CD1
1. Sinfonia { Don Chisciotte Della Mancia, Naples 1769 }
2. Act I - Mi Perdoni, Padron Mio (calafrone_platone_contessa_duchessa_carmonisa)
3. Act I - Che D'è Sto Lamento (don Platone)
4. Act I - Begli Occhietti Vivacetti (duchessa)
5. Act I - Alto Alto Canaglia. (sancio_don Chisciotte)
6. Act I - Qui Riman L'elmo. (sancio_don Chisciotte)
7. Act I - Empia Fera; Bestia Immonda. (don Chisciotte)
8. Act I - Si Vuo' Farete (carmosina_cardoletta_sancio_chisciotte_contessa_duchessa_platone_calafrone)
9. Act Ii - Cavalier, Che Cos'è ? (duchessa)
10. Act Ii - Dille Che Qui L'attendo. (don Chisciotte)
11. Act Ii - Sinfonia (orchestra Del Teatro Del'opera Di Roma)
12. Act Ii - Vaghe Aurette Lusinghiere (contessa_carmosina)

CD2
1. Act Ii - Questa è Collei (contessa)
2. Act Ii - Pietoso Mio Campione (don Platone)
3. Act Ii - Sancio Caro, Fermo In Groppa (don Chisciotte_sancio_contessa_carmosina_calafrone_platone)
4. Act Ii - Venga Pur Ma Zitto, Zitto (sancio)
5. Act Ii - Se è Ver Che Voi Mi Amate (contessa)
6. Act Ii - Son Viva? Che Pene! (cont._duch._carmosina_cardoletta_chiscotte_sancio_calafrone_platone)
7. Act Iii - Sentite! Se Del Pazzo (carmosina)
8. Act Iii - Vorrei Sdegnarmi, Oh Dio (duchessa)
9. Act Iii - Vieni Pure In Campo Armato (don Calafrone)
10. Act Iii - Non Mi Credea D'avere (don Platone)
11. Act Iii - Finale Terzo ~ Empio Destino Ingrato (don Chisciotte_tutti)

Cardolella: Francesca Arnone
Carmosina: Bernadette Lucarini
Contessa: Maria Angeles Peters
Don Calafrone: Mario Bolognesi
Don Chisciotte: Paolo Barbacini
Don Platone: Bruno Praticò
Duchessa: Elena Zilio
Ricciardetta: Annabella Rossi
Sancio Panza: Romano Franceschetto

Chor & Orchester des Teatro dell'Opera Roma
Pier Giorgio Morandi – conductor

Among the most important composers of Italian opera in the later 18th century, Paisiello was trained principally in Naples, where he first established his reputation as a composer. In 1776 he was invited to move to St Petersburg, where he worked as a composer of opera and director of the court orchestra, winning the favour of the Empress Catherine II. In 1784 he was able to accept an invitation to return to Naples, where he enjoyed royal favour, only temporarily withdrawn after his acquiescence in the republican régime of 1799. He spent two years in Paris, from 1802 to 1804, as director of music for Napoleon. His employment in Naples continued under Ferdinand IV and then under the usurper Joseph Buonaparte and his successor Joachim Murat. The final defeat of Napoleon in 1815 and the return of King Ferdinand removed Paisiello from his official positions.

Operas

Paisiello's chief fame was as a composer of operas, of which he wrote some eighty. L'idolo cinese (The Chinese Idol) was a favourite of Lady Hamilton, later the mistress of Nelson. His Il barbiere di Siviglia (The Barber of Seville), first performed in St Petersburg in 1782, proved a dangerous rival to Rossini's later opera on the same subject. He set a number of libretti by the Vienna court poet Metastasio and turned to Cervantes in his Don Chisciotte della Mancia (Don Quixote de la Mancha). His style, which seems to have had some influence on Mozart, who heard his Il re Teodoro in Venezia (King Teodoro in Venice) in Vienna in 1784, is concise and melodious, with the necessary sparkle in his comedies, although his heroic and tragic operas seem sometimes to be matched with music that is too light-hearted.

Vocal and Choral Music

Paisiello composed a number of cantatas, designed for entertainment or in formal celebration of some royal occasion. Sacred works include oratorios on the subject of Susanna and of The Conception of the Virgin Mary, with a setting of Metastasio's La passione di Gesù Cristo (The Passion of Jesus Christ). He made a number of settings of the Mass, including, in 1814, a Mass for the chapel of Louis XVIII, which followed earlier Masses for Napoleon. There are other liturgical compositions, some again designed for official occasions of celebration.

