Podcasts about yeomen

The CT Gilbert and Sullivan Society is the subject of this week's program with Dr. John Dreslin, Music Director. We talked about the upcoming event to be held at Valley Regional High School in Deep River, CT, and listened to some of the music from “Yeomen of the Guard,” which will be performed on October 19th and 20th. For more information, you can call 860 554-1256 or go to www.CTGandS.org    

How did people in the middle ages perceive the figure of Robin Hood?Did social class or occupation affect those perceptions?How violent were the early stories?Where did the idea come from that Robin Hood wears green?Historian and Robin Hood scholar Will Hoff and I sit down to discuss how Robin Hood was viewed and how he was utilized between the 14th-16th centuries.Thanks for listening!For more from Will Hoff, follow True History of Robin Hood on Instagram:https://www.instagram.com/truehistoryofrobinhood/For our earlier episode about the tradition of outlaw tales in medieval England:https://www.buzzsprout.com/1727735/episodes/9254400Into the Greenwood is produced by Thaddeus Papke Theme music is by Plastic3For more from Into the Greenwood:www.instagram.com/intogreenwood/twitter.com/intogreenwoodwww.facebook.com/intogreenwoodTo support the podcast go to:www.patreon.com/IntoGreenwoodorwww.buymeacoffee.com/intogreenwoodOur selected charity: Trees, Water & Peopleintogreenwood@gmail.comSupport the show

Le 30 mars c'est la journée internationale des plantes. J'en profite pour vous faire découvrir 4 des meilleurs épisodes de NOMEN, 4 épisodes dédiés aux arbres. NOMEN est l'un des 4 petits frères de BSG, celui qui raconte les origines passionnantes des noms du Vivant. Bonne écoute !L'If commun (Taxus baccata), est un conifère non résineux de la famille des Taxaceae.Aujourd'hui, il n'existe plus de forêts d'Ifs en Europe ; Dans le passé, ces forêts d'If étaient vastes, notamment dans l'Ouest de la France. Voici les raisons de leur disparition :Ils étaient arrachés car très toxiques pour le bétail et les équidés.Le bois d'If était très prisé pour fabriquer des arcs et des arbalètes, chez les Grecs, les Gaulois et dans toute l'Europe médiévale. Ce bois est imputrescible, stable, robuste et souple — des qualités essentielles pour un arc. Lors de la guerre de Cent Ans, les archers gallois et anglais (Yeomen) sont restés célèbres grâce à leur maniement exceptionnel de leurs longbows en If (yew). Ernst Zürcher en parle bien dans les épisodes arbres de Baleine sous Gravillon.le bois d'If (dur et homogène), d'une teinte orangée-rougeâtre, a aussi été très utilisé en lutherie, en ébénisterie et en marqueterieL'If est une espèce dioïque : il y a des individus mâles et d'autres femelles. Les fleurs vertes des pieds femelles forment des fruits rouge vif : les arilles. Jadis, nos aieux en faisaient de la confiture. La chair du fruit n'est donc pas toxique. Mais la graine l'est.Les fruits sont consommés par les oiseaux qui rejettent la graine dans leurs fientes, ce qui contribue à la dispersion de l'espèce, cf épisode Topager. La graine toxique n'est pas digérée par les oiseaux, mais elle est souvent mortelle pour les mammifères qui la mâchent.Dans la saga Harry Potter, la baguette de Voldemort est en bois d'if._______ 

Le 26 novembre, c'est la journée mondiale de l'Olivier, un arbre chargé de symboles, dont la paix, qui souffre beaucoup ces derniers temps ... Pour réenchanter nos journées, nous rediffusons les 8 épisodes de notre série Arbres, avec Ernst Zürcher. Ernst Zürcher est un ingénieur forestier, auteur du célèbre livre Arbres : entre visible et invisible (Acte Sud 2016). En 2021, nous l'avons rencontré à l'occasion de la publication de son dernier livre, Planter un arbre (acte Sud).   Le druide est un personnage important de la société celtique, pensez au Panoramix d'Astérix ! Il est chef religieux, philosophe, et conseiller des chefs.   L'étymologie du mot druide viendrait de l'indo-européen dru : dur, fort comme le chêne, et weid : savoir, voir. Les druides sont ceux qui connaissent l'Arbre, au sens métaphorique de l'Arbre du monde.   Les druides croyaient en la réincarnation. Ils étaient végétariens et rejetaient les rituels sanglants. Ils ressemblaient aux brahmanes de l'hindouisme, et de leurs divers yogis ou saddhus.   Les druides privilégiaient par ailleurs la tradition orale. Pour eux, l'écriture était proscrite car elle fixe éternellement ce qu'elle exprime, dans un monde qui change. Ils ont néanmoins inventé l'écriture oghamique, à base de traits plus ou moins croisés.   Dans cet épisode, Ernst évoque ces druides, les archers anglais (Yeoman) qui utilisaient de formidable arcs en if et le chef cherokee Séquioa un étonnant sage amérindien, également auteur d'un alphabet, qui a laissé son nom aux plus grand et gros arbres du monde. _______  

Sir William Schwenck Gilbert (18 November 1836 – 29 May 1911) was an English dramatist, librettist, poet and illustrator best known for his collaboration with composer Arthur Sullivan, which produced fourteen comic operas. The most famous of these include H.M.S. Pinafore, The Pirates of Penzance and one of the most frequently performed works in the history of musical theatre, The Mikado. The popularity of these works was supported for over a century by year-round performances of them, in Britain and abroad, by the repertory company that Gilbert, Sullivan and their producer Richard D'Oyly Carte founded, the D'Oyly Carte Opera Company. These Savoy operas are still frequently performed in the English-speaking world and beyond.Gilbert's creative output included over 75 plays and libretti, and numerous short stories, poems and lyrics, both comic and serious. After brief careers as a government clerk and a lawyer, Gilbert began to focus, in the 1860s, on writing light verse, including his Bab Ballads, short stories, theatre reviews and illustrations, often for Fun magazine. He also began to write burlesques and his first comic plays, developing a unique absurdist, inverted style that would later be known as his "topsy-turvy" style. He also developed a realistic method of stage direction and a reputation as a strict theatre director. In the 1870s, Gilbert wrote 40 plays and libretti, including his German Reed Entertainments, several blank-verse "fairy comedies", some serious plays, and his first five collaborations with Sullivan: Thespis, Trial by Jury, The Sorcerer, H.M.S. Pinafore and The Pirates of Penzance. In the 1880s, Gilbert focused on the Savoy operas, including Patience, Iolanthe, The Mikado, The Yeomen of the Guard and The Gondoliers.In 1890, after this long and profitable creative partnership, Gilbert quarrelled with Sullivan and Carte concerning expenses at the Savoy Theatre; the dispute is referred to as the "carpet quarrel". Gilbert won the ensuing lawsuit, but the argument caused hurt feelings among the partnership. Although Gilbert and Sullivan were persuaded to collaborate on two last operas, they were not as successful as the previous ones. In later years, Gilbert wrote several plays, and a few operas with other collaborators. He retired, with his wife Lucy, and their ward, Nancy McIntosh, to a country estate, Grim's Dyke. He was knighted in 1907. Gilbert died of a heart attack while attempting to rescue a young woman to whom he was giving a swimming lesson in the lake at his home.Gilbert's plays inspired other dramatists, including Oscar Wilde and George Bernard Shaw, and his comic operas with Sullivan inspired the later development of American musical theatre, especially influencing Broadway librettists and lyricists. According to The Cambridge History of English and American Literature, Gilbert's "lyrical facility and his mastery of metre raised the poetical quality of comic opera to a position that it had never reached before and has not reached since".-bio via Wikipedia Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

