aginga€”was revolutionary. In 1994, Bolgheri Sassicaia became a DOCa€”the first in Italy tied exclusively to one winery. Other wineries sprang to life and all followed the Marquisa€™s lead, using French grapes and barrique aging.
This Gold Rush has continued unabated over the past decade, with winemakers and investors from all over Italy snatching up property up and down the Tuscan coast, including Piedmonta€™s Gaja (Caa€™ Marcanda), Amarone producer Allegrini (Poggio al Tesoro), and Chiantia€™s Castello di Fonterutoli (Belguardo), among other wine stars. Splurge a bit more, and youa€™ll take a great leap forward: Guidalberto ($45), the second label to Sassicaia, and Le Serre Nuove della€™ Ornellaia ($55) usher you into the realm of dark plush fruit that gets its ripeness from the Tuscan sun. Madame Louis, nee Marie-Emmanuelle Bayon, was a French composer, pianist, and salonniere of considerable activity and influence.
According to her husband’s biographer, Victor Marionneau, Marie-Emmanuelle Bayon was born in Marcei, department of Orne (west of Paris), in 1746. Diderot compared her work to that of Domenico Alberti, Johann Christian Bach, Johann Gottfried Eckard (Eckhardt), Johann Schobert, and other foreign composers whose music was currently admired in Paris. In 1770, on 20 June, Mlle Bayon married Victor Louis (1731–1800), an architect with important social and political connections similar to her own. A few months before the Paris premiere of Fleur d’epine, Bordeaux was the site of a great ceremony when Louis-Philippe-Joseph d’Orleans, duc de Chartres, at the invitation of Victor Louis, came to lay the first stone for the new theatre. With the completion of the magnificent Grand-Theatre in 1780 the Louis family returned to Paris, where their residence on the rue de la Place-Vendome became a gathering place for distinguished literary and artistic figures. With the notable exception of Fleur d’epine, Madame Louis evidently wrote and performed music principally for private gatherings. During the Revolution of 1789–92 and the even more turbulent times that followed, when the French passion for theatre, including music theatre, continued to find new means of expression, “citizen Louis” still worked in Paris.
After Victor Louis died in 1800, Mme Louis remained in Paris and lived for a time in the Vandeul apartment. Diderot’s first enthusiastic accounts appear in letters to his principal correspondent Mlle Volland.
Late the year before, in 1769, Diderot had engaged a new teacher for his daughter Angelique, the theorist and pedagogue Anton Bemetzrieder (1739–ca. The next year, in 1771, Diderot published his famous account of his daughter's lessons, the Lecons de clavecin et principes d'harmonie, par M.
Some idea of Madame Louis's character, her own music, and the repertoire she has taught Angelique can be derived from the dialogues.
Diderot's musical references to the current repertoire of the music lesson corroborate Madame de Genlis's naming of performers and instruments at her l767 salon. A set of sonatas was the usual debut publication of a performer and composer already known in private circles, and typically when the composer was around 21, sometimes younger.
The style of the sontatas, as can be guessed from the preceding account of contemporary keyboard repertoire, combines traditional French keyboard writing and German and Italian influences.
The first movement of Sonata II is the only first movement not marked Allegro; marked Andante affectuoso, it is an expressive melody over Alberti bass and other accompaniment patterns. The three sonatas with violin accompaniment are generally of a more lyrical character than the solo sonatas, in keeping with the violin’s ability to sustain tone. In several passages the violin melody is set over only a figured bass, not an unusual scoring even at this late date.
As it was unusual for an amateur musician, let alone a woman, to have an opera-comique performed by the Comedie Italienne, it is evident that for the production of Fleur depine Madame Louis had the help of influential people.
Voisenon’s friend and secretary, Mme la Comtesse de Turpin, in her edition of the Fleur d’epine libretto published in 1781, notes that it had been set once before, by the abbe Charles Gauzargues (ca.
Information about the circumstances leading to performance appeared around the time of the premiere in the Memoires secrets, a collection of political, literary, and theatre news gathered by members of a salon in which Voisenon had been a colorful and noteworthy participant.
The libretto was based on L’Histoire de Fleur d’epine, or The Story of May-Flower, a rather long, wonderfully rambling fairy tale by the Irish-born French writer Antoine Hamilton (1646–1720). Voisenon used Hamilton’s main characters and ideas in his Fleur d’epine, which is described (on the title page) as a comedie melee d’ariettes—a comedy [spoken dialogue] mixed with arias [and other musical numbers].
