View allAll Photos Tagged Forester
Adscita statices taken at Ainsdale NNR nr. Southport. Forester moths are only found at a small number of locations in the NW of England but since I first found two at Ainsdale NNR in 2013 I've seen them every summer. The cold springs and wet summers of 2019 & 2020 (and Covid-19) meant I only saw 2 each year but in 2018 I recorded and photographed 16 on one day - all within a very small area called on Pinfold Meadow. I love the green iridescence and the fact that they're easily approached as they feed mostly on Ragwort during the day. This individual is showing signs of wear but I like the side-on view and I love the fact that the overcast lighting shows up every detail which would get lost in bright sunshine
Car: Subaru Forester XT.
Year of manufacture: 2002
Date of first registration in the UK: 1st August 2015.
Registration region: Swansea.
Latest recorded mileage: 99,652 km (MOT 19th June 2020).
Last V5 issued: 8th March 2016.
Date taken: 11th August 2020.
Album: Carspotting
The "Peak Forester " day trip arrives at Rowsley "Peak Rail", the locomotive is"West Country Class" pacific "Braunton " No. 34046.
Sony A7 + Sigma 24mm f2.8.wide angle
"Macro Mondays" "B&W Flowers"
This shot of a dried Carl Forester grass flower was taken with my Sony 18-135mm with 12mm extension tube attached. Cropped to enhance composition.
Alcohol Whiskey 'Old Forester'
a magazine advert. 1948c
'Kentucky Straight Bourbon Whiskey'
PSX[mcro[shpn
I only saw one of these beautiful polka-dotted moths feeding in a patch of daisy fleabane, but it let me take as many shots as I wanted....
This Helsinki streetcar was advertising and upcoming production of Leoš Janáček's opera The Cunning Little Vixen, also known (by whom?) as Adventures of Vixen Sharp-Ears.
About the Finnish National Opera:
The Finnish National Opera (Finnish: Suomen Kansallisooppera; Swedish: Finlands Nationalopera) is a Finnish opera company based in Helsinki. Its home base is the Opera House on Töölönlahti bay in Töölö, which opened in 1993, and is state-owned through Senate Properties. The Opera House features two auditoriums, the main auditorium with 1,350, seats and a smaller studio auditorium with 300-500 seats.
Regular opera performances began in Finland in 1873 with the founding of the Finnish Opera by Kaarlo Bergbom.
Prior to that, opera had been performed in Finland sporadically by touring companies, and on occasion by Finnish amateurs, the first such production being The Barber of Seville in 1849.
However, the Finnish Opera company soon plunged into a financial crisis and folded in 1879. During its six year's of operation, Bergbom’s opera company had given 450 performances of a total of 26 operas, and the company had managed to demonstrate that opera can be sung in Finnish too.
After the disbandment of the Finnish Opera, the opera audiences of Helsinki had to confine themselves to performances of visiting opera companies and occasional opera productions at the Finnish National Theatre.
The reincarnation of the Finnish opera institution took place about 30 years later. A group of notable social and cultural figures, led by the international star soprano Aino Ackté, founded the Domestic Opera in 1911.
From the very beginning, the opera decided to engage both foreign and Finnish artists. A few years later the Domestic Opera was renamed the Finnish Opera in 1914.
In 1956, the Finnish Opera was, in turn, taken over by the Foundation of the Finnish National Opera, and acquired its present name.
Between 1918 and 1993 the home of the opera was the Alexander Theater, which had been assigned to the company on a permanent basis. The home was inaugurated with an opening performance of Verdi’s Aida.
When the first dedicated opera house in Finland was finally completed and inaugurated in 1993, the old opera house was given back its original name, the Alexander Theater, after the Tsar Alexander II.
The Finnish National Opera has some 30 permanently engaged solo singers, a professional choir of 60 singers and its own orchestra of 120 members. The Ballet has 90 dancers from 17 countries. All together, the opera has a staff of 735.
en.wikipedia.org/wiki/Finnish_National_Opera
About The Cunning Little Vixen:
The Cunning Little Vixen (Czech: Příhody lišky Bystroušky, lit. 'Adventures of the vixen known as Sharp-Ears', and, until the 1970s, generally referred to in English as Adventures of Vixen Sharp-Ears) is a Czech language opera by Leoš Janáček, composed 1921 to 1923.
Its libretto was adapted by the composer from a serialized novella (daily comic) by Rudolf Těsnohlídek and Stanislav Lolek, which was first published in the newspaper Lidové noviny.
The opera incorporates Moravian folk music and rhythms as it recounts the life of a clever (i.e. sharp-eared, in a pun) fox and accompanying wildlife, as well as a few humans, and their small adventures while traversing their lifecycles.
Described as a comic opera, it has nonetheless been noted to contain a serious theme. Interpretations of the work remain varied, ranging from children's entertainment to a tragedy.
Title translation difficulty:
Broken down from the original Czech, the title is
Příhody = Tales (or Adventures),
lišky = of Vixen (i.e. genitive case, one fox, female),
Bystroušky = Sharp-Ears (double meaning: pointed [ears], clever, sly).
