Georges Bizet’s Carmen – Unappreciated in the Composer’s Lifetime

Georges Bizet’s Carmen pic

Georges Bizet’s Carmen
Image: britannica.com

As co-owner of MPC Containment International, Edward Reicin consults with a firm that offers a host of portable storage tank solutions. Also an Illinois-based attorney, Edward Reicin has a passion for classic opera and has appeared in lead roles in a number of Lyric Opera of Chicago productions. Among the opera company’s 2017 productions have been My Fair Lady, Eugene Onegin, and Georges Bizet’s masterwork Carmen.

First performed in March, 1875, Carmen was a groundbreaking work that puzzled and angered French audiences initially, in large part due to its earthy and sensuous style that seemed to encourage immorality.

The 36-year-old composer had achieved only intermittent success with projects such as The Fair Maid of Perth and The Pearl Fishers. With its plot centered on a Spanish soldiers’ ill-omened love for a fiery gypsy woman, Bizet himself selected Prosper Merimee’s novel Carmen as the ideal dramatic vehicle to adapt. Completing basic orchestrations by 1874, he fought with theater management to retain the earthiness and dramatic tension of the work and constantly reworked the score in ways that tightened the action. The sensuous mezzo-soprano aria Habanera was revised no less than a dozen times in consultation with Celestine Galli-Marie, the actor who originated the role of Carmen.

Unfortunately, the realistic themes of obsession, a forerunner of the verismo school of opera, evoked a cold critical reaction that left Bizet deflated and unnerved. He fell into a deep depression that likely harmed his health, and passed away only three months after Carmen’s premiere.

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What to Expect at the Metropolitan Opera

 

Metropolitan Opera pic

Metropolitan Opera
Image: metopera.org

Edward Reicin is currently a professional opera singer, who supports various charities and philanthropic organizations dedicated to the arts. The development chairman of the central region of the Metropolitan Opera council, Edward Reicin dedicates much of his time to supporting this beloved institution, which has continued to entertain audiences for nearly 150 years.

Going to the opera can be a daunting experience for those new to the art. The Metropolitan Opera is best experienced with proper etiquette and an open mind. A staple of New York City living, the Met offers over 24 opera performances each season, with something for everyone. Watching video clips online can make it easier to choose a performance and to prepare for the night ahead.

While there is no true dress code, a night at the opera is often a cause to get dressed up. Many people worry about not understanding the story being told. However, technology plays a large part in opera today. Each seat provides a seat-back screen, displaying subtitles for what is sung onstage.

During breaks, it’s often a great time to grab champagne and to explore the grandeur of this historical building. Located in Lincoln Center beside the famed Juilliard School for the Arts, the upper levels have incredible views of the city.

Examining Collapsible Storage Tanks – The BRAG System of Reporting

Now a consultant with MPC Containment Systems, LLC, Edward Reicin has also worked in various executive roles within the company. Edward Reicin’s current affiliation with MPC makes it possible for him to keep military clients up-to-date and advised on the latest collapsible storage systems produced by the organization.

When using collapsible fuel storage systems to hold industrial liquids or gasoline, military personnel must perform a baseline inspection of the bag before the date it is officially put into use (known as the wet date or service date). Personnel utilize a recording tool known as a BSTR (Bulk Storage Tank Record), to note any sign of deterioration or deficiency.

The BRAG rating system is often incorporated into the BSTR as well. A BRAG rating is determined by the condition of a collapsible fuel bag, and is designated by a color code. The colors are black, red, amber, and green, with the first letter being the BRAG rating. The colors serve as quick indicators of a fuel bag’s integrity, and therefore assist site supervisors in the management of fuel inventories and supplies.

The “B” represents “black,” and is a warning to immediately stop using the bag – the conveyance is NMC, or “non-mission capable.”

The letter “R” in the BRAG acronym, stands for “red,” and indicates that despite some evidence of failure, the bag can still utilize 50 percent of its holding capacity.

The “A” denotes the color “amber.” An amber rating quickly tells personnel that the fuel bag, while slightly deteriorated, still maintains a maximum storage capacity of 70 percent.

Finally, the letter “G” in the BRAG acronym represents “green,” notifying the user that the bag is fully operational.

The Marriage of Figaro – Famous Opera by Wolfgang Amadeus Mozart

Bass singer Edward E. Reicin has participated in many productions, including Falstaff and Lucia di Lammermoor. A returning artist of the L’Opera Piccola in Chicago, Edward Reicin has also performed in Le Nozze di Figaro.