In Hamilton’s story, Tarare rescues Fleur d’epine and carries her back to the caliph’s court on the galloping Sonnante with the luminous cap lighting the way. The published score contains an overture and twenty musical numbers—eleven ariettes, or arias, sung by four of the five characters (Dentillon has no aria), plus two duets, two trios, ensemble finales for each act, two small chorus numbers, and a brief instrumental fanfare for Seraine’s final entrance as dea ex machina.
The Comedie Italienne was a cooperative, profit-sharing troupe; members chose the works to be performed (as noted earlier) and hired the orchestra and chorus. The first performance at the Comedie Italienne, on Thursday, 22 August 1776, was followed by performances on the next three Saturdays, Mondays, and Thursdays for a total of ten performances in August and September, and two more on 12 and 14 April 1777, a Saturday and Monday. The first few evenings of Fleur d’epine’s run, it was preceded by a comedy of Italian origin, such as a harlequin play. The production of Fleur d’epine attracted the attention of several Paris writers and critics.
The review in the Correspondance secrete dated 31 August pronounced the premiere performance “monstrous,” especially the sight of a man playing a woman (Dentue). Diderot attended a performance, as might be expected, and pronounced the production cahin-caha, “so-so.” A substantial review appeared in the Correspondance litteraire, another chronicle of Paris literary culture, this one from Diderot’s circle. Another prominent critic, Jean-Francois de La Harpe, declared that the libretto “falls far short of” Hamilton’s delightful story, and that “the late abbe” had been overrated. In general, the composer’s contemporaries found the music and production to be stronger than the libretto. Besides the full score, music from Fleur d’epine was published in many different arrangements for smaller, chamber forces. Correspondance secrete, politique et litteraire, ou Memoire pour servir a l’histoire des Cours, des Societes et de la litterature en France, depuis la mort de Louis XV, edited by Francois Metra. Memoires secrets, pour servir a l’histoire de la Republique des Lettres en France depuis 1762 jusqu’a nos jours. A few months before the Paris premiere of Fleur d’epine, Bordeaux was the site of a great ceremony when Louis-Philippe-Joseph d’Orleans, duc de Chartres, at the invitation of Victor Louis, came to lay the first stone for the new theatre.  In the princely retinue was Madame Louis’s friend, Madame de Genlis, who was a lady-in-waiting to the duchesse de Chartres.
With the notable exception of Fleur d’epine, Madame Louis evidently wrote and performed music principally for private gatherings.  Her social position, both before and after her marriage, prevented her from holding a paid, professional appointment, yet it gave her considerable influence in matters of taste and style. After Victor Louis died in 1800, Mme Louis remained in Paris and lived for a time in the Vandeul apartment.  Almost nothing else is known of her life. After less than a year of lessons, Diderot no longer had much use for Bemetzrieder.  One reason, to be inferred from the Lecons, may have been Bemetzrieder's musical taste and his interest in becoming something of a public figure.
A set of sonatas was the usual debut publication of a performer and composer already known in private circles, and typically when the composer was around 21, sometimes younger.  (In l769 when her op. Take a direct, simple story, unfold it with exquisite care, and the result is a gem of a play opening Northlighta€™s 37th season. The snapshots, originally photos clutched in their hands, become large projections on the paneled walls before actually springing to life in the form of two incarnations of their earlier selves: Susie and Danny (Megan Long and Nick Cosgrove) and Susan and Daniel (Jess Godwin and Tony Clarno).
And what songs they are: 28 drawn from 12 successful musicals a€“ all written by Stephen Schwartz.
The cast has remarkable voices, clear and compelling and their dramatic ability marches the timbre a€“ moving from humor to nostalgia with ease as past and present intermingle and advice is exchanged back and forth, neatly breaking barriers as they address their earlier selves. Kudos to Jack Magaw for the multi-level set, Karl Christian for musical staging, Steve Orich for Musical direction and arrangements, A and to the orchestra: Chris Sargent, Scott Reed, Paul Dallas, Jeffrey Handley and Marc Hogan.
While Act I is stronger than the slower second act, by playa€™s end the viewers responded to much that reached their hearts.A  On opening night, not a few wiped away tears as they joined the rest of the audience for a standing ovation. The idea works because of the originality of the set-up, but also because Schwartz's songs, filled with aspiration and quizzical wonder, fit the basic premise so well.
