SALZBURGER FESTSPIELE 2013
Grosses festspielhaus, August 18, 2013
Orchestra dell'Accademia Nazionale di Santa Cecilia
In honour of the centenary of the birth of Benjamin Britten
PROGRAM
BENJAMIN BRITTEN • War Requiem, Op. 66
PERFORMERS
Antonio Pappano, Conductor
Anna Netrebko, Soprano
Ian Bostridge, Tenor
Thomas Hampson, Baritone
Salzburger Festspiele und Theater Kinderchor
Wolfgang Götz, Chorus Master
Coro dell’Accademia Nazionale di Santa Cecilia
Ciro Visco, Chorus Master
Orchestra dell’Accademia Nazionale di Santa Cecilia
Jumat, 15 Maret 2013
Rabu, 13 Maret 2013
Spectacular cast for Faust at the ROH in April 2014
Royal Opera House Covent Garden
2013/2014 Season
FAUST
Charles-François Gounod
Dir: David McVicar
Cond: Maurizio Benini
David McVicar’s spectacular production of Gounod’s grand opera is set in decadent 1870s Paris.
CAST
Faust: Joseph Calleja
Marguerite: Anna Netrebko
Méphistophélès: Bryn Terfel
Valentin: Simon Keenlyside
Royal Opera Chorus,
Orchestra of the Royal Opera House
4, 7, 11, 14, 17, 22, 25 April 2014
2013/2014 Season
FAUST
Charles-François Gounod
Dir: David McVicar
Cond: Maurizio Benini
David McVicar’s spectacular production of Gounod’s grand opera is set in decadent 1870s Paris.
CAST
Faust: Joseph Calleja
Marguerite: Anna Netrebko
Méphistophélès: Bryn Terfel
Valentin: Simon Keenlyside
Royal Opera Chorus,
Orchestra of the Royal Opera House
4, 7, 11, 14, 17, 22, 25 April 2014
Selasa, 12 Maret 2013
La Bohème, Lyric Opera of Chicago, Chicago 9. Mar 2013
LA BOHÈME
Opera in four acts
Music by Giacomo Puccini
Libretto by Luigi Illica and Giuseppe Giacosa, based on Scènes de la vie de bohème by Henri Murger
Première: Teatro Regio, Turin, 1 February 1896, conducted by Arturo Toscanini
New-to-Chicago production. Owned by the San Francisco Opera Association.
Lyric Opera of Chicago, Civic Opera House, Chicago, IL
March 9, 2013
Mimì: Anna Netrebko
Rodolfo: Joseph Calleja
Musetta: Elizabeth Futral††
Marcello: Lucas Meachem
Colline: Andrea Silvestrelli
Schaunard: Joseph Lim†
Benoit/Alcindoro: Dale Travis
Conductor: Emmanuel Villaume Original
Production: Mark Lamos
Director: Louisa Muller*
Set Designer: Michael Yeargan
Costume Designer: Walter Mahoney*
Lighting Designer: Duane Schuler
Guest Chorus Master: Ian Robertson
*Lyric Debut
†current member, Ryan Opera Center
†† alumnus/ alumna, Ryan Opera Center
REVIEW
This review, written by Yige Li, is for the Lyric Opera of Chicago performance of March 9, 2013, at the Civic Opera House, in Chicago, IL.
Every season, Lyric Opera of Chicago would have one popular opera double-casted with an extended run of more than ten performances in all. And this season, it is La Boheme. The January-February run had Ana María Martínez as Mimi and Dimitri Pittas as Rodolfo in his Lyric debut. But much focus is on the March run, unsurprisingly, with Anna Netrebko's highly-anticipated Lyric debut in the role of Mimi, and a great partner no other than Joseph Calleja as her Rodolfo. I went to performances with both casts.
The production is a new-to-Chicago one, owned by the San Francisco Opera Association. This may be interesting for long-time Lyric subscribers who had experiences on their old productions for several runs, for me, who just came to Chicago before this season, it's just another traditional production.
I have nothing against traditional setting, but this is not really an extraordinary one. The garret in first and fourth acts is very small. In act two, having Cafe Momus indoor onstage separates the stage into two parts--the street on the left and the cafe on the right. The stage of toll gate at the Barrière d'Enfer in act three is simply flat. With all these, it leaves very few space for singers having a more interesting and efficient blocking. What's worse is Louisa Muller's direction showing she's either lacking of talent or being lazy. Sometimes, she made singers simply park and bark (especially the chorus blocking in act two), and other times, she made singers doing too much when the music clearly suggesting a kind of silence.
In the pit, the orchestra led by French conductor Emmanuel Villaume played very beautifully. Though sometimes, the orchestra is little slow and singers were slightly ahead of them, it's acceptable in a live performance considering the singers could not really hear the orchestra clearly onstage. Personally I felt the orchestra is bit too elegant for Puccini's music, but it could just be my personal taste.
