Word: rodolfo
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Dates: during 1990-1999
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...materials that hadn't been invented this time last year. Rent the musical is tough and loud, and it deals with AIDS and drugs. It is also a radical updating of Puccini's La Boheme, and the costumes, designed by Angela Wendt, take their cue partly from that. Roger (Rodolfo in the opera) wears plaid pants made from a material similar to a popular trouser cloth of the mid-19th century. Tom Collins (Colline in the opera) follows Puccini in that the young man has a coat he loves, although it is a Tommy Hilfiger-style jacket. Today's Mimi...
...PUCCINI La Boheme (Erato). Conductor Kent Nagano restores the freshness and bloom to Puccini's heart-tugging tale of young love won and lost. Soprano Kiri Te Kanawa as Mimi and tenor Richard Leech as Rodolfo are with him every step...
...quote neuroscientist Dr. Rodolfo Llinas as saying colors and sound don't exist outside our brains, concluding that if a brain doesn't perceive color and sound, then they don't exist. He was using the famous metaphor of a tree falling in the woods with no one around to hear it. I couldn't disagree more with Llinas' conclusion. Light is the energy given off by a heated or excited object in the form of photons. Sound is the vibration of molecules in a medium caused by an object. Just because there may not be receivers around to pick...
...York University Medical School neuroscientist Dr. Rodolfo Llins also thinks coordinated electrical signals give rise to consciousness, though his idea is subtly different from Crick and Koch's. Llinas believes that the firing of neurons is not just simultaneous but also coordinated. Using a highly sensitive device called a magnetoencephalograph, which indirectly measures the electric currents within the brain, Llinas measured the electrical response to external stimuli (he used musical tones). What he observed was a series of perfectly timed oscillations. Says Llinas: "The electrical signal says that a whole lot of cells must be jumping up and down...
...Rodolfo's painter cohort Marcello, played by Michael Drumheller, lacks personality and expressivity. It is small wonder that the saucy Musetta, played by Penny Rubinfield, proves too much for him in the third act. Rubinfield is a fiesty flirt who uses the low dramatic energy around her to her advantage; she draws every eye to her, both on stage and off, with admirable seconda donna tactics. The conviction and simplicity of Josh Benaim's cameo "coat aria" in the fourth act place the aria closer to Puccini's original intentions than many a bass who overplay the fact that they...