Sure on this shining night

This is Samuel Barber's "Sure on this shining night."  Our Lisette Oropesa, she does it all.  Her legato is perfection.

Vanessa from Glyndebourne

👍🏻
Conductor:  Jakub Hrůša
Director:  Keith Warner

Erika:  Virginie Verrez
Vanessa:  Emma Bell
Anatol: Edgaras Montvidas
The Old Baroness:  Rosalind Plowright
The Old Doctor:  Donnie Ray Albert

Samuel Barber's Vanessa comes to us from Glyndebourne.  So why is it never produced here?  I saw live in Berkeley a semi-staged version, but have never seen it live fully staged.  The libretto says 1905 in a "northern country," but the presence of short skirts means we must be later than that.  One of the choices for staging an opera is to choose the era of composition, 1958, which seems to be what we have here.  Cardigans.  In this scenario Vanessa began waiting in 1938.  When Anatol appears, he is wearing a WWII style army uniform.  The northern country is suggested through the presence of many blond women.  Constant smoking also suggests a certain era.

The production cannot exactly be explained.  There are giant mirrors which are moved about, but one is never quite sure if the things behind the mirror are reflections, imaginary events or views into another room.  It creates an atmosphere of mystery and perhaps dread.
 
At the beginning all three women--Vanessa, Erika and the Baroness--are impatiently awaiting the arrival of Anatol who has sent a letter telling of his arrival.  He is late, but there is a snow storm. Erika sings "Must the winter come so soon," the only known piece from this work.  He arrives, and Vanessa pours out her heart to him, thinking he is her old lover of 20 years ago.  She turns and sees that it isn't he at all.  She is mortified and escapes.

Our Anatol is something of a cad.  He is here because all his life he has heard of the beautiful Vanessa and wants to see her for himself.  But if left alone with another woman, he flirts with her.  He flirts with Erika and says, “I am Dmitri the pretender. Be my Marina.”  These two names represent characters from Boris Godunov.  She falls for this, and they spend the night together.  In the complex blocking an additional flirtation with one of the maids is added.

It is important to note that he first asks Erika to marry him, and only when she refuses does he ask Vanessa.  The singing is heavy and intensely operatic.

The production adds detail and atmosphere without obscuring the plot.  It ends with a beautiful ensemble.  Thank you.
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Michael Fabiano at Mondavi

I went out in the pouring rain to see Michael Fabiano at Mondavi in Davis. His accompanist was Laurent Philippe.  He said they'd been working together 12 years.  We were seated at small tables on the stage.  This is an enjoyable intimate arrangement.

I have seen Michael live at the San Francisco Opera in Lucrezia Borgia, Luisa Miller, and Don Carlo.  In 2014 I predicted he would win the Richard Tucker Prize, and he did.  That was fun.  Next season in SF he will sing in Manon opposite Nadine Sierra, and at the Met next season he will simulcast in La Boheme.

I got the impression that Michael very much loves his chosen repertoire for this recital.

Four songs by Puccini (Italian)

Four songs by Duparc (French)
    Duparc is not performed nearly enough.  These were virtually theatrical performances.

An aria: "Ne pouvant reprimer les elans" from Hérodiade by Massenet. (French)

Five songs by Toscanini (Italian)
    Who knew Toscanini composed?

"Kuda, Kuda, kuda" Lensky's aria from Eugene Onegin by Tchaikovsky (Russian)
     This is very timely since it is currently playing at the Met.

Three songs by Barber, including "I hear an army" for a rousing finish.  (English)

He is a serious artist and does not hesitate to use his operatic voice in song repertoire when suitable.  It was very much worth the trip.  There were two encores:

Duparc's "La vie anterieure" (French)
'Lamento di Federico' from Cilea's L'arlesiana (Italian)

 

Give me my robe

Before I leave Barber's Antony and Cleopatra forever, here is a recording of Leontyne Price with visuals singing the final Death of Cleopatra.  I am very glad I turned my attention to this.  You can see and hear how much she loved it.

See also here and here.

Antony and Cleopatra live audio

When I wrote about this opera in 2013, this audio was not in YouTube [And now it is gone]. This is the live broadcast of Samuel Barber's Antony and Cleopatra in its only original cast performance with Leontyne Price, Jess Thomas and Justino Diaz. I am putting it here so I will remember to play it.