“Is there any regulation which specifies that a Navy yeoman be a man?”  This is the story of the United States in the Great War and the role of women in that changing world. Women of the Progressive Era are all about change. They're fighting for several reforms — including their own right to vote — and as the United States enters the Great War, they're ready to embrace new responsibilities and opportunities. Women are stepping into all sorts of new roles, be that on a factory floor or by taking on non-combat roles in the Navy or Marines. Tens of thousands are at the front as nurses, while hundreds of others are not far behind the lines carrying out the indispensable task of communion — these are the US Army's bi-lingual, quick-acting, and cool-headed switchboard operators, better known as “Hello Girls.”  From blood-soaked mobile hospitals to radium-filled “studios,” right down to musty office jobs, women play an indispensable part as the United States goes to war. But is the war changing the lives of American women? Or is the war just accelerating change already occurring? We'll find out. ___ 3 Ways to dive deeper into History That Doesn't Suck Join our growing Facebook community Get our weekly newsletter, The Revolution Become part of the HTDS Patreon family Learn more about your ad choices. Visit megaphone.fm/adchoices

L'If commun (Taxus baccata), est un conifère non résineux de la famille des Taxaceae. Aujourd'hui, il n'existe plus de forêts d'Ifs en Europe ; Dans le passé, ces forêts d'If étaient vastes, notamment dans l'Ouest de la France. Voici les raisons de leur disparition : Ils étaient arrachés car très toxiques pour le bétail et les équidés. Le bois d'If était très prisé pour fabriquer des arcs et des arbalètes, chez les Grecs, les Gaulois et dans toute l'Europe médiévale. Ce bois est imputrescible, stable, robuste et souple — des qualités essentielles pour un arc. Lors de la guerre de Cent Ans, les archers gallois et anglais (Yeomen) sont restés célèbres grâce à leur maniement exceptionnel de leurs longbows en If (yew). Ernst Zürcher en parle bien dans les épisodes arbres de Baleine sous Gravillon. le bois d'If (dur et homogène), d'une teinte orangée-rougeâtre, a aussi été très utilisé en lutherie, en ébénisterie et en marqueterie L'If est une espèce dioïque : il y a des individus mâles et d'autres femelles. Les fleurs vertes des pieds femelles forment des fruits rouge vif : les arilles. Jadis, nos aieux en faisaient de la confiture. La chair du fruit n'est donc pas toxique. Mais la graine l'est. Les fruits sont consommés par les oiseaux qui rejettent la graine dans leurs fientes, ce qui contribue à la dispersion de l'espèce, cf épisode Topager. La graine toxique n'est pas digérée par les oiseaux, mais elle est souvent mortelle pour les mammifères qui la mâchent. Dans la saga Harry Potter, la baguette de Voldemort est en bois d'if. _______   On aime ce qui nous a émerveillé … et on protège ce qu'on aime. _______ Découvrir tout l'univers Baleine sous Gravillon, et Mécaniques du Vivant sur France Culture : https://baleinesousgravillon.com/liens-2 Soutenir notre travail, bénévole et sans pub : https://bit.ly/helloasso_donsUR_BSG Nous contacter pour une conférence, un partenariat ou d'autres synergies : contact@baleinesousgravillon.com _______ Interview : Marc Mortelmans Rédaction en chef : Guillaume Lassalle Graphisme : Elouan Plessix Montage / notices / programmation : Zeynab Tamoukh, Albane Couterot, Paul Lavigne

It's time for another fragment from the pen of George Puttenham, Lusty London. This is the second of three fragments which comprise the complete dramatic works of George Puttenham, (following last months Gynaeocratica). It was originally written somewhere between 1570 and 1588, when George included some of the text as an example in his book The Art of Poesy. With Simon Nader and Rob Myson as Sergeants and Yeomen and Clowns - your host, as ever, Robert Crighton. Our patrons received this episode in December 2022 - approx. 5 months early. The Beyond Shakespeare Podcast is supported by its patrons – become a patron and you get to choose the plays we work on next. Go to www.patreon.com/beyondshakespeare - or if you'd like to buy us a coffee at ko-fi https://ko-fi.com/beyondshakespeare - or if you want to give us some feedback, email us at admin@beyondshakespeare.org, follow us on Twitter, Facebook & Instagram @BeyondShakes or go to our website: https://beyondshakespeare.org You can also subscribe to our YouTube channel where (most of) our exploring sessions live - https://www.youtube.com/channel/UCLa4pXxGZFwTX4QSaB5XNdQ The Beyond Shakespeare Podcast is hosted and produced by Robert Crighton.

Sir Arthur Sullivan became the most renowned composer of the Victorian era, with his fame spreading across Europe and America too. His output spanned many genres including oratorios, a symphony, chamber music, hymns and anthems, but it was for his collaboration with the librettist W. S. Gilbert on operetta's that he is best remembered today. He was a personal friend to royalty, and he was knighted when he was in his early forties. He also had a liking for playing cards, buying race horses and gambling, frequently loosing the substantial earnings from the stage works he'd composed. Sullivan became a pillar of the British musical establishment, so that when he died, despite wanting to be buried with his family in Brompton Cemetery, he was laid to rest in the crypt of St Paul's Cathedral, with an additional service at the Chapel Royal in St. James's Palace. Music Featured: HMS Pinafore (Overture) HMS Pinafore (When I was a lad) O Israel Overture ‘In Memorium' Will he come? Symphony in E major, ‘Irish Symphony' (Andante espressivo) Cox and Box (excerpt) The Merry Wives of Windsor (excerpts) Lead Kindly Light HMS Pinafore (excerpts) Pirates of Penzance (excerpt) Who is like unto thee Mikado (excerpts) The Golden Legend (excerpt) Ruddigore (excerpts) The Yeomen of the Guard (excerpts) Ivanhoe (excerpt) Utopia Limited (Society has quite forsaken) The Long Day Closes Presented by Donald Macleod Produced by Luke Whitlock For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Arthur Sullivan (1842-1900) https://www.bbc.co.uk/programmes/m001kpgh And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