There is no mention in the Czech of a diminutive ("little"), although this idea is included in both the German (Das schlaue Füchslein) and recent (since 1980s) English versions of the opera's name.
It was probably the German name, used for the 1965 Felsenstein film, that established the English "cunning little", ignoring the important double meaning in "Sharp-Ears."
The first three audio recordings, all from the Czech company Supraphon (Neumann 1957, Gregor 1972, Neumann 1980) used, naturally, the original Czech name. Then Decca recorded the opera with the Vienna Philharmonic in 1981, and this widely circulated release made The Cunning Little Vixen the international, if inaccurate, standard.
When Janáček discovered Těsnohlídek's comic-strip-inspired story and decided to turn it into an opera, he began work by meeting with the author and beginning a study of animals.
With this understanding of the characters involved, his own 70 years of life experience, and an undying, unrequited love for the much younger, married Kamila Stösslová, he began work on the opera.
He transformed the originally comedic cartoon into a philosophical reflection on the cycle of life and death by including the death of the vixen. As with other operas by older composers, this late opera shows a deep understanding of life leading to a return to simplicity.
It was given its premiere performance on 6 November 1924 in National Theatre Brno conducted by František Neumann, with Ota Zítek as director and Eduard Milén as stage designer.
The opera received its Italian premiere at La Scala in 1958 with Mariella Adani in the title role.
The work was first staged in England in 1961 by the Sadler's Wells Opera Company (now the English National Opera) under the direction of Colin Graham, with conductor Colin Davis, and with scenery and costume designs by Barry Kay.
In 1981, the New York City Opera mounted a production in English based on images created by Maurice Sendak and conducted by Michael Tilson Thomas in his company debut.
It starred soprano Gianna Rolandi as Vixen Sharp-Ears and baritone Richard Cross as the Forester.
Glyndebourne Festival Opera staged it in 2012, directed by Melly Still, and a revival is included in the Glyndebourne Festival for 2016 with Christopher Purves as the Forester and Elena Tsallagova as the Vixen, conductor Jakub Hrůša and the London Philharmonic Orchestra.
In May 2014 the Cleveland Orchestra, conducted by Franz Welser-Möst performed an innovative version directed by Yuval Sharon. This production returned the opera to its roots by utilizing animation and hand drawn video sets by the artists Bill Barminski and Christopher Louie of Walter Robot Studios. The production featured the use of hole-in-the-wall carnival cutouts to place the singers heads on the animated bodies of the animal characters.
More 2022 JMT planning thoughts. There are ample reasons to go south bound but 1 very obvious reason to go north bound, the lighting. This is a June 14, 2015 shot of the Kings - Kern Divide. This was a low snow year and I didn't need micro-spikes, but trekking poles were nice on the north side. Most pack outfits plan on July 21st to use Forester Pass for scheduling purposes. - Nice cloud action, huh? These are the days my head explodes with possibilities.
Adscita species, most likely A.statices due to the absence of rock rose in the area for A.geryon larvae and plenty of sorrel for A.statices to feed upon.
Wirrabara.
A Kaurna Aboriginal name meaning “gum trees with running water” was used to name the town when it was proclaimed in 1874 although the local Aboriginal people were the Ngadjuri tribe. Before 1874 the land was firstly leased by Samuel and Frederick White from 1844 who named their run Charlton. A small and not very successful copper mine, the Charlton mine, was established in the 1850s on this run just north of the present town site. The Charlton Mine was run by the Australian Mining Company from 1854 for just a few years. White’s leasehold was purchased by Charles. B. Fisher in 1861 who renamed the property Wirrabara instead of Charlton but Charles White retained his old homestead and some acreage around it. When Surveyor General George Goyder visited Fisher’s Wirrabara run in 1864 he estimated it was carrying 50,000 sheep. In 1866 the Wirrabara run was taken over by Alexander Borthwick Murray and his three sons of Mt Crawford as a sheep stud for their Murray Merinos. When parts of the run were resumed in 1872 for closer settlement Alexander Borthwick Murray used his employees to purchase extensive areas of freehold land in a system known as dummying. The Murray family built a homestead in 1872 on the property called Avonmore shown because they then had freehold to the property. When Alexander Scott Murray married in 1874 he extended and remodelled it into a grand ten roomed house with marble fireplaces and cedar architraves and it became his family home. There is a fine stone memorial to Alexander Scott Murray near the railway station with its silo art. He was only 34 years old when he died of ill health and he was the highly respected manager of Wirrabara Station. He had a large public role and apart from supporting local organisations he did public works like laying the foundation stone of the Laura Institute etc. On his death he left a wife and four children under five years of age. The memorial was unveiled in February 1882 two years after Alexander Scott Murray’s death in 1880. After Alexander Scott Murray’s death his brother John took over Avonmore but he too died of health issues in 1884 aged 35 years. Alexander Borthwick Murray and his remaining son Malcomb of Avonmore also had lands northwards along the ranges. In 1885 A.B. Murray had some of these lands surveyed and put up for sale as a private town named Murraytown after himself. Up to 50,000 sheep were shorn on the Wirrabara run in the late 19th century which by then occupied 20,700 acres freehold. But then son Malcom Murray committed suicide in April 1900. Malcom Pulteney Murray was known for his pranks, drunkenness and rash behaviours and his depressions. Alexander Borthwick Murray died in 1903 and his estate trustees managed Avonmore and the lands at Murraytown. The 20,700 acre Wirrabara Estate was sold as part of Alexander Borthwick’s estate in 1910 for over £141,000. At that time it was known for its fruit orchards, grain paddocks and lucerne flats. It was subdivided into 47 farms.
