top of page

Group

Public·29 members

Joseph Cruz
Joseph Cruz

Last Fortress: Underground PC Version - Download and Install for Free


The defense will be successful through operations both inside the fortress and deeper underground. You will appoint the right people and provide them with specialized tools to build construction and research technology. Because zombies and thousands of threats have infiltrated the ground, we now have a way underground where life can continue to multiply differently.


Last Fortress: Underground (com.more.lastfortress.gp) is a game mod apk on Android, download the latest version of Last Fortress: Underground Hack Mod (Unlimited Money / Gems) 2022 for Android. This game mod apk can be played for free and does not require root.




download last fortress underground pc



Last Fortress: Underground MOD APK (Unlimited Money / Gems) APK + OBB 2022 can be downloaded and installed on your android device with android version 4.1 or higher. Download this game mod apk using your favorite browser and click install to install the game mod apk. Downloading (com.more.lastfortress.gp) APK + DATA of Last Fortress: Underground (Unlimited Money / Gems) from ApkSoul.net is easier and faster.


I am a septuagenarian opera addict who has attended countless operaproductions in Europe, Asia, and America. My addiction to the art formwas triggered on a dreary November evening in 1937 when my mother, in oneof her periodic efforts to expose her two teenage sons to culture,took us to the picture show to see Jeanette MacDonald and Nelson Eddyin the film of Sigmund Romberg's Maytime. The romantic scenesseemed somewhat stifling, but the screen came alive when a sequence fromthe opening act of Meyerbeer's Les Huguenots featured MacDonald,decked out in an elegant satin page's outfit, singing Urbain's aria. Thathooked me on opera.It would be some years before I could venture from the modest surroundingsof the mining settlement of Nelson, British Columbia, into the dazzlingworld that opera promised, but in the meantime I fought the haphazardA.M. radio reception offered in our community'smountainous terrain to follow the Saturday-afternoon Metropolitan Operabroadcasts and also invested my slender savings in a copy of ErnestNewman's Stories of the Great Operas. Newman's book has lost itsluster for me over the years, but the faults and virtues of those liveopera performances have remained ever engrossing.Eventually a move to the coastal city of Vancouver afforded me theopportunity of attending the annual week-long seasons of Fortune Gallo'stouring San Carlo Opera Company. Soprano Mina Cravi's moving portrayals ofMimì and Violetta and the riveting Azucena of Marie Powers remaintreasured memories of those seasons. The monstrous bay window sportedby ill-costumed San Carlo tenor Sydney Rayner I accepted as a standardaccoutrement of the breed, requiring on my part an extra effortto suspend disbelief. During the San Carlo period, an encounter inthe University of British Columbia Library with Loewenberg's Annalsof Opera opened my eyes to the fact that a vast store of operatictreasures, far beyond the confines of the San Carlo repertory and evenof Newman's Stories, lay waiting to be rediscovered. A decadelater I was able[End Page 3]to bite the financial bullet and buy my own copy of the 1955 edition ofLoewenberg's reference book. I now possessed, I thought, a record of thecomplete output of opera over four centuries. This fond belief was soonshattered when I chanced to pick up in a secondhand book shop in Seattlea copy of Frederick H. Martens's immensely engaging A Thousand and OneNights of Opera. I then realized that neither of my proud purchasescontained an exhaustive corpus on opera.Two events in the early 1950s prompted my increasing restlessness aboutthe relative paucity of published information in the English language onthe great body of once-popular operas now lying mute. The first was thevast flowering of LP opera recordings, not yet aggressively marketed onthe West Coast but available on mail order from various concerns in theBig Apple. The second involved a visit to the May Morrison Music Libraryon the Berkeley campus of the University of California. This, my firstvisit to a library with such extensive musical holdings, stunned me, andI vowed to return as soon as possible to savor in more leisurely fashionthe vast array of piano-vocal opera scores beckoning in the stacks.In the 1970s I began to spend many evenings, after a day's work inVancouver in the accounting field, researching and writing on the historyof the Kootenay District of southeastern British Columbia. Emboldenedby this experience, I soon resolved to branch out and write my own bookof summaries of the plots and music of forgotten