On stage the chorus is directed by guest chorus master, Ian Robertson, from San Francisco. Though the blocking part was quite boring as mentioned before, the singing part was great. Schaunard was sung by Joseph Lim, a current member of Ryan Opera Center (the young artist development program of Lyric Opera). The voice is young and very beautiful, but the size is not big. From my seat in the middle of orchestra level, his voice could be heard clearly, but I'm not sure it would be the same at upper balcony, and I'm almost certain it could not project well to the family circle if it's in MET. Colline was sung by Andrea Silvestrelli, an old, big, and not so beautiful voice, quite the opposite to our Schaunard hear. For me, he's not a great fit to the role. By the way, he's also doing Sparafucile in Rigoletto in Lyric now. I haven't had a chance to catch one yet. But I feel that role may suit his voice better. Lucas Meachem was Marcello who has a beautiful and emotional voice. Though some his acting was stiff, I would have the director taking the "credit", as not every opera singer is a nature actor/actress, and that's why we need a revival director being there to HELP SINGERS. And for soprano Elizabeth Futral who sings Musetta... She seems in a good shape, but sorry I really don't remember. Knowing Anna Netrebko played Musetta in this exact production back in 2004 in San Francisco, all I was thinking was how great it must be having Anya on stage for this part. Well, I could be forgiven for I'm really not having a career as being music critic, right?
OK, finally, we come to the best part, the glamorous loving pair, Anna Netrebko and Joseph Calleja, as Mimi and Rodolfo. An opera house as Lyric could not afford an all-star cast as MET do (i.e. Having a star like James Morris singing a minor role as Lodovico in Otello, my goodness!), but sometimes still could assemble a dreaming cast for leading roles, like this. Anna and Joseph know each other well enough, and they actually did La Boheme together in Munich back in 2009. The chemistry between them burned so obvious one simply could not ignore it.
Joseph has such a gorgeous voice and very very traditional! If you love to listen to old recordings from early 20th century as I do, you would fall in love with this voice in seconds. This voice alone could make the whole performance shining! The only minor fault he had was in act four when Rodolfo and Mimi were left alone, after hearing Mimi saying he's the love of her life, he sung "Ah! Mimi---" rather than "Ah! Mi-mi--".To my ear, it seems that he was a little bit emotionally out of control when singing the line, but who could blame him on this?
And, we have more! For the part of Anna, it's all you can imagine and all you could not. That's quite ridiculous for Lyric, a company with rich history and having hosted many great singers American debut including La Callas, having Anya this late, after almost 20 years of her American debut, more than 10 years of her MET debut, when she has already opened two consequent MET season and has scheduled for the third. One could feel the eagerness from audience when they applauded for her entrance.
She gave a very three-dimensional approaching to the character, shy, sensitive, with a little childish curiosity. Her mezzo voce is better every time I listened to her live from last year. What dreaming quality she had in this mezzo voce! And her using of mezzo voce was never a showcase but an essential need for drama. Yes, Anna's voice was not perfect with all her usually shortage, but with a voice being able to develop such emotional expression onstage, who would care those minor shortages?
And for the acting part, with the experience in January, I feel safe to say, it's her alone saved the show from all the silliness of the production and the director. Though we have some singers who can both sing and act nowadays, Anna is among the very few of them not only can act but could sensitively respond to the different atmosphere of different productions. In the Salzburg production last summer which I watched on DVD, she showed a sense of coldness and isolation in the beginning, and developed warmness from the coldness in the end. But in this purely traditional production, she only showed the coldness and fearfulness in the beginning of act three, but having the warmness from the very beginning. Overall she's a shyer and quieter girl (but not flat and boring) compared to the more open one in the modernized Salzburg production. And I must admit the more I observe her acting, the more I admire the way it combines with music. She was not only moving but moving with the music.
In "Mi chiamano Mimi", it's quite an experience seeing how she singing upstage (without losing any sound quality) then turning around slowly at "ma quando vien lo sgelo il primo sole e mio".
In act three, when Mimi was watching Rodolfo and Marcello's talk, the director gave a silly direction having her leaving from where she hided on the stage left and going to hide at stage right. From the experience in January, it's really a distraction seeing Mimi's rushing across the stage at back when Rodolfo was slowly and emotionally describing her illness. I thought Anna may drop this part. Though she didn't, she paced her moving slowly, along with the music, sentence by sentence. One could see Mimi's struggling between hiding as soon as possible and desire of hearing clearly of Rodolfo's words. Though I still feel it a little distraction when watching this, worrying Rodolfo would see her immediately if he had turned around, what Anna did may be the best result she could get being confined in this blocking.
In act four, during the orchestral music before "Sono andati?", she boldly chose to get up from her bed, instead of hurry rushing to Rodolfo, she stared at the bed, going backwards slowly with every step on the beat, showing the conscious of Mimi knowing that's where she would have her final moment, and trying to remember all this and to bring it to her death. I could give much more examples, but it's really something people couldn't fully appreciate until they go and watch and think by themselves.
In the end, when the music stopped, standing ovations came in seconds after, not the usually applause before the music ends. Though short, this kind of silence was rare, and showed how emotionally taken this shown was.