La Tour de Londres n'est pas seulement célèbre pour les joyaux de la Couronne, qu'elle abrite, et les costumes colorés de ses gardiens. Elle est aussi connue pour ses corbeaux.En effet, ces oiseaux ont leurs cages, placées à un endroit de l'enceinte. Ils appartiennent à l'espèce dite des "grands corbeaux", ce qui explique leur stature assez imposante.De nombreux usages régissent la vie de ces volatiles. L'un deux fixe ainsi leur nombre. Ils doivent être au moins six. Ce nombre aurait été fixé, au XVIIe siècle, par le Roi Charles II. Cependant, des recherches récentes n'ont trouvé aucune trace de cette décision. Il s'agit sans doute d'une invention postérieure.Quoi qu'il en soit, la règle est respectée puisqu'aujourd'hui on en trouve sept à l'intérieur de la Tour de Londres.Mais, au fait, pourquoi y a-t-il des corbeaux à la Tour de Londres ? Pour une raison très simple. En effet, selon une légende, les corbeaux seraient non seulement les gardiens de la Tour de Londres mais aussi les protecteurs de la Couronne et, au-delà, du Royaume lui-même !Si les corbeaux prennent leur vol et quittent la Tour, des malheurs ne tarderont pas à surgir. C'est pourquoi les ailes de ces corbeaux sont rognées. De cette façon, ils sont incapables de voler et restent dans le périmètre de la Tour.L'un des gardiens de la Tour, les "Yeomen warders", est spécialement affecté au service de ces corbeaux. Il connaît leurs noms et sait les distinguer. Il prend soin des oiseaux et veille à tailler leurs ailes.Aujourd'hui, cependant, la Tour de Londres est le théâtre d'un grand changement : les corbeaux sont un peu plus libres de leurs mouvements et l'un d'entre eux, aux ailes moins rognées, peut même s'envoler de la Tour.Pour leur gardien, cette plus grande liberté maintient les corbeaux en meilleure santé et leur permet d'échapper aux renards, qui rôdent parfois dans la Tour. Il prétend d'ailleurs que le corbeau autorisé à quitter la Tour est assez bien dressé pour y revenir. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

La Tour de Londres n'est pas seulement célèbre pour les joyaux de la Couronne, qu'elle abrite, et les costumes colorés de ses gardiens. Elle est aussi connue pour ses corbeaux. En effet, ces oiseaux ont leurs cages, placées à un endroit de l'enceinte. Ils appartiennent à l'espèce dite des "grands corbeaux", ce qui explique leur stature assez imposante. De nombreux usages régissent la vie de ces volatiles. L'un deux fixe ainsi leur nombre. Ils doivent être au moins six. Ce nombre aurait été fixé, au XVIIe siècle, par le Roi Charles II. Cependant, des recherches récentes n'ont trouvé aucune trace de cette décision. Il s'agit sans doute d'une invention postérieure. Quoi qu'il en soit, la règle est respectée puisqu'aujourd'hui on en trouve sept à l'intérieur de la Tour de Londres. Mais, au fait, pourquoi y a-t-il des corbeaux à la Tour de Londres ? Pour une raison très simple. En effet, selon une légende, les corbeaux seraient non seulement les gardiens de la Tour de Londres mais aussi les protecteurs de la Couronne et, au-delà, du Royaume lui-même ! Si les corbeaux prennent leur vol et quittent la Tour, des malheurs ne tarderont pas à surgir. C'est pourquoi les ailes de ces corbeaux sont rognées. De cette façon, ils sont incapables de voler et restent dans le périmètre de la Tour. L'un des gardiens de la Tour, les "Yeomen warders", est spécialement affecté au service de ces corbeaux. Il connaît leurs noms et sait les distinguer. Il prend soin des oiseaux et veille à tailler leurs ailes. Aujourd'hui, cependant, la Tour de Londres est le théâtre d'un grand changement : les corbeaux sont un peu plus libres de leurs mouvements et l'un d'entre eux, aux ailes moins rognées, peut même s'envoler de la Tour. Pour leur gardien, cette plus grande liberté maintient les corbeaux en meilleure santé et leur permet d'échapper aux renards, qui rôdent parfois dans la Tour. Il prétend d'ailleurs que le corbeau autorisé à quitter la Tour est assez bien dressé pour y revenir. Learn more about your ad choices. Visit megaphone.fm/adchoices

词汇提示1.operetta 轻歌剧2.verse 诗歌3.puns 双关4.wit 机智5.businesslike 高效的6.composer 作曲家7.satire 讽刺诗8.triumph 胜利9.scripts 脚本10.rehearsed 排练11.orchestra 管弦乐队12.separately 分别地13.humming 哼鸣原文Gilbert and SullivanGilbert and Sullivan are the authors of many lively and humorous operetta.These works are the most popular of their kind, and are regularly performed today.But the two authors are known almost as well for their arguments and disagreements.The famous partners were very different people with very different interests.William S Gilbert wrote the words that Sullivan set to music.Gilbert had a special talent for humorous verse.He loved puns and had a very quick wit.Personally, though, he was very businesslike.He had wanted to enter the military and always had the look of a soldier about him.He was fond of giving orders and disliked criticism of anything he did.Arthur S Sullivan, on the other hand, was a sensitive, emotional person whose main interest was music.Sullivan came from a poor family, but his musical talents and good looks had helped him to succeed.Sullivan wanted to write serious, classical music, but as a poor man, he needed a source of income.Sullivan also needed someone to direct him on his own.He had trouble deciding what to do.Gilbert and Sullivan never became really good friends, and at the end of their lives, they had little contact with each other.But the writer and musician needed each other.Gilbert needed a composer who could enliven his writings for the stage.Sullivan needed someone to write a text for his music.Sullivan, who tended to be lazy, needed someone to push him.A theatrical manager named Richard D'Oyly Carte arranged their first collaboration.Gilbert visited Sullivan and read him his satire on the legal system “Trial By Jury”.Sullivan loved the piece and quickly wrote the music.“Trial By Jury” was produced in 1875 and became the first triumph for the partners.D'Oyly Carte decided to form an acting company, which would stage future works by Gilbert and Sullivan.A string of successes follows: "The Sorcerer"in 1877; "H. M. S. Pinafore" in May 1878; "The Pirates of Penzance" in December 1878; "Patience" in 1881;"lolanthe" in 1882; "The Mikado" in 1885;"The Yeomen of the Guard" in 1888;and "The Gondoliers" in 1889.In spite of these successes, the two partners were not happy.Sullivan did not like the way Gilbert dominated their relationship.Sullivan had to write music for Gilbert's scripts.Why couldn't Gilbert write words for Sullivan's music?Gilbert, on the other hand, thought that Sullivan got the most of the credit for the success of their operates, and that he was overlooked.Gilbert was a driving force in the relationship.He was always writing new scripts and taking them to Sullivan.It was Gilbert who rehearsed the actors and supervised the productions.Sullivan had little to do with the actual performance.He usually did conduct the orchestra on opening night.The amazing thing is how these two different people produced such wonderful work.Each separately had difficulty writing something that the public wanted.Together, they were unbeatable.Gilbert's sharp and often cutting remarks were made acceptable by Sullivan's beautiful music.Gilbert satire might have made people angry, but Sullivan's music calmed them down.Even when the English people were the targets of Gilbert's criticisms, the audience went out of the theater humming these criticisms to Sullivan's music.翻译吉尔伯特和沙利文吉尔伯特和苏利文创作了许多生动幽默的轻歌剧。这些作品是同类作品中最受欢迎的，至今仍经常上演。但这两位作者的争论和分歧几乎同样为人所知。这些著名的合伙人是不同的人，有着不同的兴趣。威廉·S·吉尔伯特(William S Gilbert)写了沙利文谱成音乐的歌词。吉尔伯特有写幽默诗的特殊才能。他喜欢双关语，而且非常机智。不过，就个人而言，他非常务实。他曾想从军，而且总是一副士兵的样子。他喜欢发号施令，不喜欢批评他所做的任何事情。另一方面，亚瑟·S·苏利文是一个敏感、情绪化的人，他的主要兴趣是音乐。沙利文来自一个贫穷的家庭，但他的音乐天赋和英俊的外表帮助他取得了成功。沙利文想创作严肃的古典音乐，但作为一个穷人，他需要一个收入来源。沙利文也需要有人亲自指导他。他难以决定该做什么。吉尔伯特和沙利文从未成为真正的好朋友，在他们生命的最后阶段，他们彼此几乎没有联系。但是作家和音乐家彼此需要。吉尔伯特需要一个能使他的作品在舞台上生动起来的作曲家。沙利文需要有人为他的音乐写一段文字。沙利文很懒，需要有人来督促他。一位名叫理查德·德奥利·卡特的戏剧经理安排了他们的第一次合作。吉尔伯特拜访了沙利文，给他读了他对法律制度的讽刺作品《陪审团审判》。沙利文很喜欢这首曲子，很快就完成了配乐。《陪审团审判》制作于1875年，成为合伙人的第一个胜利。多伊利·卡特决定成立一家表演公司，为吉尔伯特和沙利文日后的作品演出。一系列的成功接踵而至:1877年的《魔法师》;1878年5月的《H. M. S. Pinafore》;1878年12月的《彭赞斯海盗》;1881年的《耐心》;1882年的《洛兰瑟》;1885年的《天皇》;1888年的《近卫自耕农》以及1889年的《船夫》。尽管取得了这些成功，但这两个合伙人并不快乐。沙利文不喜欢吉尔伯特主导他们的关系。沙利文必须为吉尔伯特的剧本作曲。为什么吉尔伯特不能为沙利文的音乐写歌词?另一方面，吉尔伯特认为苏利文获得了他们行动成功的大部分功劳，而他被忽视了。吉尔伯特是这段关系的推动力。他总是写新剧本，然后拿给沙利文看。是吉尔伯特为演员排练并监督制作。苏利文几乎没有参与演出。他通常会在首演之夜指挥管弦乐队。令人惊讶的是，这两个不同的人是如何创作出如此美妙的作品的。他们各自都很难写出公众想要的东西。他们在一起是不可战胜的。吉尔伯特尖锐而又尖刻的评论被沙利文优美的音乐所接受。吉尔伯特的讽刺可能会让人们愤怒，但沙利文的音乐让他们平静下来。即使英国人民是吉尔伯特批评的对象，观众走出剧院时也会哼着这些批评的歌，配上沙利文的音乐。

