View allAll Photos Tagged Handel
The pale pink flower of the Handel Climbing Rose which at this time of year is pale in colour but as the Summer progresses the flower colour intensifies!
Taken in West Wales using a Nikon Coolpix
f/3.2
1/400
4.6 mm
ISO 80
Dedicated to CH (ILYWAMHASAM)
A quick visit to see the Talyllyn at Towyn where a new colour (to me) on the line with 'Sir Handel' . Unfortunately a front end view was out due to the loco having a 'Thomas' face attached!30/6/83.
92011 "Handel" makes it's first run to Wembley under its own power in 7 long years with 90039 for insurance at Cathiron. 0Z92 Crewe TMD (E) to Wembley DB Cargo Sidings.
Insgesamt sind es acht Bodenreliefs gestaltet vom Burgprofessor Bernd Göbel. Zu finden im Bereich der Bronzefiguren des "Göbelbrunnens" auf dem Hallmarkt, der die Geschichte der Stadt erzählt.
de.wikipedia.org/wiki/Bernd_Göbel_(Bildhauer)
IMG_0692
Shuttle Tanker Amundsen Spirit, Hamburg Inbound
Minolta MC Rokkor-PF 135mm f/2.8 @ f/8
through Novoflex Minolta SR - Fuji X-Mount adapter
on Fujifilm X-E1
Check my album Adapted Manual Lenses for more...
... and little did I know.
On 31 August 2016, the CCNI Arauco makes her way up the Elbe river for what seems to be just another call at beautiful Hamburg.
However, less than 24 hours later, at her berth at Burchardkai terminal, some welding work went wrong, causing combustion and a subsequent fire, which burnt on for almost four days.
Read the NEWS STORY here.
Only in March this year, the container liner business of the Chilean shipowners CCNI was taken over by the Hamburg-based Hamburg-Südamerikanische Dampfschifffahrtsgesellschaft (yes, that's right, triple-f).
Read the NEWS STORY here.
Die Decke im Café Paris, Hamburg. Wird gelegentlich Art Nouveau oder Jugendstil genannt, scheint mir aber etwas älter zu sein. Schön ist es jedenfalls, und auch ein gutes Café und Restaurant.
Welche Trends dominieren den Handel der Zukunft? Über die letzten beiden Jahre der Corona-Pandemie gab es in der Wirtschaft leider viele Leidtragende, doch auch einen deutlichen Gewinner: den Online-Handel. Wie die aktuelle Situation von Expert:innen eingeschätzt wird und wohin die Reise für den Online-Handel geht wurde bei young + restless, dem Netzwerktreffen für young professionals in Berlin diskutiert.
Gäste:
Christoph Tönsgerlemann, Vorstandsvorsitzender ETL AG Wirtschaftsprüfungsgesellschaft berliner wirtschaftgespräche bwg e.V.
Alexander Rabe, Geschäftsführer eco Verband der Internetwirtschaft
Dr. Anna Wolf, Fachreferentin für E-Commerce bei ifo Institut
StB. Nadja Müller fynax-Leiterin
Thomas Jarzombek, MdB u.a. Beauftragter des BMWI für Digitale Wirtschaft und StartUps, CDU
Mario Brandenburg, MdB Digitalpolitischer Sprecher der FDP-Fraktion
Rebekka Müller, Spitzenkandidatin für die Bundestagswahl Volt Deutschland
Cindy Mattern, Leiterin Hauptstadtbüro des Bundesverband Onlinehandel e.V. (BVOH)
Miriam Wohlfarth, Präsidiumsmitglied bei bitkom und Gründerin von RatePay GmbH und Banxware
Oliver Kling, Head of Marketing der Digitalagentur dotSource & Autor für handelskraft.de
Timm Bange, CEO & CO-Founder mydartpfeil
Saravanan Sundaram, fynax-Leiter
Christiane Manow-Le Ruyet, Chefredakteurin des E-Commerce-Magazin
Gabriele Zingsheim, Leiterin der Wirtschaftsförderung Hannover
Ilka Groenewold (Moderation)
Weitere Informationen:
www.basecamp.digital/online-und-handel-neue-chancen-durch...
www.basecamp.digital/event/young-restless-e-commerce-in-d...
