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PMI – PMP® Certification Training Course in Davenport,IA|Eduklas
Event on 2018-03-24 09:00:00
DESCRIPTION The PMP® training course is designed to ensure that you pass the PMP exam on the first try. Our hands-on training approach, entrusted by 52,000 learners, will help you to understand the workings of the 5 process groups and 10 knowledge areas defined by the PMBOK® Guide—Sixth Edition. We guarantee you’ll walk away with all the preparation and confidence you need to conquer the exam and earn the PMP certification.  Eduklas is conducting 4 days PMP certification training course in major cities in USA. Register for this 4-day PMP classroom training/4-day PMP Live Virtual classroom training course, spread over one weekdays and prepare for the PMP Exam from an expert trainer.  Features of our PMP Certification Training: 4 days instructor-led intense classroom training Learn from an PMP accredited trainer 60 days access to 4 sets of mock question and answers for practice Hard copy of the latest PMBOK 6th edition Case studies in the classroom training session 35 contact hours certificate which will help you apply for PMP exam. Help with PMP Exam Application Process Tips and Techniques to clear PMP® Certification by the Trainer Support till you clear the PMP exam with 100% money back guarantee* Courses conducted across the globe For more information about our Project Management training courses, please e-mail support@eduklas.com or Call Now! On +1 (713) 955 5753 We also deliver onsite training for corporate groups. Contact us for group/corporate_discount. 5.00% for 3-4 people 10.00% for 5-9 people 15.00% for 10 and above people Visit us at PMP® Certification Training Course to know more about our certification training courses in Program Management, ITIL, IT Service Management, Quality Management, Agile, Scrum, and related fields. We conduct PMP certification training courses in Phoenix, Charlotte, Minneapolis, Boston, Chicago, Houston, Phoenix, Chicago, Washington, Los Angeles, Washington, Indianapolis, Dallas, San Diego, Baltimore and Richmond around USA… Please visit us at http://www.eduklas.com/  to know more about our professional certification training courses in India and across the globe. Please Contact Eduklas Learning Solutions: E-mail: support@eduklas.com or jeni.edward@eduklas.com Website: http://www.eduklas.com/ Call Us Now!: USA: +1 (713) 955 5753

at Davenport
2815 Locust Street
Davenport, United States

FMDallas

PMI – PMP® Certification Training Course in Olathe,KS|Eduklas
Event on 2018-03-27 09:00:00
DESCRIPTION The PMP® training course is designed to ensure that you pass the PMP exam on the first try. Our hands-on training approach, entrusted by 52,000 learners, will help you to understand the workings of the 5 process groups and 10 knowledge areas defined by the PMBOK® Guide—Sixth Edition. We guarantee you’ll walk away with all the preparation and confidence you need to conquer the exam and earn the PMP certification.  Eduklas is conducting 4 days PMP certification training course in major cities in USA. Register for this 4-day PMP classroom training/4-day PMP Live Virtual classroom training course, spread over one weekdays and prepare for the PMP Exam from an expert trainer.  Features of our PMP Certification Training: 4 days instructor-led intense classroom training Learn from an PMP accredited trainer 60 days access to 4 sets of mock question and answers for practice Hard copy of the latest PMBOK 6th edition Case studies in the classroom training session 35 contact hours certificate which will help you apply for PMP exam. Help with PMP Exam Application Process Tips and Techniques to clear PMP® Certification by the Trainer Support till you clear the PMP exam with 100% money back guarantee* Courses conducted across the globe For more information about our Project Management training courses, please e-mail support@eduklas.com or Call Now! On +1 (713) 955 5753 or you can WhatsApp us @ +1 (713) 955 5753  We also deliver onsite training for corporate groups. Contact us for group/corporate_discount. 5.00% for 3-4 people 10.00% for 5-9 people 15.00% for 10 and above people Visit us at PMP® Certification Training Course to know more about our certification training courses in Program Management, ITIL, IT Service Management, Quality Management, Agile, Scrum, and related fields. We conduct PMP certification training courses in Phoenix, Charlotte, Minneapolis, Boston, Chicago, Houston, Phoenix, Chicago, Washington, Los Angeles, Washington, Indianapolis, Dallas, San Diego, Baltimore and Richmond around USA… Please visit us at http://www.eduklas.com/  to know more about our professional certification training courses in India and across the globe. Please Contact Eduklas Learning Solutions: E-mail: support@eduklas.com or jeni.edward@eduklas.com Website: http://www.eduklas.com/ Call Us Now!: USA: +1 (713) 955 5753 WhatsApp us @ +1 (713) 955 5753 

at Olathe
16111 South Lone Elm Road
Olathe, United States

FMDallas

Andris Nelsons conducts an All-Wagner Program
Event on 2018-04-07 20:00:00

Richard Wagner's Tristan und Isolde is a hymn to the intense spirituality that accompanies transcendent earthly love. Musically and operatically innovative, it remains a watershed in the history of music; to hear its music live is an unforgettable experience. Andris Nelsons leads an outstanding cast of singers-including the great German tenor Jonas Kaufmann (taking the role of Tristan for the very first time) and the acclaimed Finnish soprano Camilla Nylund-in Act II of the opera, in which the title characters come together under the spell of a love potion, only to be discovered by King Marke, Tristan's uncle and lord, to whom Isolde is betrothed. The concert opens with one of Wagner's few purely instrumental works still heard today, the Siegfried Idyll, which he composed in 1869 and had performed as a surprise birthday gift for his wife Cosima. The "Siegfried" of the title is the couple's son, born the previous June, though Wagner later incorporated some of the Idyll's music into the third of his Ring operas, Siegfried. View biography in full page >

Andris Nelsons is the newly appointed Music Director of the Boston Symphony Orchestra, starting from the 2014/2015 season. He will act as Music Director Designate for the BSO's 2013/2014 season. Andris Nelsons made his Boston Symphony Orchestra debut in March 2011, leading Mahler's Symphony no. 9 at Carnegie Hall. Last summer, Nelsons made his debut at Tanglewood, and in January 2013, he made his Symphony Hall debut. This new appointment cements Andris Nelsons as one of the most sought-after conductors on the international scene today, a distinguished name both on the opera and concert podiums.  

Nelsons has been Music Director of the City of Birmingham Symphony Orchestra since 2008 and remains at the helm of orchestra until Summer 2015, enjoying critically acclaimed seasons and an outstanding tenure. With the CBSO, he undertakes major tours worldwide, including regular appearances at such summer festivals as Lucerne Festival, BBC Proms and Berliner Festspiele. Together they have toured the major European concert halls, including the Musikverein, Vienna, Théâtre des Champs Elysées, Paris, Gasteig, Munich and the Auditorio Nacional de Música, Madrid. Nelsons made his debut in Japan, on tour with Wiener Philharmoniker, and returned to tour Japan and the Far East with the CBSO in November 2013. 

Over the next few seasons he will continue collaborations with Berliner Philharmoniker, Wiener Philharmoniker, Het Koninklijk Concertgebouworkest, Gewandhausorchester Leipzig, Symphonieorchester des Bayerischen Rundfunks and Philharmonia Orchestra.

Andris Nelsons is a regular guest at Royal Opera House Covent Garden, Wiener Staatsoper and the Metropolitan Opera New York. In summer 2014 he returns to Bayreuther Festspiele as Musical Director for Lohengrin, in a production directed by Hans Neuenfels, which Nelsons premiered in Bayreuth in 2010.