Opera in four acts
Music by Giacomo Puccini
Libretto by Luigi Illica and Giuseppe Giacosa, based on Scènes de la vie de bohème by Henri Murger
Première: Teatro Regio, Turin, 1 February 1896, conducted by Arturo Toscanini
New-to-Chicago production. Owned by the San Francisco Opera Association.
Lyric Opera of Chicago, Civic Opera House, Chicago, IL
March 9, 2013
Mimì: Anna Netrebko
Rodolfo: Joseph Calleja
Musetta: Elizabeth Futral††
Marcello: Lucas Meachem
Colline: Andrea Silvestrelli
Schaunard: Joseph Lim†
Benoit/Alcindoro: Dale Travis
Conductor: Emmanuel Villaume Original
Production: Mark Lamos
Director: Louisa Muller*
Set Designer: Michael Yeargan
Costume Designer: Walter Mahoney*
Lighting Designer: Duane Schuler
Guest Chorus Master: Ian Robertson
*Lyric Debut
†current member, Ryan Opera Center
†† alumnus/ alumna, Ryan Opera Center
REVIEW
This review, written by Yige Li, is for the Lyric Opera of Chicago performance of March 9, 2013, at the Civic Opera House, in Chicago, IL.
Every season, Lyric Opera of Chicago would have one popular opera double-casted with an extended run of more than ten performances in all. And this season, it is La Boheme. The January-February run had Ana María Martínez as Mimi and Dimitri Pittas as Rodolfo in his Lyric debut. But much focus is on the March run, unsurprisingly, with Anna Netrebko's highly-anticipated Lyric debut in the role of Mimi, and a great partner no other than Joseph Calleja as her Rodolfo. I went to performances with both casts.
The production is a new-to-Chicago one, owned by the San Francisco Opera Association. This may be interesting for long-time Lyric subscribers who had experiences on their old productions for several runs, for me, who just came to Chicago before this season, it's just another traditional production.
I have nothing against traditional setting, but this is not really an extraordinary one. The garret in first and fourth acts is very small. In act two, having Cafe Momus indoor onstage separates the stage into two parts--the street on the left and the cafe on the right. The stage of toll gate at the Barrière d'Enfer in act three is simply flat. With all these, it leaves very few space for singers having a more interesting and efficient blocking. What's worse is Louisa Muller's direction showing she's either lacking of talent or being lazy. Sometimes, she made singers simply park and bark (especially the chorus blocking in act two), and other times, she made singers doing too much when the music clearly suggesting a kind of silence.
In the pit, the orchestra led by French conductor Emmanuel Villaume played very beautifully. Though sometimes, the orchestra is little slow and singers were slightly ahead of them, it's acceptable in a live performance considering the singers could not really hear the orchestra clearly onstage. Personally I felt the orchestra is bit too elegant for Puccini's music, but it could just be my personal taste.
On stage the chorus is directed by guest chorus master, Ian Robertson, from San Francisco. Though the blocking part was quite boring as mentioned before, the singing part was great. Schaunard was sung by Joseph Lim, a current member of Ryan Opera Center (the young artist development program of Lyric Opera). The voice is young and very beautiful, but the size is not big. From my seat in the middle of orchestra level, his voice could be heard clearly, but I'm not sure it would be the same at upper balcony, and I'm almost certain it could not project well to the family circle if it's in MET. Colline was sung by Andrea Silvestrelli, an old, big, and not so beautiful voice, quite the opposite to our Schaunard hear. For me, he's not a great fit to the role. By the way, he's also doing Sparafucile in Rigoletto in Lyric now. I haven't had a chance to catch one yet. But I feel that role may suit his voice better. Lucas Meachem was Marcello who has a beautiful and emotional voice. Though some his acting was stiff, I would have the director taking the "credit", as not every opera singer is a nature actor/actress, and that's why we need a revival director being there to HELP SINGERS. And for soprano Elizabeth Futral who sings Musetta... She seems in a good shape, but sorry I really don't remember. Knowing Anna Netrebko played Musetta in this exact production back in 2004 in San Francisco, all I was thinking was how great it must be having Anya on stage for this part. Well, I could be forgiven for I'm really not having a career as being music critic, right?
OK, finally, we come to the best part, the glamorous loving pair, Anna Netrebko and Joseph Calleja, as Mimi and Rodolfo. An opera house as Lyric could not afford an all-star cast as MET do (i.e. Having a star like James Morris singing a minor role as Lodovico in Otello, my goodness!), but sometimes still could assemble a dreaming cast for leading roles, like this. Anna and Joseph know each other well enough, and they actually did La Boheme together in Munich back in 2009. The chemistry between them burned so obvious one simply could not ignore it.
Joseph has such a gorgeous voice and very very traditional! If you love to listen to old recordings from early 20th century as I do, you would fall in love with this voice in seconds. This voice alone could make the whole performance shining! The only minor fault he had was in act four when Rodolfo and Mimi were left alone, after hearing Mimi saying he's the love of her life, he sung "Ah! Mimi---" rather than "Ah! Mi-mi--".To my ear, it seems that he was a little bit emotionally out of control when singing the line, but who could blame him on this?