I could go on about many more such inspired musical choices here, most of which are beautifully sung, especially by Long and Clarno. I imagine Schwartz aficionados will enjoy Snapshots as a clever twist on the revue or jukebox musical, but I was impressed that it also works as something entirely new. Touching musical comedy at Northlight blends new lyrics to familiar Stephen Schwartz music. A At the center of one of the most highly anticipated productions of the Northlight Theatre's 2011-2012 season, Snapshots (music and lyrics by Stephen Schwartz, book by David Stern and directed by Ken Sawyer) are Dan (Gene Weygandt)and Sue (Susie McMonagle), a long-time couple that have been friends since childhood, back when they were still known as Danny (Nick Cosgrove) and Susie (Megan Long). When the play opens, Sue, dissatisfied with the state of their marriage, is up in the attic of their home, suitcase packed, in the middle of writing Dan a letter explaining that she has decided to leave him. While puttering around in the attic, talking with Sue, he comes across a box of snapshots on the floor, much of its contents spilled out.
Though they do love and care about each other a great deal (therea€™s no doubt about that), therea€™s also no denying that there are real problems in the relationship. SNAPSHOTS is a new musical by the amazing Stephen Schwartz (Wicked, Pippin, Godspell, The Bakera€™s Wife)!! A group of very talented theatre folk and myself formed a theatrical production company called Cardboard Belt Productions. When a box of old photographs tumbles from a dusty attic shelf, Dan and Sue are flooded with memories of their many years together.
In many ways, "Snapshotsa€? marks Schwartza€™s return to smaller, more intimate shows. Lyric rewrites have made many of Schwartza€™s retrofitted songs more suitable for their new settings, but too often I found myself imagining them in their original contexts.
Stern has crafted a book whose well-drawn characters and realistic situations offer something every audience member can identify with. The authors have opted to ignore conventional uses of time and space, a ploy that results in the past intruding on the present and vice versa: a charactera€™s older self giving advice to his more youthful counterpart, and a young girl questioning the woman she fears shea€™ll become. Snapshots will open the 2010-2011 season.A  The remainder of the season will be announced soon. Blending together some of the best-loved music with some of the genuinely wonderful lesser known gems of renowned Broadway composer Stephen Schwartz, this touching romantic comedy exposes a marriage at a crossroads.A  Newly adapted, this musical reveals the humorous twists and unexpected turns of a middle-aged couple's reminiscence of how love brought them together and why life pushed them apart. Relevant Theatricals and Cardboard Belt Productions have been developing this project for the past several years and most recently workedA on the musical with David Stern, Stephen Schwartz and the creative team in preparation for its Chicago premiere.
Northlight Theatre aspires to promote change of perspective and encourage compassion by exploring the depth of our humanity across a bold spectrum of theatrical experiences, reflecting our community to the world and the world to our community.
Snapshots may be available for licensing in the future, and will be appropriate for groups who need a small show, as it involves only six actors, four musicians, and a single set.


Bookwriter David Stern brought Stephen Schwartz the idea of using a compilations of Schwartz songs to create a musical scrapbook of a couple's life.
Sharing my beauty secrets is probably one of my absolute most favorite subjects to write about.
This is when I had my very first facial, and I can vividly remember the experience and all the wonderful smells to this very day. Now, fast forward almost thirty years later and I use at least one serum every single night.
And I am here to tell you that a smidgen of Botox or Juvederm skillfully injected by an expert can make a world of difference in how you look and feel.
I was all about several coats of mascara as a young woman, but now as a multi-tasking, forty year old mom who stays up way too late and never gets enough sleep, lash extensions are my secret weapon. CC, or Color & Correct, Creams have started to emerge in Asia as a new category and are designed for women who love BB Creams for their ability to provide a quick, flawless finish but are seeking skincare solutions that deliver long-term benefits. The multiple, must-have instant and long-term benefits leave skin luminous and even-toned with the reduced appearance of discolorations, fine lines and wrinkles. The opinions expressed herein are those of the author and are not indicative of the opinions or positions of Olay.
My professional credentials have allowed me to taste iconic wines that are well beyond my price range. Every winemaker with a few hectares of land puts together some kind of blend that falls outside the official DOC and DOCG categories, utilizes French grapes, and adopts this nomenclature.
And to truly appreciate their shock value and influence, you have to travel back in time to the days when cabernet, merlot, and other bordelaise varietals were no more common in Italy than Dijon mustard or Brie cheese.
Born in the Piedmont town of Rocchetta, the Marquis schooled in Pisa and by age 30 had married a Bolgheri aristocrat, Clarice della Gherardesca, whose family once lorded over coastal land from Pisa to Piombino.
Called Castiglioncello, this plot of land was surrounded by virgin woods and was high enough to catch the cool sea breezes, which provided a freshness and temperature excursion well suited for grapes.