With the CBSO, Nelsons has an exciting recording collaboration with Orfeo International: they are working towards releasing all orchestral works by Tchaikovsky and all those by R. Strauss, the first disc of which was praised by The Times: "one of the most sumptuous and refined accounts of 'Ein Heldenleben' ever put on to disc". The majority of Nelsons' recordings are recognised with a Preis der Deutschen Schallplattenkritik and, in October 2011, Andris Nelsons received the prestigious ECHO Klassik of the German Phono Academy in the category "Conductor of the Year" for his recording with CBSO of Stravinsky's 'Firebird' and 'Symphony of Psalms'. For audiovisual recordings, he has an exclusive agreement with Unitel GmbH, the most recent release is a disc including Dvorak, entitled From The New World with Symphonieorchester des Bayerischen Rundfunks, released on DVD and Blu-ray in June 2013.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was Principal Conductor of Nordwestdeutsche Philharmonie in Herford, Germany 2006-2009 and Music Director of Latvian National Opera 2003-2007. View biography in full page >

Camilla Nylund who was born in 1968 in Vaasa / Finland. She studied with Professor Eva Illes and later at the Mozarteum in Salzburg. For her outstanding achievement she was awarded the Lilli Lehmann Medal in 1995 by the International Foundation of the Mozarteum.

Camilla Nylund had been member of the ensemble at the Dresden Semper Opera from 1999 until 2002. Major productions in Dresden included COSI FAN TUTTE, FALSTAFF, LA CLEMENZA DI TITO, DIE MEISTERSINGER VON NÜRNBERG, ARABELLA, TANNHÄUSER, ROSENKAVALIER, FREISCHÜTZ, FLEDERMAUS.

Ever since Camilla had been invited for productions and performances at many of the world's leading opera houses – she sang Tatjana/ONEGIN and Eva/MEISTERSINGER at the Hamburg State Opera and Gräfin in the Venice production of CAPRICCIO, FIDELIO-Leonore at the Zurich Opera, Salome at the Köln Opera, in Vienna she performed Leonore in Beethoven's first FIDELIO version (Theater an der Wien). She debuted at the Bavarian State Opera (Elisabeth/TANNHÄUSER, Zubin Mehta), Furthermore the Salzburger Festspiele and Sir Simon Rattle invited her for their Japan tour with a concertant FIDELIO.

In November 2005 Camilla Nylund made her successful debut at the Vienna State Opera (SALOME). She was invited to la Scala di Milano and to Chicago to perform Beethoven 9th under the baton of Daniel Barenboim, at the Berlin Philharmonie she sang Contessa Simon Rattle's concertant performances of FIGARO. Sir Simon Rattle re-invited her to Berlin for Henze's FLOSS DER MEDUSA. At the Bavarian State Opera the singer took part in the new production CHOWANSCHTSCHINA (Emma) and appeared as FIGARO-Contessa, Fiordiligi in COSI and as Eva in MEISTERSINGER. A new production of ROSENKAVALIER/Marschallin brought her to the New National Theatre Tokyo.

2007/8 Camilla Nylund made her much acclaimed debut at the Salzburg Festival – in RUSALKA. In 2009/10 she made her debut at the Paris Bastille as Salome (November 2009) which turned even out to be a tremendous success. Equally acclaimend was her first Irene in RIENZI, new production at  the Deutsche Oper Berlin (January 2010). She appeared in a new production NOTRE DAME in Dresden, and in a new production SALOME (under the baton of Zubin Mehta) in Valencia.

In Summer 2011 she made her debut in Bayreuth – as Elisabeth in TANNHÄUSER, followed by re-invitations for 2012, 2013 and 2014.

2011/12 opened with a series of ARIADNE at the Vienna State Opera, followed by ELEKTRA/Chrysothemis at the Nederlandse Opera Amsterdam, ROSENKAVALIER at La Scala di Milano, SALOME in Vienna, RUSALKA at Covent Garden/London, furthermore she appeared at the Nederlandse Opera Amsterdam as DON CARLO-Elisabetta.

In 2012/13 Camilla Nylund was invited to the San Francisco Opera for LOHENGRIN and to the Liceo Barcelona for RUSALKA. Her first WALKÜRE-Sieglinde (Vienna State Opera) became a much acclaimed role debut.

In 2013/14 Camilla Nylund appeared in productions ARIADNE in Frankfurt, TOTE STADT in Helsinki, SALOME at the Staatsoper Berlin, a new production LOHENGRIN at the Vienna State Opera and SALOME concertant in Philadelphia.
 
Engagements in 2014/15 include: concerts with Beethovens 9. Symphony under R. Muti in Chicago, tannhäuser at the Vienna State Opera, rusalka in Lyon, ariadne auf naxos at Berlin State Opera, rosenkavalier in Amsterdam.
2015/16 includes ROSENKAVALIER at the Nederlandse Opera Amsterdam, ELEKTRA/Chrysothemis in Dresden, HOLLÄNDER at the Berlin State Opera, SALOME at The Vienna State Opera and in Tokyo, LOHENGRIN in Vienna and concertant in Amsterdam, new production ONEGIN in Dresden and the artist's debut at the BBC Proms (soprano part in MISSA SOLEMNIS)

2016/17
FIDELIO/Leonore with Barenboim at the Berlin State Opera,
FRAU OHNE SCHATTEN at the Berlin State Opera,
FLIEGENDER HOLLÄNDER/Senta in Helsinki,
TANNHÄUSER (both Elisabeth and Venus) at the Berlin Deutsche Oper,
WALKÜRE, ARABELLA and FIDELIO at the Vienna State Opera,
WALKÜRE in Bayreuth

Future engagements include
FRAU OHNE SCHATTEN, TOTE STADT, ARABELLA, WALKÜRE, FREISCHÜTZ at the Vienna State Opera, debut WOZZECK-Marie in Düsseldorf, CAPRICCIO in Frankfurt, HOLLÄNDER in Zurich, debut at the Metropolitan Opera New York (ROSENKAVALIER).

Camilla Nylund regularly works with the world's leading conductors within the concert and oratorio repertoire – Daniel Barenboim, Marek Janowski, Fabio Luisi, Ingo Metzmacher, Sir Simon Rattle, Yakov Kreizberg, Christian Thielemann, just to mention a few. View biography in full page >

Since his sensational 2006 debut at the Metropolitan Opera in La Traviata, Jonas Kaufmann has numbered among the top stars on the operatic horizon. The international press has singled him out as the "new king of tenors" and insiders praise him as the most important German tenor since Fritz Wunderlich.

Hailing from Munich, Kauffman completed his vocal studies there at the local Music Academy and attended master classes with Hans Hotter, James King and Josef Metternich. During his first years at the State Theatre in Saarbrücken, he continued his training with Michael Rhodes in Trier.

After engagements in Stuttgart, Frankfurt, Hamburg and Milan – in Giorgio Strehler's production of Così fan tutte and Fidelio, conducted by Riccardo Muti – Kaufmann moved on to the Zürich Opera in 2001. From there he began his international career, appearing at the Royal Opera House, Covent Garden in London, Paris Opera, Deutsche Oper Berlin, Berlin State Opera, Teatro alla Scala in Milan, Vienna State Opera, Metropolitan Opera, Lyric Opera of Chicago and Salzburg Festival. In 2010, Kaufmann made his debut at the Bayreuth Festival as the title role in Lohengrin in a spectacular staging by Hans Neuenfels.