Fotos: Henrik Andree
Beverly Sills (May 25, 1929 – July 2, 2007) was an American operatic soprano whose peak career was between the 1950s and 1970s.
Although she sang a repertoire from Handel and Mozart to Puccini, Massenet and Verdi, she was especially renowned for her performances in coloratura soprano roles in live opera and recordings. Sills was largely associated with the operas of Donizetti, of which she performed and recorded many roles. Her signature roles include the title role in Donizetti's Lucia di Lammermoor, the title role in Massenet's Manon, Marie in Donizetti's La fille du régiment, the three heroines in Offenbach's Les contes d'Hoffmann, Rosina in Rossini's The Barber of Seville, Violetta in Verdi's La traviata, and most notably Elisabetta in Donizetti's Roberto Devereux.
The New York Times noted,
In her prime her technique was exemplary. She could dispatch coloratura roulades and embellishments, capped by radiant high Ds and E-flats, with seemingly effortless agility. She sang with scrupulous musicianship, rhythmic incisiveness and a vivid sense of text.[1]
NPR said her voice was "Capable of spinning a seemingly endless legato line, or bursting with crystalline perfection into waves of dazzling fioriture and thrilling high notes."[2]
After retiring from singing in 1980, she became the general manager of the New York City Opera. In 1994, she became the chairwoman of Lincoln Center and then, in 2002, of the Metropolitan Opera, stepping down in 2005. Sills lent her celebrity to further her charity work for the prevention and treatment of birth defects.
Biography
Sills was born Belle Miriam Silverman in Crown Heights, Brooklyn, New York City, to Shirley Bahn (née Sonia Markovna), a musician, and Morris Silverman, an insurance broker.[1][3] Her parents were Jewish immigrants from Odesa, Ukraine, (then part of Russia) and Bucharest, Romania. She was raised in Brooklyn, where she was known, among friends, as "Bubbles" Silverman. As a child, she spoke Yiddish, Russian, Romanian, French, and English.[1] She attended Erasmus Hall High School in Brooklyn, as well as Manhattan's Professional Children's School.[1]
At the age of three, Sills won a "Miss Beautiful Baby" contest, in which she sang "The Wedding of Jack and Jill". Beginning at age four, she performed professionally on the Saturday morning radio program, "Rainbow House", as "Bubbles" Silverman. Sills began taking singing lessons with Estelle Liebling at the age of seven and a year later sang in the short film Uncle Sol Solves It (filmed August 1937, released June 1938 by Educational Pictures), by which time she had adopted her stage name, Beverly Sills. Liebling encouraged her to audition for CBS Radio's Major Bowes' Amateur Hour, and on October 26, 1939, at the age of 10, Sills was the winner of that week's program. Bowes then asked her to appear on his Capitol Family Hour, a weekly variety show. Her first appearance was on November 19, 1939, the 17th anniversary of the show, and she appeared frequently on the program thereafter.[4]
In 1945, Sills made her professional stage debut with a Gilbert and Sullivan touring company produced by Jacob J. Shubert, playing twelve cities in the US and Canada, in seven different Gilbert and Sullivan operas. In her 1987 autobiography, she credits that tour with helping to develop the comic timing she soon became famous for: "I played the title role in Patience, and I absolutely loved the character, because Patience is a very funny, flaky girl. ... I played her as a dumb Dora all the way through and really had fun with the role. ... My Patience grew clumsier and clumsier with each performance, and audiences seemed to like her. ... I found that I had a gift for slapstick humor, and it was fun to exercise it onstage."[5] Sills sang in light operas for several more years.
On July 9, 1946, Sills appeared as a contestant on the radio show Arthur Godfrey's Talent Scouts. She sang under the pseudonym of "Vicki Lynn", as she was under contract to Shubert. Shubert did not want Godfrey to be able to say he had discovered "Beverly Sills" if she won the contest (although she did not ultimately win). Sills sang "Romany Life" from Victor Herbert's The Fortune Teller.