My attention was drawn to this by an article in the January copy of Gramophone.  The cover article was everyone talking about Schubert's Winterreise, but once inside I found an icons article about Leontyne Price.  The recommended recording of her is Solti's Aida. The article closes like this:

"Price's greatest failure may eventually be remembered as her finest hour:  Antony and Cleopatra.  Before the opera's high-profile, 1966 flop, composer Barber thought it his greatest work -- and wasn't wrong.  The often-named culprit was Franco Zeffirelli, whose extravagant production put Price in costumes that made her resemble a walking sarcofagus.  But how often has the radio relay of the premiere been duly re-examined?  [I complained that it was unavailable in my piece.]  Easily found on YouTube, Antony and Cleopatra is a tough work, with Price playing her character not as a variant on Elizabeth Taylor (whose film version came out the previous year), but as a cool, political strategist.  The lack of a love duet in this first version of the opera (which was later revised) was no oversight.  Barber was creating people, not ornate historical objects.  And if his original version is ever rehabilitated, the intelligence of Leontyne Price's recorded characterisation will likely lead the way."

____________________
P.S.  I am listening to the film and have a few observations.  Cast list from Wikipedia:

Cleopatra	soprano	Leontyne Price
Mark Antony	baritone	Justino Diaz
Octavius Caesar	tenor	Jess Thomas
Enobarbus	bass	Ezio Flagello
Charmian, servant to Cleopatra	mezzo-soprano	Rosalind Elias

This is a spectacular cast, but Barber has violated one of the basic rules of operatic casting by making Mark Antony a baritone.  The male love interest is always a tenor.  This throws the vocal balance off.

Most of what is wrong with this opera can be laid at the feet of Zeffirelli:  It was he who selected text by Shakespeare, making the opera very talky.  Price is the only one in the cast who has performed enough Barber to feel free in her interpretation.  When she isn't singing, we get a lot of growly talking.

I get warm enthusiasm from the audience.

This is the era before surtitles at the opera.  We would be on our own trying to understand the text.  And on top of that it is Shakespeare, a writer of great beauty and poetry, but difficult for modern people to understand.  Perhaps if you had the text in front of you.

I am very sorry to say that I am only enjoying Ms Price. She is such a wonderful singer.  The last act seems to work better than the other parts.  More Leontyne, more action, more tenor.  She loved it.  She has said so.  Her performance is full of love.  Artists with the gift of Ms Price come to us once in an eternity.  This opera, this performance deserved more respect.

We have reached "Give me my robe."  The ending is spectacular.  The audience is very enthusiastic.  Sigh.  Barber gets a lot more applause than Zeffirelli.

Stay for the interview at the end.  She calls it "the event of the century."

Blogging

 Renoir - Cesanne

I have had rather a busy weekend.

On Friday I went to the Legion of Honor in San Francisco to see Intimate Impressionism, an exhibition of small paintings from the collection of the National Gallery of Art in Washington. The exhibition covered the broad spectrum of artists of the period, but there were no blockbusters.

Then in the evening I went to the Weill-Poulenc mashup reviewed here.

I drove home in the morning in time to make the Cosi fan tutte simulcast, but I quickly tired and went home.  After all, I've already seen this opera twice this year.  One goes to see how the ending is done.  Does anyone but me notice that men are never expected to be faithful?

Then on Sunday I attended a Capitol Chamber Players concert.  They are noted for their varied programming, which this time included:

Tchaikovsky's None but the Lonely Heart (I always want to hear the original Goethe poem.)
Lawrence Frank's My Favorite Oregon Scenes (world premiere)
Lee Hoiby's Last Letter Home
Samuel Barber's Dover Beach
Mozart's Quartet No. 17 "The Hunt" (Must be the corniest piece ever written by Mozart.)
The vocals were by James Gentry.

Monday I viewed a little over half of the stream of Antonio Pappano at the Academia Nazionale di Santa Cecilia in Rome.  They played a program consisting of parts of Beethoven's Fidelio, all of Il Prigioniero by Luigi Dallapiccola, and Beethoven's Ninth.  I was sorry to have missed the beginning of Il Prigioniero.  I find Dallapiccola to be a vastly underrated composer that I would certainly like to hear more of.  The opera, however, was originally written for the radio and is far too static to be completely successful theatrically.  The Ninth was exciting but fast almost to the point of frantic.

