Rabbi Yitzchok Blauser's daughter once went to the cupboard, and all the glasses, cups and dishes fell and broke. He did not get angry at her, and he did not even ask her why she wasn't more careful.
Rather, his only concern was that she should not be upset or frightened. He said to her, "Don't worry. There's not need to get upset. It's all right."
Love Yehuda Lave
The 10 Most Famous Opera Houses in the World
10. Bolshoi Theater
Moscow's Bolshoi Theater started off life as an unassuming brick building following the completion of its construction at the end of the 1790s. Less than 35 years later, however, the theater was completely revamped by architect Andrei Mihailov. Its neoclassical architectural style is complemented by Oriental carpets, silk-damask walls and velvet-upholstered chairs in its interior. The theater was also renovated in 2011 at a rumored cost of $1 billion.
9. Hungarian State Opera House
Completed in 1884, the Hungarian State Opera House is considered to be the finest accomplishment of architect Mikos Ybl. It was built in the Neo-Renaissance architectural style, and its interior is decorated with paintings and sculptures by some of Hungary's most acclaimed artists. There's also a giant, ornate bronze chandelier present. This opera house is also world-renowned thanks to its great acoustics.
Colloquially referred to as the Met (indicative of just how well-known it is around the world), New York City's Metropolitan Opera House is famous for the elaborate and innovative productions that are put on there, in addition to some of the most memorable operatic performances ever to take place. What's more is that the Met features excellent acoustics and fantastic sight lines for an unforgettable night out. It opened in 1966, and was designed by Wallace K. Harrison.
The stunning Teatro Colon in Buenos Aires first opened back in 1908 with a performance of Verdi's Aida. In contrast to many of the other opera houses on this list, this opera house was actually designed by a succession of different architects, which might explain why it has such an eclectic appearance. It was the world's largest opera house for 65 years prior to the construction of the Sydney Opera House back in 1973, with a capacity to seat 2,500 and standing room for a further 1,000. The legendary tenor, Luciano Pavarotti, once praised the opera house for its "perfect acoustics".
Welcome to the oldest continuously active opera house in Europe. Naples' Teatro di San Carlo was built by King Charles III of Spain (aka. Charles VII of Naples), and is actually connected to the city's Royal Palace. It was completed in 1737, and its interior is adorned with gold leaf and red velvet. Its horseshoe-shaped seats are spread across six tiers, with an extravagantly-decorated royal box jutting out at the rear of the house. The theater underwent a multimillion-dollar renovation in 2010.
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5. Vienna State Opera
More commonly known as the Staatsoper, the Vienna State Opera House was completed in 1869, and opened with a performance of Mozart's Don Giovanni. It was designed by Eduard van der Nüll and August Sicard von Sicardsburg, and was built in the Neo-Renaissance architectural style. Sadly, bombs fell on the opera house during World War II, and it wasn't completely restored until 1955. The opera house is known for its standing-room-only tickets that are available until minutes before a performance.
4. Teatro Amazonas
Located in the Amazonian city of Manaus, the Teatro Amazonas was built during the heyday of the rubber trade, and incorporated materials from all over the world. For instance, the furniture came from Paris, the marble is from Italy and the steel came from England. The exterior's dome is covered with 36,000 ceramic tiles painted in the colors of the Brazilian national flag. The opera house operated for just three years before it closed its doors for the next 90 years, and this was because the rubber trade disappeared from Manaus, causing the city to lose its main source of income.
3. La Scala
Known the world over, the Teatro alla Scala, or La Scala for short, has been one of the world's premier opera houses ever since it opened back in 1778. Performing at the neoclassical opera house is often seen as a trial by fire, because its amazing acoustics reveal every single flaw in a singer's performance. It's not uncommon for even the most famous artists in the world to be heckled from the loggione, which is the gallery above the theater's boxed seats.
2. Palais Garnier
This fabulous opera house is the setting for the Phantom of the Opera, one of the most famous musicals ever produced. It was designed by architect Charles Garnier and completed in 1875. The Beaux-Arts style building houses a seven-ton crystal chandelier at its center, together with ornate marble friezes and statues depicting figures from Greek mythology. Palais Garnier, however, has notoriously poor sight lines, and the Place de la Bastille is now more commonly used by the Paris Opera for its performances.
1. Sydney Opera House
Welcome to undoubtedly the most famous opera house in the world. It's regarded as one of the architectural masterpieces of the 20th Century, and it was designed by Danish architect, Jørn Oberg Utzon. In spite of its name, the Sydney Opera House actually comprises multiple performance venues, such as a multi-purpose room, a concert hall and an outdoor venue for performances that take place during the Australian summer.
The World is Full of Beautiful Opera Houses!
Each of these opera houses is more beautiful and resplendent than the last.
Selected Writings of Rabbi Meir Kahane,
BUT, OF COURSE
Written January 1990
And in connection with the spiritual destruction of the Jew in Israel, consider this.
Can any thinking Jew really be surprised? Is there anyone with an honest and analytical mind who cannot see that this is but a logical, normal extension of history?
