Rob Cosman visits with master craftsman Alan Peters in his shop in Somerset, England. Alan is respected as one of the greatest craftsman alive and a master of hand tools and methods. Having spent five years apprenticing in the famous Barnsley workshops, Alan is a living link to the original Arts and Crafts movement. During those apprentice years the Barnsley shops produced furniture on a commercial level by hand and without electricity.
Rob Cosman has been woodworking for most of his life. While earning a B.Sc. in Industrial Technology/Furniture Design at Brigham Young University, he was Dr. Dale L. Nishs teaching assistant. Rob has also worked with many of the worlds best craftsmen - including Alan Peters, Sam Maloof, Tage Frid, Monroe Robinson and Peter Korn. In the first of Rob Cosmans Master Craftsman Series, he teams up with renowned woodcarver, author and teacher Chris Pye to present a comprehensive DVD. Topics covered include selecting gouges, features of a correctly sharpened edge, adding an inside bevel, power sharpening, hand honing and keeping the tools sharp. Run time is 1 hour, 55 minutes.
Joyce Di Donato and Maite Beaumont are outstanding as the devoted couple tormented by Tiridate’s abuse of power. Their flexible and agile voices are ideally displayed in the opening scenes of Act 2 – Beaumont’s sublime ‘Quando mai’ followed by Di Donato’s powerful ‘Ombra cara’. Patrizia Ciofi is suited to the moods of the Tiridate’s long-suffering wife. Dominique Labelle is the most rounded and ideally equipped Handel soprano in the cast: the music effortlessly trips off her tongue in ‘Mirerò quel vago volto’… Alan Curtis directs with superb pace and judgement. He is a successful advocate for Handel’s first version of Radamisto, although in Act 3 he uses two pieces from the second version for dramatic reasons. I wonder how Polissena’s original climactic aria ‘Sposo ingrato’ might sound instead of the exclamatory ‘Barbiro, partirò’, but I cannot fault Curtis’s decision to opt for the more dynamic later aria. Il Complesso Barocco play neatly and sympathetically support the singers. The orchestra avoids forcing rhetorical effects too much but I wish it had mined the textural richness in Handel’s score a little deeper. However, this enjoyable performance lacks nothing essential in theatrical impact and musical drive. (David Vickers, Gramophone)
Alan Curtis, lauded by Opera as one of our finest conductors of Baroque opera, illumines Handel s masterpiece, Alcina, by casting, as heroine, the brilliant Joyce DiDonato. Since Alcina is historically dared by virtuosic sopranos like Sutherland and Battle, this innovative recording with a mezzo is a must-have not just for Alcina freaks but all who adore sensational vocalism. As Handel did in his time, Curtis arrays our era s finest Baroque singers such as Maite Beaumont and Karina Gauvin in supporting roles around his star. With this electrifying Alcina, first ever studio recording of the rarely heard Ezio and Rolando Villazón s new album, Handel Year 2009 is being exceptionally well feted by Deutsche Grammophon.
" Un million de Hongrois vont mourir, Auschwitz est prêt à les recevoir. Mais si vous les prévenez maintenant ils se révolteront. Ils n'iront pas dans les fours. Votre tour viendra aussi. Aujourd'hui c'est celui des Hongrois. Il faut les avertir le plus vite possible. " Voici le récit effrayant d'un homme qui a passé près de deux ans dans le camp d'extermination d'Auschwitz. Le 14 avril 1944, Rudolf Vrba et son ami Fred Wetzler parviennent à s'enfuir, et le 25 avril ils remettent leur " Rapport sur les camps de concentration d'Auschwitz, Birkenau et Maïdanek "…