In 1947, she made her operatic stage debut as the Spanish gypsy Frasquita in Bizet's Carmen with the Philadelphia Civic Grand Opera Company. She toured North America with the Charles Wagner Opera Company, in the fall of 1951 singing Violetta in La traviata and, in the fall of 1952, singing Micaëla in Carmen. On September 15, 1953, she made her debut with the San Francisco Opera as Helen of Troy in Boito's Mefistofele and also sang Donna Elvira in Don Giovanni the same season. In a step outside of the repertoire she is commonly associated with, Sills gave four performances of the title role of Aida in July 1954 in Salt Lake City. On October 29, 1955, she first appeared with the New York City Opera as Rosalinde in Johann Strauss II's Die Fledermaus, which received critical praise. As early as 1956 she performed before an audience of over 13,000 at the Lewisohn Stadium with the noted operatic conductor Alfredo Antonini in an aria from Bellini's I puritani.[6] Her reputation expanded with her performance of the title role in the New York premiere of Douglas Moore's The Ballad of Baby Doe in 1958.
On November 17, 1956, Sills married journalist Peter Greenough, of the Cleveland, Ohio, newspaper The Plain Dealer and moved to Cleveland. She had two children with Greenough, Meredith ("Muffy") in 1959 and Peter, Jr. ("Bucky") in 1961. Muffy (died July 3, 2016) was profoundly deaf and had multiple sclerosis; Peter, Jr. is severely mentally disabled. Sills restricted her performing schedule to care for her children.
In 1960, Sills and her family moved to Milton, Massachusetts, near Boston. In 1962, Sills sang the title role in Massenet's Manon with the Opera Company of Boston, the first of many roles for opera director Sarah Caldwell. Manon continued to be one of Sills' signature roles throughout most of her career. In January 1964, she sang her first Queen of the Night in Mozart's The Magic Flute for Caldwell. Although Sills drew critical praise for her coloratura technique and for her performance, she was not fond of the latter role; she observed that she often passed the time between the two arias and the finale addressing holiday cards.[7]
Peak singing years
In 1966, the New York City Opera revived Handel's then virtually unknown opera seria Giulio Cesare (with Norman Treigle as Caesar), and Sills' performance as Cleopatra made her an international opera star. Sills also made her "unofficial" Met debut at a Lewisohn Stadium summer concert performance as Donna Anna in Don Giovanni, though nothing further came of this other than offers from Rudolf Bing for roles such as Flotow's Martha. In subsequent seasons at the NYCO, Sills had great successes in the roles of the Queen of Shemakha in Rimsky-Korsakov's The Golden Cockerel, the title role in Manon, Donizetti's Lucia di Lammermoor, and the three female leads Suor Angelica, Giorgetta, and Lauretta in Puccini's trilogy Il trittico.
In 1969, Sills sang Zerbinetta in the American premiere (in a concert version) of the 1912 version of Richard Strauss's Ariadne auf Naxos with the Boston Symphony. Her performance of the role, especially Zerbinetta's aria, "Großmächtige Prinzessin", which she sang in the original higher key, won her acclaim. Home video-taped copies circulated among collectors for years afterwards, often commanding large sums on Internet auction sites (the performance was released commercially in 2006, garnering high praise). The second major event of the year was her debut as Pamira in Rossini's The Siege of Corinth at La Scala, a success that put her on the cover of Newsweek.
Sills's now high-profile career landed her on the cover of Time in 1971, where she was described as "America's Queen of Opera".[8] The title was appropriate because Sills had purposely limited her overseas engagements because of her family. Her major overseas appearances include London's Covent Garden, Milan's La Scala, La Fenice in Venice, the Vienna State Opera, the Théâtre de Beaulieu in Lausanne, Switzerland, and concerts in Paris. In South America, she sang in the opera houses of Buenos Aires and Santiago, a concert in Lima, Peru, and appeared in several productions in Mexico City, including Lucia di Lammermoor with Luciano Pavarotti. On November 9, 1971, her performance in the New York City Opera's production of The Golden Cockerel was telecast live to cable TV subscribers.
