Camellia sanes biography examples

A wind gust strikes the window beside me, rattling the rain-streaked glass. Outside, a brief flash of lighting illuminates the slope of conifers that edge the hillside road. Abandoning my desk for a much-needed break, I lift my mug and swirl the shadowy liquid it contains, lingering over the last sip. Peering into the depths, it’s hard to not notice how the bitter leaves at the bottom resemble a crow with outstretched wings.

Maybe it’s the fierce weather. Maybe it’s the grim nature of the scene I’ve just finished drafting, but one cup of tea isn’t going to be enough this afternoon. I’m referring to true tea, of course: the slightly bitter leaves of the Camellia sinensis plant, not to be confused with the meek and insipid herbal tisanes so beloved by Hercule Poirot, Agatha Christie’s fussy detective.

The less-than-sunny tale that unfolds in The Bone Field (the latest in my Dark Paradise Mystery series, set within Hawai’i’s tropical landscape) deserves the soundtrack of grumbling thunder outside the windows of my writing room—and the strong, dark brew that is my beverage of choice.

Though I’ve chosen an unlikely setting for my own mystery-crime series, a common scene in mystery novels—especially those of the cozy mystery subgenre—often includes a sleuth sipping tea as he or she contemplates the clues that have been strewn across their path; gathering them up to sort like so many jigsaw pieces as the lovely pot close at hand is slowly emptied of its contents.

As a reader, I crave a sinister backdrop, in the way that the tea tent at the village fête in Cover Her Face—the first Inspector Adam Dalgliesh novel by P.D. James—becomes an ominous set piece belying the deceptively peaceful day-to-day of English village life. I yearn for atmosphere, the kind created by this simple, bleak line from The Adventure of the Sussex Vampire by Sir Arthur Conan Doyle, which

See also: Chronological list of Italian classical composers, Music of Italy, and Music history of Italy

This is an alphabetical list of composers from Italy, whose notability is established by reliable sources in other Wikipedia articles.

The portraits at right are ten of the most-prominent Italian composers, according to a published review.

This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by adding missing items with reliable sources.

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Cigarettes and Chocolate, a stage adaptation of the Anthony Minghella radio play, had a brief run in August at the Angel Orensanz Foundation Center for the Arts in New York City. Now the piece will get a higher-profile reading Off-Broadway.

The Blue Light Theatre Company, currently staging Michael Cristofer's Amazing Grace, will offer a one-night reading of Cigarettes, Mar. 22, 7 PM at Theatre Four, 424 West 55th St. The reading features Blue Light regular Greg Naughton, alongside Vivienne Benesch (Deep Blue Sea, Ancient History), Camilla Sanes, Paul Amodeo, Kelly Deadmon, Matthew Saldivar, Francesca DiMauro and James Matthew Ryan. Cheryl Faraone directs.

Minghella, Academy Award winning director of The English Patient and author of its screenplay, was commissioned by the BBC to write Cigarettes and Chocolate in 1988. American Opera Projects managing director Charles Jarden came across the play in a collection of Minghella writings in 1992 and has been working with director Gabrielle Jakobi on the staged production through a series of workshops over the past two and a half years. With the success of The English Patient American Opera Projects stepped up production on the play to capitalize on the notoriety of Minghella. Miramax recently purchased the film rights to Cigarettes.

Set in present day London, Cigarettes and Chocolate follows a young woman's decision to stop speaking and the attempts of her friends to understand why. Her silence serves as a catalyst to their confessions. Jarden told Playbill On-Line, "It's about the relationship between music, silence and noise." Solo music by Bach on the violin has been incorporated into the story. Jarden said, "We've pushed the boundaries of what can happen," and called the play, "very serious, intense and experimental."

American Opera Projects will take the play to Berlin and Vienna as part of an exchange initiated by German director Jakobi. Jakobi directed Winterreise at La Mama E.T.C. i

French composer, organist, conductor and pianist (1835–1921)

"Saint-Saëns" redirects here. For other uses, see Saint-Saëns (disambiguation).

Charles-Camille Saint-Saëns (,;French:[ʃaʁlkamijsɛ̃sɑ̃(s)]; 9 October 1835 – 16 December 1921) was a French composer, organist, conductor and pianist of the Romantic era. His best-known works include Introduction and Rondo Capriccioso (1863), the Second Piano Concerto (1868), the First Cello Concerto (1872), Danse macabre (1874), the opera Samson and Delilah (1877), the Third Violin Concerto (1880), the Third ("Organ") Symphony (1886) and The Carnival of the Animals (1886).

Saint-Saëns was a musical prodigy; he made his concert debut at the age of ten. After studying at the Paris Conservatoire he followed a conventional career as a church organist, first at Saint-Merri, Paris and, from 1858, La Madeleine, the official church of the French Empire. After leaving the post twenty years later, he was a successful freelance pianist and composer, in demand in Europe and the Americas.

As a young man, Saint-Saëns was enthusiastic for the most modern music of the day, particularly that of Schumann, Liszt and Wagner, although his own compositions were generally within a conventional classical tradition. He was a scholar of musical history, and remained committed to the structures worked out by earlier French composers. This brought him into conflict in his later years with composers of the impressionist and expressionist schools of music; although there were neoclassical elements in his music, foreshadowing works by Stravinsky and Les Six, he was often regarded as a reactionary in the decades around the time of his death.

Saint-Saëns held only one teaching post, at the École de Musique Classique et Religieuse in Paris, and remained there for less than five years. It was nevertheless important in the development of Fr