Wednesday, November 21, 2012

CPD for Doctors (and Medical Students) - the next chapter!

Looking back over the year, it has certainly been a busy one in terms of continuing professional development in addition to my teaching duties at the University and working as an occasional BLS/ALS trainer. You certainly never stop learning as a doctor!

The Cool Topics in Neonatology conference and the Supporting Neonatal Transition workshop presented by the Royal Women's Hospital were excellent. There is so much interesting research going on, much of it here in Melbourne.

The Royal Children's Hospital deserves to be commended for its CPD program - weekly Grand Rounds, special Practical Paediatrics events for GPs and the recent Campus Research and Education Week, which was simply outstanding.

Also deserving of credit are the RVEEH (Royal Victorian Eye and Ear Hospital) for its series of updates for GPs, and MIPS, a medical indemnity organisation which runs risk management workshops for its members.

The RACGP runs several workshops and seminars over the course of the year, as does Australian Doctor, and the ones that I attended were both interesting and worthwhile.

Over the past couple of years I have attended both of the Anaesthetics symposia run by St Vincent's Hospital and the Alfred, and these are normally of a very high standard.

The Monash University Disaster Resilience initiative continued its series of periodic symposia in 2012, and these appear set to continue in 2013.

The International Congress of Aviation and Space Medicine hosted some interesting presentations, and it was a good opportunity to meet fellow practitioners from around the world. Perhaps the highlight was the visit on the last day to the Air Ambulance facility at Essendon Airport and the Trauma Centre at the Alfred Hospital. Some photos appear at the bottom of this page.

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January 2012
RWH – Cool Topics in Neonatology 2012 2.0*
RWH – Supporting Neonatal Transition 2012 1.0*
Social Media, eHealth and Telehealth (MIPS Education) 0.5*
RCH Campus Research and Education Week 3.0* (Events attended: Optimising the use of modern learning environments; Qualitative Research; Clinical Update: Sleep and Allergy; Research Higher Degree Workshop (Authorship and Plagiarism); Grand Round: Paediatric Fracture Guidelines; Epidemiology of trauma at RCH; Designing education to address learners’ needs; Statistics: the basics (CEBU); Basic principles of coding qualitative data; Contemporary evaluation of injury severity scoring; MESS: amputation vs conservation; The Primary Trauma Care Course – Trauma education in less affluent countries; Non-operative management of occiputo-cervical dissociation in children; Tactical Medicine: Medical care in the modern combat environment; Selling our message to patients in the new millennium; The Big Idea; The rise of the ‘ePatient’: how it is affecting our clinical practice and research; Telemedicine; But I thought the Internet would provide the interaction; The Great Debate: “Social media is a vital tool in healthcare research and education”.)
Dealing with Difficult Patients (MIPS Education) 0.5*
RVEEH - Dizziness, Vertigo and Common Eyelid Disorders 0.5*
Mastering Patient Expectations Workshop (Cognitive Institute) 0.5*
60th International Congress of Aviation and Space Medicine, Melbourne 4.0*
Faculty of Medicine, Dentistry and Health Sciences Values Symposium 1.0*
Short Course in Perioperative Medicine Intensive Weekend 2.0*
The Alfred Anaesthetics Symposium: Goal Directed Therapy 1.0*
RCH Practical Paediatrics Program: Paediatric Orthopaedics Part 3 0.5*
Australian Doctor Paediatrics Seminar 0.5*
RACGP Psychodynamic Approaches to Focused Psychological Strategies 1.0*
Peter MacCallum Cancer Centre – Lymphoma, Leukaemia and other Haematological Cancers, Late Effects of Cancer Treatment – What GPs Need to Know 0.5*
University of Melbourne MD Student Conference 3*
RVEEH - Cataract and Pterygium, Rhinitis and Polyps 0.5*
Ambulance Victoria Remote Area Nurses (Victoria) Emergency Care Update Program – Workstations observer 1*
Australian Resuscitation Council (Victorian Branch) 5th State Conference. Resuscitation 2012: Translating Evidence into Practice. 1*
Monash Disaster Resilience Forum – Managing internally displaced people 1*
RCH Grand Round – Chronic Fatigue Syndrome: Tired but never boring. New opportunities for a common illness.
Acute Life-Threatening Emergencies, Recognition and Treatment (ALERT) 2*
MIPS Seminar - Healing at the end of life 0.5*
AMA - Working Overseas in Crisis Areas Seminar 0.5*
Rogaining Training Day, Victorian Rogaining Association 1*
Faculty of Medicine, Dentistry and Health Sciences Equity and Staff Development Forum: Working together to support work-life balance 0.5*
Dealing with Difficult Patients 0.5*
Australian Doctor Mental Health Seminar 1*
RVEEH – Hoarse Voice & the Inflammatory Red Eye 0.5*
Melbourne Med. School – Integrating Communication Skills in Clinical Rotations 0.5*
Melbourne Medical School – Providing Feedback to Students 0.5*
Monash Disaster Resilience Forum – Learning lessons:recent disaster reviews 1*
RCH Grand Round - Does general anaesthesia damage the developing brain?
SVH Department of Anaesthesia Workshop: ‘Avoiding Disasters – Minimising Risk and Maximising Safety’ 1*
Paediatric Advanced Life Support (PALS) Course 1*
Medical Education Unit, Melbourne University Medical School – Principles of Clinical Practice Tutor Training Workshop 0.5*
Orientation Tour, new Royal Children’s Hospital, Melbourne 0.5*
Medical Education Unit, Melbourne University Medical School – Case-Supported Learning Tutor Training Workshop 1*
ACCET Choral Conductors 19th Summer School 4*