During this period, she made her first television appearance as a talk-show personality in May 1968 on Virginia Graham's Girl Talk, a weekday series syndicated by ABC Films. An opera fan who was Talent Coordinator for the series persuaded the producer to put her on the air and she was a huge hit. Throughout the rest of her career she shone as a talk show guest, sometimes also functioning as a guest host. Sills underwent successful surgery for ovarian cancer in late October 1974 (sometimes misreported as breast cancer). Her recovery was so rapid and complete that she opened in The Daughter of the Regiment at the San Francisco Opera a month later.[9]
Following Sir Rudolf Bing's departure as director, Sills finally made her debut at the Metropolitan Opera on April 7, 1975 in The Siege of Corinth, receiving an eighteen-minute ovation at her curtain call. Other operas she sang at the Met include La Traviata,[10] Lucia di Lammermoor, Thaïs, and Don Pasquale (directed by John Dexter). In an interview after his retirement, Bing stated that his refusal to use Sills – as well as his preference for engaging, almost exclusively, Italian stars such as Renata Tebaldi due to his notion that American audiences expected to see Italian stars – was the single biggest mistake of his career.[citation needed] Sills attempted to downplay her animosity towards Bing while she was still singing, and even in her two autobiographies. But in a 1997 interview, Sills spoke her mind plainly, "Oh, Mr. Bing is an ass. [W]hile everybody said what a great administrator he was and a great this, Mr. Bing was just an improbable, impossible General Manager of the Metropolitan Opera.... The arrogance of that man."[11]
Sills was a recitalist, especially in the final decade of her career. She sang in mid-size cities and on college concert series, bringing her art to many who might never see her on stage in a fully staged opera. She also sang concerts with a number of symphony orchestras. Sills continued to perform for New York City Opera, her home opera house, essaying new roles right up to her retirement, including the leading roles in Rossini's Il Turco in Italia, Franz Lehár's The Merry Widow and Gian Carlo Menotti's La Loca, an opera commissioned in honor of her 50th birthday. La Loca was the first work written expressly as a vehicle for Sills and was her last new role, as she retired the following year.[12] Her farewell performance was at San Diego Opera in 1980, where she shared the stage with Joan Sutherland in a production of Die Fledermaus.[13]
Although Sills' voice type was characterized as a "lyric coloratura", she took a number of heavier spinto and dramatic coloratura roles more associated with heavier voices as she grew older, including Bellini's Norma, Donizetti's Lucrezia Borgia (with Susanne Marsee as Orsini) and the latter composer's "Three Queens", Anna Bolena, Maria Stuarda and Elisabetta in Roberto Devereux (opposite Plácido Domingo in the title part). She was admired in those roles for transcending the lightness of her voice with dramatic interpretation, although it may have come at a cost: Sills later commented that Roberto Devereux shortened her career by at least four years.
Sills popularized opera through her talk show appearances, including Johnny Carson, Dick Cavett, David Frost, Mike Douglas, Merv Griffin, and Dinah Shore. Sills hosted her own talk show, Lifestyles with Beverly Sills, which ran on Sunday mornings on NBC for two years in the late 1970s; it won an Emmy Award.[14] In 1979 she appeared on The Muppet Show, where she famously went into a "high-note contest" with Miss Piggy. Down-to-earth and approachable, Sills helped dispel the traditional image of the temperamental opera diva.
Later years and death
In 1978, Sills announced she would retire on October 27, 1980, in a farewell gala at the New York City Opera. In the spring of 1979, she began acting as co-director of NYCO, and became its sole general director as of the fall season of that year, a post she held until 1989, although she remained on the NYCO board until 1991. During her time as general director, Sills helped turn what was then a financially struggling opera company into a viable enterprise. She also devoted herself to various arts causes and such charities as March of Dimes and was sought after for speaking engagements on college campuses and for fund raisers.
From 1994 to 2002, Sills was chairwoman of Lincoln Center. In October 2002, she agreed to serve as chairwoman of the Metropolitan Opera, for which she had been a board member since 1991. She resigned as Met chairwoman in January 2005, citing family as the main reason (she had to place her husband, whom she had cared for over eight years, in a nursing home). She stayed long enough to supervise the appointment of Peter Gelb, formerly head of Sony Classical Records, as the Met's general manager, to succeed Joseph Volpe in August 2006.
The tombstone of Beverly Sills in Kensico Cemetery
Peter Greenough, Sills's husband, died on September 6, 2006, at the age of 89,[15] shortly before what would have been their 50th wedding anniversary on November 17, 2006.
She co-hosted The View for Best Friends Week on November 9, 2006, as Barbara Walters' best friend. She said she did not sing anymore, even in the shower, to preserve the memory of her voice.
