Category: Portland, OR

The new release of “As I Crossed a Bridge of Dreams” by Péter Eötvös features Oregon Symphony’s resident conductor Gregory Vajda, who directs the UMZE Chamber Ensemble. The music is inspired by a Japanese classic that was written a thousand years ago by Lady Sarashina and contains her reflections on a woman’s life. To read more about this new BMC recording, click here.

Whether we sank into an abyss or blew up the debris of our ruined nation, the final notes of Tomas Svoboda’s “Vortex,” signaled the end of a wild ride that grabbed everyone’s attention at the Arlene Schnitzer Concert Hall on Saturday (March 14). Svoboda wrote his latest work for orchestra as a reaction to the economic and social turmoil that has dominated our country recently, and “Vortex” received a stunning world premiere by the Oregon Symphony under the baton of Carlos Kalmar in a program that included scintillating performances of Brahms Symphony No. 3 and Prokofiev’s Piano Concerto No. 3 with guest artist Freddy Kempf.

Svoboda’s music took us on a journey that began with light pizzicatos in the strings, which created a pleasant mood. But the wiggle-waggle sounds from a group of “meckering” horns commented on situation with growing discontent, and within a short period of time the entire orchestra was caught up in a mass of tones that seemed to swirl out of control. Soon the whole sonic enterprise collapsed on itself until all that remained was the sad wailing, played evocatively by principal cellist Nancy Ives. The musical forces, supported by the lower strings, gathered themselves once more and a beautiful brass and woodwind choir seemed to emerge and then march into the distance. Ives played a second melancholy passage and gradually other voices of the orchestra stirred but with a bit of harshness. The xylophone, played crisply by principal percussionist Niel DePonte, commented on the circumstances with seemly random notes that began to fall into a recognizable pattern when the cello cried out once again. This gave way to the plucking of strings, which was then taken over by a restlessness (signaled by pulsating trumpets), and a descent into the final vortex was underway.

The audience responded to this work with genuine enthusiasm, and Svoboda out on the stage to receive loud applause and a standing ovation. Although the current times are tough, it would be great to see the Oregon Symphony record “Vortex” sometime in the near future, because it is such a superb work.

And Svoboda’s orchestral piece was just one part of a concert in which the orchestra delivered two other outstanding performances. Before intermission, the orchestra collaborated with Kempf to create a vibrant interpretation of Prokofiev’s Third Piano Concerto. Kempf adds a lot excitement in the way that he pounces on the keyboard and takes off like a purebred racehorse at the Kentucky Derby. The music has a debonair, catch me if you can, quality, but Kalmar and the orchestra are right with Kempf, accenting notes together, and creating some of the most thrilling music in the repertoire. Kempf and the orchestra also excelled in the slow, languid passages, which helped to release all of the pent up energy and let our minds drift aimlessly. The tonal colors that they concocted added to the overall enjoyment of this piece, and the bravos that broke out after it concluded were full of joy and amazement.

The evening began with Brahms’ Third Symphony, which is not nearly as well known as his other symphonies probably because he did not end it in a grand way. As Kalmar noted to the audience before the symphony began, this work reflects “Brahms looking inside himself,” yet even this inward reflection was given a terrific performance by the orchestra. Kalmar and his forces dug into every nook and cranny of this piece. I loved how the music would surge ahead and then fall back in the first movement. Highlights from the second movement included the sonic blend from the bassoon, clarinet, and horns with supportive commentary from the lower strings. The elegant theme of the third movement and the horn solo by principal John Cox were delicious to the ears, and the full-bodied sound of the fourth glistened. I loved the way that the strings eagerly delved into this music and also how principal Yoshinori Nakao coaxed velvety soft sounds out his clarinet.

The Oregon Symphony plays the music of Svoboda, Prokofiev, and Brahms this evening, and I heartily recommend that you experience it.

Portland Opera hit a home run into the celestial skies with its new production of “La Calisto,” an opera written by the Venetian composer Francesco Cavalli in 1651. Exquisite singing by the entire cast (most of whom belong to the Studio Artists program), stellar playing by the Portland Baroque Orchestra under the conducting of Robert Ainsley, and an evocative set, designed by Curt Enderle, combined to make this “La Calisto” a charming experience. The near capacity audience at the Newmark Theatre on opening night (Friday, March 13) enthusiastically embraced this fanciful retelling of two myths (Calisto and Giove plus Diana and Endimione) that came from ancient Greece and Rome.