Instrumental Music

Paisiello's instrumental music includes divertimenti, keyboard concertos, string and flute quartets and sonatas for harpsichord and violin. --- naxos.com

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1. Sinfonia
2. Atto I
3. Atto II
4. Atto III

Rachelina - Graziella Sciutti (soprano)
Eugenia - Giuliana Raimondi (soprano)
Amaranta - Giovanna Fioroni (mezzo-soprano)
Calloandro - Alvino Misciano (tenor)
Luigino - Agostino Lazzari (tenor)
Notaro Pistofolo - Sesto Bruscantini (bass-baritone)
Rospolone - Franco Calabrese (baritone)
Primo medico - Antonio Boyer (tenor)
Secondo medico - Leonardo Monreale (bass)

Orchestra da camera “A. Scarlatti” di Napoli della RAI
Franco Caracciolo – conductor

RAI-broadcast, live recording, Napoli 29.IX.1959

'La Molinara'' (''Th Mill Girl'') by Giovanni Paisiello came out in 1788, the year after ''Don Giovanni,'' and was one of the hit shows of the time, performed across Europe, including in Vienna, where Beethoven presumably saw it before dashing off a set of piano variations on its catchiest number.

Not too much need be said about the piece. Apart from the Beethoven tune and one or two others, the music is cliche: Mozart minus the imagination, skill and genius. And the libretto -- one of more than 300 by Giovanni Palomba -- takes stock characters through stock situations toward a stock happy ending in a triple wedding. The gentlefolk marry for money, as gentlefolk will, and have been planning to do all along, while the Notary ends up at the windmill with the title character, having tossed aside a promising legal career in a gesture that surely shows the depth of true love to be found among the lower orders. --- Paul Griffiths, nytimes.com

Nel 1785, poco dopo il suo ritorno dalla Russia, Paisiello fu nominato dal re di Napoli musicista di corte e «compositore della musica de’ drammi». Sebbene l’incarico comportasse l’obbligo di scrivere un’opera seria all’anno per il San Carlo, il musicista non rinunciò a frequentare il genere buffo, sia pure con frequenza ridotta rispetto ai primi anni di carriera. Nel 1788 colse anzi uno dei più grandi successi in campo comico con l’Amor contrastato, lavoro destinato a girare per molti anni sulle scene italiane e straniere con un titolo alternativo:La molinara. Nella sua circolazione subì spesso una riduzione a due soli atti dai tre originali, mediante la fusione tra secondo e terzo.

La commedia ruota tutta intorno al personaggio della bella e maliziosa Rachelina, padrona di mulino, lusingata dalle attenzioni di due uomini (il nobile Calloandro e il notaio Pistofolo) e indecisa su quale dei due scegliere come corteggiatore. Il gioco è divertente ma pericoloso perché capace di risvegliare la gelosia della baronessa Eugenia, feudataria del luogo nonché promessa a Calloandro. C’è il rischio di essere bandita dal feudo e allora occorre uno stratagemma dietro l’altro per continuare a fingersi innocente, senza però rinunciare a ricevere di nascosto i due spasimanti. Per salvarsi una volta sorpresa, Rachelina accusa falsamente i due di essersi introdotti a forza nel mulino e scatena così una colossale baruffa (finale primo). In seguito li fa travestire da giardiniere e da mugnaio, per poi lanciarsi con loro in un ballo contadino sotto gli occhi della baronessa e del governatore Rospolone. A un certo punto la molinara decide di affrettare la scelta: sposerà colui che accetterà di diventare mugnaio. Si fa avanti il notaio, mentre Calloandro si mette a girare folle di rabbia per la foresta come un novello Orlando. Molinara, notaio e baronessa (con seguito di cameriera e cavalier servente) vanno alla sua ricerca nella generale confusione (finale secondo). Nel brevissimo terzo atto le cose si aggiustano: il rinsavito Calloandro si unisce alla baronessa e Rachelina sposa il notaio.