The Marquisa€™s son recognized that they had no expertise, no contacts, and no track record in wine marketing or distribution. These early pioneers included Grattamacco, Michele Satta, Tua Rita, and Ornellaia, the latter founded by NicolA? Antinoria€™s son Ludovico. Virtually all the top wineries now have one or two labels made from a€?lessera€? vineyards (that is, with younger vines or in less advantageous positions) or from grapes that dona€™t undergo quite the same rigorous selection at harvest.
These wines will be labeled under the broader category a€?Toscana IGT.a€? Ludovico Antinori recently created Tenuta di Biserno in Bibbona, just north of the DOC border, and its entry-level Insoglio del Cinghiale ($24) is truly superb.
This selected line-up includes other good, well-priced coastal Super Tuscans that Ia€™ve encountered at professional tastings, through wine shop recommendations, and at the wineries themselves.
Her principal published works are, as Mademoiselle Bayon, a collection of six keyboard sonatas, three of them with violin accompaniment, opus 1 (1769), and, as Madame Louis, the full score of her two-act opera-comique, Fleur d’epine, or “May-Flower” (the heroine’s name), scored for solo voices, chorus, and orchestra. Louis sought membership in the Academie Royale d’Architecture but, owing to internal politics, was rejected, a major disappointment to him. In August 1768, he implies that Bayon had some concern with her musical reputation outside France. The first four sonatas—the three for solo keyboard and the first of the sonatas with violin accompaniment—are, like Alberti's sonatas, in two movements, both in the same key but with contrasting tempos and characters. Her husband specialized in the design and construction of theatres; by the time of his marriage in 1770 he had worked with some of the leading writers, composers, and directors.
Hamilton’s story, which was familiar to many in the audiences at the Comedie Italienne in 1776, begins in the court of the idyllic caliphate of Kashmir and recounts the adventures of the courageous Tarare (literally, Nonsense) on his quest for the magical maiden Fleur d’epine (May-Flower) who could save the caliph’s daughter.
Voisenon reduces Hamilton’s story to the plight of the two young lovers, Fleur d’epine and Tarare, a beautiful princess and her brave prince. The monsters are turned back into men, and Fleur-d’epine and Tarare can be married and live happily ever after.
The Overture is in two sections, Allegro and Andante, each in Classic key-area form (sonata form). Antoine D’Origny in the Annales du Theatre Italien for August 1776 (published in 1788) reported that, while the words were sometimes funny, sometimes bizarre or in bad taste, the music had “moments of real beauty,” the most striking being a trio in dialogue, Fleur d’epine’s virtuosic aria, and her sleep aria.
Victor Louis, Architecte du Theatre de Bordeaux: Sa vie, ses travaux et sa correspondance 1731–1800. The full score of Fleur d’epine, probably published around the time of the premiere, includes a dedicatory preface to the duchesse de Chartres in which the composer employs the conventionally flattering, obsequious phrases of a courtier addressing her patron. Louis sought membership in the Academie Royale d’Architecture but, owing to internal politics, was rejected, a major disappointment to him.  He began working with the duc de Chartres on plans for extensive development at the Palais Royal, including a newly designed theatre (l’Opera du Palais-Royal). She died at the family’s country residence at Aubevoye, a rich abbey her husband had owned in the vicinity of Rouen, canton of Gaillon, department of Eure, on 19 March 1825.
We performed not only some proverbs but an opera-comique for which my friend Mlle Baillon [sic] (later Mme Louis, wife of the famous architect) composed the music.  M. The woman gives Tarare a small packet of bird-salt for ruining Dentue’s brew, and he in turn presents her with a diamond, demonstrating his generosity. Dentue has entrusted Dentillon with the all-important key, which he has attached to his boutonniere. The three couples interact to sing and dramatize specific, emotion-filled episodes that trace the two from their early days in elementary school A a€“ hitting on many rites of passageA  a€” A before moving on to courtship and highlights of their 30 years together. The melodies are recognizable from many of these shows which include Wicked, Pippin, A Godspell, The Magic Show, Rags, Personals, The Bakera€™s Wife, Enchanted, Captain Louie, Working, Reluctant Pilgrim and Children of Eden a€“ but the lyrics have been rewritten to fit the new dramatic situation. The musical logo flashes onto the attic walls.A  Ita€™s a powerful kick-off to the singing revue.
The playa€™s book is by David Stern.a€?a€?Schwartz, a prolific composer and lyricist whose resume includes Godspell, Pippin, The Bakera€™s Wife, Working, RagsA and Wicked, has taken more than 25 musical numbers from these and his other works and adapted lyrics to fit Snapshots.