Kaufmann is just as internationally in demand in the Italian and French repertoires as he is in German opera. He has sung Massenet's Werther in Paris and Vienna and Cavaradossi in Puccini's Tosca in London, at the Met and La Scala. His intensive characterizations of Don José in Bizet's Carmen and Werther in Massenet's opera took opera fans throughout the world by storm. Kaufmann loves portraying shattered characters, immersing himself in their world and making their thoughts and emotions strikingly believable.

Besides his vocal and musical qualities, it is Kaufmann's total identification with his roles that has been received with such enthusiasm by the press and public. This was certainly the case at his role debut as Siegmund in Die Walküre at the Metropolitan Opera in the spring of 2011. The eagerly awaited new production, masterfully conducted by James Levine and transmitted world-wide on radio and in HD to cinemas, allowed audiences to experience the special quality of Kaufmann's Wagner interpretations in detail: the blend of German expressive power and Italian vocal finesse. When Kaufmann subsequently had a great success performing the title role in Gounod's Faust (a new production that could also be seen in cinemas all over the world), he showed once again his vocal and theatrical versatility.

In 2012, Kaufmann debuted as Bacchus in Richard Strauss's Ariadne auf Naxos at the Salzburg Festival. In Salzburg, he was also heard as Don José in the new production of Carmen, conducted by Simon Rattle, and in a performance of Verdi's Requiem, conducted by Daniel Barenboim, which he also performed at La Scala and the Lucerne Festival. In December of 2012, Kaufmann returned to Milan for the opening of La Scala's season in the new production of Lohengrin, conducted by Barenboim and directed by Claus Guth.

2013 was the year of Wagner and Verdi. After the Met's new production of Parsifal and the revival of Don Carlos at the Royal Opera House in London, Kaufmann also portrayed the title role in Don Carlos in Munich and Salzburg. Furthermore, he sang two Verdi roles for the first time in new productions at the Bayerische Staatsoper: Manrico in Il Trovatore and Alvaro in La Forza del Destino. In February and March of 2014, Kaufmann portrayed Massenet's Werther in a new production at the Met, and in June he debuted as Des Grieux in Puccini's Manon Lescaut at the Royal Opera House.

Highlights from 2015 included Kaufmann's debut as the title role in a new production of Andrea Chenier at the Royal Opera House, conducted by Antonio Pappano, his first Radames in Aida in Rome, in a concert performance with Anja Harteros and Pappano, a highly acclaimed double debut in the new production of Cavalleria rusticana / Pagliacci at the Salzburg Easter Festival, a Puccini recital at La Scala, and new productions of Beethoven's Fidelio in Salzburg and Berlioz's La Damnation de Faust at the Paris Opera.

After the great success of his solo album of evergreens from the late Twenties and early Thirties (Du bist die Welt für mich), Kaufmann released his new album of Puccini arias (Nessun dorma) in September of 2015. He performed some of those arias at the legendary "Last night of the proms" in the Royal Albert Hall on September 12th.

In Munich's new production of Wagner's Die Meistersinger, which premiered in May of 2016, Kaufmann sang the role of Walther von Stolzing on stage for the first time. After his South American tour debut in August of 2016, with concerts and recitals in Buenos Aires, Sao Paulo, Lima and Santiago de Chile, the tenor will prepare the title role in Otello at the Royal Opera House in London (June 2017).

Kaufmann's versatility as an artist is documented on a number of CD's and DVD's in performances of such works as Lohengrin, Walküre, Parsifal, Königskinder, Ariadne auf Naxos, Don Carlos, Tosca, Andrea Chenier, Adriana Lecouvreur, Werther and Carmen. His solo albums "Verismo", "Wagner" and "Verdi" were bestsellers only a few weeks after being released. In 2011, Kaufmann was presented with the coveted Opera News Award in New York. An article in "Opera News" heralded this selection with the words: "His intensity and elegance, the smoothness of his voice and his body language, combined with his musicality and his glowing appearance make him the very definition of a 21st century opera star." Shortly afterwards, Kaufmann was named a "Chevalier de l'Orde de l'Art et des Lettres" by French culture minister Frédéric Mitterand. Kaufmann has been selected several times as Singer of the Year by the classical music magazines Opernwelt, Diapason and Musical America, as well as by the juries of Echo-Klassik and the inaugural International Opera Awards (London 2013).

Jonas Kaufmann is also a familiar figure internationally on the concert and recital platforms. He regards art song interpretation as "The Royal Class of Singing", since this genre calls for considerably more finesse and differentiation than any other vocal discipline. His partnership with pianist Helmut Deutsch, with whom he has worked as far back as his student days in Munich, has proven itself in countless concerts, including one on the stage of the Metropolitan Opera on October 30, 2011. This was the first solo recital given at the Met since Luciano Pavarotti's back in 1994. View biography in full page >

Mihoko Fujimura was born in Japan and studied at both Tokyo University and the Münchener Hochschule für Musik.  She won numerous international singing competitions before joining the ensemble of the Graz Opera from 1995 to 2000, where she sang many of her signature roles for the first time. 

She came to international attention in her performances at the 2002 Munich Opera Festival and the Bayreuther Festspiele and has since become a regular guest at the Royal Opera House, Covent Garden, Teatro alla Scala Milan, Bayerische Staatsoper, Wiener Staatsoper, Theatre du Chatelet, Teatro Real Madrid, Deutsche Oper Berlin, Bayreuther Festspiele, Maggio Musicale Fiorentino and the Aix-en-Provence Festival.  In concert she appears with the world's leading orchestras and is a regular guest artist in Japan.

She has appeared at the Bayreuth Festival in nine consecutive seasons, singing Kundry, Brangäne, Fricka, Waltraute and Erda.

Miss Fujimura's operatic repertoire includes Kundry, Brangäne, Venus, Fricka, Idamantes, Octavian, Carmen, Eboli, Azucena and Amneris.   Her concert repertoire includes Verdi's "Requiem", Wagner's "Wesendonck Lieder" and Mahler's "Das Lied von der Erde"; "Rückert Lieder"; "Des Knaben Wunderhorn" and Symphonies No. 2, 3 and 8.  She appears regularly with conductors such as Claudio Abbado, Myung-Whun Chung, Christoph Eschenbach, Adam Fischer, Fabio Luisi, Christian Thielemann, Kurt Masur and Peter Schneider and in recital with Christoph Ulrich Meier. 

She has recorded Brangäne ("Tristan und Isolde") with Antonio Pappano for EMI Classics, Gurrelieder with the BRSO and Mariss Jansons, Mahler 3 with the Bamberger Symphoniker and Jonathan Nott, and Beethoven 9 with Christian Thielemann and the Wiener Philharmoniker. For Fontec she has released two solo recital discs with pianist Wofram Rieger, singing works by Wagner, Mahler, Schubert, Strauss, Brahms and Schumann.