Rispetto ad altri libretti coevi di Palomba (ad esempio leGare generose, del 1786, sempre per Paisiello) questo dellaMolinararisulta assai più incoerente e raffazzonato, soprattutto a partire dalla metà del secondo atto. Ciò, tuttavia, non impedisce a Paisiello di dare corso a tutta la propria vena comica, fondata su una perfetta padronanza dello stile buffo. Il gioco degli ammiccamenti e delle seduzioni è reso con eleganza e sensualità, anche grazie alle puntuali sottolineature dell’orchestra, che spesso agisce come un vero e proprio personaggio aggiunto. Il favore del pubblico fece dellaMolinaral’opera buffa di Paisiello più rappresentata; in una capitale musicale come Vienna tenne banco per tutto l’ultimo decennio del Settecento e anche oltre. Beethoven la ascoltò proprio al viennese Burgtheater nel 1795 e vi si ispirò per due serie di variazioni pianistiche, l’una sul tema del doppio duetto “Nel cor più non mi sento” (cantato dalla molinara prima con Calloandro, poi col notaio, all’inizio del secondo atto), l’altra sul quintetto “Il villan che coltiva il giardino” (quello dei personaggi travestiti; il titolo dell’edizione beethoveniana suona “Quanto è bello l’amor contadino” e deriva da un verso successivo all’incipit). Sul tema “Nel cor più non mi sento” scrissero poi loro variazioni molti altri musicisti, compreso Niccolò Pagnini (in una serie di variazioni per violino del 1820-21). Non sono mancate riprese moderne, fra cui ricordiamo quella ‘storica’ al Teatro di corte del Palazzo Reale di Napoli (1959), con Graziella Sciutti e Sesto Bruscantini diretti da Franco Caracciolo, e quelle del Maggio musicale fiorentino (1962), di Palermo (1987) e Bologna (1996). - -- operamanager.com

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1.   	Egressus est cum discipulis suis trans torrentem (Testo) 00:03:16
2.   	Quem quaeritis (Cristo, Testo, Turba) 00:03:38
3.   	Simon ergo Petrus habens (Testo, Cristo) 00:01:08
4.   	Cohors ergo et tribunus et ministri ludaeorum (Testo) 00:02:00
5.   	Petrus autem stabat ad ostium foris (Testo, Magd) 00:01:49
6.   	Pontifex ergo interrogavit lesum de discipulis (Testo, Cristo, High Priest) 00:03:45
7.   	Numquid et tu ex discipulis eius es (Turba, Testo, Petrus, High Priest) 00:01:51
8.   	Adducunt ergo lesum a Caiapha in praetorium (Testo, Pilatus, Chor de Juden) 00:03:01
9.   	Tu es rex ludaeorum (Pilatus, Testo, Cristo) 00:04:42
10.   	Et cum hoc dixisset iterum (Testo, Pilatus, Chor de Juden) 00:01:51
11.   	Tunc ergo adprehendit Pilatus lesum et flagellavit (Testo, Kriegsknechte, Pilatus) 00:03:24
12.   	Cum ergo vidissent eum (Testo, Chorus of Priests, Pilatus, Chor de Juden) 00:03:51
13.   	Et exinde quaerebat (Testo, Chor de Juden, Pilatus, Chorus of Priests) 00:03:20
14.   	Tunc ergo tradidit eis illum ut crucifigeretur (Testo, Chorus of Priests, Pilatus) 00:04:08
15.   	Milities ergo cum crucifixissent eum (Testo, Chor de Kriegsknechte, Cristo) 00:04:17
16.   	Postea sciens lesus quia (Testo, Cristo) 00:03:12
17.   	Judaei ergo quoniam Parasceve erat (Testo) 00:03:56
18.   	Post haec autem rogavit Pilatum (Testo) 00:04:56

Monika Mauch (Soprano)
Trine Wilsberg Lund (Soprano)
Jörg Schneider (Baritone)
Vocalconsort Berlin
L'Arte del Mondo
Werner Ehrhardt (conductor)

