SEASON 2010 - World Cultural Heritage - Quotes
"As
the Ruhr Gebiet (the industrial area in Nordrhein-Westfalen, Germany,
just across Belgium's border) will be the cultural capital of
the year in 2010 and will draw much international attention, we
feel that our reporting on Opera Houses and Music Halls in its
near vicinity (Ghent and Antwerp is a mere 3.00h ride by ICE train
from Köln; Brussels 2.30h) could cut a niche. Opera is not
an isolated bussiness of the individual Opera Houses anymore,
it has become a dialogue and a unification tool in New Europe.
Incentives in Köln and the Oper am Rhein deliver the buzz."
- Argo Spier
"To
the American opera lover it is quite feasible to make a roundtrip
visiting Köln, Dusseldorf, Duisburg and in Belgium, Brussels
and Ghent in a three-day sprint for opera and classical music.
This is really the message that the Music Halls in the near vicinity
of the Ruhr should get out in 2010 – dialogue and feasibility."
- Argo Spier
NEWSREEL
- December 2009 -
In the cold, suspenseful wintry air during the top Climate meeting
in Copenhagen, the Oper Köln in Germany programmed two operas
dealing with the inevitable destruction of fragility and tender
dreams - Leos Janacek's 'family opera’, Das Schlau Füchslein,
and Guiseppe Verdi's La Traviata. In both operas the
theme of devastation ('Untergang' or the slow process
of deterioration) puts the blame for ruin on an outside force.
It's 'the other' that causes hurt and responsibility is shifted
away from the individual for his own destiny. This 'denial' is
also dormant in the Copenhagen talks. Most nations refuse to limit
their CO2 gas emissions to the requested 30% 'norm' and there's
that pessimistic Sarterian persiflage in the drama of the dialogue;
the same with the operas. L'enfer c'est les autres (Hell
is other people - Jean Paul Sartre.) This theme of 'the other
being hell' and the cause of the individual’s cataclysm
is, however, not new. It entered Baroque opera in the early nineteenth
century. It’s a complete departure from the theme in ancient
Greek tragedy in which it is man himself that is responsible for
his destiny ('character is fate') and who destroys 'the thing
he loves'. In La Traviata, Verdi makes Alfredo's father, and his
provincial, class-conscious attitude, the direct cause of the
deterioration of the 'object' of his son's love - the lovely courtesan
Violetta. She dies in the last act of La Traviata inside
the vulgar setting of a toilet stall in a restaurant called 'Coquet'
in Paris. The newborn baby of the toilet attendant, snug in his
innocent white-coloured pram, accentuates Violetta's sad, stigmatised
death. It is the 'other' that causes all of the ill. Violetta's
love is unfulfilled and her life is shattered. So is Alfredo's
life. A father's dream has destroyed the son's. La Traviata,
with its well-known 'drinking song' and magnificent stage setting
(listen to the You Tube
version of La
Traviata - Drinking Song and La
Traviata - Libiamo, ne' lieti calici - two different productions),
had its origins in Alexandre Dumas' drama,
La dame Aux Camélias, in the Téatre du
Vaudevill in Paris in 1852. Verdi sends out a strong message of
frustration and defeatism, one of discrimination between classes
and the presumptuousness of culture. In Das Schlaue Füchslein,
the message is also a tragic one but there's that foolhardiness
of the 'poet' (in the skin of the Game Warden) to be determinant
and NOT to give up the dream and his imaginative Muse (the little
fox's nutmeg eyes reminded him of flitting evanesces of Terynk,
the Gypsy young woman) but to elevate his insistence on 'other
worldliness' to the psyche. It was the younger conqueror of Terynk,
Harasta, who shot the little fox, stopping its animistic play
and frustrating the Warden. He now retreats into the deeper regions
of his own dream fusion, refusing to accept the ordinary drag
of an imprisoned muse. The irony is that he was the one who loved
freedom so much that he decided to 'capture' it for himself (he
seduced the playful fox and put a garter around her neck to hinder
her escape; this may be the cause of the coming into being of
'the otherness').
The choice of both operas amidst
the end of the year's decadent surge of commercialism in which
the spoiled boredom of the middle classes is rampant, shuffling
from Christmas markets to hollow Christmas markets, is a superb
one and illustrates the capability of the Köln Oper to take
up its cultural responsibility and provide substance for thought.