Just as shea€™s almost done, about to make the move and leave, Dan comes up, genuinely confused about what she might be doing up there.A Rather than giving him the letter or informing him of her plans to leave him herself, she comes up with an excuse. While he gathers them up, one in particular catches his eye -- a photo taken during a trip that they took to the Caribbean many years earlier. Much of the time they act as if they expect one another to be mind readers, each expecting the other to just somehow know what they want them to do or say. Ten years ago we began working with Stephen Schwartz and David Stern to bring this fantastic musical to the stage. The playa€™s book is by David Stern.Schwartz, a prolific composer and lyricist whose resume includes Godspell, Pippin, The Bakera€™s Wife, Working, RagsA and Wicked, has taken more than 25 musical numbers from these and his other works and adapted lyrics to fit Snapshots.
In addition to capturing a moment in time, they hold myriad memories for those whose images are pictured within. A cast of six portrays Dan and Sue at three stages in their lives: as childhood friends, as newlyweds and as a couple whose 30-year marriage is falling apart. As they reflect on their past, they recall happier times they spent together, a few missed opportunities and some of the inevitable challenges every couple faces. It shares similarities with Dan Goggina€™s "Balancing Act,a€? a chamber musical with a main character whose conflicting personalities are played by five actors. Who doesna€™t remember a first crush, an awkward first kiss, rites of passage and missed opportunities? Evans announce the first show of Northlight's 2010-2011 season, A Snapshots, a new show described by the authors as a "musical scrapbook," that includes some of the best-loved music and lyrics by the creator of Wicked, Godspell, Pippin!
He collaborated with Leonard Bernstein on the English texts for Bernstein's Mass and wrote the title song for the play and movie Butterflies Are Free. Ken is a BFA graduate of The Juilliard School.A  He is also an alumnus of the Lincoln Center Director's Lab West and the LaMama Italy International Directors Workshop. Several theatre groups staged new versions of it in the summer of 2007, including Dayton, Ohio's The Human Race, whose production is pictured in the photo with cast members Kristy Cates and Michael Marcotte.
It was the most fabulous deep cleansing European style aromatherapy facial that totally transformed my skin and senses and I have been hooked ever since.
Regardless of the product or method, gently removing dead skin refreshes and rejuvenates your skin and does wonders for your complexion at any age. Now this was not the case when I was in my teens and twenties, back then I worshiped the sun and coveted a deep bronze glow. It’s the over filled, over injected real housewives types that give this brilliant modern anti-aging tool a bad name. Every morning I wake up looking awake and well rested, and dare I say pretty with little to no make-up. Ia€™d tried the pinnacle of Super Tuscans, wines like Sassicaia, Ornellaia, Masseto, and Grattamaccoa€”names that inspire a certain kind of hushed awe. In the 1930s, the Maremma was a region of peaches, strawberries, swamps, and thoroughbred horse farms, not wine. Hea€™d first tasted cab during his childhood in Rocchetta Tanaro, and cabernet was the grape his great-grandfather Leopoldo had recommended as a€?the most reliablea€? in his 1869 catalog of 376 grape varietals. But when his workers tasted the wine that Marcha€”the standard waiting period among peasant-farmers to judge a new vintagea€”they pronounced it undrinkable. His other son, Piero, created the first Super Tuscan in the Chianti Classico region (Tignanello in 1971) and more recently pushed Gualdo al Tasso into the modern age with its eponymous Super Tuscan. Since ita€™s the same winemakers who craft these wines a€”with the same skill and pridea€”the standards are high.
Like their top-tier brethren, these polished wines dona€™t overreach or aim for ultra-extraction. Perhaps ita€™s the presence of dark, briary syrah in that blend that strikes my fancy, since I also adore Il Bruciato, another blend containing syrah.
Composed to a libretto by Claude-Henri Fusee, abbe de Voisenon (1704–1775), a leading writer and librettist, Fleur d’epine had twelve performances in Paris during the 1776–77 season by the Comedie Italienne, one of the official, privileged French theatrical companies of the ancien regime; the final performance was attended by the queen, Marie-Antoinette, and members of the royal family. 1 sonatas she refers to “the many kindnesses bestowed upon me since my tenderest infancy” by the family of Madame la Marquise de Langeron to whom the volume is dedicated.
