Dear dramaturg

The manual from Bentel is *great*.

Go here.

I'm just getting up to speed on these things. Looks like there are card readers - the magnetic launch pad that you wave or move your security card in front of. And there are magnetic cards. Right now I'm researching proximity cards.

The pads and cards can be manufactured by the same company as in Honeywell or separate companies as in Betel Securty systems.

As for specs I will find the pages and give you the page numbers. Looks like they are pretty standard, but I haven't been reading too closely, just gathering info.

Still have one more manufacturer to research.

Cheers,

Elizabeth

VISTA-250BP-KIT1 Honeywell Commercial Alarm Control Panel + 6160 Custom English Keypad (V250BP-KT1)

http://www.basshome.com/product_109024_detailed.htm

Or check here:

Moose Z2000 Security System Control

specs are on page 2

I have more. I'll post in the morning.

Let me know if I'm on the right track.

Cheers,Elizabeth

 

You're the best!

Thanks, Elizabeth

Much love,

Dean

It may take awhile just because it's the witching hour and the kiddies want to be fed and all. But I will check it out later tonight.

Cheers,

Elizabeth

for my NaPlWriMo play, I guess I'm wondering how electronic-eye door releases work.

The external doors to an office building can stay locked unless a person waves a magnetic card over a box, or unless that person approaches that door from the inside, within a radius of approximately three yards. 

I wondered which manufacturers made such door locks, and if there are standard settings that most use regarding their sensitivity to movement.  Such a locked door does play a prominent role in my NaPlWriMo play.

A quick Google search doesn't turn up much but some general info about the necessity of a degree, an engineering degree for test pilots. It looks like degrees could be for anything - one website cited Medical, Law, and Business. I found one pilot who said he had a degree in literature. So there you go. You're probably safe going with just about anything. Some pilots only have 2-year degrees. Mostly they're a sign to airlines that a potential candidate can stick to a serious program and can be trained. I also did a preliminary search on the library database and didn't turn up much.

Since your request isn't for a play that you're writing for NAPLWRIMO, I'm sorry but I can't put much more time into running a search for you.

Good luck!

Elizabeth

Is there a public survey of what majors/degrees airline pilots had in college before choosing their profession/military service?  I am asking for a friend -- well, another play, but since it's already started I can't use it for NaPlWriMo... but, it misses me....

I have found two copies.

These are sound recordings that include an English translation of the libretto

I assume you have access to a library?

Here is the pertinent info:

 

1. by Rameau, Jean Philippe, 1683-1764.

Paris : Erato, p1997.
Subjects	Operas.
	Hippolytus (Greek mythology) -- Drama.
Added Author:	Pellegrin, M. l'abbé (Simon-Joseph), 1663-1745. Panzarella, Anna Maria. Hunt, Lorraine. James, Eirian. Padmore, Mark. Naoury, Laurent. Christie, William (William Lincoln) Arts florissants (Musical group)
ISBN:	0630155172
Description:	3 sound discs (183min.) : digital ; 4 3/4 in.
Notes:	Opera in 5 acts and a prologue (1733 version); libretto by Abbe Simon-Joseph Pellegrin. Compact disc. Notes by William Christie, Sylvie Bouissou, and Jean-Marie Villegier, in English, French and German, and vocal text with English and German translations (157 p.) included. Recorded Oct. 6-13, 1996, Salle Wagram, Paris. Sung in French.
Performers:	Anne-Maria Panzarella, soprano ; Lorraine Hunt, Eirian James, mezzo-sopranos ; Mark Padmore, tenor ; Laurent Naouri, bass ; Les Arts Florissants ; William Christie, conductor.

ISBN: 0630155172

purchase here:http://www.amazon.com/Rameau-Hippolyte-Panzarella-Delunsch-Florissants/dp/B000005E4S/ref=sr_1_1?ie=UTF8&s=music&qid=1225752487&sr=8-1

 

2.

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	Hippolyte et Aricie [lyric tragedy in five acts. Libretto by the Abbé Simon-Joseph de Pellegrin]
Publication Information	Éditions de l'Oiseau-lyre [1966]

 

<!-- next row for fieldtag=n --> <!-- next row for fieldtag=n --> <!-- next row for fieldtag=n -->

3 discs. 33 1/3 rpm. 12 in.
Note	Automatic sequence.
	Program notes by Brian Trowell (14, xii p. illus., facsims.) inserted in container, include synopsis of opera and libretto in French and English.
Performer	Angelica Hickey, soprano; Janet Baker, contralto; Robert Tear, tenor; John Shirley-Quirk, bass; with supporting soloists; St. Anthony Singers; English Chamber Orchestra; Thurston Dart, harpsichord; Anthony Lewis, conductor.

You can purchase it here: http://www.abebooks.com/servlet/BookDetailsPL?bi=516413269&searchurl=an%...

Hope that helps!

Cheers,

Elizabeth

I have another outlandish request.  You mentioned Rameau, and I believe he composed what's often regarded as the first Baroque opera--it's a treatment of Racine's Phedre (which is another element in my play).  I believe the opera is called Hippolytus and Aricia (in English).  I am trying to find an occasion for my third Jennifer to sing (she is an opera singer and a mezzo-sporano) it will probably be in a dream or a vision.  I am pretty sure that Phedre in the opera is a mezzo.  However, my French is even worse that my Italian.  Is there any chance you could find an English translation of the libretto? 