I tuned into this stream because there was someone else there whom I also would like to hear more of:  this year's Opera Awards male singer winner Stuart Skelton.  I will try to catch the rest of the program to hear his Fidelio.  He was great, especially in the Ninth.  "Wie ein Held zum siegen."

Then Monday afternoon American Bach Soloists came up in my Facebook feed.  "Oh s**t.  That's tonight."  So off I went to Davis for a choral concert.  Jeffrey Thomas, the director, is a choral guy so it was bound to happen eventually.

Leah Crocetto at Mondavi

Leah Crocetto with her accompanist Mark Markham appeared at Mondavi Center in Davis last night.  She sang:

"All the things you are" by Jerome Kern
"Rejoice greatly" from Handel's Messiah

Three songs by Samuel Barber
"Sleep now, oh sleep now," "Sure on this shining night," and "Nocturne"

Three songs by Richard Strauss
"Die Nacht," "Morgen" and "Cäcilie."  I apologize for having a coughing fit in the middle of this group.  I got out as fast as I could.  My cough drops didn't work.

Marietta's Lied from Korngold's Die tote Stadt.  This piece is becoming common for me.

Intermission.

Eternal Recurrence by Gregory Peebles.  This is a piece written for Leah.

Three songs by Fernando Obradors
"Con amores la mi madre," Del cabello mas sutil," and "Ciquitita la novia."

Encores
"Can't Help Lovin' Dat Man" by Jerome Kern
"Have yourself a merry little Christmas" from Meet me in St. Louis.

Leah has a voice of operatic proportions, and she chose pieces which suited both her voice and her musical loves.  The music included classic American pop songs, including one done expertly in dialect.  I'm seeing a lot of Obradors lately.

The new cycle by Gregory Peebles would have been helped by printed text.  We couldn't tell when the songs ended.  I would describe the style of this group as post modern.

She sang what she loves, and we loved it too.

Vanessa

 

Marie Plette as Vanessa and Nikola Printz as Erika

Samuel Barber's Vanessa (libretto by Gian Carlo Menotti) had its premiere at the Metropolitan Opera in 1958 with Eleanor Steber as Vanessa.  Like Patricia Racette in our Dolores Claiborne, Steber stepped in very late in the preparation process.  In my mind it's Kiri te Kanawa.

A company currently without a house, West Edge Opera decided to produce this opera anyway in a semi-staged version.  We get those in Sacramento, and they consist of the full orchestra on the stage with the singers in front.  The singers move and act as they would in a fully staged opera.  It's a large orchestra, so the Thrust Stage at Berkeley Rep left only a little space for the actors.  But not to worry.  Vanessa is about love with only minimal action.  The singers all had big voices sufficient to carry over the orchestra.  Thank you.  This was helped by the outstanding vocal writing of Samuel Barber.

I could hear but not see what turned out to be a synthesizer at the back of the stage.  I wasn't sure what this was supposed to represent.

The question is is the plot of Vanessa a circle?  Do we end where we began?  Here is the great one singing Vanessa's opening aria.  Perhaps this isn't fair, but nothing will give you a better idea of the wonderful music in this opera.

Vanessa has been waiting for Anatol to return for 20 years.  She has waited with perfect patience with her niece Erika and her mother, sung by Malin Fritz, a lovely tall woman who lurks silently in virtually every scene.  The stately old Baroness adds exactly the right gloomy atmosphere to this strange, romantic story.

When Anatol appears, it isn't really Anatol but his son, also Anatol.  Are you staying with me?  Anatol is a fortune hunter who has spent his life hearing his father talk about the mysterious Vanessa.  He wants to see for himself.  Vanessa is the complete romantic and immediately accepts this new Anatol as her lover.  She is happy.  He, however, has wooed and spent the night with Erika, and later proposes to her.  Erika is not the romantic Vanessa is.

There is no perfect recording on YouTube of the quintet from Vanessa, but this one is pretty good.  We fell in love with this piece.

The entire cast were well cast for their parts, especially given the lack of scenery or theatrical makeup.

Vanessa:  Marie Plette
Anatol:  Jonathan Boyd 
Erika:  Nikola Printz
Baroness:  Malin Fritz 
Doctor:  Philip Skinner 

At the end Vanessa and Anatol move to Paris and leave Erika alone with the old Baroness.  So will she wait quietly alone for 20 years like Vanessa?  I prefer to imagine not.

