It really is as much fun to watch as it’s to take part, given that everybody’s dancing to their own beat. Individuals who stumble upon a Silent Disco can’t even conceptualize what the heck is taking place as they see men and women dancing around and they will not hear anything. A person dancing to electro along with other to swing, it’s very strange and you risk having a laugh on your face.

The headset concept encourages much more talk as well. Dancers may take their own earphones off (or turn down the sound level) at will to have a chat with somebody, and the lack of a sound system means they could actually hear each other. On a typical dance floor, every person stays in their small circles but at Silent Disco, there is certainly a lot more conversation between people.

Picture this: you walk into a room, there’s no music playing and the only sound is that of people dancing around and sometimes singing along to a song that can you cannot hear yourself. There is definitely something wrong with that picture but as soon as you grab a pair of headphones everything becomes clear.

‘You get a really good vibe from people who are listening to the same channel as you so if you see some people dancing or singing along to something, you can ask them what channel they’re on and they put up their fingers, ‘Two’ or ‘Three’ and you switch over and start singing along and kind of feel a part of the group that’s on the one channel,’ said Bascom. ‘You can also just take your headphones off and talk to the person next to you in a regular voice.’

Absolutely no noise complaints, absolutely no issues! The Silent Disco permits the show to run right up until the early hours of the day with minimum disruption to neighbors.

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While most people pursue retirement-planning so as to make certain they have got an acceptable retirement nest egg and a satisfactory quantity of retirement income, as soon as you enter it, you realize there can be various other sub-objectives that assist you put additional money in your wallet. Among those ambitions could be to lower or even eliminate the level of Social Security Tax you have to pay. Specifically, you’re taxed on your Social Security earnings depending on ones total level of income as well as what elements makeup that income. Usage of a retirement calculator is quite helpful for this kind of retirement planning in addition to minimizing taxation.

The objective of every single retirement calculator is to show you either of these 2 pieces of information:
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2. how large of your nest egg you need so that you can leave the workplace.

The Retirement Calculator does these kind of computations by means of accounting for the retirement property you have now PLUS:

* savings inside a retirement plan for example 401k or even IRA
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The particular retirement calculator likewise accounts for the age at which you want to leave the workplace as well as your estimated life-span. While it may look like like the biggest dilemma is the level of savings you bring into your retirement that may impact the old age comfort, it really is not really these kind of financial aspects. The biggest impactors of one’s old age success are the retirement age along with the years you may spend in retirement. Thus, when utilizing any retirement calculator, we advise you run your circumstance repeatedly utilizing distinct life expectancies and also notice what happens if you modify the retirement age from say age Sixty-four to era 66. You may be very amazed at the visible difference you see.

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Kiss the Girls [VHS] Overviews

Coming after The Silence of the Lambs and Seven, this thriller about a collaboration between two serial killers feels like a pale attempt to cash in on the success of those earlier, better films. That’s a pity, because this film certainly has its strengths–particularly in the central performances of Morgan Freeman as a forensic detective and Ashley Judd as a would-be victim who escaped from one of the killers. Director Gary Fleder demonstrates visual flair and maintains an involving undercurrent of tension, but as this adaptation of James Patterson’s novel approaches its climax, familiar elements combine to form a chronic case of thriller déjà vu. It’s altogether competent filmmaking in the service of a moribund story of competing psychopaths, and by the time the serial killers reach the home stretch of their twisted contest, the movie’s dangerously close to Freddy Kruger territory, with a finale that could’ve been borrowed from any dozen similar thrillers. –Jeff Shannon

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The Drumset: A Musical Approach [VHS] Overviews

The fundamentals of jazz, rock and funk drumming. Informative musical segments deal with hand/foot coordination, solos and fills, and playing with the rhythm section. Includes an historical overview of influences ranging from military cadences and New Orleans ragtime, to swing, bebop, R&B, rock and funk. Booklet included. (120 min.)