Sharin Aposolou sparkled in the role of Calisto, a young follower of the goddess Diana. Her clear and supple soprano was thrilling, especially in the way that she impeccably dashed off numerous runs as if they were the easiest things in the world. Apostolou conveyed the naiveté of Calisto with spot-on acting as well.

Jonathan Kimple created a convincing Giove, using his resonant bass to underscore his stature as the king of the gods. His seduction of Calisto was tempered at the end of the story when he promised her and her son a place in the heavens (hence Ursa Major and Ursa Minor). Baritone José Rubio artfully greased the wheels of Giove’s intentions as Giove’s sidekick Mecurio.

Mezzo Hannah S. Penn embodied two characters so convincingly that she could consider a second career as a double agent in the secret service. In the role of Diana, goddess of the moon and the hunt, Penn created a young woman who was torn between her pledge to chastity and her desire to love Endimione, a young shepherd. In the role of Giove disguised as Diana, Penn marvelously captured the swagger and chauvinistic pride of the top god in his pursuit of Calisto.

Gerald Thompson in the role of Endimione displayed his countertenor to stunning effect, dispatching all sorts of tricky passages with breathtaking control. Yet his tender duet with Penn was one of the many high points in this production.

Wearing a gown hemmed with the image of peacock feathers, mezzo Angela Niederloh as Giunone (the wife of Giove) strutted around the raked stage in peacock gown and high heels. The flinty wrath of her voice and the fire in her eyes could’ve torched the landscape a second time (it had already been burnt to a crisp when the story began).

Mezzo Kendra Herrington’s Linfea, a zealous follower of Diana, provided additional comic relief when she revealed her desire for a lover. Laughter reached an apex after the eager young satyr, Satirino, sung by soprano Anne Mckee Reed, impulsively kissed the astonished Linfea.

Tenor Brendan Tuohy sang superbly and reaped plenty of laughter as Pane, the god of the shepherds, who can’t really carry out any dastardly deeds no matter how much he threatens to do so. Baritone Bobby Jackson’s Silvano, a young satyr and cohort in Pane’s posse was terrific also.

Ainsley conducted a period orchestra of Baroque specialists with élan, shaping the music with sensitivity and purpose. A unique collaboration with Portland Baroque Orchestra helped to assemble these instrumentalists (playing violin, viola da gamba, lirone, theorbo, lute, guitar, recorder, dulcian, cornetto, harpisichord, and organ) and create a musical experience that would have been very similar to what Venetians heard 350 years ago.

Stage director Ned Canty made the story easy to follow. The minimalist set design by Curt Enderele and the lighting by Don Crossley enhanced the opera perfectly. Sue Bonde’s colorful costumes added wonderfully to the mix.

All in all, Portland Opera’s production of “La Calisto” is a knock out. I encourage you to get a ticket if any are available. Two remaining shows run on March 19 and 21.

Portland Opera is reaching way back into the past to bring something new to Portland, mounting a production of “La Calisto” a Venetian-Baroque opera that was written by Francesco Cavalli in 1651. For this production, Portland Opera is collaborating with Portland Baroque Orchestra to create an ensemble of 17th Century instrument specialists, including cornetto virtuoso Bruce Dickey who is based in Venice, Italy, to give you a real Baroque experience.

Most of the singing in La Calisto will be provided by members of the Portland Opera Studio Artists program, including Sharin Apostolou, the vivacious soprano who, last season, did an amazing job of stepping in at the last minute to sing the title role in Portland Opera’s “Rhodelinda.” This time, Apostolou will sing the title role in “La Calisto,” and I recently talked with her at Portland Opera’s offices.

How long have you been studying for your part in La Calisto?

Apostolou: I started studying La Calisto during The Turn of the Screw; so it was the middle of January. That wasn’t an ideal situation, because all of the Studio Opera singers have had a very busy season.

What is the vocal range for your part in this opera?

Apostolou:

The top is a high B-flat, and it’s an ornament. It’s not written in the score. Middle Cs are the lowest notes. That’s usually not where my voice likes to live, but I love singing this work. It has a speech-like quality to it.

What is Calisto’s character like?