The Yeomen of the Guard; or, The Merryman and His Maid, is a Savoy Opera, with music by Arthur Sullivan and a libretto by W. S. Gilbert. It premiered at the Savoy Theatre on 3 October 1888 and ran for 423 performances. This was the eleventh collaboration of fourteen between Gilbert and Sullivan.Purchase the music (without talk) at:Gilbert and Sullivan: Yeoman of the Guard (classicalmusicdiscoveries.store)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com

Programming Note: We will be on a short ‘writing' break. Normal service will resume from Oct 29.Global Policy Watch: When Traditional Institutions Work  Insights on topical policy issues in India — RSJKing Charles III was coronated last week. I saw the pictures of the event, and if you did not know the history of the British monarchy, the whole thing looked like a Monty Python sketch on a Nolan-esque budget. The King wore a costume that might have appeared outdated even in the 12th century when the Westminster Hall was built. The political class in their finery bowed, the aristocracy in splendid robes kept a stiff upper lip, the media continually upped the circus quotient for public consumption, and the Yeomen of the Guard marched in precise steps while some grand music (Handel?) played on. It was all pomp and circumstance (Elgar would have approved).I watched this with mild bemusement. I mean, here's King Charles III, a man who is reputed to speak to his plants, iron his shoelaces, show strange interest in red squirrels and, who often, rails against scientific revolution and the modern economy. What a strange man to ascend the throne of a nation vastly different from him. He must have found the quaintness of the pageantry to his taste. On the other hand, I'm sure he would have some time during the ceremony contemplated the history of the other Charles (Charlies?), who might have ascended the throne with similar accompanying pageantry.Charles I was beheaded for treason by the parliament led by Oliver Cromwell at Whitehall, not too far away from where Charles III was seated. The second King Charles led a charmed life with childhood exile, a triumphant return to the restoration of monarchy, and finally, a long suspension of parliament in the last years of his rule marking his legacy. Uneasy may not lie the head that wears the crown these days (there's really no day job here), but Charles III cannot be too careful about the institution that he represents. The institution is in a perilous state, and he's seen by many as an oddity unfit for the role. The commonwealth states don't have any time for the monarchy. The link to the colonial past is no longer about nostalgia. That's been erased and replaced with an indifference bordering on disdain for monarchy and its role during the excesses of colonialism. Among the young in Britain, the support for the monarchy is on the wane. Only 33 per cent in the age group of 18-24 support monarchy today compared to the 59 per cent who did a decade back. Some feel with the passing of Queen Elizabeth II, the institution of the monarchy will struggle to remain relevant or to serve its vital role of being the ceremonial head of the state. An elected president could do it better. I mean, what's the point of monarchy barring providing grist to the paparazzi mill, occasional photo shoots with visiting heads of state and announcing a few royal honours every year? Why spend enormous money and effort propping up an archaic and undemocratic institution? Why have a democratic constitution and then have a hereditary basis for choosing the head of the state? Isn't that a traditional and conservative imposition on the people?I have more than one reason to support such traditionalism in a democratic polity.Firstly, people need symbols and customs that represent continuity with their past. This assurance that you are part of an unbroken chain that holds all that's good and great about your culture gives meaning to many people's lives. That it extends beyond the personal (faith and family) to the political in how you organise your community and run your nation makes it both an anchor to hold a society steady and an escape valve that lets off any built-up steam of anger. Old institutions build up their influence over the ages. This is how they become easier to follow at any given time. This is a vital capability to preserve in any democracy.Writing in the mid-1860s, Walter Bagehot, the editor of the Economist then, made an insightful observation of how to create and nurture a good Constitution that will clarify this capability further:In ..constitutions there are two parts (not indeed separable with microscopic accuracy, for the genius of great affairs abhors nicety of division) first, those which excite and preserve the reverence of the population — the dignified parts, if I may so call them; and next, the efficient parts — those by which it, in fact, works and rules. There are two great objects which every constitution must attain to be successful, which every old and celebrated one must have wonderfully achieved every constitution must first gain authority, and then use authority, it must first win the loyalty and confidence of mankind, and there employ that homage in the work of government.There are indeed practical men who reject the dignified parts of government. They say, we want only to attain results, to do business: a constitution is a collection of political means for political ends, and if you admit that any part of a constitution does no business, or that a simpler machine would do equally well what it does, you admit that this part of the constitution, however dignified or awful it may be, is nevertheless in truth useless. And other reasoners, who distrust this bare philosophy, have propounded subtle arguments to prove that these dignified parts of old governments are cardinal components of the essential apparatus, great pivots of substantial utility; and so they manufactured fallacies which the plainer school have well exposed. But both schools are in error. The dignified parts of government are those which bring it force which attract its motive power. The efficient parts only employ that power. The comely parts of a government have need, for they are those upon which its vital strength depends. They may not do any thing definite that a simpler polity would not do better; but they are the preliminaries, the needful prerequisites of all work. They raise the army, though they do not win the battle.Secondly, in this age of polarisation and tribal loyalties trumping reason, the idea of an apolitical sovereign reigning as the head of state is appealing. There's a hope there that such a sovereign might not help rally people toward a populist cause but could perhaps hold them back from falling prey to raw emotions and passions. This moral authority, however undeserved, can constrain any political movement that threatens to derail democracy in the name of populism or majoritarianism. There's an additional element to the exercise of undemocratic sovereign power. When things are going good, the checks and balances of power between the legislature, executive and judiciary work effectively. There are debates and consultations before a consensus on the way ahead is arrived. But in times of crisis and exigencies, there's a need for an additional reserve of power or authority that can supersede or expedite the usual decision-making process of a democracy by imposing its will. A constitutional monarchy run on a parliamentary system has that reserve. A presidential style of government lacks this and runs the risk of not being agile enough to counter such exigencies. Like Bagehot put it:“at a quick crisis, the time when a sovereign power is most needed, you cannot find the supreme people. There is no elastic element, every thing is rigid, specified, dated. Come what may, you can quicken nothing and retard nothing. You have bespoken your government in advance, and whether it suits you or not, whether it works well or works ill, whether it is what you want or not, by law you must keep it.”Lastly, a functioning and aware monarchy helps assuage the deeply embedded anxieties about identity in society while gradually accepting the inevitable change that times bring with it. One of the things that the British monarchy, with Queen Elizabeth II at the helm, did well was to stand for what was to be British in times of tremendous upheaval. She was resolutely Christian, proud of the empire, rarely apologetic about its excesses, devoted to her duty as the unelected sovereign and funny in a very British way. Each of these was (and is) a fault line in a society wanting to modernise and cast away the sins of its past. She carried them along because maybe she understood the importance of being a gradualist. Or it is likely the legacy of the institution guided her to be one. It is strange, but the monarchy, the most top-down of the institutions, perhaps has been the bulwark against any hastily concocted plans of a top-down imposed change in societies. I went back to some of the early speeches of Queen Elizabeth II to see if she always knew this was what she had to contend with being a modern constitutional monarch. It could be her speech writers who saw this, or it could be her imprint on them, but her early speeches give a sense of her awareness about this. In her coronation day address, she said:The ceremonies you have seen today are ancient, and some of their origins are veiled in the mists of the past. But their spirit and their meaning shine through the ages never, perhaps, more brightly than now. I have in sincerity pledged myself to your service, as so many of you are pledged to mine.Therefore I am sure that this, my Coronation, is not the symbol of a power and a splendour that are gone but a declaration of our hopes for the future, and for the years I may, by God's Grace and Mercy, be given to reign and serve you as your Queen.Parliamentary institutions, with their free speech and respect for the rights of minorities, and the inspiration of a broad tolerance in thought and expression - all this we conceive to be a precious part of our way of life and outlook.During recent centuries, this message has been sustained and invigorated by the immense contribution, in language, literature, and action, of the nations of our Commonwealth overseas. It gives expression, as I pray it always will, to living principles, as sacred to the Crown and Monarchy as to its many Parliaments and Peoples. I ask you now to cherish them - and practise them too; then we can go forward together in peace, seeking justice and freedom for all men.Listen, much of this can seem like pompous drivel to the more cynical among us. But it is uplifting and meaningful to a lot more. There's a lot worse that was being said—then and now—to people from positions of authority. I'd rather have thousand-year-old institutions rooted in modern or outdated traditions speak uplifting drivel like this. People should get more of this.It applies to India too.Matsyanyaaya: The Chips are Down for Russia's Defence CompaniesBig fish eating small fish = Foreign Policy in action— Abhiram Manchi & Pranay Kotasthane(An edited version of this post first appeared in the Times of India's September 23 edition)Russia is considered a dependable defence partner to India, and rightly so. An underlying assumption is that Russia will continue to be a reliable supplier even in the future. But this assumption fails to consider that Russia's defence production capabilities will continue to decline well after the ongoing war in Ukraine ends. Here's why.Consider these telltale signs first. Russia has delayed the delivery of two Talwar-class stealth frigates for up to six months. There are also short-term delays in the supply of S-400 Triumf missile systems