Mozart’s Le Nozze di Figaro, known as The Marriage of Figaro, debuted on May 1, 1786 in Vienna, Austria. Based on a stage comedy by Pierre Beaumarchais, the opera is composed of four acts that make up a single day of scheming to delay the inevitable wedding of two of the major characters, Figaro and Susanna.

Upon its opening, the opera drew criticism from the nobility for its plotline, which they worried would incite class warfare. To avoid any repercussions, especially from their royal patron, Mozart and his librettist, Lorenzo da Ponte, presented the story as a light comedy. The opera received resounding acclaim from audience members. However, many in the upper classes remained concerned.

About MPC Containment Systems, LLC

Attorney Edward Reicin served as managing partner of the law firm of Gordon, Reicin, West and Rosenbloom for more than a decade. For more than three decades, Edward Reicin led M. Putterman & Company, LLC, a manufacturer of protective covers for gym floors and athletic fields.

In 1979, M. Putterman & Company, LLC, formed the subsidiary company MPC Containment Systems, LLC. The subsidiary’s first big project was completed in conjunction with DuPont and a group of several oil companies that were seeking an economically feasible approach to the problem of leaks in underground fuel storage systems. Together, the firms developed a flexible membrane liner called PetroGuard that continues to meet fuel containment challenges.

MPC makes a wide variety of other environmental systems, including collapsible storage tanks, geomembranes, primary and secondary containment liners, and containment booms to collect oil and chemical spills in waterways. Whether the material to be contained is solid, liquid, chemical, or waste, MPC can fabricate the appropriate containment membrane. A more comprehensive overview of the company’s products and history is available online at www.mpccontainment.com.

Edward Reicinn- Verdi’s Falstaff

A consultant with M. Putterman & Co. and MPC Containment International, Ltd., Edward Reicin has served for many years as an attorney and business owner. Supplementing these responsibilities, Edward Reicin performed opera in Chicago for 30 years. As a talented bass, he played various roles, including Pistola in L’Opera piccola’s Falstaff.

Of the nearly 300 Shakespeare-inspired operas, Giuseppe Verdi has produced three of the most beloved. Along with Macbeth and Otello, he created Falstaff, based on Henry V’s debauched mentor. Although appearing as a side character in Shakespeare’s The Merry Wives of Window and Henry IV, parts 1 and 2, Sir John Falstaff quickly earned a reputation as one of Shakespeare’s most fun characters.

Approaching 80 years old, Verdi started writing the Italian opera Falstaff with librettist Arrigo Boito. Writing his first comic piece in over half a century, Verdi provided a sense of liveliness and fun worthy of the character. The plot concerns the protagonist attempting to scam two women out of their money before his plot is foiled. Its first performance took place in 1893 at Teatro alla Scala in Milano, Italy. Two years later, it made its North American debut at the Metropolitan Opera in New York. Still popular after more than a century, Falstaff returned to the Metropolitan Opera in 2013 with a reinterpretation set in post-World War II England.

Edward Reicin – The Illinois Wrongful Death Act

Business executive Edward Reicin is currently a consultant with MPC Containment, Ltd., a firm he formerly served as president and a director prior to its acquisition by a private equity fund. Also an attorney, Edward Reicin has written on the Illinois Wrongful Death Act.

Enacted in 1853, the Illinois Wrongful Death Act allows people to file a suit under common law against a person whose negligent or wrongful actions caused the death of a family member. It enables relatives of the deceased to receive pecuniary but not punitive damages from the perpetrator. To establish a claim of wrongful death, plaintiffs must show that the defendant had a duty to the decedent, that he or she breached that responsibility, and that they deserve monetary compensation under the act.

In 2007, Illinois’ Wrongful Death Act underwent a significant revision, when it was amended to allow surviving spouses and next of kin to obtain damages for “grief, sorrow, and mental suffering.” Prior to this change, heirs could only obtain awards on the merits of relationship-based claims, such as loss of consortium and how much the decedent could have contributed to the family during his or her lifetime. However, the legislature did not describe what constitutes these elements, which has led to difficulties in the courts. Attorneys have responded to this lack of clarity by putting lay and expert witnesses on the stand to testify about the plaintiff’s reaction to the death and using results from different jurisdictions to establish award precedents.