She names the actors—three men and three women, including herself and Mlle Bayon—and refers to fifteen spectators, of whom she names eleven. In London, Johann Christian Bach (1735–1782), the composer, keyboardist, and royal chapelmaster, had suggested to two English friends that they look up his friend Diderot in Paris. The absence of a publication date is typical of eighteenth-century music, and was perhaps intended to allow music sellers to proclaim an edition to be the latest thing in subsequent years. The other two accompanied sonatas, like many sonatas of Eckard and Schobert, have three movements in the pattern fast-slow-fast; middle movements are in the dominant key. He was the protege of the duc de Richelieu who was one of the king’s Premiers Gentilshommes de la Chambre who supervised the Comedie Italienne (which performed Fleur d’epine) and the Comedie Francaise. The entry for 21 August referred to the efforts of Mme Turpin, Voisenon’s “intimate acquaintance” whom he had appointed as “his residuary legatee for his manuscripts and literary productions,” to have the play accepted for performance with music by Mme Louis, and noted that it was scheduled ahead of other plays that had been accepted earlier.
The evil fairy Dentue has kidnapped Fleur-d’epine, who is the daughter of the good fairy Seraine, and has taken her far away. The energetic opening section in G Major modulates to D major and then explores D minor and other keys, with new melodic motives, before returning to the home key.
A second report on 7 September noted that in a subsequent performance Fleur-d’Epine had undergone so many “corrections” that it was “tolerable enough” to continue playing. Bartlet of Duke University, who worked in Paris in 1996–97 and generously shared her extensive knowledge and understanding of eighteenth-century French operatic productions.


Extraits de sa correspondance inedite, avec son mari, avec Jacques-Henri Meister de Zurich (1746–1826) et de divers lettres et documents inedits du fonds Diderot-Vandeul aux Archives Departementales de la Haute-Marne. One of the copies of the full score now in the Bibliotheque Nationale in Paris bears the coat of arms of the duc de Chartres, and another that of Madame de Genlis. Correspondence between Diderot and his daughter, Madame de Vendeul, indicates that Mme Louis devoted considerable energy to furthering her husband’s interests.
3, in F major but he plays only the keyboard part without its accompaniment of violin and two horns. This movement, unlike the first movement, has occasional piano and forte markings.  Left-hand notation in alto clef occurs here and in other sonatas in this set as well. Fleur d’epine, left alone with Dentillon, tries to lull him to sleep so that Tarare, who is hiding in the bushes, can come and steal the key.
What might be clunky in other hands, flows smoothly under the expert direction of Ken Sawyer.
He shows up from work, oblivious as ever, and the two end up looking back through their lives as lovers, parents and take-each-other-for-granted spouses, with the wife's impending exit providing the requisite tension. Press about this show has revealed that Schwartz has re-written some of his lyrics to fit the new narrative, but other than noting such changes in a couple tunes from Wicked, I have no idea what was altered or to what extent. Ita€™s a creative endeavor that works well.a€?a€?The show, featuring a pitch-perfect cast bursting with talent, opens in a cluttered attic where middle-aged Sue (Susie McMonagle), packed suitcase in hand, is poking through keepsakes. While they are up there, Dan starts to go through the items that have gathered over the years, pointing out what he feels they can get rid of. It is also through these glimpses, these memories, that we learn about what really happened versus how they remember certain events in their lives happening, how they went from childhood friends to married couple, to married couple on the verge of breaking up after decades of being together.
Indeed they go to great lengths not to talk about anything of substance, to avoid any unpleasantness or arguments.
We then teamed up with Relevant Theatricals (Million Dollar Quartet) and have workshopped SNAPSHOTS at Theatre Works, The Village Theatre, The Human Race Theatre, Seaside Music Theatre and more to come. Schwartz has taken his most famous songs and brilliantly reworked them into an entirely new powerful book written by David Stern.
Ita€™s a creative endeavor that works well.The show, featuring a pitch-perfect cast bursting with talent, opens in a cluttered attic where middle-aged Sue (Susie McMonagle), packed suitcase in hand, is poking through keepsakes.
They also have the power to rekindle powerful emotions years, even decades, after they were taken. Schwartz has rewritten many of the lyrics to even the most familiar songs, to stay true to the fascinating story and characters of this new work.A  Funny and bittersweet, Snapshots brings into focus all the wonders and frustrations of trusting your heart and believing your memories. Schwartz was intrigued by the notion, and gave permission for the concept to be developed further. Well, having been an obsessed beauty junkie for most of my life because beauty has always made me feel better about myself, sharing my beauty tips, suggestions and secrets is truly the reason I started this blog to begin with.
Truth be told, more or less almost every month since I was sixteen years old, I have been getting regular facials and think it has made a world of difference in my skin. During my younger days, I rarely wore sunscreen and even visited tanning beds, but as a forty year old who wants to preserve her youthful glow, I wear SPF everyday without exception.
