manu/mldr-zoomed-100char-total-queries-documents

chunk_id stringlengths 3 9	chunk stringlengths 1 100
93_189	The Story of G.I. Joe essay by Daniel Eagan In America's Film Legacy, 2009-2010: A Viewer's Guide
93_190	To The 50 Landmark Movies Added To The National Film Registry In 2009-10, Bloomsbury Publishing
93_191	USA, 2011, pages
93_192	1945 films 1940s war films 1940s biographical films American films American biographical films
93_193	American black-and-white films American war films Battle of Monte Cassino Films about journalists
93_194	English-language films Films scored by Louis Applebaum Films directed by William A. Wellman
93_195	Italian Campaign of World War II films United Artists films
93_196	United States National Film Registry films World War II films made in wartime
93_197	World War II films based on actual events
94_0	Eugénie "Ninon" Vallin (8 September 1886 22 November 1961) was a French soprano who achieved
94_1	considerable popularity in opera, operetta and classical song recitals during an international
94_2	career that lasted for more than four decades.
94_3	Career
94_4	Eugénie Vallin was born at Montalieu-Vercieu, a small town about 30 miles east of Lyon. She studied
94_5	at the Lyon Conservatoire and later in Paris. At first she had no intention of performing opera,
94_6	preparing herself for a career on the concert platform. In 1911 she was chosen by Claude Debussy to
94_7	sing the part of the celestial voice in the first performance of his Le martyre de Saint Sébastien.
94_8	She continued her association with Debussy, giving the première of his Trois poèmes de Stéphane
94_9	Mallarmé in 1914 at the Salle Gaveau in Paris, accompanied by the composer. She also worked
94_10	extensively with other contemporary composers, including Albert Roussel, Joaquín Nin-Culmell, and
94_11	Reynaldo Hahn; the latter two accompanied her in recordings of their own works.
94_12	She was first persuaded to sing opera in 1912, appearing in a number of roles at the Opéra-Comique,
94_13	including Micaëla (in Carmen), Mimì (in La bohème), Clara in Les cadeaux de Noël, and the title
94_14	role in Louise. She went on to make her début at the Teatro Colón, as Marguerite (in Faust) in
94_15	1916, returning there regularly over the next 20 years. She made other débuts at Milan's La Scala
94_16	(in 1916), Rome (1917), the Paris Opéra, as Thaïs, (1920) and San Francisco opera (1934).
94_17	The range of roles which she undertook was unusually varied in their vocal requirements: Manon,
94_18	Charlotte (in Werther), Juliette (in Roméo et Juliette), Marguerite (in Faust), Mignon, Zerlina (in
94_19	Don Giovanni) and Mélisande. She also sang the trio of heroines in The Tales of Hoffmann.
94_20	Vallin had a great affection for French operetta, and performed works by Lecocq, Massé, and
94_21	Chabrier; she even ventured into music hall during the 1930s, singing at the Alhambra in Paris.
94_22	Such was her popularity in her native country that she also appeared in a 1937 film, La fille de la
94_23	Madelon.
94_24	Vallin worked with most of the leading French singers of her era, including the renowned tenor
94_25	Georges Thill, whom she disliked. Her voice was that of a good-sized lyric soprano, well balanced
94_26	but strongest in its middle and lower registers; but, at her peak, she was also capable of singing
94_27	high coloratura, as recordings of arias by Bellini and Donizetti illustrate. Her tone was cool and
94_28	clear, with exemplary enunciation. Louise, Charlotte and Manon became her signature roles. Her
94_29	performances were described by the critic André Tubeuf as the "epitome of good singing but also of
94_30	good taste". Sound technique supported both her versatility and the durability of her career; as
94_31	late as 1946, when she was 60, she sang the Countess (in Le nozze di Figaro) and she continued
94_32	singing and recording into the 1950s. Between 1953 and 1959, she was a guest professor at the
94_33	Conservatory in Montevideo.
94_34	Death She died in 1961, aged 75, at La Sauvagère, her estate at Millery, near Lyon.
94_35	Recordings
94_36	Ninon Vallin left a considerable output of 78-rpm recordings, dating from 1913 until the early
94_37	1950s, which can be heard on CD reissues. Many of them consist of operatic arias but there are also
94_38	notable discs of French mélodies by Fauré, Chausson and Hahn. Among the complete or semi-complete