Apostolou: She goes through quite a change in the opera. First of all she is daughter of King Lykaon who served Jove a meal of human flesh. So Calisto ran away from her family and became a follower of the Diana, the goddess of the hunt.

Calisto is very strong willed but very naïve. She is a chaste follower of Diana, but then she meets Jove and everything gets turned on its head. She can’t tell the difference between the real Diana and the Jove-Diana, and they treat her in polar opposite ways. Then Jove’s wife, Juno, finds out what’s going on, and Calisto doesn’t realize who she is and spills the beans, and gets turned into a bear. Such is the way of the gods.

This opera has comedy and tragedy in it. Do you prefer one over the other?

Apostolou: I like both comedy and tragedy. My voice sort of leans towards comedy – to the girls who get married at the end, more than the girls who die at the end. There’s a joke among sopranos that you know that you’ve grown up when you go from the girls who marry to the girls who die.

Tell us more about the demands of this opera.

Apostolou: Baroque is not necessarily a different way of singing, but a different mind-set. Robert Ainsley, our conductor, has been a tremendous help. He is an absolute expert in this style of music. He has taught us how to learn the music. In Mozart and Handel, there’s a lot of give and take. Baroque doesn’t allow for you to play with the notes on the page. But you don’t have to. Monteverdi, Cavalli, and their contemporaries wrote the rhythms exactly how they wanted the speech to sound. So you can play with the tempi, but the music just sings itself. When you try it, you find that it does really work that way.

The Venetian-Baroque style has a lot of recitative. I have more arias than most of the characters in La Calisto. But it’s not like the way we normally think of arias, not like Mozart or even Handel. This opera is very speech driven. You don’t use ten measures to sing a sentence, you sing it in three. So the plot is constantly being pushed along.

My character has small moments of reflection, and it’s usually before something big happens. My last aria is about a page and a half of repose, taking everything that has been going on and processing it, and that’s when Juno comes in with the furies and turns me into a bear.

You won the Met competition in Oregon and did pretty well at the regional in Seattle as well. Congratulations!

Apostolou: Thanks! I won the encouragement award in Seattle, and it was a lot of fun. It was on my birthday, too. The singing there was amazing. We just went out there and did our best.

Are you planning to enter more competitions?

Apostolou: Yes, I plan to do more, like the Giulio Gari competition in New York City in May. Competitions can be a good way to get your name out there. Being a finalist helps to make people take notice.

After you appear in Portland Opera’s Rigoletto, your time with the Studio Artists program comes to an end. So what are your next steps?

Apostolou: This summer, I’ll sing in two productions at the Green Mountain Opera festival in Vermont. I’m Barbarina in Nozze de Figaro and Andina in the Elixir of Love.

How did you choose to become an opera singer? Did you grow up singing a lot?

Apostolou: I started off dancing. I was a very energetic child. My parents enrolled me in dance class. I loved it and got into theater doing dance and musicals. Everybody did choir. The public schools in New Jersey had a very strong music program. Then I went to high school, a private school, and they took all everyone involved in the music program to see the dress rehearsals at the Met. That’s when I fell in love with opera and became obsessed with it. The Magic Flute was the first opera that I had ever seen – I was just 14 – and I came back home and told my parents that I was going to become and opera singer. And they said, okay! Go ahead and try and see what happens. I applied to music schools and went to Carnegie Mellon in Pittsburgh, they have an excellent drama and music programs in the country. Then I got my masters from the Manhattan School of Music.

I was a Central City Opera for two summers and in the outreach program at Tulsa Opera before coming to Portland.

You’re a die hard!

Apostolou: (Laughs) Yes, we just keep pressing on. After Vermont, I’m moving to New York and will audition and see what happens.

Good luck with everything!

Apostolou: Thanks! See you at the opera!

A large crowd assembled at the Arlene Schnitzer Concert Hall on Saturday evening to hear the Portland Youth Philharmonic’s winter concert and to acknowledge the contributions of one of its former conductors, Jacob Avshalomov, who had become somewhat estranged from the orchestra since his retirement in 1995. The orchestra gave Avshalomov (who will turn 90 on March 28th) its lifetime achievement award and performed the world premiere of his “Season’s Greetings. The program also included works by Modest Mussorgsky, Piotr Ilyich Tchaikovsky, and Samuel Barber, whose Concerto for Violin and Orchestra was given an incredible performance by the PYP’s 15 year-old concertmaster Brandon Garbot.