She appeared on screen in movie theaters during HD transmissions live from the Met, interviewed during intermissions by the host Margaret Juntwait on January 6, 2007 (I puritani simulcast), as a backstage interviewer on February 24, 2007 (Eugene Onegin simulcast), and then, briefly, on April 28, 2007 (Il trittico simulcast).
On June 28, 2007, the Associated Press and CNN reported that Sills was hospitalized as "gravely ill", from lung cancer. With her daughter at her bedside, Beverly Sills succumbed to cancer on July 2, 2007, at the age of 78.[16] She is buried in Sharon Gardens, the Jewish division of Kensico Cemetery in Valhalla, New York. She was survived by her two children and three step-children from Peter Greenough's first marriage. Her daughter Meredith ("Muffy") Greenough died on July 3, 2016, in New York City.
DAF en DKW gestapeld op een Bedford van de Stadsreiniging in de Utrechtsestraat in Amsterdam, circa 1973. Sneeuw schuiven of wrakken opruimen: de SR-Bedfords waren overal goed voor
Mit dem aufblühenden Handel seit Ende des Mittelalters war die Bevölkerung der alten Reichsstadt Augsburg stetig angestiegen. Um das Jahr 1600 wohnten im Stadtgebiet bereits 16.000 Menschen, die umgebenden Stadtmauern hatten zu dieser Zeit bereits mehrfach erweitert werden müssen. Um die Versorgung der Bevölkerung mit Fleischwaren sicherzustellen, beschloss der Rat der Stadt Anfang des 17. Jahrhunderts den Bau einer zentralen Schlachterei zur Verteilung des Fleisches an die Metzger der Stadt. Zwar gab es bereits zuvor eine solche „Stadtmetzg“, doch deren Kapazität reichte nicht mehr, um die verarbeiteten Waren ordnungsgemäß und hygienisch zu lagern.
Auf der Suche nach einem geeigneten Standort für das Bauwerk entschied sich der damalige Stadtbaumeister Elias Holl für das Lechviertel, wo er ideale Bedingungen für eine Zentralschlachterei vorfand: das Gelände lag inmitten der Stadt und war durchzogen von Lechkanälen, die sowohl die Wasser- und Energieversorgung als auch die Abfallbeseitigung sicherstellen konnten.
Schon bei den Planungen war Elias Holl mit einiger Raffinesse vorgegangen. Das prächtige vierstöckige Gebäude mit dem schmalen Giebel sollte der bis dahin modernste Bau der Fleischerzunft werden. Der Vordere Lech, einer der Lechkanäle, wurde offen unter das Schlachthaus geleitet, was einerseits eine ausreichende Kühlung der Fleischwaren ermöglichte, andererseits den Metzgern erlaubte, Abfälle von der Schlachtbank direkt in den Kanal zu entsorgen.
Nach dreijähriger Bauzeit wurde die neue Stadtmetzg im Jahre 1609 eröffnet. An der Fassadengestaltung der südlichen Giebelfront des dreigeschossigen Satteldachbaus dürfte Johann Matthias Kager mitgewirkt haben. Im unteren Bereich waren 126 Fleischbänke als Verkaufsstände untergebracht, der obere Bereich enthielt Zunft- und Amtsstuben. An der Hauptfassade zierte ein von Hans Reichle geschaffenes und von Wolfgang Neidhardt gegossenes bronzenes Stadtwappen das Bauwerk.[2]
In der Stadtmetzg selbst wurde nicht geschlachtet, sondern in unmittelbarer Nähe ein Schlachthaus errichtet. Heute wird der Bau als Verwaltungsgebäude genutzt.
Quelle: Wikipedia.de
With the flourishing trade since the end of the Middle Ages, the population of the old imperial city of Augsburg had risen steadily. Around the year 1600, 16,000 people were already living in the city area. The surrounding city walls had already had to be extended several times at that time. To ensure the supply of meat products to the population, the city council decided at the beginning of the 17th century to build a central slaughterhouse to distribute the meat to the city's butchers. Although such a " city butchery " had already existed before, its capacity was no longer sufficient to store the processed goods properly and hygienically.