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Cabin in the Sky [VHS] Overviews

The first film directed by Vincente Minnelli (who directed the original Broadway version), this musical offers its pleasures, but also may make you squirm at the racial stereotypes that were considered both acceptable and entertaining in 1943. A story of the struggle between good and evil for the soul of a man named Little Joe (Eddie “Rochester” Anderson), the film plays with the same kind of racial notions that made Stepin Fetchit a star. Still, there’s much to recommend it, particularly performances by some of the greatest musical stars of the day: Lena Horne, Ethel Waters, Louis Armstrong, and Duke Ellington, among others. The film also includes a terrific score, a combination effort by Ellington, Harold Arlen, Vernon Duke, and E.Y. Harburg that includes the song “Taking a Chance on Love.” –Marshall Fine

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Barnum [VHS] Overviews

Michael Crawford stars as the world’s greatest showman in this filmed version of the original Broadway smash hit show, “Barnum.” Hailed as “the definitive P.T. Barnum,” Crawford delivers a performance filled with wonderful songs and show-stopping circus moments. The story traces P.T. Barnum’s career from his humble beginnings as a sideshow promoter through the co-founding of “The Greatest Show on Earth:” The Barnum and Bailey Circus. A must have for kids and adults alike. Michael Crawford makes this program a one-of-a-kind entertainment evening!

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Handel – Theodora / Christie, Upshaw, Daniels, Glyndebourne Festival Opera [VHS] Specifications

After an overture played on baroque period instruments, this opera about the persecution of Christians in the Roman Empire opens with a televised press conference by the business-suited Roman governor of Antioch. This paradox epitomizes a bold and spectacularly successful interpretation that merges modern visuals with 18th-century music performed in period style.

The music (glorious, vintage Handel) is entrusted to William Christie, one of the most respected living conductors of early music. His phenomenal cast is musically and theatrically right on target. The staging, by Peter Sellars, has Roman legionaries garbed as a SWAT team with automatic weapons. The Roman governor is a totally political animal with a drinking problem. Dawn Upshaw and the amazing David Daniels, Christian victims, are executed not in a pit of lions but strapped to tables for lethal injections.

This treatment not only gives dramatic impact to music that began life as an oratorio; it universalizes the subject into an indictment of any government that persecutes minorities. –Joe McLellan

Handel – Theodora / Christie, Upshaw, Daniels, Glyndebourne Festival Opera [VHS] Overviews

For his 1996 Glyndebourne staging, radical American director Peter Sellars takes Handel’s penultimate English oratorio – a tale of self-sacrificial love between a Christian virgin and a Roman imperial bodyguard (sung by David Daniels)in fourth-century, enemy occupied Antioch – and, by resetting it in modern-day America, transforms it into a timeless parable of spirtual resistance to tyranny and persecution. Cast:

Dawn Upshaw: Theodora
David Daniels: Dudymus
Frode Olsen: Valens
Richard Croft: Septimius
Lorraine Hunt: Irene

[if There are several excellent performances of Handel operas on DVD - the Copenhagen Giulio Cesare and Partenope, the Glynebourne Giulio Cesare, the Christie performance of Rodelina, the Alcina with Catherine Nagelstad - but this, a performance of Handel's next to last oratorio, is the greatest. It is one of the great works on DVD - to cut to the chase, buy it, buy it, buy it.
Musically, it is superb;no performance, neither singers, nor chorus, nor conductor, nor orthestra is less than excellent. Two of the performances are better than that-- Dawn Upshaw in the title role, and Lorraine Hunt Lieberson as Irene. Both sing gloriously; both act the drama wonderfully. I could be happy just watching their faces, so full of character and meaning and beauty are they.
Let me rant a bit about Lieberson, she deserves it. Her performance embodies a moral beauty, a virtue, I have otherwise seen only in Dame Janet Baker's performance of Orfeo; it is one of the great performances of anything: she has great lyric line, sings beautifully, acts beautiful, and in her ecstatic moments has a face I would like to gaze on while dying.
Much credit, of course, must be given the director, Peter Sellars. His staging, while a bit fussy in the first Roman scene, is acutely sensitive to each moment of the drama, and often achieves great intensity and/or beauty. In particular, his staging of the Christian scenes marvelously dramatizes the movement of the holy spirit through human beings striving to fulfill their understanding of the will of God.
A brief word about Handel's music here. This was his favorite among his oratorios. It is a work of surpassing lyricism, great tunes, and thrilling drama - musically, it is at LEAST as good as The Messiah.]

