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Holmes, Doyle Profile: Regina Stinson

Regina Stinson and her Sherlockian crafts
My friend Regina Stinson will be speaking at Holmes, Doyle, & Friendsthe annual Sherlockian conference in Dayton, OH, for the second time. This year her topic is "Disguise and Deception" in the Canon. Here's another look at the interview I did with her last year:  

When and how did you first encounter Mr. Sherlock Holmes?

It was during the summer when I was allowed to stay up and watch the late show on TV—I was probably about 12, or so—when I first saw the Basil Rathbone series of Sherlock Holmes movies. My older brother informed me that these were updated and that the Holmes of the stories was from an earlier era. He also gave me a paperback book containing a collection of short stories. Craving more Holmes, I bought myself a complete Canon and the thing blossomed from there.

You make a wide range of beautiful and creative Sherlockian crafts. How did that come about?

I was looking for a way to support my dear friend Jacquelynn Morris with her symposium, A Scintillation of Scions, and being somewhat artistic, I came up with the idea to make a Sherlockian charm bracelet for their auction. It was so popular that people were asking me if I made jewelry to sell. One thing led to another and I began selling my creations. The first symposium I ever sold at was in Dayton. I also sell my items on Etsy under the name Artful Pippin.

How did you come to start the Ribston-Pippins in 1988? And don’t forget to explain the name!

I had wanted to join a scion society for some time and had made several calls to the contact person for the Amateur Mendicants, but all I got were promises that they would be starting up again soon. (They had been on a long hiatus.) I finally decided that if I wanted to belong to a scion, I’d have to start my own. So, I distributed fliers to libraries and bookstores in my area announcing our first meeting, which took place at our home on November 18, 1988. We had about 12 members at that time and have been studying the Canon and having Sherlockian fun since then! (Ten years later, the Amateur Mendicants started up again.)

Oh yes, the name. We were looking for a name that hadn’t been used before and that sounded interesting. I leafed through Tracy’s Encyclopaedia Sherlockiana when I ran across the term “Ribston-Pippin.” We had a vote at our second meeting and everyone liked that name best. It comes from Watson’s description of one of the men, James Lancaster, who came to interview with “Captain Basil” in “The Adventure of Black Peter.” Subsequently, we acquired a member who actually grew Ribston-pippins in his yard. His chosen nom was “James Lancaster,” of course.

To what other Sherlockian groups do you belong?

I’m in the BSI, ASH, Hounds of the Baskerville (sic), Amateur Mendicants, Watson’s Tin Box, Illustrious Clients, and Bar of Gold.

What has it meant to you over the decades to be part of worldwide community of friends devoted to Sherlock Holmes?

I love being a part of this wonderful community! I’ve met a lot of great people and become close friends with many of them. I feel like I’ve found my people!

When did you become a member of the Baker Street Irregulars?

I was given the investiture of “A Little Ribston-Pippin” in 2006.

What did that feel like?

It was one of the most awesome experiences in my life! I was floating on a cloud for a long time. I’m sincerely honored to be a part of this illustrious organization.

What question have I not asked you that you would like to answer?

Have you ever had anything of your Sherlockian writings published? Yes! I’ve had two small monographs published in the Baker Street Journal, a short story published in Charles Prepolec’s Curious Incidents II, and essays in About Sixty and Sherlock Holmes is Like. I’ve also contributed a monograph to an upcoming Baker Street Irregulars book, Corporals, Colonels and Commissionaires.

Register now for Holmes, Doyle, & Friends and get the early-bird discount.

Whatsapp Takip Programı ÜCRETSİZ DENEME

En kolay şekilde whatsapp mesajlarını takip etmek için hemen aşağıdaki programı ücretsiz olarak deneme yapabilirsiniz. İndirme linkine tıkladıktan sonra açılcak sayfadan Ücretsiz kayıt olabilir ve sonrasında programı takip etmek istediğiniz telefona indirip kurup 7 gün ücretsiz deneme yapabilirsiniz. 




