Bad Nun

Eine Mörderin legt ein Geständnis ab. Schon als Teenager bringt Jane Charlotte den Hausmeister ihrer Schule, den sie für einen Kindermörder hält, zur Strecke. Nun behauptet sie, einer Geheimorganisation anzugehören, die das Böse bekämpft. Doch je länger das Verhör in der psychiatrischen Abteilung eines Gefängnisses in Las Vegas dauert, desto widersprüchlicher und verstörender werden ihre Aussagen. Der Psychiater, der Jane befragt, scheint unheimlich viel von ihr zu wissen, von ihr und von ihrem kleinen Bruder, der als Kind entführt worden ist - doch stimmt das alles überhaupt?

A police Lieutenant goes about his daily tasks of investigating homicides, but is more interested in pursuing his vices. He has accumulated a massive debt betting on baseball, and he keeps doubling to try to recover. His bookies are beginning to get agitated. The Lieutenant does copious amounts of drugs, cavorts with prostitutes, and uses his status to take advantage of teenage girls. While investigating a nun's rape, he begins to reflect on his lifestyle.

While investigating a young nun's rape, a corrupt New York City police detective, with a serious drug and gambling addiction, tries to change his ways and find forgiveness.

In opera, specific voice types are often associated with certain types of characters. Numerous and diverse associations exist also for the bass voice, who can be a father, a villain, an elderly man, a religious figure, a comic character- or, indeed, a combination of the above. One recurring association for this voice type, however, deserves particular attention: that with evil, wicked, even diabolical characters. It is on that immensely fascinating association that this collection of arias is focused. The nineteen selections- composed by Mozart, Beethoven, Weber, Wagner, Meyerbeer, Berlioz, Gounod, Offenbach, Verdi, Boito, Mussorgsky, Stravinsky and Getty- take us on a journey through a period spanning some two hundred years, exploring how composers working in diverse national and institutional contexts and writing in an array of styles and genres exploited the bass voice to engage with the depiction of such characters.

In opera, specific voice types are often associated with certain types of characters. Numerous and diverse associations exist also for the bass voice, who can be a father, a villain, an elderly man, a religious figure, a comic character- or, indeed, a combination of the above. One recurring association for this voice type, however, deserves particular attention: that with evil, wicked, even diabolical characters. It is on that immensely fascinating association that this collection of arias is focused. The nineteen selections- composed by Mozart, Beethoven, Weber, Wagner, Meyerbeer, Berlioz, Gounod, Offenbach, Verdi, Boito, Mussorgsky, Stravinsky and Getty- take us on a journey through a period spanning some two hundred years, exploring how composers working in diverse national and institutional contexts and writing in an array of styles and genres exploited the bass voice to engage with the depiction of such characters.

Desmond - der angenehm klingende Name des Gebäudes verbirgt eine beunruhigende Vergangenheit. Das Hochhaus hat eine lange Geschichte mit Bränden, Morden, Wahnsinn und sogar Völkermorden in der Kolonialzeit hinter sich. Seit gut einem Jahrhundert steht es leer, nicht einmal die Hausbesitzer trauen sich, das Gebäude zu betreten.