Customer Review

There are several excellent performances of Handel operas on DVD – the Copenhagen Giulio Cesare and Partenope, the Glynebourne Giulio Cesare, the Christie performance of Rodelina, the Alcina with Catherine Nagelstad – but this, a performance of Handel’s next to last oratorio, is the greatest. It is one of the great works on DVD – to cut to the chase, buy it, buy it, buy it.
Musically, it is superb;no performance, neither singers, nor chorus, nor conductor, nor orthestra is less than excellent. Two of the performances are better than that– Dawn Upshaw in the title role, and Lorraine Hunt Lieberson as Irene. Both sing gloriously; both act the drama wonderfully. I could be happy just watching their faces, so full of character and meaning and beauty are they.
Let me rant a bit about Lieberson, she deserves it. Her performance embodies a moral beauty, a virtue, I have otherwise seen only in Dame Janet Baker’s performance of Orfeo; it is one of the great performances of anything: she has great lyric line, sings beautifully, acts beautiful, and in her ecstatic moments has a face I would like to gaze on while dying.
Much credit, of course, must be given the director, Peter Sellars. His staging, while a bit fussy in the first Roman scene, is acutely sensitive to each moment of the drama, and often achieves great intensity and/or beauty. In particular, his staging of the Christian scenes marvelously dramatizes the movement of the holy spirit through human beings striving to fulfill their understanding of the will of God.
A brief word about Handel’s music here. This was his favorite among his oratorios. It is a work of surpassing lyricism, great tunes, and thrilling drama – musically, it is at LEAST as good as The Messiah.

Theodora: A powerful opera with interesting plot – Omar Alvarez Pereira – Leon, Nicaragua
The opera Theodora (1750) by Georg Friedrich Händel has the most sad end that I have seen in a haendelian opera. The story of a holy love between two persons isn`t so common in the operas. In this case, it deals with the soldier Dydimus and Theodora, the young woman that represents all the power that the faith in God can yield in a person. Dawn Upshaw as Theodora sounds wonderful. For me she represents the best role made by a woman that I have seen in a opera composed by Händel; her aria «Fond, flatt`ring world, adieu» (first act) is very moving. The countertenor David Daniels as Dydimus makes an outstanding role; his aria «The rapture`d soul defies the sword» in the first act is powerful; he squints a little and this deed yields a special effect to hear him; besides his duet with Upshaw «Streams of pleasure ever flowing» (third act) is superb: the best duet I have heard in a haendelian opera. Frode Olsen as Valens makes the best role in this opera: his character`s wickedness is almost natural; his aria «Racks, gibbets, sword and fire» (first act) is powerful. Richard Croft as Septimius is excellent; his aria «Descend, Kind pity, Heavenly Guest» (first act) is beauty and you feel almost in the heaven. Lorraine Hunt as Irene is superb, too. The final chorus «O love divine, thou source of fame» almost made me weep: a sad, but beauty final. This performance conducted by William Christie is superb. One of the best operas that I have. I recommend this DVD set.

Misfortune of virtue again. – Anna Shlimovich – Boston, MA United States
This is again a bizarre mixture of dubious staging and excellent singing. Obviously, my review will fall in a anti-Sellars rebels camp.

Indisputably, with such a cast, the singing is superb. My perennial favorite is Lorraine Hunt, and her “As with rosy steps the morn” to me is the pinnacle of this performance. She has the same aria on a CD with Harry Bicket conducting; it is superb. Dawn Upshaw is at her nadir, and David Daniels is phenomenal, too.

But the staging, the production – why did they place this particular piece in modernity? It is not justified neither aesthetically nor historically. If the goal was to portray the sanctity of the Saint, then Ancient Rome gives much more opportunity to depict cruelty and brutality, with the benefit of being historically correct. They could stage it at Coliseum, with poor Theodora in a cage under the arena, tied up as a wild beast, ready to be presented to the jeering unsympathetic crowd, desiring only “bread and circuses”. But apparently, Sellars’ imagination stalls and stops with a well-lubricated routine that sells, while a visit to the nearby church of Santo Stefano Rotondo, with its frescoes depicting in the most ghastly detail innumerable sufferings of martyrs would ignite any imagination. However, I doubt that Sellars took much research into the subject, and why bother? Art always resorts to the average artistic IQ of the contemporaneous epoch.