In concert she appears with the Rotterdam Philharmonic Orchestra, the Philadelphia Orchestra and the London Philharmonic Orchestra and Yannick Nézet-Séguin, the BBC Proms with the BBCSO and Semyon Bychkov, the London Symphony Orchestra with both Daniel Harding and the late Sir Colin Davis, the Orchestre de Paris with Christoph Eschenbach, the Philadelphia Orchestra with Charles Dutoit, the Montreal Symphony with Kent Nagano, the Accademia Santa Cecilia and Yuri Termikanov and Kurt Masur, the Tokyo Philharmonic and Myung-Whun Chung, the City of Birmingham Symphony Orchestra and Andris Nelsons, both the Bayerische Rundfunk Sinfonie Orchester and the Royal Concertgebouw Orchestra with Mariss Jansons, both the Münchner Philharmoniker and the Wiener Philharmoniker with Christian Thielemann, and the Berliner Philharmoniker with Bernard Haitink and Simon Rattle.

Engagements this season include a tour of Wagner's Wesendonck-Lieder to South America with the Hamburg Philharmonic Orchestra and Kent Nagano; celebratory performances of the Beethoven 9 with the Vienna Philharmonic and Zubin Mehta, a Gala concert with Kazushi Ono and 'Das Rheingold' with the Dresden Semperoper to mark the 30th Anniversary of Tokyo's Suntory Hall; a China tour of the Beethoven 9 with the Wiener Symphoniker; 'Das Rheingold' (Fricka) at the Wiener Staatsoper and performances of Hosokawa's 'Klage' and the Mahler II with the Tokyo Symphony.

In 2014 she was awarded the Purple Ribbon Medal of Honour by the Japanese Government for her contribution to academic and artistic developments, improvements and accomplishments. View biography in full page >

After completing his training as a music and German teacher, Georg Zeppenfeld went on to study concert and operatic singing at the Academies of Music in Detmold and Cologne, under the guidance of Professor Hans Sotin. After his first operatic engagements, which took him to the Municipal Theatre in Münster and to the Bonn Opera, he was engaged by the Sächsische Staatsoper Dresden (Semperoper) in 2001 and has been a member of the ensemble ever since.

Performing with such renowned conductors as Myung-Whun Chung, Daniele Gatti, Fabio Luisi, Kent Nagano, Peter Schneider, Marcello Viotti, and Leif Segerstam, Zeppenfeld has been able to develop an extensive repertoire of predominantly serious bass roles from various periods and styles. Among them are Monteverdi's Seneca/L'INCORONAZIONE DI POPPEA, and Mozart's Sarastro, Commendatore, Figaro, Bartolo, and Don Alfonso, as well as Verdi's Padre Guardiano/LA FORZA DEL DESTINO, Sparafucile/RIGOLETTO, Zaccaria/NABUCCO, Banquo/MACBETH, and Philipp II/DON CARLO, Wagner's Fasolt/DAS RHEINGOLD, Veit Pogner/DIE MEISTERSINGER VON NÜRNBERG, Landgraf Herrmann/TANNHÄUSER, Gurnemanz/PARSIFAL, König Heinrich/LOHENGRIN, and König Marke/TRISTAN UND ISOLDE, Mussorgsky's Pimen/BORIS GODUNOV, and Dvo?ák's Water Sprite/RUSALKA.
Guest appearances have taken him to the leading opera houses of Germany, such as Hamburg, Berlin and Munich, and to international music centers including Amsterdam, Antwerp, Luxemburg, Barcelona, Madrid, Paris and Vienna as well as New York, San Francisco, Chicago, and more. He made his debut in 2010 at the Bayreuther Festspiele in the role of König Heinrich/LOHENGRIN and returned in 2011 as Veit Pogner/DIE MEISTERSINGER VON NÜRNBERG (recorded with the BSO under the baton of Marek Janowski). After his debut in the role of Philebos/DER KÖNIG KANDAULES in 2002, he has regularly appeared at the Salzburg Festival in operatic, lied, and oratorio performances alike. In summer 2012, he returned to Salzburg as Sarastro in a new production of DIE ZAUBERFLÖTE, conducted by Nikolaus Harnoncourt. At the Glyndebourne Festival, Zeppenfeld appeared in the role of König Marke. In 2005, he sang Sarastro in a new production at the Festspielhaus Baden-Baden; in 2007, he made his triumphant U.S. debut at the San Francisco Opera House in the same role, which he also sang at the Metropolitan Opera in New York in 2009 and at the Wiener Staatsoper in 2011.

Among his recent highlights are his debut at the Grand Théâtre de Genève, where he sang König Heinrich in a new production of Richard Wagner's LOHENGRIN, as well as guest performances at La Scala di Milano in the role of Commendatore/DON GIOVANNI, followed by Landgraf Herrmann/TANNHÄUSER.

Highlights of the 2011/12 season include Peneios in Vienna, Sarastro in Munich, Barcelona and at the Salzburger Festspiele as well as Gurnemanz in Lyon, and others.
The 2012/13 season takes him to Antwerp, Gent and Luxembug in the role of Gurnemanz, and to Hamburg as Landgraf Hermann and König Heinrich. In Dresden, Georg Zeppenfeld will appear in his major role of Sarastro as well as in the roles of Rocco/FIDELIO, Daland/DER FLIEGENDE HOLLÄNDER and Zoroastro in Händel's ORLANDO.

In addition to his operatic engagements, Georg Zeppenfeld also pursues an active international career as a concert singer. In particular, the works of Bach, Handel, Haydn, Mozart, and Beethoven as well as the great late Romantic oratorios have given him the opportunity to sing in many of Europe's leading concert venues.

Recent engagements include concerts with the Munich Philharmonic as well as the Vienna Philharmonic Orchestra under Christian Thielemann, Berlin Philharmonic Orchestra under Pierre Boulez, Gewandhausorchester Leipzig under Riccardo Chailly, Concentus Musicus Wien under Nikolaus Harnoncourt, Filarmonica della Scala under Kurt Masur, Accademia di Santa Cecilia in Rome, Orchestre National de France, Sächsische Staatskapelle Dresden and other leading orchestras which allowed him to expand his stylistic spectrum and by that to accentuate his immense vocal versatility. In Summer 2012, Zeppenfeld sang Beethoven's 9TH SYMPHONY with the City of Birmingham Symphony Orchestra in Birmingham, at the Lucerne Festival and the Beethovenfest in Bonn; in November 2012 he returned to his University in Detmold for a recital.

Georg Zeppenfeld has participated in numerous radio and TV productions and many CD recordings. He sang in the Memorial Day performance of Verdi's REQUIEM under Daniele Gatti on the 60th anniversary of the destruction of Dresden, which was televised by ARTE and released on DVD. His artistic achievements are documented on CD and DVD recordings for Deutsche Grammophon, Deutsche Harmonia Mundi, Oehms classics, and Unitel, as well as radio and TV productions for major German broadcasting corporations. View biography in full page >

Born in Carmarthen, West Wales, Andrew Rees gained a scholarship to study at the Royal Northern College of Music, Manchester, and completed his studies on the Opera Course at the Guildhall School of Music and Drama, London. He was a Jerwood Young Artist at English National Opera and later became a principal tenor at the company.