94_39	opera recordings in which she featured were:
94_40	Louise (abridged); conducted by Eugène Bigot in 1935;
94_41	Werther; conducted by Elie Cohen in 1931, with Georges Thill as the tenor lead, in what is still
94_42	considered to be the finest, most idiomatic recording of this work; and
94_43	Les noces de Jeannette, conducted by Laurent Halet in 1922.
94_44	References
94_45	Bibliography Barnes, H.M. [1953]. "Ninon Vallin", Record collector, viii, 53; with a discography.
94_46	Celletti, R. [1964]. "Ninon Vallin", in Le grandi voci, (Roma: Istituto per la collaborazione
94_47	culturale); with an opera discography by R. Vegeto.
94_48	Fragny, R. de. [1963]. Ninon Vallin, princesse du chant, (Lyon: Éd. et Impr. du Sud-Est).
94_49	Pinchard, M. [1962]. "Hommage à Ninon Vallin", Musica, 95: 4.
94_50	Steane, John [1974]. The Grand Tradition, (Duckworth, London).
94_51	External links Marston notes on Vallin's life and recordings Cantabile-subito
94_52	1886 births 1961 deaths French operatic sopranos Fonotipia Records artists People from Isère
94_53	Academics of the École Normale de Musique de Paris 20th-century French women opera singers
94_54	Chevaliers of the Légion d'honneur Women music educators
95_0	Sarvam Thaala Mayam (), also titled Madras Beats, is a 2019 Indian Tamil-language musical drama film
95_1	written and directed by Rajiv Menon. The film stars G. V. Prakash Kumar and Aparna Balamurali in
95_2	the lead roles, with a supporting cast including Nedumudi Venu, Vineeth, Kumaravel, Santha
95_3	Dhananjayan, and Dhivyadharshini. The film features music composed by A. R. Rahman, cinematography
95_4	by Ravi Yadav, and editing by Anthony.
95_5	Returning to direction after 19 years, Menon makes a comeback with a film that is relevant,
95_6	entertaining, and inspirational in parts. The film released on 1 February 2019. The film was a box
95_7	office success.
95_8	Plot
95_9	This is a story about a famous mridangam player named Vembu Iyer and his student Peter Johnson, son
95_10	of an expert mridangam maker named Johnson who is a crazy Vijay fan, collide.
95_11	Earlier Peter is a care-free brat who neither has any interest in his father's Mrudangam making
95_12	business nor in his own career. He started wooing a nurse called Saara while she kept him some
95_13	distance due to his approach. Then one day, on his father's insistence he went to deliver mrudangam
95_14	to Vembu Iyer's concert where he was allowed to watch his program. After observing Iyer's concert,
95_15	Peter started admiring him and decided to join as a student to learn mrudangam from him.
95_16	After observing Peter, Iyer had understood that he has talent but rejected him due to lack of
95_17	discipline and consistency. To prove Iyer wrong, Peter tried hard to change himself which constoned
95_18	by his mother and worried about his future. Finally Iyer allowed Peter as his student.
95_19	Later Peter was mistreated by Iyer's Assistant Mani because of his lower caste. It was noticed by
95_20	Iyer, who warns him to be good with his students. Mani confesses his dissatisfaction over him
95_21	saying he did not support his career as mrudangam player and used him. This angered Iyer, who
95_22	sacked him from the job in front of Peter, so Mani swears revenge on Iyer and Peter for his
95_23	humiliation.
95_24	Later Peter became good friend with Nandagopal 'Nandu' a NRI and a Harvard University PhD dropout
95_25	who came to learn Mrudangam from Iyer. Meanwhile, Mani joined as a Judge in a classical music
95_26	instrument reality show called 'Sangeetha Samrat' with the help of his younger sister Anjana who is
95_27	a crooked socialite and works as a VJ. Peter was very passionate about the beats of Mrudangam and
95_28	became one of the favorite students of Iyer. Meanwhile, Saara realized her love for Peter and they
95_29	start dating.
95_30	Anjana sets a trap to humiliate Iyer. She invited Nandu to perform on her reality show and makes
95_31	him believe that it was telecasted only in the USA. Nandu came along with Peter, who consistently
95_32	warns him to not perform without their teacher's permission. After knowing that it was a trap to
95_33	humiliate them Nandu leaves the place without any warning to Peter. Without knowing the facts,
95_34	Peter enters the studio to find Nandu, but he was focused on "live". Then with no option left,
95_35	Peter gets ready to play mrudangam which gets severely humiliated by Mani and Anjana, making him