Tuscans drank a light, simple sangiovese that was bottled and ready to quaff six months after harvest.
At the entry level, therea€™s Le Difese ($25) from Tenuta San Guido, Il Bruciato ($22) from Gualdo al Tasso, and Le Volte ($23) from Ornellaia. Lagone ($15) from the Aia Vecchia winery is also a good buy from the area between Bolgheri and Bibbona.
Collections of musical numbers from the work arranged for unaccompanied voice were also published, as was an arrangement of the overture for keyboard with violin and cello accompaniment; other vocal arrangements appeared in music periodicals and collections from 1776 until around 1786. In the early 1770s, through the patronage of the duc de Richelieu, Louis was commissioned to design and supervise construction of the Grand-Theatre in Bordeaux, the building for which he is perhaps most famous today.
In 1763, Louis had been scenic designer for a production at the Comedie Italienne under the direction of Charles-Simon Favart (1710–1795), created at the request of the government in celebration of the ending of the Seven Years War; Voisenon (librettist of Fleur d’epine) wrote the words and Francois-Andre Danican-Philidor (1726–1795) the music. Upon Voisenon’s death in 1775, Mme Turpin had “some men of letters” read Fleur d’epine to members of the Comedie Italienne, in accordance with the troupe’s procedures for considering new plays. The influential playwright, teacher, and musician Stephanie de Genlis (1746–1830) considered her a friend. While no new musical works by her are reported, Fleur d’epine was performed in Brussels, and in 1784 it was performed in Bordeaux.  A play by Victor Louis was performed in Paris the same year. The arias are generally in “ABA” form with a brief orchestral introduction.  Voisenon’s ariette texts that contrast two states of mind are given musical settings that contrast “A” and “B” sections in different tempos and keys.
Their younger selves, variously played by Megan Long, Jess Godwin, Nick Cosgrove and Tony Clarno, act out vistas from their lives, singing Schwartz as they go, often with lyrics newly penned by the composer himself.
Feeling distant from her workaholic husband Dan (Gene Weygrandt), she is ready to call it quits after 20 years of marriage to her childhood sweetheart in order to chase a dream of intimacy that has eluded her.a€?a€?Before Sue can get out the door, Dan comes home early from the office and joins her, and the pair spend time pouring over old photos. Feeling distant from her workaholic husband Dan (Gene Weygrandt), she is ready to call it quits after 20 years of marriage to her childhood sweetheart in order to chase a dream of intimacy that has eluded her.Before Sue can get out the door, Dan comes home early from the office and joins her, and the pair spend time pouring over old photos.
A Snapshots, with book by David Stern, music and lyrics by Stephen Schwartz, A direction by Ken Sawyer, musical staging by Karl Christian, and musical supervision and arrangements by Steve Orich, will run at Northlight Theatre, 9501 Skokie Blvd in Skokie, September 16 - October 23, 2011. For films, he collaborated with Alan Menken on the songs for Disney's Enchanted as well as the animated features Pocahontas and The Hunchback Of Notre Dame and wrote the songs for the DreamWorks animated feature The Prince Of Egypt.
Early versions were produced in the mid 90s, and over time, it evolved in terms of the story and the lyrics.
I believe that the right beauty product used at the right time can turn someone’s whole world around, not to mention their face!
I prefer this deep pore cleansing type of facial because it rids my skin of toxins and dirt and makes my skin look refreshed and luminous. I love multipurpose products like Olay’s CC Cream that offer a nice daily SPF 15 and also cover and correct age related flaws. The Marquis, whoa€™d grown up with age-worthy Bordeaux favored by the Piemontese gentry, yearned for something more sturdy and enduring. Like most classic Bolgheri reds, they contain a dose of caberneta€”in this case, 70 percent, 50 percent, and 10 percent respectively, while the balance is sangiovese for Le Difese, merlot and syrah for Il Bruciato (which has Bolgheria€™s prettiest label, picturing the ubiquitous umbrella pines), and sangiovese plus merlot for Le Volte. The composer’s unpublished works, discussed during her lifetime but not yet found, include further instrumental chamber music and opera-comiques, and music for La fete de Saint Pierre, a divertissement to a libretto by Antoine-Francois Quetant (1733–1823), performed at the Chateau de la Cour-Neuve in Paris on St. In the two-movement works no repeat marks are printed but they may be assumed—at double bars at the end of each reprise and at the end of the rondo's first couplet. Louis apparently became a good friend of the prominent composer Andre Ernest Modeste Gretry (1741–1813); in late 1782 he accompanied Gretry to the composer’s native Liege, where both men were honored by the government. In the two-movement works no repeat marks are printed but they may be assumed—at double bars at the end of each reprise and at the end of the rondo's first couplet.  There are several printing errors as well—occasional wrong notes, misplaced trills, and, most often, missing sharps or natural-signs with the modulation to the dominant in the first reprise.