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Mirella Freni (1935-2020)

Mirella Freni as Fedora Romazov in Giordano's "Fedora" at the opening night gala
of the Metropolitan Opera in 2002. Placido Domingo sang the role of Loris Ipanov.
Ms. Freni was one of the great exponents of the Italian operatic heritage.
Photo by Sara Krulwich / The New York Times



















By Anthony Tommasini

The New York Times — February 10, 2020

Mirella Freni, Matchless Italian Prima Donna, Dies at 84

Mirella Freni was acclaimed for her exquisite singing in lighter lyric roles. In midcareer she also dared to explore weightier ones.

Mirella Freni, an exemplary Italian prima donna for nearly 50 years, whose voice was ideally suited to lighter lyric roles but maintained its bloom even as she took on weightier, more dramatic repertory in midcareer, died on Sunday 9 February at her home in Modena, in north-central Italy. She was 84.

She died after a long degenerative illness and a series of strokes, said J.F. Mastroianni, her longtime manager.

In the late 20th century, when opera was becoming increasingly internationalized, Ms. Freni was hailed as a last exponent of the great Italian operatic heritage.

"That tradition is ending", Plácido Domingo was quoted as saying in a 1997 New York Times article about Ms. Freni. "Mirella is the end of a chain. After that you cannot see who really follows her."

Many opera lovers acknowledged Ms. Freni's special claim on this tradition, which valued bel canto principles of producing rich, unforced sound; of shaping even, lyrical lines across the range of a voice; and of sensitively matching sound to words.

In her early years Ms. Freni won acclaim for her exquisite singing in lighter roles like Bizet's Micaëla in "Carmen", Mozart's Susanna in "The Marriage of Figaro" and Zerlina in "Don Giovanni", and Verdi's Nannetta in "Falstaff". She sang those roles with a matchless blend of radiance, lyrical ardor and girlish pluck.

With her beguiling stage presence, quiet charisma and the affecting vulnerability she could summon in her singing, Ms. Freni made Mimì in Puccini's "La Bohème" a signature part. She won international acclaim in the role in a landmark 1963 production at La Scala in Milan, directed by Franco Zeffirelli and conducted by Herbert von Karajan, who became one of her major champions.


Mirella Freni as Joan of Arc in The Washington National Opera production of
"Maid of Orleans" in 2005. Photo by Karin Cooper / Washington National Opera

















Though vocal beauty and proper technique were central to the Italian tradition, Ms. Freni placed a premium on expressivity and feeling. Commenting on the state of opera in a 1997 interview with The Times, she said there were many young artists who sing well and move well. "But that is all", she added. "Finito! I want something deeper."

"It is important to have emotion, to live through the music onstage", she continued. "Also, the Italian singers have a special feeling for the language. Even when we speak it is musical."

Yet she steadily expanded her repertory and, as the colorings of her voice grew darker with maturity, sang more dramatically intense and vocally heavy roles, like Desdemona in Verdi's "Otello", Verdi's "Aida" and Puccini's "Manon Lescaut". She was particularly urged on this course by Karajan, who brought her to the Salzburg Festival to sing Desdemona and the demanding role of Elisabetta in Verdi's "Don Carlo".

With the support of her second husband, the Bulgarian bass Nicolai Ghiaurov, she ventured into Russian repertory, singing Tatyana in Tchaikovsky's "Eugene Onegin" and Lisa in Tchaikovsky's "Pique Dame".

Yet Ms. Freni never lost the warmth and richness of her lyric soprano origins. Reviewing her performance in "Manon Lescaut" at the Met in 1990, The Times's Donal Henahan marveled at her longevity and excellence.

"The wonder of Mirella Freni at this stage of her career", he wrote, "is that she continues to sing Puccini with seemingly reckless ardor while preserving a surprisingly fresh and beautiful sound".

Still, Ms. Freni considered herself a judicious soprano. She could say no, even to the imposing Karajan, if she though a particular role was not right for her. She recorded Puccini's "Madama Butterfly" twice, including a film version conducted by Karajan, but never performed the role complete in a  staged production in an opera house.

"I am generous in many ways, but not when I think it will destroy my voice", she said in a 2013 Opera News interview. "Some singers think they are gods who can do everything", she added. "But I have always been honest with myself and my possibilities."

She was born Mirella Fregni on February 27, 1935, in Modena, eight months before Luciano Pavarotti was born in the same town. They would become friends and colleagues.