On December 18, 1989, the 29th soldier of the Israel Defense Forces – within the previous nine months – committed suicide. Almost every week, another non-army teenager commits suicide. And Yitzhak Navon, Minister of Education, and the Knesset and the news media and the artists and intellectuals of the Zionist state that is in a state of collapse climb into their tower of babbling to dissect and analyze and discover: What is wrong?
With the announcement of a projected large Soviet Jewish Aliyah (a thing which may or may not eventually be), a local Jerusalem neighborhood thug who is a Labor Party "neighborhood activist" immediately called the expected Aliyah "a punishment," and demanded that the neighborhoods be given the money instead, and all the professional Zionists wrung their hands and held their heads and moaned: What is wrong?
The number of Israelis leaving the country climbs annually at a steady pace, and the number of those who would love to leave is many times greater. The average Jewish youth in Israel is so devoid of Jewish knowledge as to challenge the "best" of the assimilated Jewish youth in the West. The culture in the country is Western, rock and roll, hard rock, discos, drugs, drinking, sex before army service ( much before army service), and the main thing is that life should be a kef (roughly, "a ball").
And the Navons and intellectuals and the writers and the politicians and the news media sit and stand and gather and grope and grasp and feel and reach out and search and puzzle and babble solutions to the problem: What is wrong?
What is wrong? Dear Jew, what is right?
What is wrong? The very basis of your state, your secular Zionist state, is wrong.
For if the truth were known and if honesty ruled the mind waves, it would be clear that on the day that secular Zionism was born it began to die. For anyone who believed that ripping Judaism from Zionism would leave a healthy secular nationalist was worse, than foolish. Zionism without Judaism removes from itself the only positive reason for its raison d'etre. For being Jewish without religion is nothing more than illogical and nothing less than tribal racism. If the Czar would have been a kind and benevolent despot and if France would have been more kindly disposed to Dreyfus – would secular Zionism ever have succeeded? If Christians in enlightened Europe would have gladly welcomed Jews into their ranks so that Herzl would have had no need to doubt that Jewish conversion to Christianity would have succeeded (thus allowing him to cheerfully advocate it), would there have been a Jewish state?
It was negative forces, hatred of the Jews, not positive ones of healthy pride and certainty, that gave birth to secular Zionism. Its father was pogroms and its mother Jew-hatred, and the illegitimate child came into the world by accident of history.
Of course, the generation that suffered anti-Semitism was a passionately "Zionist" one. Not only did they need a Jewish state to escape Jew-hatred, but despite their cutting off their bonds with Judaism, they were products of it. The most atheistic of them had gone to cheder. The most agnostic had tasted Torah learning. Of course they were "Zionists," Judaism made them so.
But as they passed on and their children took over and then their children who knew not Judaism nor the goy, the sole basis for their being Jewish – hatred of the Jew – was no longer relevant. The young Jew in Israel was no longer Jewish; he was now an "Israeli" (just like the Arab and Druse) and carried with him all the emptiness of a hybrid, Western Hellenized culture that carried nothing specifically Jewish about it.
And since his sole identity _Israeliness – was an accident of geography, and since that meant that he was doomed to live in a country with a perpetual draft and annual army reserve service and potential wars and high taxes, and he had relatives who lived in Los Angeles and Forest Hills who had none of that – the inevitable death of the doomed was merely hastened.
They are confused; they are lost, wandering souls. They are victims of secular leaders who are as lost as they are. Secular Zionism.
And so Amos Mansdorf Israel's tennis idol, who makes the Hellenists who would not know a Rashi from a Vilna Gaon drool in pagan, gentilized delight, bristles at an anti-apartheid rally at his tennis match in New Zealand, and brays that sports and "politics" do not mix and that had he lived at the time, he would have played in Nazi Germany. The sabra brayeth like the ox he is and in glorious realization of the verse, "And they exchanged their glory for the design of an ox that eateth grass" (Psalms 106:20).
And they condemn him! Those who made the ox, the golden tennis calf, condemn him! And was there ever greater arrogance and brazenness and more blatant blindness as to the real culprit?
Amos Mansdorf, the empty-headed sabra, is the direct result of the secular Zionist that has succeeded magnificently, stupendously, beyond its wildest nightmare-dreams. And those who wished to free the Jew from his archaic and destructive religion; who wished to create "the last of the Jews and the first of the Hebrews"; who wished to be as all the nations – have their wish. Amos Mansdorf is not a criminal – he is the product of the secular Zionist Frankensteins who have made him. He is their brilliant success.
Just outside the Jewish agency building in Jerusalem is a little triangle-square which was given an official name some time back. It was named "The Zionist Movement Square." Fitting. For streets and squares are inevitably named after dead people.
American Intersts in the Holy Land from WW One http://www.israeldailypicture.com/2018/02/world-war-i-in-middle-east-included.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+IsraelsHistory-APictureADaybeta+%28Israel%27s+History+-+a+Picture+a+Day%29