At the Royal Opera House, Covent Garden, he has sung Doctor Yes in the world premiere of Anna Nicole, Ulrich Eisslinger Die Meistersinger von Nürnberg and Froh Das Rheingold.  Roles elsewhere have included Bob Boles Peter Grimes and Melot Tristan und Isolde for Grange Park Opera, Steva Jenufa and Siegmund Die Walküre for Longborough Festival Opera, Kudryash Katya Kabanova and Ismaele Nabucco for Opera Holland Park, Kudryash Katya Kabanova and Ulrich Eisslinger Die Meistersinger von Nürnberg for Welsh National Opera, Pang Turandot and Macduff Macbeth for Northern Ireland Opera, Macduff Macbeth and Raffaele Stiffelio for Chelsea Opera Group, Melot Tristan und Isolde for the BBC Scottish Symphony Orchestra, the Nederlandse Reisopera and at the Théâtre des Champs-Élysées and Siegmund Die Walküre for Longborough Festival Opera.

International engagements have included Steva Jenufa for New Israeli Opera, Boris Katya Kabanova and Sergei Lady Macbeth of Mtsensk at the Stadttheater St Gallen, Sergei Lady Macbeth of Mtsensk at the National Theater Weimar and Jimmy Mahoney The Rise and Fall of the City of Mahagonny for Angers Nantes Opera.

Contemporary work includes Dudley in Philip Cashian'sThe Cumnor Affair for Tête-à-Tête, Diana and Acteon for the Royal Ballet, Ryan When She Died: Death of a Princess for Channel 4 and Lemminkaïnen Swan Hunter for Opera North, all by Jonathan Dove, and Judith Weir's Blond Eckbert with the NDR Sinfonieorchester, Hamburg.

Concert highlights have included Beethoven Symphony No. 9 on tour with the Warsaw Philharmonic, Theseus in the world premiere of Jonathan Dove's The Monster in the Maze with the London Symphony Orchestra, The Dream of Gerontius with the Finnish Radio Symphony Orchestra and the RTÉ National Symphony Orchestra, Heinrich der Schreiber Tannhäuser and Fourth Esquire Parsifal at the BBC Proms and Grace Williams' Missa Cambrensis with the BBC National Orchestra of Wales.

His recordings include Narraboth Salome for Chandos and Doctor Yes Anna Nicole for Opus Arte Blu Ray / DVD.

Conductors with whom he has worked include Stefan Asbury, Stephen Barlow, Brad Cohen, Paul Daniel, Mark Elder, Tecwyn Evans, Edward Gardner, Daniele Gatti, Antony Hermus, Jacek Kaspszyk, Lothar Koenigs, Jiri Kout, Charles Mackerras, Gianluca Marcianò, Sakari Oramo, Anthony Negus, Antonio Pappano, George Pehlivanian, Sir Simon Rattle, Donald Runnicles and Mark Wigglesworth.

Current engagements include Vladimir Igoryevich Prince Igor for Chelsea Opera Group, Laca for Grange Park Opera, Melot Tristan und Isolde at the Rome Opera, Jimmy Mahoney The Rise and Fall of the City of Mahagonny for the Royal Danish Opera and Rachmaninov's The Bells with the Royal Philharmonic Orchestra. Next season, he will sing Melot at the Dutch National Opera. View biography in full page >

Baritone David Kravitz is increasingly in demand on operatic and concert stages. Critics have hailed his "large, multi-layered" and "sumptuously flexible" voice, his "power and eloquence," his "deeply considered acting," his "drop-dead musicianship," and his "deep understanding of the text."

This season, David Kravitz joins the Center for Contemporary Opera in a collaboration with Laboratorio Opera for the premiere of Love Hurts, music by Nicola Moro and libretto by Lisa Hilton, singing the role of Marquis de Sade / Gilles de Rais. He also debuts with Opera Santa Barbara as Forester in Cunning Little Vixen, and joins the Boston Symphony as the Notary in Der Rosenkavalier.

Last season included Mr. Kravitz's role debut of Scarpia in Tosca with Skylight Opera, and performances of Handel's Messiah wth the Virginia Symphony. The 2014-2015 season included a company debut with Palm Beach Opera, as the Rabbi in the world premiere of Enemies, A Love Story. Continuing his commitment to new music, he also appeared in the workshop and acclaimed world premiere of Matthew Aucoin's Crossing: A New American Opera with American Repertory Theater. Additionally, he returned to Boston Lyric Opera as the Baron Duphol in La Traviata.

The baritone's 2013-204 season brought a company debut with Dallas Opera to reprise the role of United Nations in Death and the Powers, the role of Frederik in Sondheim's A Little Night Music with Emmanuel Music, as well as performances with Boston Lyric Opera as both the Speaker in Die Zauberflöte and Marullo in Rigoletto.  His concert performances included Mohammed Fairouz's Symphony No. 3 (Poems and Prayers) with the UCLA Philharmonic, and A Sea Symphony, with the Pioneer Valley Symphony Orchestra. He closed the season as La Rocca in Un giorno di Regno with Odyssey Opera in their inaugural season, followed by debuting the role of Tevye in Fiddler on the Roof  with Ash Lawn Opera.

The baritone's 2012-2013 calendar included appearances with the Boston Symphony Orchestra, for Le rossignol under the baton of Charles Dutoit; The English Concert, as Farasmane in Radamisto at Carnegie Hall; Boston Pops, for holiday concerts conducted by Keith Lockhart; Boston Lyric Opera, for Abraham in the North American premiere of MacMillan's Clemency; the Lyric Opera of Kansas City, for his debut, as Poo-Bah in The Mikado; Boston Modern Orchestra Project, for King Fisher in a concert performance of The Midsummer Marriage; Chautauqua Opera, for Captain Balstrode in Peter Grimes, and the Tanglewood Music Festival, for Nick in Emmanuel Music's production of Harbison's The Great Gatsby. Additionally, Mr. Kravitz created the role of Davis Miller in the world premiere of D.J. Sparr's Approaching Ali at Washington National Opera.

In autumn of 2011, Mr. Kravitz made his debut with Florentine Opera as Ping in Turandot, and appeared with The Washington Chorus, for Wachner's Come My Dark Eyed One and Mozart's Mass in C Minor. He continues the season as Melchior in Amahl and the Night Visitors with The Little Orchestra Society at Avery Fisher Hall; Dr. Falke in Die Fledermaus with Opera Memphis; Lord Salt in The Golden Ticket with Atlanta Opera; and Cosimo in John Musto's The Inspector  with Boston Lyric Opera. 

In the 2010-2011 season, Mr. Kravitz sang the Businessman in Intermezzo for his debut at New York City Opera, and appeared as the United Nations Delegate in the world premiere of Tod Machover's Death and the Powers at Opéra de Monte-Carlo, with subsequent performances of the work that season at Chicago Opera Theater and in Boston in a production by the American Repertory Theater. He also returned to Opera Boston as the Provost Marshall and Gold Merchant in Hindemith's rarely performed Cardillac, sang Handel's Messiah for his debut with the Baltimore Symphony Orchestra, covered Matthias Goerne in Britten's War Requiem with the Saito Kinen Festival under Seiji Ozawa, performed Pilate in Bach's St. John Passion with the Boston Symphony led by Masaaki Suzuki, sang his first Verdi Requiem, and appeared as Nick Shadow inThe Rake's Progress with Emmanuel Music. He closed the season as Taddeo in L'italiana in Algeri with Boston Midsummer Opera. 