When Ms. Freni was 5, her uncle was playing a new recording of the Italian coloratura soprano Toti Dal Monte singing a melodically ornate aria from "Lucia di Lammermoor". Young Mirella started singing along.


Mirella Freni outside the Metropolitan Opera House in Manhattan in 2005. In later years,
she found satisfaction in teaching. Photo by Stephen Chernin / The New York Times

















"I sang all the notes", Ms. Freni recalled in that 1997 interview. "My family was amazed. But my father, who was a ‘barbiere’, like Figaro, thought it was unnatural. He slapped me – with love, of course – and said, ‘What are you doing, stupid girl?’ I was so angry, I refused to sing another note for years."

When she was 12, her uncle had her enter a national competition. Singing Puccini's aria "Un bel dì", Ms. Freni won. One of the judges, the great tenor Beniamino Gigli, cautioned her to go slowly. It was advice that she followed.

She made her professional debut in 1955 in her hometown as Micaëla in "Carmen". Following a season with the Netherlands Opera, she began appearing in major houses and festivals, including La Scala, Glyndebourne in England and Covent Garden in London.

She made her Metropolitan Opera debut in 1965 as Mimì and returned regularly to sing, among various roles, Adina in Donizetti's "L'Elisir d'Amore", Liù in Puccini's "Turandot" and a new 1967 production of Gounod's "Roméo et Juliette" opposite the star tenor Franco Corelli (with whom she recorded the opera splendidly the next year).

But she had been absent from the Met for more than 14 years when she returned in 1983 as Elisabetta in "Don Carlo", with James Levine conducting and Mr. Ghiaurov as Philip II. In 1996 the Met mounted a production of a rarity, Giordano's "Fedora", for Ms. Freni and Mr. Domingo, garnering rave reviews for both. She sang more than 140 performances with the company in all.

In 2005, at 70, Ms. Freni sang in a production of Tchaikovsky's "The Maid of Orleans" with the Washington National Opera. In May of that year the Met presented her in a gala celebrating the 40th anniversary of her company debut and her 50th year in opera. The performance was her unannounced farewell to the stage.

Ms. Freni's first marriage, to the Italian conductor and pianist Leone Magiera, also from Modena, ended in divorce. She married Mr. Ghiaurov in 1978. He died in 2004. She is survived by her daughter, Micaëla Magiera; two grandchildren; and a sister, Marta Fregni.

In later years Ms. Freni found satisfaction in teaching. After she enjoyed success with master classes at the University of Bologna, the mayor of Vignola, a town near Modena, invited her to establish a center for the study of singing there. Housed in a medieval castle, it drew students from around the world.

"They set up a little ostello" – a cozy hostel – "for the students", Ms. Freni said in a 2005 interview with The Times. "They never want to leave." She offered guidance and encouragement, but also warnings to be careful.

"They all scream", she said. "They can't give expression to the phrase. They don't give the right accent to the words." She said that she told her students over and over, "Pazienza! You must wait".

Asked whether she thought of herself as the "last prima donna", as she was sometimes called, Ms. Freni demurred.

"You tell me why I am the last of a tradition", she said. "I have done my job honestly. I have worked hard and with joy."

Source: nytimes.com

Lozan'dan tarihi ve panoramik yansımalar









Elegant Avrupa turumuzun, Cenevre'den sonraki destinasyonu ekstra kapsamında yer alan; Lozan - Montrö - Chillon Şatosu oluyor. Bu destinasyonları görmeden İsviçre'den geçmek olmazdı, zira her üçü de ziyaret etmeyi fazlasıyla gerekli kılıyordu. Hem tarihi dokusuyla, hem de muhteşem manzaralarıyla, "iyi ki gittik, gördük!" dediğimiz bir ekstra oluyor bizim için. Elegant Avrupa seyahatimizi

İncili Gastronomi Rehberi ‘İNCİ’ Kazanan Restoranları Açıkladı



            


Türkiye’nin ilk ve tek özgün gastronomi derecelendirme sistemiyle hazırlanan ‘İncili Gastronomi Rehberi’ 2020 yayımlandı. Bir yılı aşkın süredir titizlik ve şeffaflıkla yapılan değerlendirmeler sonucu İnci kazanan restoranlar düzenlenen davette sahiplerini buldu. Davete yeme-içme dünyasının yanı sıra cemiyet hayatının ünlü simaları da katıldı. 
                