Opera can be seen as the expression of what ought to be alive
in society and what is dying. That would explain the disastrous
effects the making of choices has had and it touches on the fragility
of life itself. Not only in Europe, but also far across its borders,
political decisions of magnitude have to be made today. Do we
approach these questions with defeatism or do we escape from them
by designing an all-together new set of problems? And there is
the tension between frivolity and the conservation; and illusive
traits; and religious presumptions. And everyday mistakes are
made in the utopia of pluralism. (Ref. the goosy-uppy of the speech
writer of 'Mehr Krieg für den Friede' [more war for peace],
President Barack Obama, confusing at Copenhagen Nobel Prize awards
the Swedish tradition of 'bellum iustum' [religious freedom
and tolerance] with a New World Order and American missionary
consciousness to justify America’s going to war (again);
the hardcore theocrats running their empire building using tools
of cowardly design, such as the placing of high explosives on
commutative trains rails [it's ok in the face of the Apocalypse];
the desperate housewives moving in groups of ten in shopping areas,
having a good time and wearing their plastic red reindeer horns
and Santa Claus hats as a statement of the confusion between the
celebration of Christmas and a world cup soccer match; the small
boy actor in Das Schlaue Füchslein who lost his
frog's head; Dietrich Hilsdorf and Athol Farmer's ensenierung
of La Traviata (Stage Dieter Richter) and the desire
to really explain decadence to the spectators ... oh, the overkill
of it on stage, with the two men fondling and kissing each other
as long as the song lasted. What has La Traviata to do
with overt homosexuality and/or the embarrassment in the eyes
about it?)
The two operas give the newbie to the Köln scene foresight
as to what can be expected in the form of operatic entertainment
in the Oper Köln in 2010 when the Ruhr Gebiet (including
the cities of Dusseldorf, Duisburg and Essen) will be in the international
limelight. Both operas offer high quality productions and both
have mis-en-scene's that are sublimely put together.
It is an immense pleasure to watch such contemporary and congruent
productions function on stage. And the separate, illusive worlds
they create are magificent. Herbert Schäfer's (Stage - Das
Schlaue Füchslein) exploit of the child actors is most
responsible and he has created a didactic dossier unparalleled
in 'children's opera'. His intriguing 'world of an animated fairy
tale' ('Märchen') satisfied children and grown-ups alike.
In La Traviata, Dieter Richter (Stage - La Traviata)
re-created a beautiful, realistic 'Verdi's world' (Paris in the
18th century) with such virile dynamism that it was easy to win
the spectator. It has a refined realism that takes all hesitation
away and invites in. The spectator not only watches the revolving
stage but also enters the exuberance and exhilaration of the atmosphere
of the salon ambiance of the late Baroque. And of course La
Traviata IS Verdi - so there's a rush into Dieter Richter's
illusionary universe of high drama and tragedy without reserve.
It's one of the few productions in which everything on stage 'figures',
'comes together' and 'holds' (except of course for the mentioned
stain of the over-exposure of the mentioned gay scene which should
be re-thought completely). Proof of the success of both performances,
and of the public's approval, is the fully-booked halls. On the
12th and 13th of December, even though both operas had been running
for a while already, there was hardly a vacant seat. Also, the
17 minute ovation for La Traviata confirms the point.
This is always very good news for Opera Halls and Directors, but
there's a hidden doom scenario lingering in successful opera productions
- they are benchmarks for future productions and as such set expectation
levels. The next production has to be in the same league, and
that is the situation now with 2010 approaching, when many more
visitors will want a seat; it may turn out to be disastrous for
visiting opera lovers (Americans visiting Köln) who want
tickets. What can be done? Put on more performances? No, opera
singers aren't horses! There may just not be enough seats available.
(Opera lovers are strongly advised to contact the Opera's hotline
and/or online ticket outlet
even before they plan their trips to the Ruhr Gebiet and reserve
their tickets as soon as possible. Do NOT contact the Press Officer
unless it is concerning press matters.)