and spares for Kilo-class submarines, MiG-29 fighters and Kamov Mi-17 military transport helicopters. These setbacks shouldn't be dismissed as routine. They indicate a deeper problem: Russia's inability to access semiconductor chips for defence platforms going ahead.Ukraine put out an alleged shopping list of semiconductors, connectors, transformers, etc., that Russia is desperate to purchase. Politico, a US-based media company, divided this list into three parts Critical, Important, and Not-so-important. The Critical list has some chips of basic complexity, such as connectors, and memory chips, besides digital signal processors and Field Programmable Gate Arrays (FPGAs), which fall slightly higher in the complexity grade. There are no cutting-edge chips on the list. These items are pretty standard and can be manufactured on a large scale in most cases. This surprising lack of complexity in Russian equipment has also surprised the US. There have been claims that college students majoring in electrical engineering could reverse engineer and build most of the electronics used. Also, there have been instances of Russian-guided missiles missing their mark purely due to the old versions of navigation systems.When Russia invaded Ukraine in late February, the US quickly banned selling semiconductors used in defence systems to Russia. The new controls target chips, encryption software, lasers and sensors, etc., for Russia's defence industry. The other three pillars of the semiconductor industry, i.e. Taiwan, South Korea and Japan, also banned the export of items through the export control list provided by the US. These controls essentially mean that none of the high-end chips will be available for use by Russia. Russia also does not have the infrastructure to manufacture these chips domestically. Only two Russian companies, Angstrem-T and Mikron Group, are reported to have elementary production-grade chip manufacturing capabilities.As a result, Russia is feeling the pinch. It is running low on hypersonic weapons because of the unavailability of microchips. Examination of the remnants of the missiles Russia launched on Ukraine showed the usage of older technology parts with elementary GPS systems. Sometimes Russia even used chips taken out of dishwashers and refrigerators.This puts India in a precarious position. India is the largest importer of Russian weaponry in the world. Even after the ongoing war ends, it is unlikely that the West will remove these high-tech sanctions. With these constraints to negotiate, Russia could proceed in two ways, neither of which augurs well for India.As seen in most weapons in Ukraine, Russia could use chips from western manufacturers by indirectly sourcing them. It is tough to track chips once they leave the foundry, as there may be multiple unregulated second-hand markets for them. There are also third-party firms sourcing chips and then directly selling them to Russia. While Russia has been a reliable defence partner of India, it would prefer to replenish its declining stocks of chips before considering India's requirements. From the Indian perspective, even if Russia does continue the supplies, India has to think twice before using chips obtained from these dark markets.The other option for Russia's defence industry is to approach China and obtain the chips from them. While this may work for Russia and be advantageous for China to have Russia in their debt, India has to be wary of these Chinese chips entering into the defence equipment being sent to India. Do we want Chinese chips in our missiles and submarines?Whatever the option Russia opts for, India must prepare for a sharp drop in Russia's ability to deliver on defence purchase orders. Their technology is dated, and the chips would come from the black market or China. There will also be delays and cost overruns, with supply chains disrupted, financial systems in tatters and Russian manufacturers closing shop. India will now also face issues with its exports to other countries, a case being the partnership with Russia to work on assault rifle export.Given the reality of Russia's defence sector, India must diversify its weaponry in the short term and focus on local manufacturing over the long term. Regardless of Russia's intentions, its capability to meet India's defence needs has taken a big hit. India must utilise partnerships with the US, Japan, Australia, France, and Israel to secure defence equipment and chip supplies. India Policy Watch #1: India's Semiconductor Policies v2.0Insights on burning policy issues in India— Pranay KotasthaneEarlier this week, the Union Cabinet approved modifications to three of the four schemes introduced in December 2021 for developing a domestic semiconductor ecosystem. Several news websites have claimed that with the government “sweetening the deal”, investments in this sector will be more forthcoming. I agree, but not without some fundamental reservations. Here's why.Semiconductor FabsTo attract chip manufacturing companies, the original programme promised up to 50% upfront financial support for leading-edge nodes (28 nanometres and below). The promised fiscal support for trailing-edge nodes employing older technologies dropped commensurately, going down to 30% for a fab that produces chips at the 45-65 nanometre nodes. (The node size is a rough measure for the size of a building block in a chip. The smaller that number, the more building blocks that can be packed in the same area resulting in higher performance).Under the new scheme, the government promises upfront fiscal support of 50% for all node sizes. The change reflects two realities. First, trailing-edge fabs are crucial for India. The demand for older node sizes will not disappear anytime soon. Future applications such as 5G radios and electric vehicles will continue to require manufacturing at these nodes. Most current defence applications also require trailing-edge chips. Second, many countries are wooing the leading-edge node foundries with much larger incentive packages. Companies such as TSMC are being courted by all major powers, and it's unlikely they will pick India for the most-advanced nodes. India's chances are better for securing older technologies. Display FabsMost display panel manufacturers are located in East Asia — companies from China, Taiwan, South Korea, and Japan dominate this industry. The scheme was designed with the explicit aim of import substitution. The original scheme promised up to 50% upfront financial support subject to a cap of ₹12,000 crores. As part of the changes, this upper cap has been struck off. To me, this scheme didn't make sense even when it was announced. I have four reasons for the scepticism. Even during the high peak of supply chain disruptions during COVID-19, there was no shortage of display panels, indicating that there are no constraints to increasing production, as is the case for chips. (The only shortage related to displays was for the driver chip, not the panels by themselves). Apart from China and Taiwan, South Korea and Japan have leadership in specific segments of displays. So we aren't dependent on one vulnerable source, as in the case of chips. Import dependence on China won't go away. Even if these fabs manufacture displays in India, the input materials will have to be imported from elsewhere. So the bottlenecks will shift but don't disappear. The industry is moving to newer technologies apart from LCDs and AMOLEDs. Samsung is focusing on Quantum-dot displays instead of LCDs. The scheme might be able to get old-tech here, but for newer technologies, imports might continue.Thus, to spend ₹12000 crores for a product in the pursuit of a failed notion of import substitution doesn't justify the opportunity costs. Moreover, removing the upper cap after Vedanta-Foxconn got into this game raises concerns about rent-seeking — the tendency of businesses to distort policies to serve their own interests.Assembly, Test, Packaging Units, and Specialised Low-volume FabsFor assembly, test and packaging firms, & compound fabs, the promised financial support has increased substantially, from 30% to 50%. More importantly, the original scheme allowed disbursal once a facility had begun production. Under the modified scheme, the financial support will be upfront. Prepaid, not postpaid. These changes again warrant scrutiny. Is it another case of rent-seeking? At the margin, I am okay with the changes in this segment. India has a potential advantage because of the need for a large, mid-level trained workforce for this segment of the supply chain, in comparison to conventional semiconductor fabs. Semiconductor DesignSurprisingly, there were no modifications in the one area where India does have a comparative advantage - semiconductor design and design services. The capital requirement for this segment is at least two orders of magnitude lower than the first three segments. And yet, the response to the scheme for encouraging design firms seems less than lukewarm. We propose two changes in the policy for that segment in an article for Hindustan Times earlier this month:To receive deployment-linked incentives under the current scheme, a design firm has to be registered in India with a 50% local stake. That clause could be watered down. Companies should qualify as long as the workforce is majorly Indian and the development happens here.Reducing tariff and non-tariff barriers are also crucial for India's semiconductor design companies to increase operations in India.On both these counts, the status quo prevails. To summarise, the modifications reflect the government's seriousness in attracting investment in this sector. Through these changes, the government is acknowledging that India must start its chip manufacturing journey at the lower end and climb its way up. Getting good at this game takes a couple of decades. At the same time, a thin line separates responsive government policies from regulatory capture by businesses. All industrial policies run this risk, and we need to be vigilant. India Policy Watch #2: Six Essential Questions in Indian Public FinanceInsights on burning policy issues in India— Pranay Kotasthane Longtime readers might recall what I say about public finance: it is an underrated discipline that offers insights across all public policy domains. Many good public finance textbooks exist, but there are few books which explain the subject in the Indian context. Luckily, we now have a book which does that — M Govinda Rao's Studies in Indian Public Finance (SIPF).To make it easier for all readers, I have a book essay that distills the insights from the book as answers to six questions of contemporary relevance. They are:What do we know about the quantity and quality of India's public expenditure?Should India reintroduce wealth and inheritance taxes?Is an imperfect Goods and Services Tax better than no GST?What is the single-largest expenditure item in the union government budget?What ails Indian Fiscal Federalism? andHow many centrally sponsored schemes should the union government run?To know how the book answers these questions, read my Indian Public Policy Review essay here. And if you are serious about learning public policy, the book is unmissable. HomeWorkReading and listening recommendations on public policy matters[Podcast] Who should pay for the UPI? We have a fun Puliyabaazi on this topic.[Post] Big Think's Progress Issue is a must-read, especially Hannah Ritchie's essay An End to Doomerism.[Blog] Morgan Housel on Three Big Things: The Most Important Forces Shaping the World[Paper] Down with Legalese. In this paper, authors confirm that “Poor writing, not specialised concepts, drives processing difficulty in legal language” This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit publicpolicy.substack.com