In his search for a suitable location for the building, the then town architect Elias Holl decided on the Lech quarter, where he found ideal conditions for a central slaughterhouse: the site was located in the middle of the city and was criss-crossed by Lech canals, which provided water and energy supplies as well as waste disposal.Elias Holl had already proceeded with some finesse during the planning. The magnificent four-storey building with its narrow gable was to become the most modern building of the butchers' guild to date. The Front Lech, one of the Lech canals, was led openly under the slaughterhouse, which on the one hand enabled sufficient cooling of the meat products, and on the other hand allowed butchers to dispose of waste from the slaughterhouse directly into the canal. After three years of construction, the new Municipal Butchery was completed. Elias Holl had already proceeded with some finesse during the planning. The magnificent four-storey building with its narrow gable was to become the most modern building of the butchers' guild to date. The Front Lech, one of the Lech canals, was led openly under the slaughterhouse, which on the one hand enabled sufficient cooling of the meat products, and on the other hand allowed butchers to dispose of waste from the slaughterhouse directly into the canal.
After three years of construction, the new Municipal Butchery was opened in 1609. Johann Matthias Kager may have been involved in the façade design of the southern gable front of the three-storey gable roof building. The lower section housed 126 butcher's shops as sales stands, the upper section contained guild and office rooms. The main façade was decorated with a bronze coat of arms created by Hans Reichle and cast by Wolfgang Neidhardt.
In the Stadtmetzg itself, there was no slaughter, but a slaughterhouse was built in the immediate vicinity, which is now used as an administrative building.
Source: Wikipedia.de
"The optimist sees the rose and not its thorns; the pessimist stares at the thorns, oblivious to the rose."
- Kahlil Gibran
Louis-François Roubiliac's statue of George Frideric Handel is a work of 1738 in the Victoria and Albert Museum, London.
It was commissioned by the impresario Jonathan Tyers for his famous pleasure gardens in London, Vauxhall Gardens.
The composer is shown in the guise of Orpheus, holding a lyre. Despite the classical allusion, he wears informal contemporary dress: a soft cap, a long shirt open at the neck, a full loose gown, and slippers, one of which lies beneath his right foot. His pose is also casual.
He is seated cross-legged, leaning on a pile of bound scores of his works, including Alexander's Feast, which was completed the same month the statue was finished.
The statue is unprecedented, for not only was the sitter portrayed with startling informality, but it was the first life-size marble depicting a living artist.
Until this date such public statues were erected only for monarchs, noblemen or military leaders.
Roubiliac was a native of France, although his known surviving work was executed in England. Handel is his earliest known independent sculpture. When it went on display in Vauxhall Gardens in 1738 it proved an immediate success, helping to establish Roubiliac as one of the leading sculptors in England.
Roubiliac was trained in Lyon, later working in Dresden under a leading Baroque sculptor, Balthasar Permoser (1651–1732), and then studying in Paris before moving to London in about 1730. All his known surviving works were executed in Britain. He specialised in portrait busts and funerary monuments, and was renowned for his handling of marble, particularly his creation of subtle surface textures.
More here:
From my archives
George Frideric Handel in the decor of the Paris Opera by the sculptor Jean-Jules Salmson (1823-1902). Plaster model made in 1874.
At the request of an American writer for his new book I searched my archives for a picture taken in 2012. Meanwhile I found a series of photos taken in 'La Piscine', a historic Art Deco swimming pool converted into a museum in Roubaix (France). This hitherto unpublished photograph fascinated me again. Unfortunately at this moment I could not figure out the name of the sculpture and who was the sculptor.
Musée d'art et d'industrie André Diligent (La Piscine), Roubaix, France. www.roubaix-lapiscine.com/
Uit mijn archief
Georg Friedrich Händel in het decor van de Opera van Parijs in gips gemaakt in 1874 door de beeldhouwer Jean-Jules Salmson (1823-1902).
Op verzoek van een Amerikaanse schrijver zocht ik in mijn archief naar een in 2012 gemaakte foto voor zijn nieuw te schrijven boek. Ondertussen kwam ik een serie foto's tegen gemaakt in 'La Piscine', een historisch tot museum omgetoverd Art Deco zwembad in Roubaix (Frankrijk). Deze tot nu toe niet gepubliceerde foto fascineerde mij opnieuw.