And, we have more! For the part of Anna, it's all you can imagine and all you could not. That's quite ridiculous for Lyric, a company with rich history and having hosted many great singers American debut including La Callas, having Anya this late, after almost 20 years of her American debut, more than 10 years of her MET debut, when she has already opened two consequent MET season and has scheduled for the third. One could feel the eagerness from audience when they applauded for her entrance.
She gave a very three-dimensional approaching to the character, shy, sensitive, with a little childish curiosity. Her mezzo voce is better every time I listened to her live from last year. What dreaming quality she had in this mezzo voce! And her using of mezzo voce was never a showcase but an essential need for drama. Yes, Anna's voice was not perfect with all her usually shortage, but with a voice being able to develop such emotional expression onstage, who would care those minor shortages?
And for the acting part, with the experience in January, I feel safe to say, it's her alone saved the show from all the silliness of the production and the director. Though we have some singers who can both sing and act nowadays, Anna is among the very few of them not only can act but could sensitively respond to the different atmosphere of different productions. In the Salzburg production last summer which I watched on DVD, she showed a sense of coldness and isolation in the beginning, and developed warmness from the coldness in the end. But in this purely traditional production, she only showed the coldness and fearfulness in the beginning of act three, but having the warmness from the very beginning. Overall she's a shyer and quieter girl (but not flat and boring) compared to the more open one in the modernized Salzburg production. And I must admit the more I observe her acting, the more I admire the way it combines with music. She was not only moving but moving with the music.
In "Mi chiamano Mimi", it's quite an experience seeing how she singing upstage (without losing any sound quality) then turning around slowly at "ma quando vien lo sgelo il primo sole e mio".
In act three, when Mimi was watching Rodolfo and Marcello's talk, the director gave a silly direction having her leaving from where she hided on the stage left and going to hide at stage right. From the experience in January, it's really a distraction seeing Mimi's rushing across the stage at back when Rodolfo was slowly and emotionally describing her illness. I thought Anna may drop this part. Though she didn't, she paced her moving slowly, along with the music, sentence by sentence. One could see Mimi's struggling between hiding as soon as possible and desire of hearing clearly of Rodolfo's words. Though I still feel it a little distraction when watching this, worrying Rodolfo would see her immediately if he had turned around, what Anna did may be the best result she could get being confined in this blocking.
In act four, during the orchestral music before "Sono andati?", she boldly chose to get up from her bed, instead of hurry rushing to Rodolfo, she stared at the bed, going backwards slowly with every step on the beat, showing the conscious of Mimi knowing that's where she would have her final moment, and trying to remember all this and to bring it to her death. I could give much more examples, but it's really something people couldn't fully appreciate until they go and watch and think by themselves.
In the end, when the music stopped, standing ovations came in seconds after, not the usually applause before the music ends. Though short, this kind of silence was rare, and showed how emotionally taken this shown was.
Senin, 04 Februari 2013
L'Elisir d'Amore, Met, NYC 2. Feb 2013
L’ELISIR D'AMORE
Gaetano Donizetti -- Felice Romani
Met, New York City 2. Feb 2013
LEADING TEAM
Maurizio Benini: Conductor
Bartlett Sher: Stage Director
Michael Yeargan: Set Designer
Catherine Zuber: Costume Designer
Jennifer Tipton: Lighting Designer
CAST
Anna Netrebko: Adina
Matthew Polenzani: Nemorino
Mariusz Kwiecien: Belcore
Erwin Schrott: Dulcamara
Anne-Carolyn Bird: Giannetta
Chorus and Orchestra of the Metropolitan Opera
REVIEWS
L'elisir d'amore, Met, NYC 2. Feb 2013
Written by: Yige Li
I went to NYC last Saturday (Feb. 2) for L'Elisir again. And this was one of the most amazing performances I've ever attended! It's the same production with almost same singers, but a lot of things onstage was changed (which is strange, for I don't think they could have a lot of time for rehearsal before the spring run to really try out these changes), and the result was very different. I still prefer the cast last fall as a whole, but for Anya alone, the performance this time was more exciting. She was in great condition and very great mood, I suppose. Her body was relaxing, running and jumping and dancing onstage in an absolutely free style. (Of course she always gave audience the impression of being free and relaxing onstage. But compared to this, the Oct. 13, 2012 performance was a little bit more calculated. This is understandable. If she had performed this way in the HD-broadcasted performance, I'm afraid those who controlled the cameras would have a really hard time to catch and focus on her.) This kind of relaxing and freedom also reflected in her singing. Surely she now has a dark and heavy sound which is not typical for Adina. But in one minute, one could forget all these, only knowing it's THIS Adina with THIS voice. Also she did lighter her voice to fit in the ensemble. I realize this only because I've experienced the power of her sound before. Based on her sound on Saturday alone, however, I didn't sense any effort. She just sang very intuitively with ease. If this kind of "lighting" voice didn't hurt, and if she still enjoy singing this kind of roles, I would say she doesn't need to drop off all the "-ina" roles. Frankly speaking, I've never thought a comic could be as emotional taken as a tragedy. But this one made me hesitate. It seems no work was done, everyone on- and off-stage was simply opening the heart and enjoying it. This was really an experience!