 

Antony and Cleopatra

I became interested when I noticed that there is a complete film of Samuel Barber's opera Antony and Cleopatra on YouTube.   All I have known about it has been rumors of a giant catastrophe.

This opera was composed for the opening of the New Met on September 16, 1966 with Leontyne Price as Cleopatra.  She is known to have loved this work.

According to the Met archives, this opera was given one series of performances the first of which was broadcast.  As a Price fan, I feel it would be wonderful to hear this. There can be no question that the Met has at least an audio recording of the complete opera.   Look in Met on Demand.

Everything was criticized about this opening.  The preparation seems to have been inadequate, resulting in an embarrassing performance by the orchestra.  Carping about the text is a little silly, don't you think?  It is from the Shakespeare play and selected by Franco Zeffirelli.  Operas always have less text than plays.  This performance was pre-supertitles, so perhaps that is the problem.  It isn't one of Shakespeare's best plays but has an outstanding role for a woman.

The complete film on YouTube (pt1, pt2) is of a performance that occurred at the Lyric Opera of Chicago in 1991 in a revised version created by Gian Carlo Menotti.  Here is the cast of that performance.

Cleopatra - Catherine Malfitano, soprano
Mark Antony - Richard Cowan, baritone
Octavius Caesar - Jacque Trussel, tenor
Enobarbus - Eric Halfvarson, bass
Charmian - Wendy White, mezzo-soprano
Iras - Nancy Maultsby, mezzo-soprano
A Messenger - Paul Jacobsen, tenor

Conductor - Richard Buckley

I don't mind Malfitano but she is not in the same league with Price, one of the greatest singers of the 20th century.   Everyone sings big.  Richard Cowan is a gorgeous, hunky baritone, and Catherine is beautiful enough.  After all, it is Cleopatra's infinite variety that pleases.  And perhaps that is what is missing--variety.

The work is unrelentingly somber, following slavishly the tenets of the Wagnerian Gesamtkunstwerk.  Think how much more fun is the ever changing Cleopatra of Giulio Cesare.  I cannot think of an opera more intensely tragic and dark without any hints of self-parody or cynicism.

I am able to imagine a singing actress who could make a success of this.  She would have to be a giant.  People are more inclined to sympathize with women with tuberculosis or dying geishas.  Your knowledge of opera is incomplete without it.

3 Domestic Operas

This is the new guy at the Sacramento State opera theater:  Omari Tau.  This weekend he put on Triptych, An Evening of One-Act Operas, consisting of Samuel Barber's A Hand of Bridge, Mark Bucci's Sweet Betsy From Pike and Seymour Barab's A Game of Chance. 

Two performances of A Hand of Bridge one week apart.  How likely is that?  The libretto is by Gian Carlo Menotti who seems not to have actually played bridge.  The bidding stops at 5 hearts--clearly Sally's suit.  She should be declarer and not dummy.  She complains about always being dummy, possibly a form of spousal abuse.  At the end of the hand the play goes "2 of hearts," "seven of hearts," "trump."  But hearts IS trump.  You can't trump trumps.  Oh well.  Each player day dreams about something else, clearly the point of the opera.

David - Kyle Sullivan
Geraldine - Rachelle Lang
Bill - Michael Beale
Sally - Chloe Angst


Sweet Betsy from Pike is based on the famous song.  Betsy (Rachel Sprague) is shot and Ike goes off with the narrator (Vanessa Martucci).

A Game of Chance has an unusual plot.  Three women are sitting on a park bench knitting.  One by one they get up and complain about their lives.  The first woman (Knitter 3 sung by Linda Herring) wishes she were rich.  The Representative enters on a scooter carrying a very large check for writing a slogan which the three women sing.  These two exit.  The second woman (Knitter 2 sung by Kathy Cusson) wishes she were famous.  For her The Representative enters on a bicycle with a contract to publish her manuscript.  They exit.  The third woman (Knitter 1 sung by Rachelle Lang) wishes for love, and this time The Representative enters on a motor cycle.  She is to be reunited with an old lover.. The opera ends with an ensemble in which all four characters complain about their fates:  I didn't ask for enough.  It would be a far better opera if the final section was more extended.  I liked the staging very much.

