I’m just totally flattered that the team is doing this for me, and I’m going to really enjoy watching Nick put this baby up there – maybe on the top step at the end of this race.”Īndretti has been keeping a watchful eye on Sanchez’s inaugural Truck Series campaign, a rookie year that coincides with Rev Racing’s first endeavor at NASCAR’s national levels, thanks in part to an alliance with Kyle Busch Motorsports. “I mean, it brings back such special, very treasured memories of a great time in my career. “That’s definitely special,” Andretti told via teleconference, eager to show a rendering of the truck he’d printed out. Keen on racing as ever at age 83, Andretti showed sincere gratitude that Rev Racing and Gainbridge wanted to honor a livery so important to his illustrious past. “But driving his paint scheme that he won the ’67 Daytona 500 in at a place like Darlington on throwback weekend? That’s pressure - a good kind of pressure, though.” “You don’t really get pressure as a race car driver a lot,” Sanchez told. Rev RacingĪn integral part of racing history, Andretti will be on site in Darlington to see his cherished Holman-Moody paint scheme don Sanchez’s Silverado while helping celebrate NASCAR’s 75th anniversary. 2 Chevrolet will bear the powder blue, gold and red that Andretti wheeled to Victory Lane in the 1967 Daytona 500, the only NASCAR triumph of his glorious and monumental career. With primary sponsorship from Gainbridge, Sanchez’s No. Nick Sanchez will honor racing legend Mario Andretti in the NASCAR Craftsman Truck Series race at Darlington Raceway on May 12, Rev Racing announced Friday. Nick Sanchez to honor Mario Andretti’s Daytona 500 win with throwback scheme
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Using the design concepts of the original, which had been the work of the late Maria Björnson, set designer Matt Kinley and projection designer Jon Driscoll used the latest video screen and projection technology to augment two staircases and multiple platforms with video screens above and behind a large playing space. Instead, what producer Cameron Macintosh staged for one night at the Royal Albert Hall, a concert venue that doesn’t have a proscenium stage, was akin to an environmental production in which the hall itself became the opera house haunted by the famous “Opera Ghost.” (Tonight’s performance will be the 10,083rd!) After all, that original was still playing at Her Majesty’s Theatre in London as well as at the Majestic Theatre on Broadway where it’s number of performances has now passed an astonishing 10,000. It documents what was not a simple concert, but wasn’t a simple repeat of the original either. If you have somehow resisted for a quarter century, but are now willing to sample “the magic of the music of the night,” the DVD (available in regular or in Blu-ray) provides a full viewing experience. Perhaps you saw the movie version that came out in 2004. It is not likely that any one who really wants to see The Phantom of the Opera hasn’t already attended a performance either in London or on Broadway, or one of the innumerable stops of the touring production – or, for that matter, in Las Vegas where a slightly shortened version releases its audience into the casino early enough to get some gambling in. It was captured on audio and video discs, each or either of which may make you wish you had been there. The 25 Anniversary of what is now the longest running musical in Broadway history was celebrated last October with not just a concert, but a full staging of the entire show in London’s massive Royal Albert Hall with its seating of over 5,000. This is a great first opera, and I hope the production brings out lots of new people, as it seems to have so far. In his last aria, he moves from imploring to cajoling to demanding, every phrase with a different color with an immediacy that doesn't require knowledge of French to understand. Her Don José, tenor Matthew Polenzani, has a depth of emotional range that is palpable in his voice. Though her dancing lacks verve, she moves with a lank grace, and her Carmen is robust. Otherwise she gave a strong, vital performance. The Adlers all were great, I especially liked mezzo Ashley Dixon and soprano Natalie Image as Mercédès and Frasquita, they are well matched and charming.īridges is remarkably consistent, her voice had only the slightest few catches at first. However, the many soli throughout the piece were all very nice, particularly the clarinet solo at the beginning of the last act. There were brief unfocused moments, as when the children's chorus entered or in the smugglers quintet in Act II. Maestro James Gaffigan conducted a sprightly orchestra. It was clear she was able to engage the audience. I always like Zambello's humanistic details, as with Captain Zuniga's struggle to get free when he is bound at the end of Act II and the possible observers to Carmen's tragic end up at the top of the arena. The set is efficient, there's no dead time in-between acts, and the performance clocks in under three hours since is only one intermission and cuts to the dialogue. I very much remembered the warm orange-reds of the stage and the orange tree in the middle of the stage in Act I. The playing was lovely, there was lots of good singing, and the production is attractive and sleek. Quite an exaggeration, at best I've seen this opera twenty-five times, though I have seen this staging by Francesca Zambello way back in 2007 at Royal Opera, Covent Garden in London.Īs it turns out, the performance was enjoyable. "Enjoy your hundredth Carmen!" teased my husband as I left for the opening of the latest production of this opera at San Francisco Opera last night. Well over 225 million people around the world have discovered Evernote, which is used in more than 25 languages every day.Įvernote offers an application that has been designed to carry out note taking, task management, and archiving. 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