PHOTOS
Gaetano Donizetti -- Felice Romani
Met, New York City 2. Feb 2013
LEADING TEAM
Maurizio Benini: Conductor
Bartlett Sher: Stage Director
Michael Yeargan: Set Designer
Catherine Zuber: Costume Designer
Jennifer Tipton: Lighting Designer
CAST
Anna Netrebko: Adina
Matthew Polenzani: Nemorino
Mariusz Kwiecien: Belcore
Erwin Schrott: Dulcamara
Anne-Carolyn Bird: Giannetta
Chorus and Orchestra of the Metropolitan Opera
REVIEWS
L'elisir d'amore, Met, NYC 2. Feb 2013
Written by: Yige Li
I went to NYC last Saturday (Feb. 2) for L'Elisir again. And this was one of the most amazing performances I've ever attended! It's the same production with almost same singers, but a lot of things onstage was changed (which is strange, for I don't think they could have a lot of time for rehearsal before the spring run to really try out these changes), and the result was very different. I still prefer the cast last fall as a whole, but for Anya alone, the performance this time was more exciting. She was in great condition and very great mood, I suppose. Her body was relaxing, running and jumping and dancing onstage in an absolutely free style. (Of course she always gave audience the impression of being free and relaxing onstage. But compared to this, the Oct. 13, 2012 performance was a little bit more calculated. This is understandable. If she had performed this way in the HD-broadcasted performance, I'm afraid those who controlled the cameras would have a really hard time to catch and focus on her.) This kind of relaxing and freedom also reflected in her singing. Surely she now has a dark and heavy sound which is not typical for Adina. But in one minute, one could forget all these, only knowing it's THIS Adina with THIS voice. Also she did lighter her voice to fit in the ensemble. I realize this only because I've experienced the power of her sound before. Based on her sound on Saturday alone, however, I didn't sense any effort. She just sang very intuitively with ease. If this kind of "lighting" voice didn't hurt, and if she still enjoy singing this kind of roles, I would say she doesn't need to drop off all the "-ina" roles. Frankly speaking, I've never thought a comic could be as emotional taken as a tragedy. But this one made me hesitate. It seems no work was done, everyone on- and off-stage was simply opening the heart and enjoying it. This was really an experience!
PHOTOS
 |
| L'elisir d'amore, Met, NYC 2. Feb 2013. Photo: Yige Li |
 |
| Anna Netrebko. L'elisir d'amore, Met, NYC 2. Feb 2013. Photo: Yige Li |
Kamis, 31 Januari 2013
Where To Find Zune Movie Download?
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Ways Of Zune Movie Download
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Converting Your Zune Movies
If you have Zune movie, music or video files that are in formats which cannot be played on your Zune player (AVI, DivX, MPEG, MOV, XviD, 3GP, ASF, MPG, Dat, DVR-MS, VOB, VRO, RM, MP4, RMVB), you will need to convert them with a converter software before you can view or listen them to your player.
Ways Of Zune Movie Download
There are 2 main ways for you to acquire movies, or any other forms of media files. The first way is to purchase them from the marketplace. You can choose to subscribe for $15, and get unlimited movie and music downloads for one month. Another way would be to get individual downloads for about $1 per download, which racks up to a high cost if you are planning to download many files.
The other way would be to download them from unlimited download websites. These websites allow users to download an unlimited amount of media files, including movies, music, games, TV shows and software. This is a highly recommended option for users who are looking to download many files, because it is more cost effective in the long run.
Rabu, 30 Januari 2013
Convert Movies To PSP Format
Sony PSP has been a tremendous hit as a portable gaming console,
winning the hearts of all ages. No matter where I turn my head or when I
take a walk I can always find people of all ages holding a PSP in their
hand and gaming away in another world of their own.
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The above is over a hundred different types of file format that you may come across with. And you can imagine simply converting movies to PSP format is complicated task to perform but all these tasks can be made simple with the converter program "Media Manager for PSP".
With the popularity of the Sony PSP console, people have found ways to keep themselves entertained. And with the use of the Internet as a daily tool, we of all people have expanded the use of the Sony PSP console. It all began as from an idea of having a portable device in the palm of the hand and the next thing you know or realize is watching your favorite movie from a PSP console.
Before we can convert any movies to PSP format, we must understand how you are going to accomplish the task. Use a movie converter like "Media Manager for PSP" will enable anyone to convert any movie format to PSP format. Movie converter software programs like "Media Manager for PSP" supports .mp4, .avi, .mpg, .mov, .wmv, and other popular video formats. Simply use "Media Manager for PSP" to convert your favorite movie files to PSP format. Unlike other movie converters which requires a 2 step to more to convert your movies, this program manager offers drag and drop function to manage your files between your PSP console and your windows PC. It's that easy.