Moreover, setting the plot in modern USA is wrong even ideologically. How can it be explained that someone is condemned for her religious beliefs in this country in modernity? Oh, it is so very bad and wrong; and looked like common nonsense.

There are some unpleasant incongruities in this production, as deliberate stripping of the timid Dawn Upshaw, while her physique is not that attractive; one can compare seductive scenes in Alcina DVD with Catherine Naglestad to get an idea of how such scenes can be successful; here they look rather pathetic and aesthetically awkward.

It was stunning for me to see the disturbing similarity between this production and the recent Admeto from Halle, Handel’s Festival, with this ubiquitous medical theme being thoroughly exploited there as well; of course, Sellars takes credit for inventing this modern monstrosity, but it is sad that its influence seems to be so pervasive, perhaps due to sordid quasi-innovation of such representation; however, it is, as always, without any respect for the work and how the composer has envisioned it – certainly not like a piece of Puppet Theater with sugary cheap tear-jerking overtones, appealing to the modern audiences by scaling down the high-spirited idea.

Regardless of any production, music-wise, it was to me one of the more tedious pieces of the Maestro di Halle; his operas of adventure, as Rinaldo, Orlando, and 30+ others are so much more entertaining, including musically; of course I realize that this is an oratorio, but then Messiah is so much better. Perhaps Handel wanted to repeat Messiah success 9 years earlier, in 1741; but it did not work, it seems from the sheer fact of my own opinion and the statistics of the performance of both works.

Thinking of Lorrain Hunt and her expressive genius, it was somewhat harrowing to hear and see her sing “Lord, in Thee each night and day we pray”, here in 1996, only a few years before she departed untimely, despite her prayers, just as some extraordinary others, like Mozart, Pergolesi, etc; yet curiously, Handel himself was awarded in every aspect of earthy delight, it seems, and is forever residing in Westminster Abbey

Concluding, this is a classic example of a performance that is better to listen to than to watch.

GF Haendel ”Theodora” – Michael Heimann – Paris / France
HELP HELP HELP

This first shipment ”theodora” has never arrived !!!!!!!

The second shipment ”Julius Cesar” , shipped a month later, has arrived ten days ago.

Can you have a look into the shipments , pls
I want these two DVDs urgently.

Thanks

Michael

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Kissing Bandit [VHS] Overviews

Ricardo, son of a mexican bandit, becomes against his will a bandit. He falls in love with Theresa, the daughter of the governor, who is expecting tax collectors from spain. Ricardo sees a good chance there. With Frank Sinatra and Kathryn Grayson.

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Thelonius Monk – Straight No Chaser [VHS] Overviews

This exemplary documentary about seminal jazz pianist and composer Thelonious Monk reaps the benefits of multiple blessings, including the skilled editorial hand of director Charlotte Zwerin and the patronage of executive producer (and erstwhile jazz pianist) Clint Eastwood. Most vital is the use of extensive 1968 footage, shot by Michael and Christian Blackwood, documenting the sometimes moody, sometimes puckish Monk in the studio, on tour, and off stage, which on its own would make this essential jazz viewing.

In post-World War II America, few cultural upheavals matched bebop for sheer exhilaration. Spawned by jazz musicians whose paydays typically came with larger swing ensembles, bop was as much bastard as stepchild, refining the technical ambitions of its parent while breaking free of swing’s formalism to play fast and loose with harmony, melody, and tempo. That mercurial spirit made heroes of high-flying, technically flamboyant players like Charlie Parker, Dizzy Gillespie, and Bud Powell. Monk, by contrast, was as distinctive for his silences, crafting often skeletal melodies distinguished by unexpected, skewed harmonies. At one point dubbed the “high priest of bebop,” he was more Zen archer, threading notes, warping chord structure, or stabbing “wrong” keys with a seeming looseness that in hindsight sounds as precise as haiku.

Thelonious Monk: Straight, No Chaser provides an intelligent portrait of this often reclusive, sometimes difficult artist, including telling glimpses of his volatility. A stormy studio session with Teo Macero, then Columbia Records’ preeminent jazz producer, speaks volumes about Monk’s very private approach to his muse. Perceptive interviews and glimpses of Monk’s sunnier moments provide added depth, yet the real triumph is the generous catalog of classic Monk songs captured on camera. –Sam Sutherland

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