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Limestone -- The du Pont Carousel Estate

A. Felix and Marka du Pont in Virginia, 1949
Most of the stories we see here take place primarily in the 18th and 19th Centuries. However, there are some more recent interesting tales, some recent enough that I know there are those who remember them and their aftermath firsthand. One of those is the story of Limestone, the estate of Mr. and Mrs. A Felix du Pont, Jr., which stood in the middle of what's now Carousel Park. I had heard stories from people in the past (and very recently) about the old stone house that stood there, which by the 1970's was a burned-out wreck. I never knew the story of the house before, but I do now, and it's ready to be told.

The story begins in 1939, when du Pont made two purchases from the Klair family -- a bit over 16 acres from Irvin and almost 53 from Willard (another 40 acres in 1964 from a different source would round out his his local holdings). Felix planned on building a home that, unlike some of the other MCH du Pont country estates, would actually be his primary residence. But who was this member of Delaware's First Family who wished to move his family to the rolling hills above Milltown?

Alexis Felix du Pont, Jr. was born in Wilmington in 1905, the son of A. Felix, Sr. and Mary Chichester du Pont. The elder Felix was a vice president and director of the Dupont Company. In 1929, he founded the St. Andrews School in Middletown (on the board of which his children and grandchildren would later serve). Senior's father, Francis Gurney du Pont, is credited as being the creator of smokeless gunpowder, and was the one who wished to sell the company out of the family in 1902, when cousins Alfred I., Pierre S. and T. Coleman gained control.

Although Felix, Jr. and his wife loved horses, his real passion was aviation. He became interested in airplanes as a boy, and would still be flying in his eighties. Among other things, along with his brother Richard he founded All American Aviation, which eventually became US Airways. During WWII, he served with the Air Transport Command at the Pentagon and in the Pacific, and was head of the American Glider Program at Wright-Patterson Air Force Base. But bear in mind that he was a du Pont, and in 1994 was listed as the 257th richest American.

Mr. du Pont builds his dream home

Back to our story, the du Ponts built their new home about a thousand feet back from the road, amid a wooded area. As the article above stated, it started as a 24 room, fieldstone house. It was enlarged in 1948. Their stables stood another few hundred yards to the south, and still stand there today. They've been enlarged since, but the core of the Carousel stables were the du Pont's. The diagram below shows where the house, stables, and barn were located. The large barn was the only one that pre-dated the du Ponts, having been built by the Klairs.

Locations of the du Ponts' Limestone estate, stables, and the Klair Barn

Felix and family enjoyed their home, and did all of the entertaining you would expect of them. With his first wife Eleanor Hoyt, he had Katherine, Elaine, Alexis Felix III (who died at age 7), and Michael. With his second wife, Marka Truesdale, he had a son named Christopher. As another interesting aviation connection, Marka's first husband was Grover Cleveland Loening, a German-born engineer 22 years her senior. In 1910, Loening received the first Masters degree in aviation and aerodynamics given in the US, and in 1913 became the chief engineer and general manager of the Wright Company, working directly with Orville Wright. He soon went on to form his own aviation companies.

The du Ponts had parties, weddings, and all manner of social events at the home they called Limestone. While Felix kept busy with his businesses, Marka du Pont had her own interests and causes. Among other things, she served as chairwoman of the Flower Market, as president of the Mental Health Association of Delaware, and as president of the National Association for Mental Health. Mental health causes seemed to be of special interest to her, as she even worked as a volunteer at the state hospital at Farnhurst.

Being a farm, Carousel of course had animals. There were horses and purebred Aberdeen-Angus cattle. Among the more unusual, the du Ponts had a male pet kinkajou named Kinkie. In 1949 they obtained a female named Felice, but the two did not not get along, so Felice was donated to the Brandywine Zoo. In 1958 Felix and Marka created the Delaware Pony Club, which allowed New Castle County children to attend riding camps at Carousel. The public has been riding there ever since.