Simply drag and drop your favorite files to and from your PSP console and you can even manage to backup your saved games to your windows PC. "Media Manager for PSP" manages and does everything and all the work for you, there is no need to worry about file formats or even preparing your files for transfer between your PSP and windows PC. The program manager takes care of it all. There is no other PSP manager that does this well than the "Media Manager for PSP". It is truly a winner's program that manages everything with having the user following what works with PSP and what don't.
To briefly illustrate further about the software program functions, it does not just stop with managing your favorite movie files, it can also manage your digital photographs, music files, latest pod casts, video blogs, download your favorite websites, saved games, and even view your documents in HTML format and transfer Excel, Words, .txt and many other documents from your PSP console.
"Media Manager for PSP" is clearly the best or winner program manager to manage between your PSP and your windows PC. Most PSP movie converters require complicated steps and procedures to convert your movies to PSP, while some requires only limited movie files that you can convert to PSP format. To have a better understanding, here are the many different types movie formats you may encounter to convert movie to PSP formats;
.3g2, .3gp, .3gp2, .3gpp, .3mm, .60d, .aep, .ajp, .amv, .asf, .asx, .avb, .avi, .avs, .bik, .bix, .box, .byu, .cvc, .d2v, .dat, .dce, .dif, .dir, .divx, .dpg, .dv, .dxr, .eye, .fcp, .flc, .fli, .flv, .flx, .gl, .grasp, .gvi, .gvp, .ifo, .imovieproject, .ivf, .ivs, .izz, .izzy, .lsf, .lsx, .m1v, .m2v, .m4e,.m4u, .m4v, .mjp, .mkv, .moov, .mov, .movie, .mp4, .mpe, .mpeg, .mpg, .mpv2, .msh, .mswmm, .mvb, .mvc, .nvc, .ogm, .omf, .playlist, .pro, .prproj, .prx, .qt, .qtch, .rm, .rmvb, .rp, .rts, .rts, .sbk, .scm, .sfvidcap, .smil, .smv, .spl, .srt, .ssm, .str, .svi, .swf, .swi, .tda3mt, .tivo, .ts, .vdo, .vf, .vfw, .vid, .viewlet, .viv, .vivo, .vob, .vro, .w32, .wcp, .wm, .wmd, .wmv, .wmx, .wvx, .yuv.
The above is over a hundred different types of file format that you may come across with. And you can imagine simply converting movies to PSP format is complicated task to perform but all these tasks can be made simple with the converter program "Media Manager for PSP".
Senin, 21 Januari 2013
Convert DVR-MS File Recorded By Windows Media Center
What is DVR-MS? DVR-MS, a kind of media file format like WMV, is
created by XP Media Center PCs. It uses the MPEG-2 standard Compression
for video with some 'extras' like certain copy protections and so forth
and audio compresses using MPEG-1 layer II. In general, DVR-MS file with
DRM only allows it to be played on the machine that recorded it.
However, DVR-MS file without DRM may be played back on any machine with
Windows XP SP1 and above as long as Windows Media Player is version 9
with hotfix 810243 applied.
DVR-MS files are very large due to the nature of trying to capture high resolution video (About 3.20 GB for 1 hour video). What everybody wants to do is to compress/convert/burn dvr-ms file. There are several third-party programs to do it, but I think that AVS Video tools from http://www.soft29.com is the best through a series of testing. The software can convert, split, join, remove commercials, copy, burn, and edit DVR-MS file to almost all video and audio formats like AVI, MP4, DVD (playable on a stand-alone DVD Player), WMV, MOV, 3GP, MPEG, SWF, RM, etc, so you can enjoy movie and music anytime anywhere. All key formats are supported by AVS Video tools: AVI (DivX, XviD, etc.), DV AVI, MP4 (inc. Sony PSP and Apple iPod), WMV, 3GP, 3G2, QuickTime (MOV, QT), SWF, DVD, VOB, VRO, MPG, MPEG 1,2,4, DAT, VCD, SVCD, ASF, MJPEG, H.263, H.264, Real Video (RM, RMVB), DVR-MS. AVS Video Tools don't support Mac, but you can use freeware MPlayer to convert DVR-MS file.
DVR-MS files are very large due to the nature of trying to capture high resolution video (About 3.20 GB for 1 hour video). What everybody wants to do is to compress/convert/burn dvr-ms file. There are several third-party programs to do it, but I think that AVS Video tools from http://www.soft29.com is the best through a series of testing. The software can convert, split, join, remove commercials, copy, burn, and edit DVR-MS file to almost all video and audio formats like AVI, MP4, DVD (playable on a stand-alone DVD Player), WMV, MOV, 3GP, MPEG, SWF, RM, etc, so you can enjoy movie and music anytime anywhere. All key formats are supported by AVS Video tools: AVI (DivX, XviD, etc.), DV AVI, MP4 (inc. Sony PSP and Apple iPod), WMV, 3GP, 3G2, QuickTime (MOV, QT), SWF, DVD, VOB, VRO, MPG, MPEG 1,2,4, DAT, VCD, SVCD, ASF, MJPEG, H.263, H.264, Real Video (RM, RMVB), DVR-MS. AVS Video Tools don't support Mac, but you can use freeware MPlayer to convert DVR-MS file.
