Lady Christine is wife of Lord Irvine Laidlaw
Lord Laidlaw of Rothiemay one of the richest men in Scotland, had to reduce the price of property in its 15 rooms, Moundsmere Manor in the village of Preston Candover Hampshire. reports homes and property gossip home he put the house on the market three years ago for £ 14 million, but reduced its price to £ 10,950,000. He bought the property for £ 9 million in 2005.
Le Manoir is a red brick house was built in 1908-9 by Sir Reginald Blomfield for Wilfred Buckley, a successful businessman to return to England from America. The Edwardian mansion is surrounded by a walled garden and the property includes a pool and a tennis court on nearly 85 acres. The photos show some ad large bedrooms, large fireplace and a sweeping staircase. The list for the home is here.
Opera On The Riviera
The Festival Founded in 1997, Takes up EACH year in August is Cap Ferrat, The Mediterranean's Most Exclusive hire.
We make opera accessible and Engaging. Each Night We Give Every One Of Our 200 year guests unforgettable evening of opera in a fairytale setting. Our coming year Gives immediate connection Between performers and audience That Is In An unusual opera house.
The Covered patio of The Magnificent Belle Epoque Villa Ephrussi de Rothschild Provides The Most intimate space for a fully-staged opera Performed in the Round. You Are Drawn Into The Heart of the performance, experiencing a thrillingly personal encounter With The operatic voice. Singing of Exceptional quality and verve in The Original language forfaitaire Fully accessible by French and SURTITLES Français.
The magic continued after Some performance artists When The join you for dinner "under the stars, In the magnificent gardens. The Evening Is Like a modern equivalent of 18th century Year evening how the Villa Which Is Intended To Be WAS Originally Used by Baroness Ephrussi.
President Sarah Holford Music Director Bryan Evans MBE
Production sponsored by Lord and Lady Laidlaw and Friends of the ENO
Giuseppe Verdi (1813-1901)
Opera in 4 acts
The Coliseum Rhodes
London is now quarter past two from Paris St Pancras, but London is also currently in the Egyptian time ... For King Tut is back, this time at the former Millennium Dome renamed "The O2"! The shops are full of books bearing his image, a pyramid (all provisional) has even been erected in his honor at Hyde Park, and to complete the program, the ENO's Coliseum Theatre presents a new production of Aida that there had not been played since 1979. Meanwhile, of course, Aida was given at Covent Garden and at the Royal Albert Hall, "In The Circle", in Italian or English. In this case, it is a representation in English, as is tradition at the ENO.
The quarrel between the original versions, or translated into the language of the country seems to be, worldwide, almost permanently closed, especially since the advent of supertitles. The Opera-Comique in Paris presented the French versions until the age Lieberman. The ENO, among some other European theaters, is one of the proponents of this old principle: that the feud is not going to reopen here, especially at the time of Verdi himself, his operas were sung in the language of the country took place representations. But anyway, that's still a bit curious to hear "Oh, father, father," especially if a "padre" reflects surreptitiously among several fathers, hunted the natural ... In fact, the English version of Edmund Tracy is rather well written, but fails to evoke the musicality of the Italian language. While there are several disk full of old Aida in German, it exists only in English, quite recently, with Jane Eaglen (Chandos, 2002).
If you care so little in fashion, the name of Zandra Rhodes can not be alien to you. It is certainly one of the great English designers of the best known and had been inspired by ancient Egypt for one of its collections in the mid 80s. Take a fashion designer to showcase work from a new angle is an excellent idea, and its participation is billed as the highlight of the production of fact, we are not disappointed, it has eyes full! But as with regard to the sets and costumes that they have to highlight an originality and a variety of colors such that they can ultimately serve the actors.
Sets, first of all, are both original and a great economy of means. Everything is designed from the canvases, which effectively interpret ancient Egypt while allowing for relatively quick changes of scenery. On the transparent curtain are arranged on both sides of the shape of a pyramid, characters adapted from different cursive script of the ancient Egyptian language, even to think of the characters in the Arabic language. At the beginning and the end of the representation, the pyramid is everywhere, created in varying sizes to view the crossing of curtains and the rest of the time, the eye udjat watching the action from the outset in blue, then yellow, becoming decor itself and occupy the whole scene at the time of trial, the rays of the sun, finally, are also present several times. We regret lighting often weak at first, and use many archaic prosecution, after which things work out.