L'If commun (Taxus baccata), est un conifère non résineux de la famille des Taxaceae. Aujourd'hui, il n'existe plus de forêts d'Ifs en Europe ; Dans le passé, ces forêts d'If étaient vastes, notamment dans l'Ouest de la France. Voici les raisons de leur disparition : Ils étaient arrachés car très toxiques pour le bétail et les équidés. Le bois d'If était très prisé pour fabriquer des arcs et des arbalètes, chez les Grecs, les Gaulois et dans toute l'Europe médiévale. Ce bois est imputrescible, stable, robuste et souple — des qualités essentielles pour un arc. Lors de la guerre de Cent Ans, les archers gallois et anglais (Yeomen) sont restés célèbres grâce à leur maniement exceptionnel de leurs longbows en If (yew). Ernst Zürcher en parle bien dans les épisodes arbres de Baleine sous Gravillon. le bois d'If (dur et homogène), d'une teinte orangée-rougeâtre, a aussi été très utilisé en lutherie, en ébénisterie et en marqueterie L'If est une espèce dioïque : il y a des individus mâles et d'autres femelles. Les fleurs vertes des pieds femelles forment des fruits rouge vif : les arilles. Jadis, nos aieux en faisaient de la confiture. La chair du fruit n'est donc pas toxique. Mais la graine l'est. Les fruits sont consommés par les oiseaux qui rejettent la graine dans leurs fientes, ce qui contribue à la dispersion de l'espèce, cf épisode Topager. La graine toxique n'est pas digérée par les oiseaux, mais elle est souvent mortelle pour les mammifères qui la mâchent. Dans la saga Harry Potter, la baguette de Voldemort est en bois d'if. _______  

Somewhere in the 16th and 17th centuries, ordinary people started building differently - private buildings, public buildings. They used brick, glass, decoration and portraiture; and it wasn't just the aristocracy; Yeomen, merchants, towns, husbandmen. The historian W G Hoskins gave it a name - the Great Rebuilding See acast.com/privacy for privacy and opt-out information.