It is very
exhilarating to experience opera in the Ruhr. There is that distinctive
generation of vibrant energy that is contagious. And productions
such as La Traviata and Das Schlau Füchslein
are must-sees. In this part of Europe there is the unveiling of
fragile, intimate truths of our western European culture. The
Ruhr is the place to be for those who know what they want. Being
the biggest Opera House in the Ruhr Gebiet, and located in a Drei
Ecke of Opera Houses that includes the Oper am Rhein's two
Opera Houses in Dusseldorf and Duisburg, the Oper Köln has
to fulfil the heavy responsibility of being the 'leading Opera
House' in the Ruhr Gebiet. This task it has completed, up to now,
to a high degree of satisfaction. And there is no indication that
this will change for next year. It is located on the easy access
route of main travel arteries between Brussels (Belgium and Ghent),
Amsterdam (the Netherlands) and Paris, Lille and Nancy (France)
and this has helped in its drawing power and, together with the
Oper am Rhein, it has in recent years re-defined the orthodoxy
of opera as 'what IS, what IS to BE and what should BE' - opera,
not as entertainment, but opera as signifier and re-enactor of
the political and supra-world consciousness; opera as problem
indicator and opera as problem solver at the same time; opera
as conscience and opera as the giver of hope in a polluted orb.
Dealing with themes of 'Untergang' (deterioration, destruction
and ruin) in a time in which annihilation seems so imminent; that
is the function and definition of opera. And the Oper Köln
is dealing with it. It is placing the spectator before the inescapable
tragedy of his own choices - defeatism (La Traviata) or
internal psychic refusal to part with the Muse (Das Schlaue
Füchlein) - that is the 'more' meaning of the function
and definition of opera. Re-definition, consolidarity and orthodoxy
are aspects that will surface in the Ruhr in 2010. From 2011 onwards
the levels of these will reach even higher peaks when, as the
Kölner Stadt Unzeiger reported on 10 December 2009,
the Bundesfinanzminister, Herr Wolfgang Schäuble,
will start saving 10 billion Euros per year for the next ten years
... just to allow the middle classes of Germany to continue on
with their senseless consumerism ... talking of perpetuating a
conflict of classes. (It's probably a lie - more will be needed
and even then nothing specific will come of it - the financial
crisis will just take on other forms.) However, there will be
less money available for opera, the vital art form needed for
sanity in the community of the human race. But then again, the
discussion is turning towards the concept of 'irony' and we are
not dealing with the concept 'Untergang' anymore...
Devia
sings Sempre libera (Verdi: La Traviata - Tokyo 2006)
Argo Spier,
Opera Pages
Consulting editor, Joneve McCormick, USA
ARCHIVE
- 2008 | 2009
 |
 |
November
2008 - The Oper Köln programmed
two very appropriate productions for the European pre-winter month
of November -- Wolfgang Amadé Mozart's 'free mason' opera,
Die Zauberflöte, and Giacomo Puccini's 'ultimate'
tragedy, Madama Butterfly. Both operas deal with status
quo's in the processes of rites of passage and the inevitability
of transformation. The keynote in both operas is the lethal fatality
that has re-formative power when forces of a jenzeits
- death and possible annihilation - enter the reality of a 'dies
Seits' life. The Opera's choice for these two operas - composed
more than 100 years apart - proves its authentic ability to contribute
to the under currents of the collective unconscious of society.
Opera is used as a fine tool for the expression of the unsaid.
Die Zauberflöte, with its 'shadows and figurines'
from 'deep, dark interiors of the night' -- its majestically noble
chords in the key of E-flat major with three flats, the opera's
Masonic home key, suggests this; and the alchemic theme of three,
a coda of purification, was scheduled for the 31st of October
on the Fest am Vorabend von Allerheiligen, the Heathen
Celtic Samhain, or Halloween as it is called in its watered-down
version, when in the streets similar dressed-up figures filled
the dimly lit night. Madame Butterfly, Puccini's stalling
orgy, celebrating the high price there is to be paid for true
untainted love -- that is, death -- was performed on the 1st of
November, the evening of All Saints' day.
This co-incidental programming, together with the quality of the
performances and the exuberant innovative stage designs of both
operas, make these particular two productions memorable communicative
events. In both productions the spectator has ample middle-distance
and opportunity for the re-enactment of the transformational processes
in his own life. Die Zauberflöte, lavishly filled
with spectacular stage and costume design by Peer Boysen, takes
the spectator on a journey in which he will grow from the satisfaction
of mere apprenticeship into jubilation. In Patrick Kinmonth's
regime of Madame Butterfly, which is stripped from all
its outdated and cheap exotics, the so-called 'a la giapponese'
frivolities so craved by previous generations, there is no distracting
from the core of this tragedy-in-opera whose purpose it is to
initiate the spectator into the pain of the tragedy of true love.