The protagonist (David) in my play is an actor.  He makes mention that people see what they want to see when they see him on stage.   Ironically, his real life begins to reflect some of th e plays he is in.  He is at first the romantic lead in Moliere's "The Imaginary Cuckold".  He then later believes (falsely) that he has been cuckolded by Jennifer 1--becoming an imaginary cuckold. 

He draws a parallel between with himself playing  "Eros" to Jennifer number 2's "Psyche".  It's his fantasy but they both indulge in it.  He mentions that she would've made a good "Hippolyta" queen to Thesus (in Midsummer Night's Dream).   She rejects the idea, saying that she's too common.   Jennifer 2 is older and in some ways motherly towards him.  Their relationship lasts a summer and ends, even though they try to keep the dream alive.  They later go to Ashland, Oregon to the Shakespeare Festival and learn that the run of "Midsummer" has just ended, symbolically signifying that their dream-like love affair is over.    David, however, can't let go of the dream and sends her a letter telling her how he really feels.  The letter, however, is intercepted by Jennifer1 who destroys it (she is a mail carrier).

Meanwhile Davod plays "Thesus" in Phedre (who was once married to Hippolyta but is now married to Phedre)--but wishes he'd been cast as Hippolytus -the romantic lead--who is in love with Aracia.  Hippolytus (son of Thesus and Hippolyta) is the object of Phedre's (his step mother) affection.  In some strange way, he is desirous of the love of an older woman.   

All the while, a younger woman, Jennifer 3v(an opera singer) adores him the way that he adores Jennifer 2.  She wants him, but he's still in love with Jennifer 2.  She is his dresser, but later plays his nurse in a contemporary drama opposite his lunatic.  When he returns from the festival, he must perform the same night.  He does, but is horrible.  Jennifer 3 saves him on stage.  She takes him home to console him--he sleeps with her as a surrogate for Jennifer 2 (Jenny).  Jennifer 3 really loves him, and truly they are a perfect match.  But David is blinded by his love for Jennifer2.  At the climax, while making love to Jennifer 3, he imagines being with Jenny 2.  He says that he loves her "Jenny"  which of course, Jennifer 3 (Jennifer) misunderstands and thinks he loves her as much as she loves him.  When he realises what he's done, he hasn't the heart to tell her the truth--so he ignores her instead.  Eventually, Jennifer 3 gives up, but invites him to the opera as a way to say goodbye.  As they watch L'Orpheo, she explains the plot to him just as Eurydice asks why Orpheus is ignoring her, knowing that if Orpheus reveals his secret and turns and tells her, she will be lost to him forever.  He sees himself as Orpheus and realizes that Jennifer3 was the one who he should've been with, but it's really too late.

Phew!  I swear I didn't think of all this when I sat down to write.  It was just a story about 3 girls who happened to all be named Jennifer.  

Now, musically, each of the women have a genre of music associated with them:

Jennifer 1 - Disco--Most prominently, Donna Summer's "Love to Love you Baby"

Jennifer 2 - Renaissance - O woeful Orpheus, Greensleeves, L'Orfeo

Jennifer 3 - Baroque - Something from Aricia to Hippolytus  

I think she sees herself as Aricia to David's Hippolytus.  So, I am looking for an Aria that Aricia sings to Hippolytus.  In the end of the play, the actress who plays Jenny 2 plays the part of Eurydice on stage.  Jennifer1 plays the spirit that takes her away.  A fourth, sexually ambivalent character portrays Orpheus.  This scene is at the beginning of the play as a prologue, and then recurs at the end.  I can't wait to finish it.  It seems almost to write itself. 

After that rather lengthy explanation, anything from Aricia to Hippolytus would be great!      

Much love,

Dean

This is perfect!  Gorgeous!  I owe you one.  Absolutely perfect.  You're a godsend!

Muah! Muah! Muah!

Much love,

Dean

You may already know about it. But FYI in any case.

Come woeful orpheus by William Byrd, a madrigal

http://www.choralwiki.net/wiki/index.php/Come_woeful_Orpheus_%28William_...

 

"I already use an excerpt from Monteverdi's L'Orfeo.    However, I'd like to find an English translation of Eurydice's Act 4 Aria "Ahi, vista troppo dolce/Torn'a l'ombre/Dove ten vai". "

Alas, Dean, none of my resources turn up an actual English translation of L'Orfeo. I've found the scores to those by Schubert, Rameau, and Stravinsky.  There is a dvd performance available for purchase http://www.cduniverse.com/productinfo.asp?pid=6992209

I didn't find any specifically identified madrigal scores online either for free or purchase for Orpheus with his lute. They do exist because I can find them on itunes. There are several arrangements listed here. I also looked at a classical music score database through my library - nada.

Sorry I couldn't be of more help.

Best,

Elizabeth

 

 

Thanks for looking, Elizabeth!

 

Great job, but not exactly what i was looking for.  (Those Baroque operas often use castrati or counter tenors so Orpheus sounds very feminine. Also the three Jennifers in my play are each tied to a period of music.  Jennifer number 2 is renaissance.)

 

 

Thanks for looking, Elizbeth!

Are you maybe thinking of Orfeo ed Euridice by Gluck? It was originally set to an Italian libretto. There is an aria in act 3 entitled Che farò senza Euridice?/J’ai perdu mon Eurydice where he finally gives in (because he can't take her crying anymore about the pain he is causing her by not looking at her) and looks at her.  It's worth checking out. 

Here's a link to the libretto (English translation). http://www.opera-guide.ch/libretto.php?id=131&uilang=de&lang=en

I'm looking for an Italian translation online but haven't found it yet. Before I continue, let me know if this is the direction you want to go.

Cheers,

Elizabeth