The Portland Youth Philharmonic, founded in 1924, happens to be the oldest youth orchestra in the nation and has always maintained a high level of playing. Under its new conductor, David Hattner, the orchestra showed its sensitive side with its handling of Mussorgsky’s Prelude to “Khovantchina,” which evokes the dawn rising over Moscow.

Garbot excelled in every moment of in the Barber Violin Concerto. In particular, his lyricism in the first movement soared and the exacting, fast, pace of the third movement was like butter in his hands. He played with impeccable tone throughout. It was a breathtaking performance and truly memorable. The orchestra, for its part, supported his playing extremely well.

Avshalomov’s “Season’s Greetings” seemed to be a pastiche of different ideas that were inspired by the poetry of his wife, Doris. Over five movements, dissonant and harmonic sounds careened throughout the orchestra. The references to Tchaikovsky’s “Romeo and Juliet” added a dash of warmth, and piece concluded charmingly with a wink rather than a grandiose chords.

The concert ended with a Tchaikovsky’s Symphony No. 4, which the orchestra played with passion. I loved the enthusiasm of the musicians, especially in the strings, who clearly enjoyed digging into this masterpiece. The brass and wind sections had many fine moments. Hattner encouraged his orchestra effectively, and together, they demonstrated a commitment to the music that would’ve made Tchaikovsky proud.

A great artist can give a concert for a thousand people yet make it seem as if she is performing just for you. Such is the artistry of Dawn Upshaw, who appeared on Tuesday (March 3) evening at the Newmark Theatre in a concert sponsored by the Friends of Chamber Music. Upshaw showed an incredible ability to connect with the audience in spite of singing music that was relatively unknown. In a program that included works by Charles Ives, Gabriel Fauré, Claude Debussy, Maurice Ravel, Olivier Messiaen, Osvaldo Golijov, and George Crumb, it would have been easy for Upshaw to just park and bark – make some beautiful tones and take some bows. But she expressed the music not just with her voice but with every gesture, facial expression, and the way she stood. And the total effect was amazing because Upshaw did all of this in a hall that is very dry (no reverberation whatsoever) and in which it is difficult to create a warm tone (the Newmark has lots of carpeting and was made for plays rather than for music).

Upshaw, and her accompanist Gilbert Kalish, drew the audience into an impressionist soundscape that began with a selection of songs by Ives. This selection transitioned from songs that had a more traditional, harmonic sound (like “Songs My Mother Taught Me” and “Two little flowers”) to some that were somewhat dissonant yet intimate (like “Rather Sad” and “Tom Sails Away”). Kalish supported each piece perfectly with a subtle touch that always added to the words and the atmosphere.

With the aide of a microphone, Kalish mentioned that Ives wrote 140 songs and had a fierce independent streak. His remarks served as an introduction to “The Alcotts” movement from Ives’s “Concord Sonata.” Kalish used a light touch to evoke the parlor room and everyday atmosphere of the Alcott home in his playing of this gem.

Next, Upshaw sang a several songs by French composers, and since the house lights were turned almost all the way down, it was impossible to follow the translation. Yet, that didn’t matter at all, because Upshaw has a way of drawing you into the world of the music that she sings. I think that in both of the Messiaen’s pieces, “Le collier” (“The necklace”) and “Prière exaucée” (“Fulfilled prayer”), she pulled some high notes out of no where and then expanded on them in an exquisite way that was absolutely thrilling.

After intermission, Kalish performed a movement from Abel Decaux’s “Clairs de lune.” Kalish’s light touch on the keyboard nicely matched the slow-moving sounds of this piece, making it easy to imagine a moon hanging over a cloudless night or another nighttime tableau.

As a preface to the next piece, Golijov’s “Lúa Descorlorida” (“Moon, Colorless”), Upshaw explained that Golijov wrote it for Kalish and her and that it is the piece that she has performed the most often at her concerts. Although the text of the music is sad, telling about a woman who wants to be removed from the earth, the music has an improvised feel and is not a downer. Upshaw really captured the full range of emotion in this song, and, for me, it was the highlight of the evening.