The opera, as all new moments in life, is re-defining itself in
the production. It is one of the most suggestive seen on stage
for a long time. Never was Madama Butterfly's environment
so real, the ersatz of her captivity so unadulterated
and naked and the irony of her tragic naivete so steadfastly set.
It simply is the barest, simplest and most beautiful opera production
of Madame Butterfly seen in a long time. The engendering
is soft, rich in all its simple suggestive undertones and transparent
in its setting of environment. The various ‘see-through'
horizontal layers don’t allow disruptive lapses between
fast-paced action episodes; on the contrary, it aids concentration
and creates an inductive attention in the spectator. At the same
time, the whole isn't lost from sight when a happening is taking
place in either fore or background. It is this concentration,
as inter-active median of space between spectator and performer,
where the essentiality of opera comes about. It permits and assists
the performers to create and hold tempo -- something Puccini had
in mind for the opera. Patrick Kinmonth and Darko Petrovic's stage
and costume design is of the most professional in the market today
and, in this production of Madame Butterfly, their art
provides and supports the performers to the extent that the whole
of the opera achieves its firm form-content unification. Leading
soprano, Ausrine Stundyte (as Cio-Cio-San, Madama Butterfly),
and the tenors Andrew Richards (the US officer, Pinkerton) and
Bruno Caproni (Sarpless, US- Consul) create an 'agony of love'
that's so real and so new. The production will be a jubilant one
throughout its existence.
The re-definition of Puccini's opera constitutes a Western prototype
as Madame Butterfly and only in the final act shows that 'this
Butterfly', too, is merely a front and a palimpsest, set there
for the spectator to re-enact with. The appreciation and awe of
the spectator at encountering this was very clear on the 1st of
November, the night of the full-house Première, when the
first reaction after the hara-kiri of Cio-Cio-San with
a razor blade -- she cut her own throat most violently -- was
complete silence before being followed by a very composed ovation
of 20 minutes. The Kinmonth production of the Opera Köln
is an absolute must to experience, and, as stated, preferably
in conjunction with the Die Zauberflöte production,
by the same Opera.
See
the Kölner Opera ticket hot-line.
PRESS OFFICER
Georg Kehren
Dramaturgie/Presse
Offenbachplatz
50667 Köln
Tel. 0178 - 97 95 240
Tel. 0049 - (0)221 - 221 28514
Fax. 0049 - (0)221 - 221 28367
georg.kehren@stadt-koeln.de
(Press matters only)
pictures
courtecy ©kölner oper
ARCHIVE
- 2008 | 2009
June 2008 - With the somewhat
unorthodox choice for Stage Director of the tenor and all-round
Argentinean artist José Cura, the Oper Koln produced, as
one of its last operas in the Season 2007 - 2008, one of the loveliest
of the 'smaller' operas (there were only 100 choir members) of
Guiseppe Verdi, Un Ballo in Mashera. The performances
of the Texan, Ray M. Wade Jr., Riccardo, Bruno Caproni from Ireland
and Chiara Tagi from Italy in Un Ballo in Mashera are
supreme and represent the top quality in soprano and tenor voices
that the Oper Köln opts for. Their character casting (by
José Cura) perfectly brings about not only the fascinated
and terrible fatality of a 'Dreiecksthema' in the MMF-relationship,
the allure of a King's murder (as was Verdi's original theme,
the murder of the Swedish King Gustav III, before he had to rewrite
the opera due to the political sensitivity of the case in 1859)
but also cuts deep into the racial and mixed relationship theme
that has become more and more actual in the EEC since its unification.
The presenting of Ray M. Wade, Jr. as an 'African dictator' however,
with obvious references to the Ugandan Dictator Idi Amin in the
mid-sixties (his photo was presented on a huge banner across the
stage revealing the grotesqueness of the dictator in his typical
braided uniform) might be viewed by some as too obvious a stunt,
even overdone, and it is debatable whether this reference results
in an idiom that really sells to European audiences.
The productions of the Oper Köln are an essential part of
the mainstream opera scene in Europe today and having a stopover
in Kôln is a feasibility that fits into any holiday tour
or operatic research.