Fleur d’epine now sings a gentler song, her famous “sleep aria”; Dentillon falls asleep, and Tarare steals the key. These snapshots trigger memories of when they first met, birthday parties, family gatherings, a€?best palsa€? during their college years, dating experiences (with one another and others) and eventually their engagement and birth of a college-age son. Growing up Susie had her own dreams, wanted her own career, all of which now seems to have taken a backseat to raising a family, while Daniel spent much of his time away, often working 70 hours a week. After devoting his energies to horseracing in the pre-war decades, he turned his attention to wine after 1942 when the Gherardesca property was divided between two sisters. But when he tasted the cabernet some years later after the tannins had mellowed, it was a different wine entirely. A master blender, Giacomo Tachis helped refine Sassicaiaa€™s cabernet sauvignona€“cabernet franc mix and began overseeing their wine production.
It came from the waves of a torrent,a€? deposited there during the flooding of the Mediterranean eons ago, after Africaa€™s northward drift reopened the gates of Gibraltar.
His actual daughter, Angelique, later Madame de Vandeul (1753–1824), studied harpsichord with her from about 1765 until 1769 and remained her lifelong friend and confidante. While those long hours were necessary early on, when they were young a€“ they wouldna€™t have been able support a family without that job a€“ he long ago could have scaled back to a much more reasonable, manageable schedule that would have allowed him to spend more time with Sue, yet somehow he never did, leaving her to feel essentially alone.
His first opera, Seance on a Wet Afternoon, premiered with Opera Santa Barbara in the fall of 2009. His wife inherited Tenuta San Guido and a tract of land called Sassicaia, named after the rocks, or sassi, pulled from the soil. This rush of water created the hills and valleys at the foot of the Apennines and accounts for the vastly different soil types on Tuscanya€™s coast, which range from marine sand to 100-million-year-old soil from the third geological era. Bach's sons Johann Christian Bach and Carl Philipp Emmanuel Bach (1714–1803), and the Mannheimer Ignaz-Franz von Beecke (1733–1803).
She sings a brilliant, virtuosic aria, because Dentillon has said that music puts him to sleep—a reaction he attributes to his being a “great nobleman.” When Tarare, hidden, says something to Fleur d’epine, Dentillon half awakes and asks who was talking. But what really brings them to life are four hard-working cast members who re-enact these various milestones in song and dialogue. Compounding the problem is that Dan has fallen into a familiar pattern of long hours spent at work, not recognizing that there is any sort of problem at home, whatsoever.
Her sister, Carlotta, had married NicolA? Antinori, the 25th generation of a great Florentine family that had been making noteworthy wine since the 1300s.
Italya€™s most prominent wine critic of the time, Luigi Veronelli, gave it a hearty endorsement. The Sassicaia vineyard, says Scienza, a€?is rich in metals and has a degree of clay thata€™s not present elsewhere in Bolgheri. From his perspective, he doesna€™t recognize that a problem exists, therefore there isna€™t one, all of which leads up to the point where the play begins a€¦ the point at which Sue must decide whether she is to leave or stay and try to work their problems out together.
Tony Clarno as Daniel, Jess Godwin as Susan, Nick Cosgrove as Danny and Megan Long as Susie are shadow figures from the past, younger versions of Ken and Sue with whom they often interact. Under the auspices of the ASCAP Foundation, he runs musical theatre workshops in New York and Los Angeles, and is currently the President of the Dramatists' Guild. Encouraged, the Marquis expanded his vineyards, planting in Sassicaia and another plot nearby. As the events play out, they dona€™t always match how the principal characters remember them.A A A  Many of the rekindled events are hilarious. He modernized his cellar and started aging the wine in French oak barriques at the suggestion of his nephew, a recent enology graduatea€”much like the Bordeaux the Marquis so loved.
In the first apartment that he will share with Sue, Dan has a number of surprise female visitors, baggage from his past, who literally pop up from the most unexpected places. Schwartz has recently been given a star on the Hollywood Walk of Fame and inducted into the Theatre Hall of Fame and the Songwriters Hall of Fame. Even funnier is a bedroom scene where more ghosts put in an appearance (Godwin, changing wigs and intonation in rapid succession). Other awards include three Academy Awards, four Grammy Awards, four Drama Desk Awards, and a tiny handful of tennis trophies.



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