Kyle Sullivan was the star of the show.  He played David, Ike and The Representative.  He may have been chosen because he could carry Betsy.

These operas are making me understand why the big opera composers, people like Adams and Glass, prefer serious political subjects for their operas. American domestic life is not the most fascinating theme for an opera.

It is important to note that this production also used computer projections.

Trouble

Last night Opera Parallèle presented Samuel Barber’s Hand of Bridge and Leonard Bernstein’s Trouble in Tahiti at Z Space in San Francisco.  To date I have loved everything they did, (see here, here and here) but not this time.  Most of what I didn't like had to do with Z Space.  Like it or not, the audience for opera is old people.  Two different audience members fell down trying to get to their seats.  If you insist on staying in this venue, I predict a law suit in your future.  The acoustics were not good.  The orchestra was positioned to the side of the stage with no shielding.  I think a screen between the orchestra and the audience would have been helpful.  Any kind of pit muffles the orchestra at least a bit.  Here there was no pit and a lot of reverb, not a good combination.  Z Space is probably cheaper than the place in Yerba Buena Center, but I will not go there again.

Trouble in Tahiti began its life as a stand alone one act opera in 1952.  This was the version presented here.  Later, in 1983, it was first presented as the opener for a one act version of A Quiet Place.  Then a year later it was swallowed whole by a three act version of A Quiet Place.  Just so you know.  Trouble is legitimately presented by itself.  We did it at my college in 1958.

These two operas are basically the world before Betty Friedan.  Some of us lived then.  The sexes are still battling, but the rules have changed. 

Operas are full of projections these days.  They faked an entire movie of people on Tahiti, complete with a rescuing navy.  It was funny but very much too complex and distracting from the characters of the opera.  I liked the atmospheric stuff, like the cigarette ads, but not the movie.  This is a gross generalization:  the opera is about the people singing.  Try to remember that.  What I imagine is that this opera was found to be tedious, and the fake movie was intended to make it more interesting.  It was a futile effort.

Baritone Eugene Brancoveanu (Sam) and mezzo-soprano Lisa Chavez (Dinah) played the main characters in both operas.  They are excellent singers and fully up to the challenge of a loud orchestra.

Conductor/Artistic Director Nicole Paiement
Stage Director Brian Staufenbiel

Knoxville

This is Samuel Barber's "Knoxville: Summer of 1915" with Leontyne Price singing and Schippers conducting, 1959.  Maybe I could learn to like Barber.

When I hear this, it sounds American to me.  I am after all these years simply awed by her.  I cannot help wondering if this piece is really this magnificent.

Opera in America

Rise Stevens singing an aria from Natoma

I have a copy of the 1924 edition of the Victrola Book of the Opera. From my American Operas list we see Natoma, first produced at the Metropolitan opera in 1911, and Madeleine, first performed at the Metropolitan Opera House in 1914, both by Victor Herbert, who wasn't born in America. These are as close as we get to American opera in that era. One owns such a book for the photographs of famous singers, such as Caruso and Geraldine Farrar who had her own private dressing room at the Met. There was a policy begun in 1900 to produce an American Opera every year at the Met, but none of them held the stage even briefly except these two. Horatio Parker's Mona, 1911, was also part of the Met's effort to produce American opera.

Carmen Balthrop in Treemonisha

Another place to research opera in America is in the book Opera in America by John Dizikes. This work focuses on the cultural life of opera rather than the compositions. The first opera to rate a chapter name is Scott Joplin's Treemonisha (1910). Dizikes' text is about African-American singers and musicians rather than the opera. Treemonisha is occasionally revived, and is definitely something to look in to.

Excerpts from the current Broadway production of Porgy and Bess.  Don't you miss those opera voices.

The next operas to make it into chapter headings are Four Saints in Three Acts (1934) by Virgil Thompson and Porgy and Bess (1935), by George Gershwin. Porgy and Bess is the earliest opera by an American composer to stay in the repertoire. I think the political controversy that surrounds this opera actually enhances its power. In the past I have had my doubts, but the recent production at the San Francisco Opera has completely won me over.

Then comes the period of Gian Carlo Menotti, operas from 1938 to 1963, a native Italian whose works in English never quite lose their Italian quality. Carlisle Floyd's Susannah and Samuel Barber's Vanessa are practically all we see to interrupt Menotti's dominance. My viewing of Kiri Te Kanawa singing Vanessa left me with the feeling that this was an outstanding work that should be revived more often.