ARCHIVE
- 2007 - 2008
A standing
ovation of 20 minutes and 8 curtain calls is how the international
audience at Koln on the 10th of March 2007 evaluated Robert Carsen
and Patrick Kinmonth's 'Ring des Niebelungen', the full
version that included the 'Vorabend, Das Rheingold',
the 'Walküre', 'Siegfried' and the 'Gottdämmerung'.
Markus Stenz conducted the Kölner Opera orchestra and Manfred
Voss was responsible for the light effects on stage.
Robert Carsen
and Patrick Kinmonth's 'Ring an zwei Tagen' -- an attempt
was made to call it the 'Carsten Grüner Ring' but
this didn't seem to impress the audience and everybody calls the
ring 'Carsten's Ring' or the 'Kölner Ring'.
It will be repeated this week over 5 days and the nearly impossible
to get 'remaining' tickets can be purchased directly from the
Opera's homepage.
international
audience
The feasibility of people from neighbouring countries visiting
Köln for the 2-day Opera production of Carsen proved greater
than judged by the Kölner Opera. People from Belgium and
the Netherlands came by car and in mini-buses, individually and
in group trips arranged by Wagnerian Societies. Present also were
people from as far away as Northern England and Japan. Local German
enthusiasts tried for last minute tickets and stood waiting at
the entrances, but to no avail.
Attendance by
people from neighbouring countries has much increased since the
unification process in Europe began, thanks in part to cheaper
flights offered by airlines such as Ryanair and City Air, and
to faster train connections with TGV, Eurostar and German Ice
trains with their bonus, joker or buy -a-ticket-before-a-certain-date
travel offers and the Opera's own incentives, such as offering
to pay for travel on the local metro, tube or bus on the day noted
on the Opera ticket.
Other incentives,
such as reduced parking for those with Opera tickets, have added
the access to Opera Productions in neighbouring countries. In
this sense Opera has become a 'democratic' vehicle that establishes
and further strengthens unification ties. This is particularly
the case in the 'Drei Ecke', Luxumbourg, Belgium, the
Netherlands and Köln areas with Opera in Köln, Aachen,
Essen, Brussels, Ghent, Amsterdam and Luxumbourg city with its
ulta modern new concert hall since June 2007.
unification
tools
The Wagnerian 'cult' draws at every production of the
'Ring' its firm Germanic hard-liners and believers, many
of whom had visited the Berliner Opera production a few weeks
earlier and travelled by fast train, the ICE, from city to city
before arriving at Köln on the Rhein.
Attendance at
the 2-day production of Carsen and Kinmonth's, 'Ring an zwei
Tagen' has proven mobility isn't an issue anymore. Opera
lovers came from near and far, from the region surrounding Köln
and from neighboring countries and from as far away as Japan and
the USA. The crowd was diverse in lifestyle, ranging from Embassy
staffers and CEO's to artists, doctors and other professionals
and entrepeneurs. They have greater and easier access to the opera
and, in the long run, this will prove what a formidable tool Opera
is in the fraternising processes that accomplish the unification
of Europe, bringing together peoples and cultures, and in creating
good will around the world.
the
venacular of recognised symbols
Another of Wagner's
operas, the Löhengrin, will shortly be in production in Aachen,
a small provincial town only some 80 km away from Köln and
with equally easy access to its opera.
Excerpt of article - 'Untergang' in the Carsen and Kinmonth production
of 'Ring an 2-Tagen', Köln Oper.
©argospier20/03/2007 - 1000 words.
Editor/Consultant - Joneve McCormick
Carsen
and Kinmonth’s production of ‘Untergang’ in
Köln zaps into the age-old dispute concerning the role of
fate in human and god-relationships, refusing both interpretive
and expansive perspectives in its 'non-ironised' version. On the
first level it seems a mute and silent production, but on various
other levels it is a far more ‘dangerous’ production
than Ivo Van Hove’s in Gent. The absolute cataclysmic disaster
of the ‘Dämmerung of the gods’ becomes eerily
real in it. There is nothing mankind can do to avert the destruction
of his own habitat. The ‘Ausgang Punkt’ (point of
departure) for Carsen and Kinmonth is that ‘Wagner ‘soll
nicht ironisiert werden’. He must be taken at his ‘word’
and his vision of the collapse of the world, godheads and Valhalla,
the perfect paradise, is the only true orthodoxy. The crossover
or metamorphosis of Myth into reality in the production is to
come about through orthodox interpretation.