Recorded live, April 2006, Trinitatiskirche, Cologne, Germany

Giovanni Paisiello was one of the most admired composers of opera in the second half of the 18th century. His reputation was mainly based on his comic operas which he composed while working in Naples. Although not born in Naples, he considered himself a Neapolitan, having studied at the Conservatorio di S Onofri. Paisiello's career can be divided into three stages. In the first he concentrated on composing comic operas, mainly for Naples. The next stage started when he was invited by the Russian tsarina Catherine II to become her maestro di cappella. There he composed some operas as well, but as Catherine wasn't really interested in music and only kept her chapel as a matter of prestige, he found time to compose other kinds of music as well, in particular keyboard works for his pupils at court. He stayed in St Petersburg until 1783, when he returned to Naples. In the last stage of his career his attention shifted from comic opera to opera seria and to religious music. At this time he also had to deal with the effects of the French Revolution. Twice the king of Naples had to flee because of a French invasion. On both occasions Paisiello stayed in the city and worked for the new regime. After a while the kingdom was restored but Paisiello got away with his affiliation with the new regime as he took advantage of a general amnesty by King Ferdinando.

The Passion according to St John as recorded here is a rather simple work. The Passions written by Italian composers are in no way comparable to the Passions which were written in Germany. This was the direct result of the reforms of the Council of Trent (1545-1563) which ordered settings of the Passion story to be simple, using only the text of the Gospels without any free poetic addition. So this Passion isn't much different from the Passions written in the renaissance. It is also part of a tradition in Naples, performing the St John Passion on Good Friday. The best-known example is Alessandro Scarlatti's St John Passion, written about 100 years earlier.

The vocal parts are written for sopranos and basses only. One soprano acts as 'Testo' (Evangelist), whereas the second soprano sings the words of Christ. The third main role is that of Pilate which is given to a bass. The turbae are sung by a vocal ensemble, whose members also perform the smaller roles, like that of Peter. The instrumental ensemble is very small as well: just two violins and basso continuo.

The whole text is set in the form of accompanied recitatives, although the music is fluent and often arioso-like. Only sometimes Paisiello turns towards a speech-like secco recitative, in which the singer is either unaccompanied or supported by the basso continuo only. This is one way in which Paisiello differentiates in his treatment of the recitative. Other means are variations in rhythm and speed. The orchestra sometimes gets the role of illustrating the text. A striking example is the moment when Pilate orders Jesus to be scourged. The Testo falls silent and the orchestra vividly depicts the scourging. It is mainly through melody rather than harmony that Paisiello illustrates the events. Only at rare moments does he use dissonance, for instance on 'Barabban'. An intensity of expression is achieved by the slow and steady descending melodic figure when the Testo tells of Jesus bowing his head and giving up the ghost. Remarkable is the way the Passion ends. After the Testo telling how Jesus has been buried a moment of silence follows, and then the Testo sings twice the title at the cross: "Iesus Nazarenus rex Iudaeorum" - Jesus of Nazareth, the King of the Jews.

This description may suggest that this work is pretty boring. That is not the case. In fact, its concise character is its main strength. And Paisiello, who was famous for his melodious invention, does not disappoint here. He has very effectively set the text to music, and I find the result quite moving.

The impact of this work is also down to the performance, which is very good. I say this especially considering the fact that this is a live recording. I am very impressed by the artistic and technical results achieved. I noticed some differences between the text that is sung and the text printed in the booklet. In most cases these could be just errors which are probably inevitable in a live performance.

The two sopranos do an excellent job. Trine Wilsberg Lund is very impressive as Testo. Although the role of Christ is also set for a soprano, its tessitura is a little lower, creating a nice contrast between the two soprano parts. Monika Mauch gives a very good account of this part. I am a little less enthusiastic about Jörg Schneider, whose voice I find a little rough, but he sings his part well. The vocal and instrumental ensembles are both first-class too.

I would like to recommend this disc, as it shows an unknown aspect of Paisiello's composing, sheds light on a little-known tradition of Passion writing and - most importantly - because it is just fine music. This St John Passion is an interesting extension of the repertoire for Passiontide. ---Johan van Veen, musicweb-international.com

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1. Act I
2. Act II
3. Act III

Annibale - Makoto Sakurada
Artace - Emanuela Galli
Adrane - Roberta Invernizzi
Edlige - Sonia Prina
Oscarre - Maria Grazia Schiavo
Jassarte - Romina Basso

Accademia Bizantina
Director - Ottavio Dantone

Esecuzione in forma di concerto
Conservatorio di Torino, 25 febbraio 2007

In January 1771, having reached Turin from Milan, Wolfgang Amadeus Mozart and his father Leopold had the opportunity to see «a magnificent opera» at the Regio: Annibale in Torino by Giovanni Paisiello.