The program closed with the six songs from Crumb’s “Apparition.” For this music, the piano top was removed so that Kalish could strum and pluck the piano strings and rap the inside of the piano with his knuckles. Some of the text required Upshaw to use a Sprechstimme (speaking voice) and at other times she sang non-sense syllables. There was real text to be sung also, but it seemed secondary. The songs dealt with silence and death and serious matters, and the music was sort of other-worldly.

The audience soaked up this unusual piece and responded with long-lasting applause. Kalish and Upshaw returned to sing two encores. Both were William Bolcom cabaret songs: “Watin” and “Black Max,” and the latter really lightened up the evening and put everyone in a good mood for the journey home.

World-famous violinists typically draw big crowds and buckets of adulation, and that was case when Itzhak Perlman stepped on stage to perform with the Oregon Symphony on Saturday (February 28). A standing ovation greeted Perlman, who had appeared in the national broadcast at President Obama’s inauguration just a month ago, but his performance as violinist and conductor with the Oregon Symphony, though it had some fine moments, didn’t have enough shape and verve to make the evening memorable.

The program featured Bach’s Concerto No 1 for violin and string orchestra, Schubert’s Symphony No 3, and Brahms Symphony No. 2. A first-rate conductor would bring out all sorts of nuances in each work and place a personal stamp on it, but Perlman seemed not to have a clue about what he wanted the music to say. The volume for each piece was medium loud, most movements, once underway, cruised along at the same speed that they started with, and, outside of a soaring horn solo by John Cox in the Brahms – which almost startled the audience out of the doldrums – the entire affair was boring.

As a result, the standing ovations that Perlman and the orchestra received were perfunctory. It was sort of like, hey, we’ve got this great artist in our midst and we’re really happy that he stopped by our little town, so let’s shower him with affection. If anyone should receive extra helpings of applause, it should be concertmaster Jun Iwasaki, who used his entire body to help keep the violins together. There were times, especially in the Brahms, when the violins laid down a silky smooth and golden sound that is just pure pleasure, but these pieces needed more than just some beautiful phrases. Even the Bach Violin Concerto, with Perlman sitting on a raised platform where the concertmaster usually sits, didn’t go anywhere in particular despite the gorgeous tones from his Strad. When the ensemble reached the last note, the piece just ended, but nobody was elevated.

One little interesting point in the performance of the Bach was hearing Janet Guggenheim play the harpsichord. Guggenheim was Perlman’s accompanist for many years, but even her presence didn’t alter the final score, so to speak.

Several years ago, Oregon Symphony violinist and Third Angle director Ron Blessinger (who wasn’t playing in the Perlman concert series) told me (and I’m paraphrasing here) that it’s always best when a conductor comes to the orchestra with good ideas for the music, but a conductor with bad ideas is better than a conductor with no ideas, because a conductor with no ideas makes the concert dull as hell.

Portland Piano International has operated in Presto mode for its last two concerts, finding replacements for last minute cancellations. Last month Conrad Tao gave a terrific performance in place of an ailing Polina Leschenko. This time around, Xu Zhong came to the relief of Olga Kern, who had to attend to a family emergency. (I have heard that her father is extremely ill.) Zhong had just performed a solo recital at Willamette University as well as conducted and played two Mozart concertos with the Salem Chamber Orchestra the week before his engagement with PPI. Fortunately, Zhong was able to extend his stay in the United States and rescue PPI with an exceptional performance on Sunday afternoon (February 22) in a program that featured works by Debussy, Liszt, and Stravinsky.

The first half of the concert was devoted to Book I of Debussy’s Preludes, which consists of 12 impressionistic pieces that the composer wrote in 1909 and 1910. Zhong played these evocative preludes with finely honed sensitivity. From the soft, diaphanous sounds in “Danseuses de Delphes” (“Delphic Dancers”) to the flighty and spirited atmosphere of “La danse de Puck” (“Puck’s Dance”) and the jaunty “Minstrels,” Zhong found all sorts of tonal colors. Perhaps he slowed down a bit too much now and then, but the shape of each piece remained vibrant.

After intermission, Zhong performed Liszt’s “Sonetto 104 del Petrarca” from “Années de Pèlerinage II” (“Years of Pilgrimage”) and “Vallée d’Obermann” (“Obermann’s Valley”) from “Années de Pèlerinage I.” Zhong excelled with the subtle and warm nature of the first work and contrasted it well with the demonstrative style of the second. The grand arpeggios and the filigree work in the “Vallée d’Obermann” were impressively clean and crisp in Zhong’s hands.