operas, thereby easingthe thirst rampant among English-speaking readers for information aboutoperas excluded from Kobbé and similar authoritative referenceworks. I realized from the outset the need to establish limits formy coverage and therefore elected to omit altogether the output ofany composer having a work still active in the select "standard"repertory. I concentrated instead on works by other, less prominent,composers that had achieved some degree of public acceptance betweenthe end of the French Revolution and the beginning of World War I buthad faded from the scene before my birth. The standard references didwell by the principal works of the leading composers such as Rossini,Donizetti, Gounod, et al., while the rash of new books on major composersconstantly appearing would take care of their secondary works.After about a decade of toil in those pre-personal computer times, I hadamassed some fat files for my book but could not think of a title thatsatisfied me. Thanks to Andrew Lloyd Webber's 1986 hit musical, the titlefor my projected work came to me in a rush one day: Forsaken Phantomsof the Opera. I had first set my sights on covering a hundred works,but inevitably found myself insufficiently ruthless to adhere to thisself-imposed limit, and the number kept edging toward 150 as I unearthedyet another alluring gem. My work involved researching information onpast opera seasons throughout Europe and North America, much pleasurablelistening to "underground" LPs of rare operas, and even more absorbedscrutiny of piano-vocal scores in libraries extending from the MayMorrison in Berkeley to the British Library in London. In this last[End Page 4]endeavor I was fortunate to be a "quick reader" of music scores. My briefstudies in the fields of piano, voice, and viola had failed to make mean electrifying performer in any of them, but my reading ability hadbecome a veritable Katisha's elbow. A host of anecdotes come to mindin reflecting on my experiences delving into treasures in various musiclibraries, but I will content myself here with the two institutions justmentioned, as they were at opposite ends of the pole. The May Morrisonreflected the laid-back Californian style; once past the barriers to thestacks, I was free to fish around in the shelves, pack unlimited pilesof dusty scores on a stack desk by the window, and immerse myself in themusic. In London, armed with an introductory letter from the Universityof British Columbia Music Library's head librarian, I was able in shortorder to scale the outer fortress of the British Library. Next, I wascourteously conducted to a reading room, where I was given instructionin the use of the catalogue and permitted to fill out a requisitionform for a piano-vocal score. I was then seated at a table under thesharp scrutiny of a library clerk of Pakistani extraction. I found hispenetrating stare somewhat distracting. In due course the requisitioneditem was brought to me. To his searching stare the clerk now added avisible flinch every time I turned a page in the score. I used up aboutthree expensive London hours before I could master an overwhelming desireto test his assiduous surveillance by bolting from this sanctum, thescore of Smareglia's Nozze istriane in hand. At length, however,I was able to settle down to a study of the music.In the early 1980s I acquired an Atari PC and began to compile my workin earnest, the output being spewed onto a battery of floppy disks. Bythis time the following 139 works by seventy-two composers were slatedfor inclusion:Adolphe Adam: Le chalet, Le torédor, ou L'accordparfait, *Giralda, ou La nouvelle Psyché, Lapoupée de Nurembourg, *Si j'étais roi; Eugend'Albert: Die Abreise; Franco Alfano: Risurezzione;Giuseppe Apolloni: *L'Ebreo; Anton Arensky: *A Dream on theVolga; Daniel-François-Esprit Auber: Le maçon,Les diamants de la couronne, Le domino noir, Le chevalde bronze, Haydée, ou Le secretVittorio Baravalle: *Andrea del Sarto; Jan Blockx: *De Bruidder Zee, *Herbergprinses; Adrien Boieldieu: *Ma tanteAurore, ou Le roman impromptu, *Les voitures versées,Jean de ParisAntonio Cagnoni: *Papà Martin; Alfredo Catalani:*Dejanice, *Edmea, Loreley; Emmanuel Chabrier:Gwendoline; Luigi Cherubini: Lodoïska, Elisa, ouLe voyage aux glaciers du Mont St.