Terence Clarke was the guest of STAGES in series 3. A jack of all theatrical trades, our conversation found a focus on his career as a Composer of such vibrant Australian Musical theatre works as Summer Rain, Variations and The Venetian twins. However, there is much more to Clarke's contribution to the arts in Australia. It is vast and passionate. Clarke's work as Actor and Director are also ripe for the record.He has acted in English repertory, for Nimrod (Horatio/Rosencrantz to John Bell's Hamlet), and for the National Theatre Company, Perth, where he was for over two years Aarne Neeme's Associate Director. He was foundation Artistic Director of the first regional professional theatre company in Australia, the Hunter Valley Theatre Company in Newcastle, and has been the Artistic Director of the Playwrights Conference and Head of Directing at NIDA.Terence has directed the premieres of a number of Australian plays, most notably John O'Donoghue's A Happy and Holy Occasion (HVTC) and Janis Balodis' Backyard (Nimrod). He has directed over 140 productions and workshopped some dozen: the companies include the Melbourne and Queensland Theatre Companies, Nimrod, and Playbox; the music theatre works include Madam Butterfly (for State Opera of SA, twice), Annie, Anything Goes, The Pirates of Penzance (with Reg Livermore, Canberra), HMS Pinafore, and The Yeomen of the Guard. Other work for the STC: The Venetian Twins (composer/pianist/MD); Summer Rain (composer); The Sunny South (composer/arranger); A Happy and Holy Occasion (director).Terence is a member of the Order of Australia (AM) for services to the performing arts as a director, actor, writer, composer and educator. Terence has directed many productions at NIDA.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Arthur Sullivan - The Yeomen of the Guard: Overture Royal Ballet Sinfonia Andrew Penny, conductor More info about today's track: Naxos 8.572098-99 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

L'If commun (Taxus baccata), est un conifère non résineux de la famille des Taxaceae. Aujourd'hui, il n'existe plus de forêts d'Ifs en Europe ; Dans le passé, ces forêts d'If étaient vastes, notamment dans l'Ouest de la France. Voici les raisons de leur disparition : Ils étaient arrachés car très toxiques pour le bétail et les équidés. Le bois d'If était très prisé pour fabriquer des arcs et des arbalètes, chez les Grecs, les Gaulois et dans toute l'Europe médiévale. Ce bois est imputrescible, stable, robuste et souple — des qualités essentielles pour un arc. Lors de la guerre de Cent Ans, les archers gallois et anglais (Yeomen) sont restés célèbres grâce à leur maniement exceptionnel de leurs longbows en If (yew). Ernst Zürcher en parle bien dans les épisodes arbres de Baleine sous Gravillon. le bois d'If (dur et homogène), d'une teinte orangée-rougeâtre, a aussi été très utilisé en lutherie, en ébénisterie et en marqueterie L'If est une espèce dioïque : il y a des individus mâles et d'autres femelles. Les fleurs vertes des pieds femelles forment des fruits rouge vif : les arilles. Jadis, nos aieux en faisaient de la confiture. La chair du fruit n'est donc pas toxique. Mais la graine l'est. Les fruits sont consommés par les oiseaux qui rejettent la graine dans leurs fientes, ce qui contribue à la dispersion de l'espèce, cf épisode Topager. La graine toxique n'est pas digérée par les oiseaux, mais elle est souvent mortelle pour les mammifères qui la mâchent. Dans la saga Harry Potter, la baguette de Voldemort est en bois d'if. _______  

This week Justin sits down with Curtis Cook! Topics include: writing for American Dad on TBS, losing his blue checkmark on Twitter, getting married during a pandemic, and Yeomen and Yeowmen.

Howard Pyle's The Merry Adventures of Robin Hood tells the story of Robin Hood and his 140 stout Yeomen. Arrow from CW's series of DC Comics shows tells the story of the life of Oliver Queen who fought to save his city. I have enjoyed both and wanted to take the time to talk about them together.

Die Wikspedition reist heute zu einem der bekanntesten Gebäudekomplexe in Europa mit seiner fast 1.000 Jahre Geschichte. Es geht um das Herz Londons in die Festung an der Themse: Dem Tower of London. Das es sich hier nicht einfach nur um irgend eine alte Burg handelt ist klar, aber wir sind uns sicher, das ihr heute noch das eine oder andere zum ersten Mal hören werdet. Willkommen in London!

"This sunny summer hour: Andrew Marjoribanks, Wordsworth Books, comes up with the very best in fiction and non-fiction on that bookshop's shelves. We chat to world renowned wino Hugh Johnson about his engaging and elegant new book: On Wine - Good Bits from 55 Years of Scribbling, and he verbally shares a bottle of Chateau Lafitte 1985 with us! A Thousand Tales of Johannesburg by Harry Kalmer reminds Melvyn Minnaar of the juicy sweep of Armistead Maupin's chirpy books. Cindy Moritz found Maria Semple's Today will be Different seriously funny yet surprisingly serious. Philip Todres chats artfully to Brenda Schmamhann about her book The Keiskamma Art Project – Restoring Hope and Livelihoods. March is the month that commemorates the opening 117 years ago of the Yeomanry Hospital at Deelfontien, and Mynra Robins finds fine future Africana in Yeomen of the Karoo: The Story of the Imperial Yeomanry Hospital at Deelfontein by Rose Willis, Arnold van Wyk and JC ‘Kay” de Villiers. Mike Fitzjames cruelly sends us stir-crazy with three thrillers, one – Red Notice by Bill Browder – is non-fiction and non-put-downable. Finally, Melvyn Minnaar finds pastoral elegance and delicate writing in Midwinter by Fiona Melrose."

Fine Music Radio — "This sunny summer hour: Andrew Marjoribanks, Wordsworth Books, comes up with the very best in fiction and non-fiction on that bookshop’s shelves. We chat to world renowned wino Hugh Johnson about his engaging and elegant new book: On Wine - Good Bits from 55 Years of Scribbling, and he verbally shares a bottle of Chateau Lafitte 1985 with us! A Thousand Tales of Johannesburg by Harry Kalmer reminds Melvyn Minnaar of the juicy sweep of Armistead Maupin’s chirpy books. Cindy Moritz found Maria Semple’s Today will be Different seriously funny yet surprisingly serious. Philip Todres chats artfully to Brenda Schmamhann about her book The Keiskamma Art Project – Restoring Hope and Livelihoods. March is the month that commemorates the opening 117 years ago of the Yeomanry Hospital at Deelfontien, and Mynra Robins finds fine future Africana in Yeomen of the Karoo: The Story of the Imperial Yeomanry Hospital at Deelfontein by Rose Willis, Arnold van Wyk and JC ‘Kay” de Villiers. Mike Fitzjames cruelly sends us stir-crazy with three thrillers, one – Red Notice by Bill Browder – is non-fiction and non-put-downable. Finally, Melvyn Minnaar finds pastoral elegance and delicate writing in Midwinter by Fiona Melrose."