Apart from pastoralism forestry has been a major industry in the region even after grain farmers arrived in 1874. Some individual foresters were cutting timber and selling it from around 1865. Good quality straight posts were sold by them for the erection of the telegraph line to Melrose and Port Augusta in 1865. The first plantation forest in Australia was established by the SA government in 1875 at Bundaleer near Jamestown. The second forest was declared at Wirrabara in 1877. The government had resumed almost 50,000 acres in 1875 which was set aside as the Wirrabara Forest Reserve. A Forester’s residence and a Nurseryman’s residence were soon erected. The most drought resistant of the pine trees the Aleppo Pine from Syria was planted here in 1878. Tasmanian blue gum and other exotic and native trees were planted at Wirrabara. Most of the lands of the forest were about 1,700 feet above sea level (518 metres) and about 20 small leasehold farm blocks were created in it for fruit growing. The horticulturists were known as the Wirrabara Blockers. In these early years Wirrabara forest was also used to produce seedlings for plantings at Bundaleer. The first saw mill began in 1880 with another in 1902 to mill the Aleppo pines. In 1881 the Wirrabara Forest School opened as so many people lived in this area. A second Forest School was built in 1910. Forestry and saw milling remained an industry until the Bangor bushfires of 2014 destroyed large areas of the forests which the then current Labor government decided not to replant. The native trees along the ranges remain as forest or as conservation parks. Thus it is not surprising that the theme for the Wirrabara grain silo art is the forestry worker and the native birds of the forests like the red capped robin. The King Tree or Eucalyptus camaldulensis (usually called River Red Gum) is one of the main trees of the native forests. By 1889 the Blockers were under the control of the Commissioner of Crown Lands and some purchased their farms freehold. Most Blockers grew vines or fruit trees. Some blocks were sold by the government as soldier settler farms after World War One but this was not successful with farmers deserting their blocks by 1932.
The town began to emerge overnight in 1874 with many buildings being erected by 1875. The first stores in the town were opened by Melrose storekeepers. They were followed by a baker, a butcher, a saddler and the hotel. In fact the Wirrabara Hotel was licensed in 1875 and the fine sandstone building opened shortly thereafter. A government school followed the Free, Compulsory and Secular Education Act for 1875 by opening in 1879. It was replaced with a larger red brick school building in 1921. The Post Office started in 1880 and the Institute foundation stone was laid in 1884. Once open it was used for Anglican and Lutheran church services. It still runs a library service, the only independent library service left in SA. In 1912 a new local Wirrabara stone institute or hall was built and opened by the Governor Sir Day Bosanquet. The War Memorial in front of the Institute was unveiled in 1921. The first courtroom operated in Wirrabara from around 1880 with a temporary police station. One of the biggest events in the town growth was the arrival of the railway line from Laura in 1910 as it pushed northwards to Booleroo Centre. Public meetings in Wirrabara had called for this from 1901. Parliament approved the line in 1908 and the work was finished to Wirrabara in 1910. In 1923 the government bought a block of land in Fifth Street for a new police station but this was not erected until 1929. Apart from industry and commercial premises the town soon churches.
The Wesleyan Methodists opened their church in 1876 being the first in town. The Bible Christians Methodists opened theirs soon after. The Anglicans held early services in the first Institute until St Margaret’s Church opened in 1909 on the corner of Second and Fifth Streets. The old or first Institute was left vacant for some time after 1912 and then in 1920 it was taken over by Manning’s Furniture Store. In the early 1940s the Anglican began planning for a new and larger church. When Manning’s Furniture store came on the market in the first institute the Anglicans purchased that and it was consecrated in 1964 with the old foundation stone on the front. The Lutheran church opened in 1921. The foundation stone of Catholic Church was laid on 1 June 1930 by the Bishop of Port Augusta with the church opening in February 1931.
Wirrabara received an $80,000 federal government grant through the Fund My Neighbourhood program to have their silos painted. The Mount Remarkable Council conducted a local survey to select the artist and the theme of the painting. The most favoured artist was Sam Bates, alias Smug, of Melbourne and he was awarded the task. The most popular theme voted for was forestry and woodcutters. The woodcutter depicted on the silos is Dion Lebrun of Tumby Bay and the beautiful bird is a red capped robin. Since the closure of the forests the silo art is just one of a number of measures the locals are taking to keep their town alive. A farmers’ market is held once a month on a Sunday morning, they maintain a community website, the volunteer staffed craft shop distributes tourist information and some locals still grow apricots, peaches and nectarines and one enterprising horticulturist is now growing Manuka bushes to produce Manuka honey in a few years’ time.