93_189

The Story of G.I. Joe essay by Daniel Eagan In America's Film Legacy, 2009-2010: A Viewer's Guide

93_190

To The 50 Landmark Movies Added To The National Film Registry In 2009-10, Bloomsbury Publishing

93_191

USA, 2011, pages

93_192

1945 films 1940s war films 1940s biographical films American films American biographical films

93_193

American black-and-white films American war films Battle of Monte Cassino Films about journalists

93_194

English-language films Films scored by Louis Applebaum Films directed by William A. Wellman

93_195

Italian Campaign of World War II films United Artists films

93_196

United States National Film Registry films World War II films made in wartime

93_197

World War II films based on actual events

94_0

Eugénie "Ninon" Vallin (8 September 1886 22 November 1961) was a French soprano who achieved

94_1

considerable popularity in opera, operetta and classical song recitals during an international

94_2

career that lasted for more than four decades.

94_3

Career

94_4

Eugénie Vallin was born at Montalieu-Vercieu, a small town about 30 miles east of Lyon. She studied

94_5

at the Lyon Conservatoire and later in Paris. At first she had no intention of performing opera,

94_6

preparing herself for a career on the concert platform. In 1911 she was chosen by Claude Debussy to

94_7

sing the part of the celestial voice in the first performance of his Le martyre de Saint Sébastien.

94_8

She continued her association with Debussy, giving the première of his Trois poèmes de Stéphane

94_9

Mallarmé in 1914 at the Salle Gaveau in Paris, accompanied by the composer. She also worked

94_10

extensively with other contemporary composers, including Albert Roussel, Joaquín Nin-Culmell, and

94_11

Reynaldo Hahn; the latter two accompanied her in recordings of their own works.

94_12

She was first persuaded to sing opera in 1912, appearing in a number of roles at the Opéra-Comique,

94_13

including Micaëla (in Carmen), Mimì (in La bohème), Clara in Les cadeaux de Noël, and the title

94_14

role in Louise. She went on to make her début at the Teatro Colón, as Marguerite (in Faust) in

94_15

1916, returning there regularly over the next 20 years. She made other débuts at Milan's La Scala

94_16

(in 1916), Rome (1917), the Paris Opéra, as Thaïs, (1920) and San Francisco opera (1934).

94_17

The range of roles which she undertook was unusually varied in their vocal requirements: Manon,

94_18

Charlotte (in Werther), Juliette (in Roméo et Juliette), Marguerite (in Faust), Mignon, Zerlina (in

94_19

Don Giovanni) and Mélisande. She also sang the trio of heroines in The Tales of Hoffmann.

94_20

Vallin had a great affection for French operetta, and performed works by Lecocq, Massé, and

94_21

Chabrier; she even ventured into music hall during the 1930s, singing at the Alhambra in Paris.

94_22

Such was her popularity in her native country that she also appeared in a 1937 film, La fille de la

94_23

Madelon.

94_24

Vallin worked with most of the leading French singers of her era, including the renowned tenor

94_25

Georges Thill, whom she disliked. Her voice was that of a good-sized lyric soprano, well balanced

94_26

but strongest in its middle and lower registers; but, at her peak, she was also capable of singing

94_27

high coloratura, as recordings of arias by Bellini and Donizetti illustrate. Her tone was cool and

94_28

clear, with exemplary enunciation. Louise, Charlotte and Manon became her signature roles. Her

94_29

performances were described by the critic André Tubeuf as the "epitome of good singing but also of

94_30

good taste". Sound technique supported both her versatility and the durability of her career; as

94_31

late as 1946, when she was 60, she sang the Countess (in Le nozze di Figaro) and she continued

94_32

singing and recording into the 1950s. Between 1953 and 1959, she was a guest professor at the

94_33

Conservatory in Montevideo.

94_34

Death She died in 1961, aged 75, at La Sauvagère, her estate at Millery, near Lyon.

94_35

Recordings

94_36

Ninon Vallin left a considerable output of 78-rpm recordings, dating from 1913 until the early

94_37

1950s, which can be heard on CD reissues. Many of them consist of operatic arias but there are also

94_38

notable discs of French mélodies by Fauré, Chausson and Hahn. Among the complete or semi-complete

94_39

opera recordings in which she featured were:

94_40

Louise (abridged); conducted by Eugène Bigot in 1935;

94_41

Werther; conducted by Elie Cohen in 1931, with Georges Thill as the tenor lead, in what is still

94_42

considered to be the finest, most idiomatic recording of this work; and

94_43

Les noces de Jeannette, conducted by Laurent Halet in 1922.