-Bernard, L'hôtellerieportugaise, Les deux journées, *Faniska, *Lesabencérages, ou L'étendard de Grenade, *Ali-Baba, ouLes quarante voleurs; Domenico Cimarosa: Giannina e Bernadone;Peter Cornelius: Der CidAlexander Dargomyzhsky: Rusalka, The Stone Guest;Félicien David: *La perle du Brésil,*Lalla-Roukh; Léo Delibes: *Le roi l'a dit, *Jeande Nivelle; Carl Ditters von Dittersdorf: Doktor und Apotheker;Antonín Dvorák: Dimitri, The Jacobin,The Devil and Kate[End Page 5]Ferenc Erkel: Bánk bánZdenek Fibich: The Bride of Messina, Hedy,Sárka; Valentino Fioravanti: Le cantatricevillane; Josef Foerster: EvaFrançois-Auguste Gevaert: *Quentin Durward; Carlos Gomes:Il Guarany, *Fosca, *Salvator Rosa, *MariaTudor, *Lo schiavo; André-Ernest-Modeste Grétry:La caravane du Caire, Richard Coeur-de-lionFromental Halévy: *L'éclair, *Guido et Ginevra,ou La peste de Florence, *La reine de Chypre, *CharlesVI, *Les mousquetaires de la reine, *Le val d'Andorre;Ferdinand Hérold: *Marie, Zampa, ou La fiancéede marbre, *Le pré aux clercsNicolas Isouard: Les rendez-vous bourgeoisWilhelm Kienzl: Der Evangelimann; Conradin Kreutzer: DasNachtlager in GranadaRuggero Leoncavallo: Zazà; Xavier Leroux:*Evangéline, *Le chemineauAimé Maillart: *Les dragons de Villars; Filippo Marchetti:*Ruy Blas, *Don Giovanni d'Austria; Heinrich AugustMarschner: Der Vampyr, Der Templer und die Jüdin,Hans Heiling; Pietro Mascagni: Guglielmo RatcliV;Etienne-Nicolas Méhul: L'irato, ou L'emporté,Joseph; Saverio Mercadante: *Elisa e Claudio, ossia L'amoreprotetto dall'amicizia, *Il giuramento, *Il bravo,ossia La veneziana, La vestale, Orazi e Curiazi,*Virginia; André Messager: *Fortunio; StanislavMoniusko: *The Raftsman, *Hrabina, The Haunted ManorEduard Nápravník: *Dubrovsky; Otto Nicolai: *IltemplarioGiovanni Pacini: *SaVo, *La fidanzata corsa; FerdinandoPaer: *Le maître de chapelle, ou Le souper imprévu;Giovanni Paisiello: Il barbiere di Siviglia, ovvero Le precauzioneinutile, Il re Teodoro in Venezia; Emile Paladilhe:Patrie!; Carlo Pedrotti: *Tutti in maschera; GiuseppePersiani: *Ines de Castro; Errico Petrella: *Il carnevale diVenezia, ossia Le precauzioni, *Marco Visconti, *Jone, oL'ultimo giorno di Pompei; Hans Pfitzner: Der arme Heinrich,Die Rose vom Liebesgarten; Niccolò Piccinni: *Didon;Amilcare Ponchielli: *I promessi sposi, *I Lituani, *Ilfigliuol prodigo, *Marion DelormeSergei Rachmaninov: Aleko, The Miserly Knight; Ernest Reyer:*La statue, *Sigurd, *Salammbô; Federicoand Luigi Ricci: Crispino e la comare; Lauro Rossi: *I falsimonetari; Anton Rubinstein: Demon, *Die Maccabäer,*The Merchant KalashnikovAntonio Sacchini: *Oedipe à Colone; CamilleSaint-Saëns: Henry VIII; Antonio Salieri: Tarare;Franz Schmidt: Notre Dame; Franz Schreker: Der ferne Klang;Alexander Serov: Judith, Rogneda, The Power of theFiend; Antonio Smareglia: Nozze istriane; Louis Spohr:Jessonda; Gaspare Spontini: Fernand Cortez, ou La conquêtedu Mexique, OlimpieAmbroise Thomas: *Le caïd, HamletAlexei Verstovsky: *Askold's GravePeter Winter: *Das unterbrochene OpferfestRiccardo Zandonai: ConchitaMy format acknowledged the Kobbé mode, in that each composer wasintroduced with a brief biography. Each of a composer's works honoredwith inclusion[End Page 6]boasted a summary of production history, a cast list, then a briefrésumé of the plot. This information was followed by anact-by-act discussion of the plot and music. The author's modest opinionof the merits of the work was frequently also included.Increasingly well-written commentaries included in the libretto bookletsaccompanying "underground" LPs stirred in me the odd doubt about thequality of my work-in-progress, but the first heavy cloud on my publishinghorizon appeared in 1978 in the form of the Simon and Schuster Bookof the Opera. This attractively illustrated work had originallybeen published in Italian and then in English by Oxford as part of thePhaedon series. The book's layout was undeniably fetching, but I feltthat the commentary tended to be somewhat superficial. Furthermore,the selection of operas seemed to me rather whimsical: some that wereduds from the outset were included (e.g., Thomas's Le comte deCarmagnola) while other, more popular, ones were omitted (e.g.,the ingratiating L'Ebreo of Appoloni). Perhaps it was now timeto sound out my own publishing prospects. En route with my wife to theWexford opera festival in the fall of 1987, I graciously permitted herto spend stopover time in London with friends and relatives while I totedextracts from my work to various "special interest" publishers recommendedby a Vancouver friend who professed to be knowledgeable about the Britishpublishing scene. The reception granted me was invariably courteous,but no manifest enthusiasm was forthcoming in the length and breadth ofthe city. Undaunted, I pressed on with my work and in 1989 submitted thefinished manuscript for review by a Vancouver publisher. It was deemed tobe well written, but lacking in popular appeal because of its exclusionof standard repertory items and lacking in academic appeal because ofinsufficient musical depth. I will spare the reader the painfuldetails of the summary rejection from various U.S. publishers. Bythis time the first few volumes in the formidable multivolume,German-language Pipers