Photos from ICASM visit to the Air Ambulance base and the Alfred Hospital Trauma Centre, Helipad and Hyperbaric Chamber (20 September 2012).

















Monday, November 19, 2012

Melbourne Symphony Orchestra and Chorus - Brahms Piano Concerto No.1 and Duruflé Requiem

From http://www.mso.com.au/whats-on/2012/durufle-requiem/:
Saturday 17 November at 8:00pm (Event Duration: 2hrs)
The Arts Centre Melbourne, Hamer Hall

Tadaaki Otaka conductor
Garrick Ohlsson piano
Deborah Humble mezzo-soprano
José Carbó baritone
Melbourne Symphony Orchestra and Chorus

Johannes Brahms Piano Concerto No.1
Maurice Duruflé Requiem

The Requiem by French composer Maurice Duruflé is a work of delicate and moving beauty, and this performance features two of the most eloquent of Australia’s fine singers, to help draw you into the work’s lush, meditative world. The program begins with Brahms’ towering First Piano Concerto, in which orchestra and soloist unite to create one of the grand statements of the Romantic spirit.

The MSO provided free of charge a wonderful set of program notes covering several concerts: "MSO in Concert October-November 2012".

Rather than replicate what is written in the program notes, I have provided my own contemporaneous impressions of the performance.

Brhams: Piano Concerto No.1 in D minor, Op.15
1. Maestoso
The notes indicate that the Brahms Piano Concerto had a difficult gestation.It begins with a dramatic "sturm und drang" opening followed by an elegaic theme and a section of intense counterpoint within the orchestra. With the introduction of the piano the excitement builds, with the piano being gently accompanied by the orchestra. A section for solo piano starts off somewhat like a set of keyboard exercises. The following music for the flutes and woodwinds has a lilting pastoral quality and the strings are lush and romantic. Later a solo horn plaintively calls in the background in a duet with the piano. The theme of the virtuosic piano exercises continues, punctuated by the orchestra. The strings are the heart and soul of the first movement, with passionate interjections from the piano and gentle solos from the flutes, woodwinds and brass. The gentleman playing the drums was kept busy! A recurring leitmotif is tossed around by the piano and orchestra, and at one point there is a bit of an "Hungarian Dances" gypsy feel. The keyboard exercises recur with variations on a theme. Overall, this movement has the feel of a chamber music piece 'writ large'.

2. Adagio
The second movement starts gently with a calm and stately orchestral introduction and then the piano enters alone. A duet (not unlike a love song) between the orchestra and piano follows. The subsequent piano solo has a bit of a "cool jazz" feel to it. It is as if the piano is wondering, wandering ... The orchestra returns more emphatically and the duet continues, led at times by different orchestral voices. The listener is kept occupied with changes in harmonic direction, voices and volume. It is a movement that seems a little unsure of itself and where it is going. Eventually the piano rises triumphantly over the texture. The writing seems workmanlike rather than inspired. In a couple of places the orchestra was playing almost painfully 'pianissimo'. The piano was played here with expression, love and regard, and the movement finishes with a very romantic cadence.