"This happy hour: Andrew Marjoribanks, Wordsworth Books, gives us a bagful of the best in fiction and non-fiction. Beverley Roos Muller and Mike Fitzjames have Ireland in mind, Beverley with Emma Donaghue's novel The Wonder, and Mike with John Banville's Time Piece – A Dublin Memoir and Pete McCarthy's hilarious McCarthy's Bar. As always, Mike Fitzjames sets our nerves ajangle with thrillers, two this month by Karen Rose and Ian Rankin. Melvyn Minnaar reviews Historian Hermann Giliomee – An Autobiography. This is Giliomee's colourful, controversial and feisty career in local history and politics. Jane Raphaely finds Petina Guppah's The Book of Memory memorable. Jay Heale considers two very different books about human relationships, which he recommends as excellent reading for young adults. Vanessa Levenstein found more good reading for young adults in Alice Hoffman's Faithful. Myrna Robins finds fine Africana in Yeomen of the Karoo: The Story of the Imperial Yeomanry Hospital at Deelfontein by Rose Willis, Arnold van Wyk and JC ‘Kay” de Villiers. Phillippa Cheifitz finds well seasoned reasons to rush to the kitchen in Reuben Riffel's fourth cookbook – Reuben at Home, while Philip Todres finds joyfulness in The Book of Joy – Lasting Happiness in a Changing World by the Nobel Peace Prize Laureates His Holiness Tenzin Gyatso the 14th Dalai Lama and Archbishop Emeritus Desmond Tutu, with Douglas Carlton. Do stay with us for our easy-peasy competition to win one of two R200 Wordsworth Books vouchers. Andrew Marjoribanks, a bagful of good books here!"

Fine Music Radio — "This happy hour: Andrew Marjoribanks, Wordsworth Books, gives us a bagful of the best in fiction and non-fiction. Beverley Roos Muller and Mike Fitzjames have Ireland in mind, Beverley with Emma Donaghue’s novel The Wonder, and Mike with John Banville’s Time Piece – A Dublin Memoir and Pete McCarthy’s hilarious McCarthy’s Bar. As always, Mike Fitzjames sets our nerves ajangle with thrillers, two this month by Karen Rose and Ian Rankin. Melvyn Minnaar reviews Historian Hermann Giliomee – An Autobiography. This is Giliomee’s colourful, controversial and feisty career in local history and politics. Jane Raphaely finds Petina Guppah’s The Book of Memory memorable. Jay Heale considers two very different books about human relationships, which he recommends as excellent reading for young adults. Vanessa Levenstein found more good reading for young adults in Alice Hoffman’s Faithful. Myrna Robins finds fine Africana in Yeomen of the Karoo: The Story of the Imperial Yeomanry Hospital at Deelfontein by Rose Willis, Arnold van Wyk and JC ‘Kay” de Villiers. Phillippa Cheifitz finds well seasoned reasons to rush to the kitchen in Reuben Riffel’s fourth cookbook – Reuben at Home, while Philip Todres finds joyfulness in The Book of Joy – Lasting Happiness in a Changing World by the Nobel Peace Prize Laureates His Holiness Tenzin Gyatso the 14th Dalai Lama and Archbishop Emeritus Desmond Tutu, with Douglas Carlton. Do stay with us for our easy-peasy competition to win one of two R200 Wordsworth Books vouchers. Andrew Marjoribanks, a bagful of good books here!"

Chance and Drew cover the Bretonnians yet again as they talk tournament options for the Knights and Yeomen. Then Blood Bowl odds and ends as the lads wander around verbally. Then leagues and cheering fans! We hope to see you at the Three Die Brawl this weekend!

Many playwrights strive to create poetry on stage, hoping to put such elegant words in the mouths of their characters that audiences will sit stunned and shaken, transported from their seats to some new world. If only all playwrights began as poets—as did San Francisco’s Marisela Treviño Orta—then all of our stages would be singing with poetry as beautiful as that in Orta’s rich fairytale ‘The River Bride,’ which just opened a five-month run at the Oregon Shakespeare Festival in Ashland. The festival, which runs annually from February to November, always begins in the Spring with four shows, gradually adding new ones. The openers this time are Shakespeare’s ‘Twelfth Night,’ Gilbert & Sullivan’s ‘Yeomen of the Guard,’ Charles Dickens’ ‘Great Expectations,’ and ‘The River Bride.’ I’ll discuss the first three in my next broadcast. Easily the best of a strong batch, ‘The River Bride’ was first staged in San Rafael in 2014, part of the AlterLab new play development program sponsored by Marin County’s AlterTheater Ensemble. Originally co-directed by Ann Brebner and Jeanette Harrison, that early production was elegantly simple, using only a few wooden blocks as set pieces. In Ashland, Orta’s slinky, sexy blend of Brazilian river mythology and Grimm’s fairytales has now been given a magical, deceptively high-tech makeover by director Laurie Woolery, working with a stellar cast and a first-rate team of visual artists. Woolery fills her stage with gorgeous images, each scene a poem in its own right, a stunning collage of sight, sound, words and emotion. Fortunately, such bedazzlements never distract from the story, or from the incandescent heart of Orta’s indelible characters. Just three days before the wedding of 16-year-old Belmira and the local fisherman Duarte, the bride’s older sister Helena is doing her best to hide her own broken heart, having loved Duarte since childhood. During a stormy day of fishing, complete with raging thunder and mysterious pink lightning, Duarte and the sisters’ goodhearted father Senhor Costa haul up a well-dressed, unconscious stranger in their fishing nets. Initially suspicious, Senhora Costa soon welcomes the soft-spoken newcomer, who gives his name as Moises, and almost immediately forms a bond with the cautious, but gradually love-struck, Helena. As Helena, Nancy Rodriguez, is spectacular, revealing layer upon layer of hidden emotion. Armando McClain, who as Moises makes an art of enigmatically smoldering, is quite good in a part that less expert actors might have played too extravagantly. Jamie Ann Romero is excellent in the tricky part of Belmira, managing to be both innocent and selfishly devious, and as Duarte, Carlo Alban is all coiled intensity and molten jealousy. Triney Sandoval is delightful as Senhor Costa, and Vilma Silva, as Senhora Costa, is perfect, playing as many shades of motherly love as there are strings on a guitar. What happens next takes place in a world of grounded fantasy and stylized realism. On the Amazon, there are legends of trickster porpoises, which for three days in June take the form of human men, looking for love amongst those who dwell on the land. That myth eventually overlaps the lives of Orta’s characters in powerful ways, as Moises’ courtship of Helena stirs up deep and forbidden passions. As in all fairytales, the ending involves the breaking of curse, but with a poetic and heart-stopping twist, just one of many satisfying pleasures Orta serves up in this transcendent, one-of-a-kind masterpiece. ‘The River Bride’ runs in repertory with ‘Twelfth Night,’ ‘Great Expectations,’ and others, Tuesday through Sunday, in the Angus Bowmer Theater at the Oregon Shakespeare Festival, in Ashland, Oregon. For information on this and ten other shows opening throughout the year, www.osfashland.org has all the details.

Proms Music Guide: Yeomen of the Guard