The concert ended in uptempo fashion with Stravinsky’s “Trois Mouvements de Petrouchka.” (“Three Movements from Petrouchka”), which dates back to 1921 when the composer converted three portions from this ballet score into a work for solo piano. Zhong really got into this piece, combining precision and artistry to capture the varied emotions of the music in all of its wild, primitive, and shimmering glory.

The audience responded to Zhong’s playing of the Stravinsky with an extended standing ovation, and Zhong returned to the Steinway to perform Brahm’s Intermezzo in A major as an encore. Maybe Zhong was just getting warmed up, because this piece came across with more heart and seemed to flow more freely than any of the other works on the program.

Huw Edwards, music director and conductor of the Portland Columbia Symphony Orchestra has a knack for finding outstanding young artists and displaying their talent on stage. This time, for the PCSO concert on Friday evening, two teens demonstrated artistic abilities way beyond their years. The orchestra played a superb new work by 19-year-old composer Taylor Brizendine, and 17-year-old pianist Rosa Li swept the audience away with her performance of Mendelssohn’s Piano Concerto No. 1. Both pieces were highlights in a concert that featured some fine playing by the orchestra of works by Brahms, Mahler, and Tchaikovsky as well.

Brizedine, who grew up in Oregon but is now studying at the California Institute of the Arts in Los Angeles, has written many pieces which have been performed by such ensembles as the California Institute of the Arts Chamber Orchestra, the Portland Youth Philharmonic chamber music series, and the Oregon Pro Arte Youth Chamber Orchestra. The PCSO commissioned Brizedine to write a piece in honor of Oregon’s 150th birthday, and he responded with the “Hymn of the Earth,” a short work that engaged the audience with a variety of sonic textures.

“Hymn of the Earth” began softly with exposed passages for the harp and xylophone. Other members of the orchestra gradually joined in to create a sense of awakening and a much larger, fuller sound. After a brief, lyrical solo by concertmaster Dawn Carter, the music became more fragmented as if sections of the orchestra were commenting on each other. After a descending bass line got underway, tension seemed to mount. A rebuilding process took place, bolstered by trumpet calls, and the piece ended with flourish with gongs and a feeling of hopefulness.

The audience, which had filled First United Methodist, almost to capacity, appeared thoroughly engaged with Brizedine’s music and gave this piece a solid round of applause. It will be interesting to follow his career as a composer and see how his music progresses.

Next on the program was Mendelssohn’s First Piano Concert with Li as the soloist. Playing the entire piece from memory, Li gave a polished performance with a special attention to detail, especially in the way that she accented some notes even though her fingers were racing up and down the keyboard. Li, a veteran winner of many competitions, negotiated all of the trills and filigree of this difficult work gracefully and made it look as if she were completely at home in front of an orchestra. Wow!

The concert began with Brahms “Academic Festival Overture,” the orchestra played very well with lots of expression. Each section of the orchestra had passages in which its members excelled as an ensemble. The orchestral blend was excellent, the crescendos and decrescendos sounded organic, and the uptempo ending made the entire piece work well as a whole.

In its performance of the “Adagietto” from Mahler’s Symphony No. 5, the orchestra achieved a soft, lush sound that was exquisite most of the time, yet it came under duress here and there because of intonation problems in the strings. Overall, guided by some fine conducting by Edwards, this piece still had plenty of beauty to make it very satisfying to the ears.

The concert ended with Tchaikovsky’s Fantasy-Overture from “Romeo and Juliet.” This piece needed just a little more intensity to heighten the contrasts between the melodic themes and the violent ones. Still, the last part of the piece was heavenly. Kudos to principal horn Jen Harrison, principal trumpet Mike Hankins, and principal timpani Craig Johnston for their outstanding playing.

I also published an article about soprano Angela Meade in winter issue of  “Scene” magazine. “Scene” is the alumni magazine at Pacific Lutheran University. Meade has been winning a ton of competitions and awards, and earlier this year (on March 21st) she replaced an ailing Sondra Radvanovsky in the role of Elvira for the Metropolitan Opera’s production of Verdi’s “Ernani.”

Although I graduated from PLU in the last millennium, this marks my first time to publish a piece in “Scene.”