In those years Paisiello was one of the composers most in vogue in Naples, where he was trained, and his fame was spreading throughout Europe (in just a few years he would be invited to St Petersburg by Catherine II).

After the successes, especially in the buffo genre, the Regio gave Paisiello one of the first important commissions for an opera seria. The libretto, by the Piedmontese lawyer Jacopo Durandi, describes the clash and reconciliation between Hannibal and King Artace of the Taurini. ---teatroregio.torino.it

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1	Il Divertimento dei numi, opera: Overture 			
2	Il Divertimento dei numi, opera: Coro. Di Giove agli ardori 			
3	Il Divertimento dei numi, opera: Recitativo. Vernia, non chiů 			
4	Il Divertimento dei numi, opera: Recitativo accompagnato. Crudel, ti amo ancor'io 	
5	Il Divertimento dei numi, opera: Aria. I sospiri che intorno 			
6	Il Divertimento dei numi, opera: Recitativo. Stelle, che faccio 			
7	Il Divertimento dei numi, opera: Coro. Or che Marte Ciprigna vezzeggia 		
8	Il Divertimento dei numi, opera: Aria. Piccioncino innamorato 			
9	Il Divertimento dei numi, opera: Recitativo. Venere, mio tesoro 			
10	Il Divertimento dei numi, opera: Coro. Or che Marte Ciprigna vezzeggia 		
11	Il Divertimento dei numi, opera: Recitativo. Mia cara, non parli 			
12	Il Divertimento dei numi, opera: Aria. Ah! che in un tempo istesso 			
13	Il Divertimento dei numi, opera: Recitativo. Ma tu parli fra' denti 			
14	Il Divertimento dei numi, opera: Coro. Animo, Giove 			
15	Il Divertimento dei numi, opera: Recitativo accompagnato. Misera, quale orror 		
16	Il Divertimento dei numi, opera: Aria. No, non mi chiamo 			
17	Il Divertimento dei numi, opera: Recitativo. Consolati, mia Dea 			
18	Il Divertimento dei numi, opera: Doppio coro. Animo, Giove 			
19	Il Divertimento dei numi, opera: Recitativo. Ah! Mamma mia 			
20	Il Divertimento dei numi, opera: Coro. Viva Giove il grande 			
21	Il Divertimento dei numi, opera: Recitativo accompagnato. Basta cosě 			
22	Il Divertimento dei numi, opera: Recitativo. Cattera! Giove parla 			
23	Il Divertimento dei numi, opera: Terzetto. Giove caro 			
24	Il Divertimento dei numi, opera: Finale. Viva Giove

Venere - Claudia Marchi 
Marte - Alessandro Calamai 
Giove - Gian Paolo Fiocchi 
Il vero Giove - Patrizio Saudelli

Coro del Teatro Sociale di Rovigo
Orchestra Filarmonia Veneta "G.F. Malipiero"
Franco Piva – conductor

Paisiello composed music from 1764 to 1808, with more than 80 operas to his credit. This little 72-minute “scherzo” (as it’s referred to in the accompanying notes) concerns a bored Jupiter, who kidnaps three mortals, lifts them to the Elysian Fields, knocks them out, and dresses them as the gods Mars, Venus, and himself. Soon Mars and Jupiter (both basses) begin bickering and competing for Venus (soprano) who first plays one against the other and then tries to reason with them. Tensions escalate until Mars hits Jupiter on the head and he passes out. When he revives, Jupiter sets fire to his throne and the real Jupiter (tenor) has to intercede. When he returns the mortals to their true selves he tells them they will be punished for their behavior, but after they implore him, he mercifully allows them to hang around the Elysian Fields. The libretto is actually very funny.

There are choruses of followers of Mars and Jupiter, each mock-god has an aria and takes part in many verbal confrontations, Venus has two arias, and there’s a terzetto near the end. It’s a clever divertissement, and had I been in Naples in 1774 I would have been happy to attend. The scoring is for a full orchestra, with a few interesting moments in which the bassoon is given prominence.