In the summer of 2009, he joined Glimmerglass Opera for Dr. Grenvil in La traviata  and Mr. Kofner in The Consul. In the 2009-2010 season, he sang his first Germont in La traviata  with the Pioneer Valley Symphony, joined the Boston Symphony Orchestra for Elijah  (solo bass, covering Elijah) and MacMillan's St. John Passion  (covering Christus), bowed as Baron Grog in Offenbach's La Grande-Duchesse de Gérolstein  with Opera Boston, and later traveled to Opera Theatre of Saint Louis for Lord Salt in the world premiere of The Golden Ticket.  He also sang Raphael in Die Schöpfung with Emmanuel Music under John Harbison and Cimarosa's Il maestro di cappella with Boston Baroque under Martin Pearlman (a "tour de force," declared the Boston Globe).

In the 2008-2009 season, Mr. Kravitz sang Prince Ottokar in Der Freischu?tz  and Krusina in The Bartered Bride  with Opera Boston, and joined the Philadelphia Orchestra for Handel's Messiah.  He also garnered rave reviews for his "resolute power and total connection" (Opera News) in Bach's St. Matthew Passion  with the Boston Symphony Orchestra under Bernard Haitink.

In the 2007-2008 season he returned to the Boston Symphony Orchestra under Maestro Levine for Berlioz's Les Troyens, to Opera Boston for Handel's Semele, to Opera Theatre of St. Louis for Martin y Soler's Una Cosa Rara, and to Boston Baroque for Purcell's King Arthur. Mr. Kravitz joined the Boston Symphony Orchestra for Bach's St. Matthew 
Passion  under Bernard Haitink; he performed Handel's Messiah  in Carnegie Hall; he joined the Lincoln (NE) Symphony under Edward Polochick for Bach's St. Matthew Passion; and he returned to Emmanuel Music for Bach's B Minor Mass, to the New England Philharmonic for Mahler's Lieder eines fahrenden Gesellen, and to the Cantata Singers for Carmina Burana  and for the Boston premieres of Kurt Weill's Flight of Lindbergh  and Charles Fussell's High Bridge.   

Mr. Kravitz's commitment to new music has led to his presentation of world or regional premieres of numerous contemporary works. Critics hailed his performance of the leading role of Leontes in John Harbison's Winter's Tale with Boston Modern Orchestra Project as "brilliantly sung" and "a personal triumph." New music engagements in 2010-2011 include Dominick Argento's song cycle The Andrée Expedition, newly-commissioned songs by Andy Vores and James Yannatos, and the world premiere of an oratorio by Kareem Roustom. In recent seasons, Mr. Kravitz presented the world premieres of Thomas Whitman's A Scandal in Bohemia with Orchestra 2001; James Yannatos's Lear Symphony with the Harvard-Radcliffe Orchestra; Julian Wachner's My dark eyed one with Back Bay Chorale; and short operas by Andy Vores and Theo Loevendie with Boston Musica Viva. His other recordings include Bach's Cantata BWV 20 and St. John Passion with Emmanuel Music (Koch International Classics), and Harbison's Four Psalms and Peter Child's Estrella with Cantata Singers (New World).

Before devoting himself full-time to a career in music, Mr. Kravitz had a distinguished career in the law that included clerkships with U.S. Supreme Court Justices Sandra Day O'Connor and Stephen Breyer. He later served as Deputy Legal Counsel to the Governor of Massachusetts.

at Symphony Hall
301 Massachusetts Avenue
Boston, United States

FMDallas

As we go through our lives, we consistently hear there is a direct correlation between success and healthy living that cannot be ignored. In other words, by not living healthy on the journey to success, we may cut short many opportunities or outcomes which would have otherwise been fruitful had we paid attention to a very valuable resource – our health.

You are encouraged to examine each topic below to determine if there are weaknesses in your health success plan. If we carefully look at what actions we can take on our journey to success, perhaps the road can be made a little bit easier.

1. Read nutrition labels to be sure that the ingredients you and your family are consuming are pure. Artificial ingredients, consumed consistently will have a detrimental affect on your body. When in doubt, throw it out.

2. Lose Weight so your body can properly use the fuel you feed it. By being overweight, all body systems have to work twice as hard. Think of it like this. What happens when you try to carry someone who is of equal weight to you, on your back? Your heart races, your joins are burdened, you become fatigued.

3. Keep your mental and spiritual well being intact by guarding your own surroundings and thoughts. The bottom line is, crap in equals crap out. Toxic people should not be allowed to enter your space and the same goes with information. If allowed, toxic people and information can destroy a person’s self-worth and bring down a very critical resource on the road to success.

4. Find time for exercise every single day. Engage in an activity you enjoy and keep it up. Your body will thank you.

5. Weekly recreation and fun is essential to clearing out the cobwebs and reset the brain/work connection. Enjoyment and pleasure allows us to congratulate ourselves for working hard on our goals.

6. Build strong relationships with family and friends. A sense of community and trust between individuals brings us acceptance, love and value to our lives. Without community, our journey to success doesn’t seem to have much meaning.

7. Take care of your health. By developing a preventative maintenance routine like visiting our physician, dentist, dermatologist we can help to manage and find problems before they become critical. An MD can catch hypertension, diabetes, asthma and other diseases before you do. A dentist can help you keep a pretty smile and prevent gum disease by guiding you towards a more consistent daily dental brushing/flossing regiment.

8. Lastly, but not least, don’t smoke and limit your alcohol intake. Smoking is probably one of the worst things you can do for your body because the toxic chemicals in cigarette smoke triples your risk of getting lung cancer. You also risk developing very serious heart disease and breathing problems.

By following the tips above, you are on your way to better health and productivity on your road to success.

To find out what business is helping many people earn income from home, go to http://www.thefreedomdreamteam.com Make your success a reality! For more home based business resources, go to http://www.sofiahogan.com Just say Hi!

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Glasgow Univeristy Magazine Article from May 2000

Image by Subcity Radio
Glasgow University Magazine, Feburary 2000, p.10-11 by Lynne Hamilton

The New Wave

It was 10.30 am, I was standing in the windswept wastelands of Pacific Quay, soon to be super-tech development under the shadow of the SECC’s great shell. In the corner of this semi-landscaped field stands Four Winds Pavilion; spot on as the location for Beat 106 FM HQ. A freshly converted tram-shed that emits “bright, young and trendy”, its brand new inhabitants hope that Beat 106 FM, the radio station will do the same.

It burst live onto the airwaves at 1.06 pm, Friday November 19, 1999. Station’s Head of Music, here in the the eye of the storm, still recovering after a tempestuous weekend; the station;s first on air. Since he moved back up north from London and Radio One 10 weeks previous, life has been pretty much non-stop; now that his baby’s up and running, he already seeing what can be done to make it better. born of an idea that formed in the minds of, among others, Ewan McLeod, Stuart Clumpas (head honcho at DF Concerts and King Tuts) and Wilkinson himself, over two years ago, that weekend’s long-overdue launch must be making each and every one of them a proud father.

It may have been a turbulent birth here at Four Winds Pavilion, but to the public there was no more than a warm welcoming gust of good music, intelligent presenters and a sense that something better was coming to Scotland’s airwaves.

“We wanted to prepare the ground”, said Richard. They didn’t want to blow all their funding on a big gimmicky bang only to fade away a month or so later. “We couldn’t compete with the sort of things Radio so, we just let things tick over.: The exclusive Beat 106 gigs and club nights at the end of January, consolidating the station as the best new contender for Scottish Radio’s crown since… well, a long time.

