![]() ![]() Under the pump, in the housing, is a foam pad, used most likely for noise reduction, and above that it is simply an empty box. The pump output sits neatly in the opening with enough room in the box to pull it out and service. Looking it over, I'm greeted by very well molded plastic sealing the entire box in except for the port where the pump sits. This things is built like a tank which is evident by the complete lack of flexing in the plastic housing, and the pump only adds to the heft. My very first impression was how much it weighed. This doesn't tell you much and the pictures online don't so much either, so here's my account of first checking out the wavebox hands on. Magnet Holder up to a glass thickness of 19 mm (.74 in.).įor tanks from 200 to 1,500 litres (52 to 396 USgal.). There's not a terribly large amount of information about these online, but I think some manufacturer specs are as good a place to start as any.ĭimensions: L125 x W113 x H 300mm (L4.9 x W4.4 x H11.8in.). I wasn't sure what to expect out of these interesting devices, but I can definitely say, it's not what I expected. That all changed this week when I received a Tunze 6215 Wavebox to play with. I've also always been very curious about the waveboxes that Tunze makes, but never got a chance to even see one in person or see one running. ![]() I've always been a fan of the look waves in a reef tank can give your corals, and I've always run wavemaker pumps for this reason. With the RLPO on terrific form, he prefaces the opera with intermezzi and dances from other works by Puccini and his contemporaries, making such familiar favourites as Mascagni’s Cavalleria Rusticana Intermezzo and the Dance of the Hours from Ponchielli’s Gioconda sound fresh and newly minted, while the demonic Tregenda from Puccini’s Le Villi is played with thrilling precision and panache.I just searched the forum and can't find a reference to anyone owning one of Tunze's waveboxes, so I figure I better put up the review I'm working on. Hindoyan gets the mix of wit and passionate lyricism bang on, too. Matteo Loi’s camp, fussy Betto is outstanding, as are Indyana Schneider’s bossy Zita and Felipe Cudina’s dim Simone, but this is very much a cogent ensemble where no one really puts a foot wrong. Anaïs Constans’s wilful Lauretta can be very much her father’s daughter: O Mio Babbino Caro is tellingly manipulative as well as beautiful later on, she and Matteo Roma’s Rinuccio sound good together in their duets. He is in fine voice, his performance at once very funny and wonderfully subtle, always leading the young cast around him yet never upstaging them.įunny and wonderfully subtle: Bryn Terfel (front) with Domingo Hindoyan and the Royal Liverpool Philharmonic. Terfel’s knowing Schicchi observes them with both irony and contempt before turning on them, eventually driving them from the platform to seek refuge among the audience. He updates the opera to the 1960s, and his Donatis are a grotesque crew that might have strayed from Fellini or Buñuel, barely attempting even a semblance of grief at Buoso Donati’s death and casually stepping over or kicking his corpse, which is dumped at the foot of Hindoyan’s podium. Rozet is hampered by the need to cramp the action into a narrow strip of space in front of the orchestra, though his direction can be astute, the comedy sometimes very dark indeed. ![]() Bryn Terfel returns to the role of the titular opportunist, which he first sang at Covent Garden in 2007, while the avaricious Donati family, whom he eventually defrauds, are played by the EOC’s young singers. T he latest collaboration between the Royal Liverpool Philharmonic and the European Opera Centre, also based in Liverpool, is a concert staging of Puccini’s Gianni Schicchi, conducted by Domingo Hindoyan and directed by Bernard Rozet. ![]()
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