For costumes, as noted Egyptologist Auguste Mariette, author of the screenplay Aida, "It is especially here that we meet the difficulty. Egyptians make fancy as those usually seen in the theater is not difficult (...). A king can be beautiful granite with a huge crown on the head, but when it comes to dress in the flesh and make it work, and make him sing, it becomes embarrassing, and One must beware of making people laugh .... " Here, no problem, apart from the pseudo-nemes headdresses worn by extras and pharaonic false beard sported Radames, nothing is laughable. The interplay of colors is remarkable and globally, individually, each costume is very beautiful and very evocative, complete with painted signs applied to the skull or face. The costume most successful: the High Priest and the funniest: Amonasro, with a bouquet of multicolored feathers stuck into a tuft of hair piled on top of the head, the more dowdy: Aida (but is it skinnable?) ; it will retain its black Arabian 3rd act which has silvery and golden in the moonlight. As for Amneris, she is dressed as Laura Ashley fabric rustic makeover for social evening.
You do not come to ENO to hear the greatest voices of the moment. Simply, the musical quality is always at the rendezvous, and vocal performances consistently good. Conducting here is excellent, despite some tempos a bit slow at times. Vocally, all the singers provide a more honorable, laughing pitfalls of the partition. Of course, some would say that the tenor is abusing a little the head voice, other than a mezzo Cossotto listened too, and that the soprano has a voice a little metallic at the beginning and that really does give from the third act, but who cares, there are nuances, phrasing somehow adapts to the English language, you appreciate a great homogeneity of the vote and, musically, the show works well. This is all the more commendable that for the majority of the leading roles (Claire Rutter, Jane Dutton, Brindley Sherratt and Iain Peterson), this is an initial role. As for the choruses, they are also excellent and great clarity, particularly during the trial.
It is therefore a very bright and appealing production, and that the public seems to appreciate, so why did she not totally convinced? I think it stems primarily from the staged and the conduct of players, best in the scenes of confrontations (duos and trios) than in group scenes. There is especially a too big gap between the quality of stage production and a staging too sloppy at times, and, without really inventive. Sure, you smile watching the singers unruly and talkative during the scene of the Triumph, but we do not want them because they all look so fun to be so happy to be there and Aida sing! But they give a bit like playing a comic opera, Verdi is not gold Guilbert and Sullivan ...
And then there is really the first degree, with Claire Rutter who plays in the style of the 20s, like Theda Bara in Cleopatra. As for Jane Dutton, it must be of good character, because she laughs almost every time, giving the impression that she is very happy events, and that everything which happens very funny (kind Roseline Bachelot puppet in Puppets of Information). The first lady of the house is also very funny, leading the world as Girl Guide leader guide. But all this for fun, is not a great show.
So, in conclusion, a quality show that would have needed a director and require more inventive and some extra rehearsals. But he must have seen the sets and costumes by Zandra Rhodes. And if you do is not possible, you will find on the website of the ENO a character you can have fun to dress as you like with the costumes of Zandra Rhodes, before sending it to anyone you like ...
Support for training of surgeons
The direction of international cooperation and the CHPG lend their support to the training program developed by surgeons Caap Afrika.
Since 2004, the Princely Government, through the Directorate of International Cooperation, supports the association Monaco Caap Afrika offering to young Nigerians surgeons trained in orthopedic surgery and traumatology.
This program is also supported by the Princess Grace Hospital Centre which hosts the doctors in training thereby contributing to the restructuring of a surgical team performing at the National Hospital of Niamey (HNN), allowing for appropriate care of as many patients.
This project has also been endorsed by the President of the Republic of Niger, Mamadou Tandja.
The idea is to eventually enable these future surgeons to meet demand bloated which flows daily to the hospital in Niamey and in turn train young interns. The Association hopes the system of "buddy", a transmission of knowledge acquired by students accepted in the Principality and supplying qualified surgeons hospitals regions.
It is in this context that on October 15 last two doctors arrived in Monaco, thanks to the donation made by the Lord and Lady Laidlaw Foundation.
-> Created for Lady Christine Laidlaw