Wilkinson himself himself rolled off the Glasgow University production line with an ordinary degree in Electronics and Music, a course that didn’t excite him much; apart from one occasion sin first year. He met an art school girl in one of his classes – “this is a really sad confession” – and followed her to a Guardian meeting. He stuck with the journalism (the relationship must not have happened then, eh?), and “started writing really crap record reviews”. One thing led to another and in 1995, following the lead of Sweet FM and Ton and a Half (the Art School station, named after its 150-year anniversary), he set up SubCity radio with a £20,000 grant from the SRC. Some may know the rest as history but here’s a brief summary. SubCity, operating on the 28-day Restricted Service Licence, won the Radio One award for best student radio station in November 1996, and in Febuary 1997 Steve Lamacq and John Peer broadcast Radio One from SubCity, alongside Richard and his pals; a formative experience for them all. :Steve had had a few ciders, and we were in their hotel. I was being my “I’m so against playlists’ self… I just want people to come in, play whatever records they want, and try to develop their on-air style. One thing Lamacq said to me was that, doing student radio, I was in such a fortunate position, to not be restrained, and that what I was doing was one of the biggest luxuries”.

From this luxurious position, he headed southwards after a stint at T in the Park, to spend a year and a half braving the perils of early breakfast shows, and the hell that is mainstream drivetime radio, all at Radio One itself. He doesn’t rule out ever heading back down that way, but for now Beat 106 is what he was made for, its seems. “It;s been fantastic.”

And so to the future; the aim is not to create a “tartan Radio One” but something that can fill the gap in the Scottish – and for that matter British – market. Wilkinson breaks out the music industry weekly’s singles chart, scoring off at least five of the top ten that would not receive airplay at 106; that would not receive airplay at 106; “Christina Aguilera, Jennifer Lopez, Five, Shania Twain,…Westlife” 9this last uttered with pure contempt). The key idea here is “heavy rotation but no “pop” element…It’s a national radio station, we don’t have the luxury of being too out there.” The specialist side of things is, nevertheless, well catered for, with the weekends being practically devoted to dance (including Slam on Friday nights and the Jengaheads on a Sunday), and Jim Gellatly heralding a “more upbeat and accessible evening session” from 7pm until 10pm. Monday to Thursday. Gellatly is the man for you young band hopefuls out there – his “personal interest” according to Wilkinson, being Scottish acts. But like the bedroom DJs Beat 106 hope to uncover, you’ll have to make the effort to get hear; “obviously, we’d rather the talent came to us,” says Richard. I asked if SubCity would be involved in this grassroots side of things: “co-existence-wise, there has to be a recognised filtration system, a way of giving budding DJ talent the opportunity to make it.”

As Richard says: “…it’s a complete evolution process, and a case of being aware of what is not being played and what is not being represented. It’s about being inclusive rather than exclusive, it’s about making people feel welcome,” judging by the storm on the airwaves which the station has already whipped up, all this talk may be more than just hot air.

Win a free trip for two to Ibiza!

Image by van.brussel
Great billboard ad for a radio station shot at the Bijlmer, Amsterdam.

140530-N-NW827-791

Image by U.S. Pacific Fleet
KUPANG, Indonesia (May 30, 2014) Lt. Brian Chaplow, assigned to the U.S. Seventh Fleet Band, conducts a live radio interview at the RRI Kupang radio station to promote awareness and upcoming events in Pacific Partnership 2014. Pacific Partnership is in its ninth iteration and is the largest annual multilateral humanitarian assistance and disaster relief preparedness mission conducted in the Asia-Pacific region. (U.S. Navy photo by Mass Communication Specialist 1st Class Stephen Oleksiak/Released)

FMDallas

Bancroft Family Concert: Musicians of The Dallas Opera
Event on 2018-02-24 15:00:00
Dallas Opera Orchestra Principal Cello Mitch Maxwell is joined by Calgary Opera General Director and CEO (and former General Director and CEO of the Dallas Opera) Keith Cerny on piano for Beethoven’s Variations on a Theme from The Magic Flute. The afternoon includes The Dallas Opera Orchestra’s Stewart Williams on English horn performing an excerpt from Wagner‘s Tristan and Isoldewith Ricardo Burgess performing original choreography. And Dallas-based ensemble Trio Kavanah will play Bartok’s Contrasts for Clarinet, Violin and Piano, and Poulenc‘s L’invitation au Chateau, Op. 138. The members of Trio Kavanah are Daniel Goldman, clarinet, Dallas Opera; Grace Wollett, violin, Dallas Opera; and Trevor Hale, piano. === Seating is first-come, first-served/general admission, and doors open at 2:30. No tickets or printout from Eventbrite is needed. Our concerts often fill to capacity, and it is recommended attendees arrive early to guarantee seating. Bancroft Family Concerts are a free chamber music series featuring local professional musicians. These last roughly an hour. They are completely free of charge and open to all ages. The performances are simulcast in a nearby auditorium with overflow seating.

at Dallas Museum of Art
1717 N Harwood St
Dallas, United States

FMDallas

Our Last Night
Event on 2018-04-03 18:00:00
with I The Mighty, Don Broco, Jule Vera
By standard definition the word "evolution" means a process of change in a certain direction. In life, people, cities, nature, art and music among other things go through their own evolutionary cycles, constantly moving forward and continually changing. New Hampshire based melodic-metal outfit Our Last Night has experienced their own such growth over the past several years. Through experience, methodically honing their craft and long arduous touring, Our Last Night has emerged matured and seasoned with their self-defining sophomore album 'We Will All Evolve.'To understand their development you have to go back a few years. Our Last Night was conceived outside the conventional scene in the sleepy town of Hollis, New Hampshire on the outskirts of Boston in 2004. After a recording an EP later that year, the band cemented its current lineup in 2006 with brothers Matt Wentworth (guitar/vocals) and a then sixteen year old prodigious growler Trevor Wentworth (vocals), Colin Perry (guitar), Alex "Woody" Woodrow (bass) and Tim Molloy (drums). Individuality and shear skill led Epitaph Records owner and president Brett Gurewitz to sign the band in 2007 and release their debut full-length album, 'The Ghost Among Us,' in 2008.Since 2008, Our Last Night has built a core army of fans. Not through flashy persona, fame fueled online gossip or monotonous scene imagery, but through their music and touring alone. Letting the music speak for itself has helped the band transcend boundaries and created limitless room for growth. Our Last Night entered the studio in late 2009 with producer Andrew Wade (A Day To Remember, Versa Emerge) to record 'We Will All Evolve'. After a month long recording session and additional mixing by David Bendeth (Breaking Benjamin, Paramore, Set Your Goals) the album was completed and ready for release in May 2010. Exploding with depth and maturity, 'We Will All Evolve' blends Trevor's harsh, aged-to-perfection growls perfectly with Matt's melodious, calming vocals over his and Colin's progressive, breakneck-metal driven guitars, Woody's heavy hitting bass and Tim's pummeling drums. Ripping through thirty-seven plus minutes of meticulously written melodic mayhem with tracks like the furious first single, "Elephants," the indisputably catchy "The Air I Breath," and the bouncy pop-metal hybrid "Into the Future," Our Last Night break out of their cocoon riff by riff, chorus by chorus rising above the limits of a so called scene. With plans to tour in support of the new album throughout 2010 including dates on the Vans Warped Tour, Our Last Night's evolution continues as the band feeds off of experience and the incessant need to create and grow.