Listening to this on CD you have to work hard to picture the rambunctiousness, and this performance, taped live in Rovigo in November, 2000, should be closely followed with the libretto (which isn’t exactly in sync with what’s performed) for full effect. The numbers are brief. Mars is a braggart and bass Alessandro Calamai is the more buffo of the two basses; the false Jupiter, Giampaolo Fiocchi, has a more ingratiating sound and characteristically sings with less silly emphasis. Claudia Marchi as Venus sounds more like a mezzo (the role lies low), but she’s sincere and “plays” well. The real Jupiter is an okay tenor who tries to sound authoritative in his accompanied recitatives. In other words, they all sing well, without any great distinction. The chorus–often interjected with soloists–is good without being spectacular. I wish the conductor had led the singers and band to embellish their lines and had ensured that attacks and tempos were more fierce and snappy, but it’s a good enough performance of a rarity that we’ll otherwise probably never hear. A diversion, as the title says. --- Robert Levine, classicstoday.com

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CD1
01. sinfonia    [0:04:49.32]
02. atto primo    [0:01:47.63]
03. diamo alll noia il bando    [0:06:35.72]
04. scorsi gia molti peasi    [0:04:27.20]
05. lode al ciel, che alfine aperse    [0:10:16.33]
06. saper bramate, bella, il mio nome    [0:06:32.10]
07. non dubitar, o figaro    [0:05:19.17]
08. ma dov'eri tu stordito    [0:05:07.53]
09. la calunnia, mio signori    [0:07:04.32]
10. veramente ho torto,e vero    [0:03:20.68]

CD2
01. ma che vuol quest'uom    [0:04:40.05]
02. ecco, questo e l'inimico    [0:05:56.47]
03. ciusto ciel, che conoscete    [0:04:27.30]
04. atto secondo    [0:06:28.55]
05. gia riede primavera    [0:10:29.68]
06. vuoi tu rosina    [0:04:14.70]
07. don basilio giusto cielo    [0:04:54.70]
08. quell'uomo certo no ,non sta bne    [0:07:16.05]
09. temporale    [0:05:19.12]
10. cara, sei tu il mio bene    [0:05:23.30]
11. qui rosina fra bricconi    [0:03:06.35]
12. allr quando in giovin core    [0:01:56.30]

Cast:
Figaro - Alessandro Corbelli
Rosina - Lella Cuberli
Il Conte d’Almaviva - Piero Visconti
Bartolo - Enzo Dara
Don Basilio - Delfo Menicucci
Un notaro - Giovanni Savoiardo
Un alcade - Franco Ricciardi

Roumanian Philharmonic Orchestra
Bruno Campanella – conductor

Among the most successful operas of its day, Paisiello's Il barbiere di Siviglia (The Barber of Seville) was subsequently eclipsed by Rossini's work of the same name. Yet even by 1816, the year Rossini's evergreen comedy appeared and of Paisiello's death, the latter's opera was still so popular that some attacked Rossini for turning to the same story. Il Barbiere was written during Paisiello's tenure as maestro di cappella for Empress Catherine II in St. Petersburg, and received its first performance at the Hermitage on September 15, 1776 (although by that time, Paisiello had already left the court to assume a new position in Naples). The libretto for Il Barbiere was most likely written by Giuseppe Petrosellini, and the work is dedicated to Catherine.

The opera is based on the first installment of French playwright Pierre-Augustin Beaumarchais' famous trilogy that also includes Le mariage de Figaro (memorably set by Mozart as Le nozze di Figaro four years after Paisiello's Barber). Although Beaumarchais' Figaro was considered subversive (performances were banned in Mozart's Vienna), the doings of the wily barber Figaro and his aristocratic patron Count Almaviva are less contentious in the opening of the cycle. Indeed, according to the composer's dedication the idea of setting the famous play came from the Empress herself. Il barbiere di Siviglia is cast in four acts, in the course of which Figaro assists a disguised Almaviva in marrying Rosina, the ward of Dr. Bartolo, who himself has designs on the girl. The story is told with the customary alternation of rapid, witty recitative punctuated with arias and ensembles; these reveal Paisiello to have been a master of the theater and the possessor of considerable melodic gifts. The work's only real weakness is the thinly conceived orchestration, which pales next to the brilliant effects in Rossini's setting. Nonetheless, by the standards of the day, Il barbiere di Siviglia is an excellent example of opera buffa; its contemporary success is marked by its rapid transference to such European opera centers as Naples, Venice, Vienna (where it received nearly 100 performances between 1783 and 1804), and London. ---Brian Robins, Rovi

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