3. Rondo (Allegro non troppo)
The final movement begins with passion and drive, and its core theme is tossed back and forth. It is as if the piano (a sleeping giant) has awoken, and the orchestra is playfully dancing around it. There are powerful statements by the brass. In contrast to the Adagio, this movement is tight, exciting and well-written. It heads off in a different direction in the centre of the movement, and there is a fugal interlude in the strings. The main theme returns, followed by somewhat of an orchestral "sunrise" playfully dancing amongst the orchestral parts. There is a distant brass "call to arms" (with a bit of a 'film score moment') and the movement builds to its conclusion.

Tadaaki Otaka is a joy to watch, and Garrick Ohlsson was most impressive, playing from memory. He is a large man, with impressively large hands, but he played with sensitivity, flair and obvious technical competence. After a rapturous reception, he was kind enough to return for an encore - Chopin's Waltz No.7 in C# minor, Op.64,2. This was played beautifully, with a lilting soft touch, class and sensitivity.

Duruflé: Requiem
There appeared to be 104 singers in the MSO Chorus, and unusually they were 'mixed up' on stage, rather than being grouped together in individual parts. I am not sure that this worked from the perspective of the spectacle, as it provided a more homogenised and diffuse sound and you could not "see" (aurally) the sound move from part to part, and at times it was difficult to work out exactly which part was singing without the visual cues. The tone of the women was reasonably pure but unmistakably warm and feminine.

At the start of the piece there was a lovely lush and warm tone in the strings. The Domine Jesu Christe had an 'edgy' quality, being populated by the lower orchestral and choral parts. There was a colourful use of brass, percussion and piccolo flute. The Hostias featured a baritone solo, woodwinds and scrubbing strings. The Sanctus had a nice feel and dynamics and an exciting climax at the Hosanna.

The Pie Jesu, featuring a mezzo-soprano solo, violas and cellos was warm and rapturously embracing, and the organ made an appearance.

This led to a "Where's Wally?" moment, as I rapidly processed that there no longer seemed to be a pipe organ in the concert hall and (shock, horror!!!) they were using an electronic organ on stage. Yes, we have a world-class concert hall but no pipe organ in it. What a tragedy! Many people would have known that the previous organ was both unsuitable and inadequate for a modern concert hall, but it seems amazingly short-sighted that the renovation of Hamer Hall did not include the installation of a world-class concert organ. Shame, Melbourne, shame!

The chant-like opening of the Agnus Dei was followed by a soaring romantic motif in the strings, and the male members of the chorus sang with a warm rich tone.

The Lux aeterna seemed like dappled sunlight on the garden. There was a lot of orchestral colour provided by the flutes and woodwinds.

In the Libera me we were confronted by growling brass and there was an exciting choral and orchestral climax with the baritone soloist.

The In paradisum finished the work gently with the harp, horns, women and strings.

The Chorus acquitted itself well, with good tuning, coordination, cut-offs and diction.

Sadly the soloists (baritone in the Domine Jesu Christe and Libera me and mezzo-soprano in the Pie Jesu) were somewhat 'drowned out' by the orchestra, and at the end of the Pie Jesu it was not possible to hear Deborah Humble at all - her lips were moving but ... However, she did cut a splendid figure sartorially, resplendent in a Grecian-style midnight blue satin robe.

The Duruflé Requiem is inevitably compared with that written by his fellow Frenchman, Gabriel Fauré. I have sung both, but must admit to a preference for the Fauré. The Duruflé seems too painfully understated and shy, as if it never breaks free of its own straight-jacket. It is interesting that Chorus Master Jonathan Grieves- Smith writes about this very conundrum and tension between its beauty and its timidity in his program notes.

The performance was very well received by the audience on all counts and the effort put into preparation by all concerned paid handsome dividends.



Coffee Review - Aldi Expressi Coffee Machine

(Updated 7 January 2014 - Review of Torino Espresso added.)

I recently had the opportunity to 'road test' the very competitively priced Aldi Expressi Coffee Machine and some of the extensive range of equally cost-effective coffee capsules. The machine itself was very easy to operate, with extensive pictorial instructions. Perhaps the only drawback for the amateur barista is that if you want frothy milk, a separate device is required for this. The serving size can be adjusted from 40mL to 200mL, but if you want a mug-sized cup you will need to add water separately. The water is heated as it passes through the machine, and the coffee comes out at a slightly less than ideal serving temperature, particularly if you are adding cold milk. However, this is nothing that a handy microwave can't fix! If you are adding warm or frothed milk, the overall temperature seems to come out "just right".



