Īsts piens un pēdējā

Mēģinu guglē atrast apstiprinājumu par Žagara vadītās operas izcilību - nekādu nevaru atrast. Varbūt kāds ir veiklāks un var ielikt atsauces? Es ļoti gribu noticēt,ka mums ir laba opera, nevis laba bezmaksas izklaide mūsu varas vīriem un sievām un viņu pakalpiņiem. <http://operalively.com/forums/showthread.php/1676-Best-Opera-Companies-in-the-World> Best Opera Companies in the World Just for fun, let's make a ranking of the best opera companies in the world. First, let's establish a list of eligible companies. We'll take nominations, up to three per country. Later we can narrow down the final eligible list to two per country, regarding the most nominated ones for each country. Let's consider "opera company" in a broad sense, to include those spectacular summer festivals in some well-established venues as if they were a "company" as well, because these city-oriented festivals can have multiple venues but often function in the same way a company would, regarding unified artistic direction, casting, original productions, use of a preferred orchestra, etc. Because I'm specifically thinking, for instance, of the Salzburg Festival and its ability to generate a large number of original productions and video recordings - collectively speaking, the productions in this festival dwarf those of many opera houses. Once we come up with eligible companies, we'll vote. The top pic for each member will earn 50 points, the second will earn 30, the third, 20, the fourth, 10, and the fifth, 5. Then we tally. So, nominations are open. Criteria: - The ability to secure world-class casting - The quality of the orchestra and principal conductor - The ability to commission new works and stage world premieres - The ability to generate recordings in audio and visual media - The originality and quality of the productions - The vision of the artistic/musical direction - The historical importance of the house (a factor to consider, but to be weighed against current form) - The quality of the venue (the opera house itself) - acoustics, comfort, size, beauty - The ability to stage major/difficult works - The ability to train young artists - Efficiency/Hospitality dealing with the public - Outreach/educational value - Use of modern technology For the United States, I nominate The Metropolitan Opera, The San Francisco Opera, and The Santa Fe Opera (I know it's inconsistent with my vote in the similar thread for American companies where I ranked Santa Fe lower, but I just love that company and want to nominate it; I'm sure other members will nominate the ones I'm leaving out). For the United Kingdom, I nominate The Royal Opera House, The Glyndebourne Festival Opera, and the English National Opera. For Italy, I nominate the Teatro alla Scala in Milan, the Teatro La Fenice di Venezia, and the Teatro Comunale di Bologna. For Spain, I nominate the Teatro Real de Madrid, the Gran Teatro del Liceu in Barcelona, and the Palau de les Arts Reina Sofia in Valencia. For Russia, I nominate the Mariinsky Theatre (Мариинский теáтр) in Saint Petersburg, the Bolshoi Theatre (Большо́й теа́тр) in Moscow, and Helikon Opera at the Mayakovsky Theater in Moscow. For the Czech Republic, I nominate the Prague National Theater (Národní Divadlo v Praze), the Prague State Opera (Státní Opera Praha) and the Estates Theatre (Stavovské Divadlo) in Prague. For Brazil, I nominate the Teatro Municipal in São Paulo, the Teatro Municipal in Rio de Janeiro, and the Teatro Amazonas in Manaus. For Argentina, I nominate the Teatro Colón in Buenos Aires, and the Teatro del Libertador General San Martín in Córdoba. For Mexico, I nominate El Palacio de Bellas Artes in Mexico City. For Canada, I nominate the Canadian Opera Company in Toronto, Montréal Opera, and Opera Lyra Ottawa. For Austria, I nominate the Wiener Staatsoper, the Großes Festpielhaus in Salzburg and its city-wide Festival, and the Theater and der Wien in Vienna. For Germany, I nominate the Bayreuth Festpielhaus, the Staatsoper Unter den Linden in Berlin (Berlin State Opera), and the Bayerische Staatsoper in Munich (Bavarian State Opera). For France, I nominate the Opéra National de Paris (Opéra Garnier and Opéra Bastille), the Théâtre du Châtelet in Paris, and the Théâtre National de l'Opéra-Comique in Paris. For Hungary, I nominate the Magyar Állami Operaház in Budapest (Hungarian State Opera). For Belgium, I nominate the Théâtre de La Monnaie in Brussels, and Vlaamse Opera in Antwerp and Ghent. For Denmark, I nominate the Copenhagen Opera House (Operaen). For the Netherlands, I nominate De Nederlandse Opera in Amsterdam. For Norway, I nominate Den Norske Opera in Oslo. For Portugal, I nominate the Teatro Nacional de São Carlos in Lisbon. For Switzerland, I nominate the Opernhaus Zürich and the Grand Théâtre de Genève. For Australia, I nominate the Sydney Opera House (Opera Australia). For Sweden, I nominate the Kungliga Operan (Royal Swedish Opera) in Stockholm. -------- Some of the above 47 don't stand a chance in terms of truly international importance, but I nominated them just for the sake of completeness. When we get to a final list of eligible companies we may narrow down to say, 20 truly international houses before the vote, not necessarily keeping many of the above-mentioned countries/houses. I didn't go as far as nominating Asian venues because I don't know anything about them and our site is decisively Western (we have the odd, infrequent member from Asian countries but mostly don't hear much about/from them).

Saruna starp Zaharu un "lustīgais nerris..." ir viena no sakarīgākajām, ko esmu lasījusi interneta komentāru vidē. Tepat, augstāk - pievērsiet uzmanību.

Debess, kolektīvā džekiņu apraudāšanās par aizejošo laiku. Nē, tā jau saka, ka vīrieši jau sen esot vājais dzimums. Nu ko darīt, arī ar to jāsamierinās . Uz mani šī izrāde neatstāja ne tādu pārdzīvojumu, ne pēcgaršu,kā Sniedze raksta. Vispār- ne īsti priekš manis, bet visam jau nav jābūt priekš manis. Bet nu KD aktīvisti - raudošie puiši - ak skaistā jaunība, cik sen tas bij. Man tas atgādina,kā ģimenes ballēs "vecie" dziedāja - bij man reiz meitene ar 18 gadiem, un par šiem gadiem - man bij liels prieks. Un es vienmēr tad domāju,kāda es būšu 18 gados - visi par mani priecāsies. Bet atnāca tie gadi, nepaspēju izpriecāties kā aizskrēja un kopš tā laika - jau viss - jaunība pagājusi. Bet es jau sieviete. Es neatļaujos ne tā žēlināties, nē pinkšķēt. Kas tad notiks,ka visi sāks raudāt.