Enzykopädie des Musiktheaters,catholic in inclusiveness, had begun to appear. Several hours ofstruggling with the German language in the perusal process suggestedto me that my attempt to do justice to the vast store of neglectednineteenth-century masterpieces in one modest volume dealing with 139titles perhaps bordered on effrontery. An English-language versionof the gigantic Pipers might cope more adequately with the sheervolume and range of these neglected works. Macmillan's 1992 publication ofthe four-volume New Grove Dictionary of Opera served to reinforcemy equivocal feelings about the merits of my comparatively slender work,but the publication that really slammed the lid on my chest of hopeswas the Viking Opera Guide, edited by Amanda Holden and publishedin 1993. The demand for conciseness in this one-volume work made a bitof hash of the odd opera plot, but I recognized immediately that theGuide had a lot going for it. Over the same period, too, volumesin the multivolume Mellen Opera Reference Index had been appearingregularly, and they were so well organized that with the flick of a fingerone could now locate facts that had taken me hours to ferret out in moreprimitive days. How delightful for today's opera addict similarly burdenedwith an insatiable curiosity! And how frustrating for this old fogy![End Page 7]Consequently, I humbly abridged my Forsaken Phantoms of the Operamanuscript to contain seventy titles only, these being operas that Ifeel still have not received adequate coverage in any English-languagebook published to date (the titles of these seventy works are markedwith an asterisk in the above list). Do not weep for the hours I havespent in researching and compiling my opus, for this opera addict hasderived pleasure from the activity at least comparable to that felt bythe compulsive golfer engaged in the ceaseless pursuit of whacking aball. Furthermore, the activity has, I think, enabled me to develop someinsights about opera which I will not hesitate to pass on to the reader:(1) A thoroughly bad plot can dampen the prospects of a musicallywell-constructed work. A sure-fire recipe for inadvertent operaticdisaster is to feature as protagonists a happily married, faithful coupleplaying on the same side of the Sturm und Drang team. Cherubini's 1806Faniska, for example, crammed with exquisite music, featuressuch a devoted pair, who in short order end up, together with theirlittle daughter, locked in the dungeon of the castle of the villainousgovernor who lusts after the faithful wife. One unsuccessful escapeattempt follows another as the villain continues to rant, ad nauseum,that the husband is about to be dispatched. Some loyal countrymen atlast storm the castle, free the fortunate family group, and enable theplot to wind up. The work has apparently been produced with some successas a secular oratorio and might do well as an opera in concert.A similar problem dogs Ponchielli's 1874 Lituani. The librettowas cobbled together by Antonio Ghislanzoni from Adam Mickiewicz'ssomewhat long, undramatic 1828 poem Konrad Wollenrod. Verdi wouldhave rejected this Middle Ages stinker at sight, but the less confidentPonchielli struggled endlessly with it, figuring that its faults must liewith his music. The German White Knights, under the guise of a crusade,have invaded Lithuania. A Lithuanian patriot decides he must abandon wifeand family, assume another persona, and infiltrate the knights' orderto undermine its strength and bring about its overthrow. The prologue,which deals with the bittersweet separation of the patriot and his wife,surely ranks as a superlative torso of late-nineteenth-century Italianopera. Unfortunately, in the succeeding acts both composer and librettistfounder in the effort to provide the wife and her brother withsome plausible reason for sticking around in the plot. The excess baggageputs a heavy strain on an already refractory libretto.No such problems dog a libretto featuring an unhappily marriedcouple. Janácek's Katya Kabanova and Shostakovich'sLady Macbeth of the Mtsensk District, for example, are nowbuoyant box office attractions. Perhaps it is time to bring outBelisario, that Donizetti classic about family dysfunction,for an airing.(2) A combination of well-crafted libretto and well-composed musicdoes not necessarily ensure operatic longevity. It is not soeasy to come up with reasons why some well-crafted works fall by thewayside. Two strong libretti by Salvadore Cammarano (yes, the author ofIl trovatore!) come to mind. The first, La fidanzata Corsa,based on an adamanti


About

Welcome to the group! You can connect with other members, ge...

Members

Subscribe Form

Thanks for submitting!

©2021 by Hand 'N Hand Coaching. Proudly created by Inked Pixels.

bottom of page