Lucy Schaufer singing "Must the winter come so soon" from Vanessa, audio only

The conclusion I have reached is that we are now living in the era of American opera. The German Hans Werner Henze, operas from 1948 to the present, provides the only competing center of opera composition in the post Einstein on the Beach, 1976, era.  Today we have John Adams, Philip Glass, John Corigliano, Mark Adamo, Jake Heggie, Stewart Wallace and several others to compose operas for us. 

Bits from The Ghosts of Versailles, a work we could see more of

In the next year and a half people in the San Francisco Bay Area will be treated to John Harbison's The Great Gatsby, Jake Heggie's Moby-Dick, Philip Glass' Einstein on the Beach, Nolan Gasser's The Secret Garden and Mark Adamo's The Gospel of Mary Magdalene.  Our cup runneth over.

Heggie's Moby-Dick

Dover Beach

Dover Beach is a poem by Matthew Arnold set by Samuel Barber.  I heard it at a local concert Saturday in honor of the Barber centennial year and was surprised to find that I had never heard it before.  It is astoundingly somber.

I am similarly surprised to find that I like this version by Dietrich Fischer-Dieskau.

The pictures are of Dover Beach in England.

Baltimore comes to Frederick

The Baltimore Symphony Orchestra came to Frederick last night. Marin Alsop did not come. Conducting honors fell to Roberto Minczuk who currently conducts the Calgary Philharmonic Orchestra and Orquestra Sinfonica Brasiliera in Rio de Janeiro, an interesting pair of assignments.

He conducted Samuel Barber’s Adagio for Strings without a score and without a baton. He conducted Haydn’s Cello Concerto in D Major with a score, but still without a baton. He conducted Beethoven’s Symphony No. 4 without a score but WITH a baton. Hmm. Is he showing off? Is he easily bored? We’re curious. The entire concert went well, so I can’t actually complain.

The most interesting piece was the cello concerto, primarily due to the playing of Ilya Finkelshteyn, the principal cello of the BSO. The solo part is full of double stops and high pitches, all passionately played. The audience stood up for this, and Mr. Finkelshteyn gave the orchestra an enthusiastic thumbs up.

Vanessa

for content.

This House of Opera film of Samuel Barber’s Vanessa from Monte Carlo is shot from a single camera that zooms in and out to focus on the main characters. It is clear to me from watching this that it would be possible to film a lot more operas than one would think. It looks the way it would look. Why should we need more than that? The set features a long winding staircase in the center that is the route out. There is in this particular case a problem of balance between the singers and the orchestra. Barber’s orchestration is very heavy, and is much too loud on the dvd. This may be due to the location of the microphone, of which there seems to be just one.

The plot is about unrequited love. At the beginning of the opera the “ferne Geliebte” is awaited, anxiously awaited. Vanessa has been waiting 20 years for Anatol to return to her. For me the best scene in the opera is toward the beginning. Anatol has arrived, has descended the long staircase and stands in shadow toward the bottom. Vanessa tells him not to utter a word and proceeds to tell him how much she has done for him, for love of him, how long she has waited for his return. It’s very intense, very openly soul-baring. Finally she says “Do you still love me?”

The lights come up on his face and he replies, “Yes, I believe I shall love you!” It’s a fabulous moment. He’s the wrong guy, and Vanessa panics and leaves the stage. He tells us that all his life the name Vanessa would “Scorch my mother’s lips and light my father’s eyes.” This man is indeed Anatol, but he is Anatol the son.

The neice Erica comes in and fills the empty space. Anatol tells her, “I am Dmitri the pretender. Be my Marina.” The libretto is by Menotti. Could you tell? Erica spends the night with Anatol, but once Vanessa returns he sees no one else.  [Note added years later:  Dmitri and Marina are characters from Boris Godunov.]

It is an opera about love. Who could resist being told that someone had waited 20 years just to love them? If anyone you knew did this, you would think they were mad, but in an opera it gives the drama an emotional depth that stays in the memory. It aspires to greatness with a lot of grand music, but ultimately it falls short musically.

Kiri te Kanawa is Vanessa. The other cast members are named Anderson and Shauffer. That’s all I know.