94_44

References

94_45

Bibliography Barnes, H.M. [1953]. "Ninon Vallin", Record collector, viii, 53; with a discography.

94_46

Celletti, R. [1964]. "Ninon Vallin", in Le grandi voci, (Roma: Istituto per la collaborazione

94_47

culturale); with an opera discography by R. Vegeto.

94_48

Fragny, R. de. [1963]. Ninon Vallin, princesse du chant, (Lyon: Éd. et Impr. du Sud-Est).

94_49

Pinchard, M. [1962]. "Hommage à Ninon Vallin", Musica, 95: 4.

94_50

Steane, John [1974]. The Grand Tradition, (Duckworth, London).

94_51

External links Marston notes on Vallin's life and recordings Cantabile-subito

94_52

1886 births 1961 deaths French operatic sopranos Fonotipia Records artists People from Isère

94_53

Academics of the École Normale de Musique de Paris 20th-century French women opera singers

94_54

Chevaliers of the Légion d'honneur Women music educators

95_0

Sarvam Thaala Mayam (), also titled Madras Beats, is a 2019 Indian Tamil-language musical drama film

95_1

written and directed by Rajiv Menon. The film stars G. V. Prakash Kumar and Aparna Balamurali in

95_2

the lead roles, with a supporting cast including Nedumudi Venu, Vineeth, Kumaravel, Santha

95_3

Dhananjayan, and Dhivyadharshini. The film features music composed by A. R. Rahman, cinematography

95_4

by Ravi Yadav, and editing by Anthony.

95_5

Returning to direction after 19 years, Menon makes a comeback with a film that is relevant,

95_6

entertaining, and inspirational in parts. The film released on 1 February 2019. The film was a box

95_7

office success.

95_8

Plot

95_9

This is a story about a famous mridangam player named Vembu Iyer and his student Peter Johnson, son

95_10

of an expert mridangam maker named Johnson who is a crazy Vijay fan, collide.

95_11

Earlier Peter is a care-free brat who neither has any interest in his father's Mrudangam making

95_12

business nor in his own career. He started wooing a nurse called Saara while she kept him some

95_13

distance due to his approach. Then one day, on his father's insistence he went to deliver mrudangam

95_14

to Vembu Iyer's concert where he was allowed to watch his program. After observing Iyer's concert,

95_15

Peter started admiring him and decided to join as a student to learn mrudangam from him.

95_16

After observing Peter, Iyer had understood that he has talent but rejected him due to lack of

95_17

discipline and consistency. To prove Iyer wrong, Peter tried hard to change himself which constoned

95_18

by his mother and worried about his future. Finally Iyer allowed Peter as his student.

95_19

Later Peter was mistreated by Iyer's Assistant Mani because of his lower caste. It was noticed by

95_20

Iyer, who warns him to be good with his students. Mani confesses his dissatisfaction over him

95_21

saying he did not support his career as mrudangam player and used him. This angered Iyer, who

95_22

sacked him from the job in front of Peter, so Mani swears revenge on Iyer and Peter for his

95_23

humiliation.

95_24

Later Peter became good friend with Nandagopal 'Nandu' a NRI and a Harvard University PhD dropout

95_25

who came to learn Mrudangam from Iyer. Meanwhile, Mani joined as a Judge in a classical music

95_26

instrument reality show called 'Sangeetha Samrat' with the help of his younger sister Anjana who is

95_27

a crooked socialite and works as a VJ. Peter was very passionate about the beats of Mrudangam and

95_28

became one of the favorite students of Iyer. Meanwhile, Saara realized her love for Peter and they

95_29

start dating.

95_30

Anjana sets a trap to humiliate Iyer. She invited Nandu to perform on her reality show and makes

95_31

him believe that it was telecasted only in the USA. Nandu came along with Peter, who consistently

95_32

warns him to not perform without their teacher's permission. After knowing that it was a trap to

95_33

humiliate them Nandu leaves the place without any warning to Peter. Without knowing the facts,

95_34

Peter enters the studio to find Nandu, but he was focused on "live". Then with no option left,

95_35

Peter gets ready to play mrudangam which gets severely humiliated by Mani and Anjana, making him