The origins of the name "Carousel Farm", despite much poking around, still eludes me. The first newspaper reference I can find to it was in 1959, when the farm received certification for its purebred cattle. I know the barn by Limestone Road had a giant carousel horse on it, but I don't know when it (the decoration) was placed there. My hunch is that it was a du Pont creation from the 1950's, perhaps named for the Rodgers and Hammerstein play by Mrs. du Pont, a theater fan.

But now, finally, we get to the meat of our story. I became aware of this tale from people who had known of the house in the 1970's. All they knew was that it was an old du Pont house, and one night while the parents were away, their son had a party and burned down the house. I've now found that this story is essentially true, although that wording is a bit misleading.


On the night of August 24, 1967, 18 year old Christopher du Pont was at his Limestone home with his 22 year old cousin and another friend of the same age. His parents were away, at their summer home on Cape Cod. Chris stayed at home, as he was attending summer session classes at the University of Delaware. He had some friends over that night, but stated that all but the three of them left by about midnight. He checked the house, then went to bed at around 1:30 AM. At about 4 AM, du Pont was awakened by the smell of smoke. He climbed out onto the roof of the west wing of the house were his bedroom was. He crossed the roof and knocked on the bedroom window to wake the other two young men. The three of them then jumped to the ground to safety.

Next, Chris du Pont broke a window in another wing to access a phone to call the fire department. Firefighters from eight different companies ultimately responded, finally getting the blaze under control by 7 AM. Two firefighters, Mill Creek assistant chief John Fox and Hockessin firefighter Robert McVaugh, were hospitalized with minor injuries. The east wing of the house was described at the scene as a total loss, and the west wing sustained heat and water damage. Felix du Pont, when contacted in Cape Cod, sounded understandably upset at hearing the news. Deputy State Fire Marshall Raymond M. Harrington determined that a cigarette, smoldering in a downstairs couch, was responsible for sparking the blaze.

So as you can see, the story as was passed along to me is essentially correct. The du Ponts were away, their son was home, and there was some sort of party or gathering. Afterwards a fire did break out and destroy much of the house. However, there was certainly no sign of any malicious intent to "burn the house down". It was simply an unfortunate accident, likely the result of the carelessness of young men. Having been a young man once myself, I can say with authority that, frankly, it's a wonder we don't destroy a lot more stuff. I can only imagine how traumatizing this event was for young Christopher du Pont. As he said to a newspaper reporter, this was where he was raised, the only home he knew.

A flag flies in front of Limestone,
the morning after the blaze

The du Ponts weighed rebuilding their MCH home, but ultimately decided that it was not worth the effort. I also have to imagine that their thinking in 1967 was much different than it was in 1939. In '39 he had a young family that he was moving "out into the country." In '67 there was only Chris at home, and at 18 would not be there much longer. Also, this part of Mill Creek Hundred was very different than it was three decades before. The suburbs had thoroughly crept up to his doorstep by then, and were about to engulf the estate. So if you're a du Pont and you have an estate you no longer want, what do you do with it? Why, donate it, of course. And that's what Felix and Marka did in 1969 -- they donated their Carousel Farm to New Castle County, with the expressed sentiment that it be used for recreational purposes. The du Ponts, incidentally, moved to a new home on Pennsylvania Avenue between the Tower Hill and A.I. duPont Middle Schools.

When NCC took over their new Carousel Park, they continued the tradition of equestrian pursuits at the site. Many other events have been held at the park over the years, including concerts, camping, a farmers market, and the inclusion of a dog park. In the early 1970's, the county toyed with the idea of restoring the du Ponts' Limestone mansion and using it as an arts center. Money was even budgeted as late as 1975, but in the end the house was torn down in the late 70's. On December 22, 1979, fire also took the old Klair barn along Limestone Road. Its footprint is now in the backyards of several houses in the development of Carousel Knoll.

All that remains today of the once-beautiful "Limestone" are a few foundations and low walls, if you know where to look. When coming into Carousel Park from Limestone Road, heading back toward the stables, take the gravel road straight ahead instead of bearing to the left. You'll find yourself in a small parking lot that I believe was once the parking area in front of the house. Behind it, some visible and some buried in the brush, are the remains of Limestone. Below are a few pictures I took of what's present.


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Phong Nguyen

Phong Nguyen
Selfies February 2020