Kamis, 17 Januari 2013
How To Download Zune Video And Music
Transfer videos/music to Zune directly with Zune software
Zune software can import your existing files, including your music and video from iTunes and Windows Media Player, and put them on Zune. Supports videos in MP4 (MPEG-4), WMV, H.264 up to 320x240 and audio files in unprotected MP3, AAC, WMA up to 320Kbps, 48KHz.
Rip your CD to Zune
Zune software can not only manage and view your songs and movies, edit album and track information, but also support ripping audio CDs. So, if you have many favorite music CDs, just rip them to WMA, MP3 or AAC file formats, and transfer to your Zune.
Another, Zune software can help you burn music to CDs playable on your CD or DVD player.
Purchase songs and movies from Zune Marketplace
You could get a Zune pass, subscribe for $14.99 a month with unlimited downloads for that month. You can also go for individual downloads.
1) Subscribe
* Sign up for a free Zune account.
* Download as many tracks or albums as you like, and sync to your Zune.
* 14-day free trial Zune pass subscription without needing credit card.
2) Individual download
* Sign up for a free Zune account.
* 79 Microsoft Points per track (roughly 99 cents), 4000 Microsoft Points' price is $50.
* Microsoft Points is a universal system that works across borders, including Xbox Live Marketplace and other Microsoft properties.
* Purchase Points from the Marketplace using a credit card or pick up Points cards at a participating retail location.
Convert DVD to Zune, convert video files to Zune
If you have some DVD movies, music DVDs or video files in AVI, DivX, MPEG, MOV, XviD, 3GP, ASF, MPG, Dat, DVR-MS, VOB, VRO, RM, MP4, RMVB, WMV which can not play on your Zune, you can convert to MP4, WMV or H.264 video files with Zune Video Converter software and sync the converted files to Zune player, enjoy them on the go.
Audio books in M4b file format
M4b is an audio file wrapped within MPEG-4 container format. Zune software can recognize .m4b audiobook and put onto Zune.
Hints: Since Zune can only support JPEG pictures, you need to convert image files in BMP, GIF, TIFF, PNG, etc. formats to JPEG first in order to enjoy on your Zune.
Zune software can import your existing files, including your music and video from iTunes and Windows Media Player, and put them on Zune. Supports videos in MP4 (MPEG-4), WMV, H.264 up to 320x240 and audio files in unprotected MP3, AAC, WMA up to 320Kbps, 48KHz.
Rip your CD to Zune
Zune software can not only manage and view your songs and movies, edit album and track information, but also support ripping audio CDs. So, if you have many favorite music CDs, just rip them to WMA, MP3 or AAC file formats, and transfer to your Zune.
Another, Zune software can help you burn music to CDs playable on your CD or DVD player.
Purchase songs and movies from Zune Marketplace
You could get a Zune pass, subscribe for $14.99 a month with unlimited downloads for that month. You can also go for individual downloads.
1) Subscribe
* Sign up for a free Zune account.
* Download as many tracks or albums as you like, and sync to your Zune.
* 14-day free trial Zune pass subscription without needing credit card.
2) Individual download
* Sign up for a free Zune account.
* 79 Microsoft Points per track (roughly 99 cents), 4000 Microsoft Points' price is $50.
* Microsoft Points is a universal system that works across borders, including Xbox Live Marketplace and other Microsoft properties.
* Purchase Points from the Marketplace using a credit card or pick up Points cards at a participating retail location.
Convert DVD to Zune, convert video files to Zune
If you have some DVD movies, music DVDs or video files in AVI, DivX, MPEG, MOV, XviD, 3GP, ASF, MPG, Dat, DVR-MS, VOB, VRO, RM, MP4, RMVB, WMV which can not play on your Zune, you can convert to MP4, WMV or H.264 video files with Zune Video Converter software and sync the converted files to Zune player, enjoy them on the go.
Audio books in M4b file format
M4b is an audio file wrapped within MPEG-4 container format. Zune software can recognize .m4b audiobook and put onto Zune.
Hints: Since Zune can only support JPEG pictures, you need to convert image files in BMP, GIF, TIFF, PNG, etc. formats to JPEG first in order to enjoy on your Zune.
Selasa, 15 Januari 2013
Comparison of File Extensions IFO and BIN
The files having the extension IFO control different operations
performed by the DVD player. They store the information required for
displaying audio and video correctly on a monitor. All DVD players have a
start menu which displays scenes and chapters. It allows you to quickly
navigate from DVD's one section to another. IFO along with start menu
data also stores chapters and scenes. It is a short form of DVD INFO
FILE.
They are required for providing relevant playback information to the DVD player. They are associated with the video file VRO. They contain information while VRO files have the video streams. It is different to VOB where this information is also included in the file. IFO is used by many manufacturers. If VIDEO_TS.IFO file exists, it contains playback and control information for the whole DVD. This VIDEO_TS.IFO file is called as VMGI (Video Manager Information File). It is necessary to have it present on the DVD disc.
