Lilly

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Its lily pad has a 3' diameter and produces large fragrant pink flowers. The seed and the rhizome are edible. Although tropical it can be grown in cooler zones if the rhizome can be covered and protected sufficiently to keep from freezing. Also known as Sacred Lotus. Correct name: Nelumbo nucifera

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The last and most subtle of Richard Strauss's operas gets a finely nuanced interpretation in this San Francisco Opera production. A generally excellent cast is highlighted not only by the radiant presence of Kiri Te Kanawa but by the deceptively robust performance of Tatiana Troyanos in her last operatic appearance before her untimely death from cancer. The composer described Capriccio as a "conversation piece for music in one act," and he put a lot of effort into it, not only the music but the words, on which he collaborated with conductor Clemens Krauss. His verbal input was particularly appropriate in this work, because the real subject (symbolized by a conventional love triangle) is the competition (and alliance) between words and music in opera, a subject naturally close to the composer-librettist's heart. The conversation runs through the whole opera in various forms. It begins immediately after the curtain goes up, with a quarrel between the poet Olivier (Simon Keenlyside) and the composer Flamand (David Kuebler) over the respective merits of their arts. They are rivals for the hand of the widowed Countess Madeleine (Te Kanawa); she is to choose between them (i.e., between poetry and music) but she is still undecided as the final curtain descends. The intervening two hours are rich in artistic shop talk and backstage situations that will enchant sophisticated opera-lovers, as well as the love interest for the rest of us. David Runnicles conducts with a sure sense of Straussian style; and Mauro Pagano's 18th-century set creates the right atmosphere. Keenlyside and Kuebler are eloquent and believable, Te Kanawa sweet, regal and ambiguous. Håkan Hagegård and Victor Braun give particularly vivid performances in supporting roles. --Joe McLellan

Richard Strauss's last opera, includes some of the composer's most elegant and sumptuous music. The deftly woven vocal ensembles, detailed orchestral writing and light-handed parodies of eighteenth century music show the hand of the master. Stars Kiri Te Kanawa, Hakan Hagegard, Tatiana Troyanos, and Victor Braun.

Studio: Kultur Release Date: 08/29/2006

Sobreviviré es el mas reciente disco de Lilly Goodman donde encontraras ritmos contagiosos, y letras cargadas de fé, amor y esperanza.

Iraq. Forced to play a dangerous game of cat-and-mouse in the chaos of war an elite army bomb squad unit must come together in a city where everyone is a potential enemy and every object could be a deadly bomb. Studio: Uni Dist Corp. (summit) Release Date: 01/12/2010 Starring: Jeremy Renner Run time: 131 minutes Rating: R

The making of honest action movies has become so rare that Kathryn Bigelow's magnificent The Hurt Locker was shown mostly in art cinemas rather than multiplexes. That's fine; the picture is a work of art. But it also delivers more kinetic excitement, more breath-bating suspense, more putting-you-right-there in the danger zone than all the brain-dead, visually incoherent wrecking derbies hogging mall screens. Partly it's a matter of subject. The movie focuses on an Explosive Ordnance Disposal team, the guys whose more or less daily job is to disarm the homemade bombs that have accounted for most U.S. casualties in Iraq. But even more, the film's extraordinary tension derives from the precision and intelligence of Bigelow's direction. She gets every sweaty detail and tactical nuance in the close-up confrontation of man and bomb, while keeping us alert to the volatile wraparound reality of an ineluctably foreign environment--hot streets and blank-walled buildings full of onlookers, some merely curious and some hostile, perhaps thumbing a cellphone that could become a trigger. This is exemplary moviemaking. You don't need CGI, just a human eye, and the imagination to realize that, say, the sight of dust and scale popped off a derelict car by an explosion half a block away delivers more shock value than a pixelated fireball. The setting may be Iraq in 2004, but it could just as well be Thermopylae; The Hurt Locker is no "Iraq War movie." Bigelow and screenwriter Mark Boal--who did time as a journalist embed with an EOD unit--align themselves with neither supporters nor opponents of the U.S. involvement. There's no politics here. War is just the job the characters in the movie do. One in particular, the supremely resourceful staff sergeant played by Jeremy Renner, is addicted to the almost nonstop adrenaline rush and the opportunity to express his esoteric, life-on-the-edge genius. The hurt locker of the title is a box he keeps under his bunk, filled with bomb parts and other signatory memorabilia of "things that could have killed me." That none of it has killed him so far is no real consolation. In this movie, you never know who's going to go and when; even high-profile talent (we won't name names here) is no guarantee. But one thing can be guaranteed, and that is that almost every sequence in the movie becomes a riveting, often fiercely enigmatic set piece. This is Kathryn Bigelow's best film since 1987's Near Dark. It could also be the best film of 2009. --Richard T. Jameson