Opera, including Wagner’s opera, is the re-enactment of
original drama and the actions performed on stage reflect the
‘prescriptions’ of the composer. In the case of ‘Der
Ring des Nibelungen’, opera is also the re-enactment of
mythological truths. Carsen and Kinmonth take this very seriously.
Wagner is the High Priest of the Myth, and how he ‘saw’
it should be followed as closely as possible. He solidified the
Wandering Myths into a mega epos and is therefore the only one
having ‘first access’ to the original archaic (regardless
to what extent he dramatically interpreted various strains of
the myths and whether his concept of Nature was idealistic or
not.) Carsen and Kinmonth therefore use in ‘Ring an 2-Tagen’
easy accessible models of definition: a sword is a ‘real’
sword; nitrifying the ‘Umwelt’ (nature around us)
is throwing debris into a river; industrial ‘dragons’
are cranes used for build mega complexes and digging unnatural
holes into soil; power excretion is via the collectiveness of
the masses, 40's style and in uniform. These definitions are of
recent ‘archaic’ origin. In the case of the uniformed
masses, the ‘old’ battlefield strategies are portrayed.
(Modern warfare has changed. Concepts like martyrdom and protest-by-suicide
- attacks on trains and buses full of commuters, as in London
and Madrid - are the ‘real’ situations, anno 2007,
on the ‘battlefield’. But this is not what it is about
for Carsen and Kinmonth.) Using the collective understanding of
definitions in the spectator's ‘recent past’ (World
War II) and allowing small margins of novelty (the crane that
is Fafner), Carsen and Kinmonth have created a comfortable middle
distance between the archaism of the original exposure of mythological
truth (how Wagner saw it) on one side and the spectator's ‘own
recent past’, on the other side. This conveys the both eerie
immediacy and the connectiveness that hangs over the whole of
the production, veiling illusion (like a silken cloth over the
dead body of a much beloved person.) The transformative power
of the production is immense.
Carsen
and Kinmonth have made of ‘Der Ring des Nibelungen’
a true story that delves deeply into the consciousness of the
spectator. The desire to dub the production the ‘Grüner
Ring’ is understandable, although this is a rather impoverished
naivety that distracts some might argue. The destruction of our
‘Umwelt’ has already begun. It is the true story of
how ‘present day’ global warming is exponentially
caused by man, his industrialised society and his miraculous big
tools. (The thong of the mentioned Fafner crane in ‘Siegfried’
fills a third of the stage!). The opera is a prophetic warning
of what is happening and is going to happen in the immediate future,
defeatist at that, but it is true! It isn’t a Myth anymore.
(Leaving it there whether society should still be called ‘industrial’
or rather ‘silicone and virtual’.)
The
duo proved that the motor in mythical drama is um-bilingually
connected to what lives in the collective, in the ‘Volkergedanken’
of the unconscious. And with ‘Ring an 2-Tagen 2007’
the connection is made - with tremendous success. This ‘special
connected communication’ was almost tangible and the ‘letting
speak’ of the Wandering Myths in the way Wagner himself
had spoken them in his unified grand Germanic epos has reaped
its reward and it ticked off the score in the arena, scoring higher
than the production by the Vlaamse Opera in Gent, Belgium. ‘Der
Ring des Nibelungen – Ring an 2-Tagen’ had a standing
ovation of 20 minutes and 8 curtain calls, while that wasn’t
the case with Ivo Van Hove’s ‘Walküre’.
That proves the point, any serious operagoer will agree.
Both
‘Rings’ are of such stature and the enthusiasm generated
at both locations so immense that the visiting and experiencing
spectator will in the end find it has been imperative to attend
both. The Kölner Oper in Köln and the Vlaamse Opera
in Gent well deserve all the buzz. The Operas will, however, have
to consider prolonging their time schedules in running the ‘Ring’
lest situations such as the one in Bayreuth manifest. It is whispered
in the ‘insider’s corridor’ that waiting lists
for Bayreuth have lengthened … to 10 years booking in advance.
This doesn’t diminish, but accentuates, the fact that the
‘New Wagnerian Sanctuary in the Low Lands’ has considerable
growth potential.
Argo
Spier
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