The file extension BIN is the short form of binary. These files are utilized for a range of different tasks and they can be linked to a number of different software applications. BIN is normally a universal extension. It can be used for anything from a ROM used for game emulator to data image for some specific application. These files are unlike some other usual files such as DOC, EXE or XLS. BIN files do not need a predetermined application for accessing them. They can be used extensively on both PC and Mac platforms.
IFO files are used for storing the information related to the proper display of DVDs, while BIN extension stands for files basically used for creating their exact replicas.
They are required for providing relevant playback information to the DVD player. They are associated with the video file VRO. They contain information while VRO files have the video streams. It is different to VOB where this information is also included in the file. IFO is used by many manufacturers. If VIDEO_TS.IFO file exists, it contains playback and control information for the whole DVD. This VIDEO_TS.IFO file is called as VMGI (Video Manager Information File). It is necessary to have it present on the DVD disc.
The file extension BIN is the short form of binary. These files are utilized for a range of different tasks and they can be linked to a number of different software applications. BIN is normally a universal extension. It can be used for anything from a ROM used for game emulator to data image for some specific application. These files are unlike some other usual files such as DOC, EXE or XLS. BIN files do not need a predetermined application for accessing them. They can be used extensively on both PC and Mac platforms.
IFO files are used for storing the information related to the proper display of DVDs, while BIN extension stands for files basically used for creating their exact replicas.
Minggu, 13 Januari 2013
Iolanta, Gran Teatro del Liceo, Barcelona 13. Jan 2013
IOLANTA
Music by Piotr Ilyich Tchaikovsky
Libretto by Modest Tchaikovsky after the play "Kong Renés Datter" by Henrik Hertz
Gran Teatro del Liceo, Barcelona 13. January 2013 17:00
Opera in concert performance
CAST
Iolanta: Anna Netrebko
Count Tristan Vaudémont: Sergei Skorokhodov
René, König der Provence: Sergei Aleksashkin
Robert: Alexander Gergalov
Ebn-Hakia: Edem Umerov
Alméric: Andrei Zorin
Bertrand: Yuri Vorobiev
Martha: Natalia Evstafieva
Brigitte: Eleonora Vindau
Laura: Anna Kiknadze
Orchestra and Chorus of the Mariinsky Theater
Conductor: Valery Gergiev
PHOTOS
Music by Piotr Ilyich Tchaikovsky
Libretto by Modest Tchaikovsky after the play "Kong Renés Datter" by Henrik Hertz
Gran Teatro del Liceo, Barcelona 13. January 2013 17:00
Opera in concert performance
CAST
Iolanta: Anna Netrebko
Count Tristan Vaudémont: Sergei Skorokhodov
René, König der Provence: Sergei Aleksashkin
Robert: Alexander Gergalov
Ebn-Hakia: Edem Umerov
Alméric: Andrei Zorin
Bertrand: Yuri Vorobiev
Martha: Natalia Evstafieva
Brigitte: Eleonora Vindau
Laura: Anna Kiknadze
Orchestra and Chorus of the Mariinsky Theater
Conductor: Valery Gergiev
PHOTOS
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| Natalia Evstafieva, Sergei Skorokhodov, Anna Netrebko. Iolanta, Gran Teatro del Liceo, Barcelona 13. Jan 2013. Photo: Herbert |
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| Eleonora Vindau, Anna Kiknadze, Natalia Evstafieva, Sergei Skorokhodov. Iolanta, Gran Teatro del Liceo, Barcelona 13. Jan 2013. Photo: Herbert |
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| Sergei Skorokhodov, Anna Netrebko. Iolanta, Gran Teatro del Liceo, Barcelona 13. Jan 2013. Photo: Herbert |
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| Edem Umerov, Eleonora Vindaau, Anna Kiknadze, Natalia Evstafieva. Iolanta, Gran Teatro del Liceo, Barcelona 13. Jan 2013. Photo: Herbert |
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| Anna Netrebko. Iolanta, Gran Teatro del Liceo, Barcelona 13. Jan 2013. Photo: Herbert |
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| Anna Netrebko, Valery Gergiev, Eleonora Vindau. Iolanta, Gran Teatro del Liceo, Barcelona 13. Jan 2013. Photo: Herbert |
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| Valery Gergiev, Anna Netrebko, Eleonora Vindau, Anna Kiknadze. Iolanta, Gran Teatro del Liceo, Barcelona 13. Jan 2013. Photo: Herbert |
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| Eleonora Vindau. Iolanta, Gran Teatro del Liceo, Barcelona 13. Jan 2013. Photo: Herbert |
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| Eleonora Vindau. Iolanta, Gran Teatro del Liceo, Barcelona 13. Jan 2013. Photo: Herbert |
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| Eleonora Vindau. Iolanta, Gran Teatro del Liceo, Barcelona 13. Jan 2013. Photo: Herbert |
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| Anna Netrebko. Iolanta, Gran Teatro del Liceo, Barcelona 13. Jan 2013. Photo: Carlos |
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