at RBC Dallas
2617 Commerce Street
Dallas, United States

FMDallas

PRINCE2® Foundation and Practitioner Certification Training Course in Indianapolis, IN-USA
Event on 2018-03-20 09:00:00
iCert Global is conducting 4 days PRINCE2® Foundation and Practitioner Certification Training Course in Indianapolis, IN On Mar 20 Through 23, 2018.
Register for this 4-days PRINCE2 Foundation and Practitioner classroom training course, spread over weekdays and prepare for the PRINCE2 examination with training by an expert instructor with hands-on PRINCE2 experience.
We are an AXELOS Certified Partner and an Acquires Accredited Training Organization (ATO) and a People Cert Accredited Training Organization (ATO) for providing PRINCE2 Foundation and Practitioner certification exam training across the globe.
Features of our PRINCE2 Certification Training:
• 4 days of Instructor led training
• Learn from Industry best certified Instructor
• High Quality e-Learning Content with 180 days free access (worth 9)
• Get 32 PDU certificate
• Approved courseware
• Prince2 Foundation and practitioner exam fee included with course fee
• ATO of AQUIROS and PEOPLECERT
For more information about our PRINCE2 Foundation and Practitioner certification training courses, please e-mail info@icertglobal.comor call Adam on +1 (713)-287-1252.
Visit us at PRINCE2® Foundation and Practitioner to know more about our certification training courses in PRINCE2®, CAPM®, PRINCE2® Foundation, PRINCE2® Practitioner, PRINCE2® Foundation & Practitioner, PRINCE2® Agile, CBAP®, MSP, CMMI.
We conduct PRINCE2® Foundation and Practitioner training courses in Washington, Texas, Carolina, Florida, Nebraska, Louisiana, Missouri’s, Connecticut, Michigan, Ohio, Georgia, Oklahoma, Virginia, Dallas, Chicago, Phoenix, Charlotte, Minneapolis, Boston, Phoenix, Chicago, Washington, Los Angeles, Indianapolis around USA.. Please visit us at http://www.icertglobal.com/ to know more about our professional certification training courses in across the globe.
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at Comfort Stay Inn
7610 Old Trails Road
Indianapolis, United States

FMDallas

The Return of The Hates with Goat, Lizzie Boredom, and Room 101
Event on 2018-02-03 22:00:00

Yes, we can now confirm it.  As first reported by The Chronicle's eagle eyed  Adrew Dansby, The Hates are returning!

"The sign pictured above was easy enough to miss, being nondescript and DIY befitting one of the city's most beloved bands. But there it was just the same at the corner of Farnham and the Southwest Freeway feeder road.  The Hates are returning. Apparently Feb. 3 at Rudyard's.  The show will be a welcome return for the punk band, especially after a trying year. Hates frontman Christian Kidd had shoulder surgery in January, which is a heavy lift for a guitarist under any circumstances. Then later this year he was diagnosed with Stage 3 squamous cell carcinomaI'd missed the announcement last month that his cancer was in remission, which is very good news. And now it appears he'll soon be back to playing short, sharp classic punk rock songs." – Andrew Dansby, Houston Chronicle, Friday, November 24, 2017

 

 

 
The Hates (Houston, TX)
http://www.thehates.com/

 

The Hates has been called "Houston's first and last punk band", and with over thirty years of blood, sweat, and that familiar mohawk, those words may be more true than their author ever knew. From his very first live show in 1978, Christian Arnheiter has steered this legendary band through decades of disco, pop, new wave, hair bands, hip-hop, crossover country, and now the newest fad of tribute bands to keep punk rock alive.

In a time when many early eighties groups are getting back together to play reunion shows, the Hates have the distinction of being the oldest continuously performing unsigned punk band. And despite the love/hate relationship the local music scene has had with punk rock over the years, the Bayou City will always be their home.
 

 

 

Goat (Houston, TX)
https://www.facebook.com/fiftydollargoat/
 

Zipperneck meets Texas Mod Crushers and has a baby goat.
 

 

Lizzie Boredom (Dallas, TX)
https://www.facebook.com/lizzieboredomband/
 

 

Room 101 (New Orleans, LA)
https://www.facebook.com/room10101/
 

Room 101 is a one man band designed to give you nightmares and/or seizures.
"A one man punk rock pipebomb" -Roctober Chicago

 

 

at Rudyard’s British Pub
2010 Waugh Drive
Houston, United States

FMDallas

Eye wash Stations are among the most important safety fixtures in facilities where hazardous debris and chemicals can get into people’s eyes and harm them. If a person gets a hazardous substance in his or her eye, the station will immediately deliver a stream of water to the eyeball and wash the hazardous fluid or debris out of the eye socket.

Sometimes only seconds are available for the person to reach the station and rinse the eye before serious, or even permanent, damage is done. Because this is such a time critical issue, eye wash stations must strictly comply with a number of safety codes, among which are ANSI z358.1-2004 and OSHA codes.

They must also be easy for workers to locate, even if they have been partially blinded by something that has gotten in their eyes. For this reasons, fixtures are tested and tagged much like fire extinguishers so there will be no doubt as to their location, and no delay in getting to the station.

There are a number of facilities and organizations that use eye wash stations. Factories install them anywhere dust or chemicals could get in workers’ eyes. Chemical plants also install them anywhere liquids or strong fumes can irritate and burn eyes. Laboratories must use them to sanitize eyes exposed to experimental chemicals and substances.

Hospitals use them for sanitizing eyes that may have been exposed to fluids or chemicals related to patient care. Dentists must also use them because tooth debris can get into eyes and damage tissue if not washed out.

Not only do these emergency relief stations protect human welfare, but they also save organizations millions of dollars each year by averting workman’s compensation claims and possible lawsuits. They also help architects and builders meet code by ensuring that the work environment will be as safe as possible even in situation where things can and sometimes do go terribly wrong.

Most of the organizations above are required by law to install eye wash stations. There are many different designs to choose from, including, but not limited to, the following styles:

Wall Mount
Wall mounted units look much like lavatories and spray water upward. They are usually activated by a side handle

Pedestal
The pedestal design is intended to save space in close quarters. Unit activates by a large, high-profile push handle. Water pressure ranges from 30-90 PSI.

Cabinet Mount
The eye wash station actually resides in a recessed cabinet fitted into a wall. This is a super space saver for very small areas.

Swing Down
This is another cabinet mount design where the spray mounts stand vertically flush with the cabinet while not in use. To activate, the user swings the station down so the water can jet upward into the eyes.

Drench Showers
These units stand upright in places that cannot hold wall mounted units. They provide a deluge of water when the operating handle is pulled. Persons using this type of eye wash fountain stand under the water stream so both the eyes and face are cleansed of hazardous material.

Lab Eye Wash Stations
Some designs mount to standard and gooseneck faucets. The water is diverted from the faucet to the station heads when the unit is activated.

Portable Eyewashes
For places where workers move around a lot, or where permanent fixture housing is impractical, a variety of portable stations are available for emergency use.

Wall mount units are also manufactured in a number of barrier free designs. Barrier free simply means that the unit is specifically designed with ADA compliant features, including a minimum of 30 PSI water pressure, are required features of these product lines.

Please visit http://www.xpblocker.com for more information about eye wash stations, eye wash stations, wall mounted eye wash station and more.

FMDallas