(Note: All tasting notes were written before looking at the description of the coffee on the box, so any duplication of terminology is coincidental!)

Expressi Renzo Ground Roast Coffee
Strength: 8 
Description: "Sourced from the highlands of Central America, these coffees have a strong spicy and sweet taste with woody notes and a lasting rich character." 



There is a lovely crema on top and a forthright rich aroma. The taste is strong but with depth and a slightly astringent finish which would surely 'cleanse the palate'. With the strength comes a surprising lack of bitterness. There is a distinct aftertaste which lingers on the tongue, echoing the depth of the flavour. A nicely balanced cup of coffee.

Adding milk softens the flavour, as you would expect, but the underlying character still shines though with a refreshing clean finish. With those who like a little bit of sugar with coffee, the combination is simply delicious! 

Expressi Reggio Ground Roast Coffee 
Strength: 9 
Description: A smooth, dark roasted espresso from premium Ethiopian and South American Arabicas creates this rich, full bodied, intense blend - characterised with a delicate note of cocoa. 



Once again there is a good crema on top and a deep woody aroma. Tasted black this coffee is strong and smooth, with a vibrant aftertaste which leaves a definite tingle on the tongue. The flavour is complex, dark and nutty with a dash of spice.

With milk added the flavour is still strong and bold, but velvety smooth. It also goes well with sugar. Definitely a sophisticated cup of coffee!

Expressi Milano Ground Roast Coffee 
Strength: 10 
Description: The blend of Arabica and Rubusta coffees are roasted to create an intensely-flavoured, slightly sweet coffee, with light acidity and a fulfilling aroma. Highlighted floral notes, nutty tones and slight bitterness balance the experience.



This is the Everest of the Expressi coffees, with an intense aroma and a compact punchy but clean taste with staying power, lingering in the back of the throat and on the tongue. Strong and vibrant and definitely a coffee to have when you are seeking a 'pick me up' to reinvigorate your senses. Some may prefer it with a dash of sugar (your brain needs glucose after all!).

With milk added it is still sexy and strong but not quite as edgy. As well as being great as a stand-alone cup of coffee, it would be a most serviceable accompaniment to food, as the sightly astringent taste has a very cleansing effect on the palate.

Expressi Torino Espresso Ground Roast Coffee
Strength: 11
Description: A full bodied coffee of the best Arabica's from South and Central America, Asia and Africe roasted carefully to create an intense yet smooth flavour with dark chocolate and roasted notes and medium acidity.
This one has a dark woody aroma and a nice crema when brewed through the machine. When drunk black, it has an intense bitter liquer-style taste which is at the same time pure and smooth. It has a gentle aftertaste which gradually fades away.

Despite the rating it is not as punchy as some of the others and the smooth sophistication is enhanced by the addition of milk.



"Seal of Approval" - All coffees!

Coffee Review - Growers Espresso

Growers Espresso 
332 St Georges Road
North Fitzroy
Tel: 9486 1886
(Open during the week and Saturdays until 3pm.)
www.growersespresso.com.au
Specialty roasters and retailers of premium coffees and teas - fair trade, direct trade and organic.
Large cappuccino $4.50
Long black $3.50


Eureka Coffee
www.eurekacoffee.com.au
Australian grown coffee, direct from the growers - blends and single estate.

Earlier in the year Growers Espresso kindly handed out some vouchers for "buy one, get one free" coffee purchases. 

On 16 November I purchased a take-away cappuccino from the small shopfront, which is full of character, with dark wood furniture and lots of blackboards describing the coffees which are available. The barrista was very knowledgeable, and described the three blends which he had in his machines at present, and some of the coffees available for sale. There were also some stalks of coffee fruit on the benchtop, and he invited me to try one of the red fruits, which tasted a bit like an "all in one" fruit and nut mix, slightly sweet but having a fruity texture. There were two pale green coffee beans in the centre!

I did not know previously that coffee beans were grown in Australia, but the "home blend" that is used for milk-based coffee drinks is grown mainly around Byron Bay (and also partly in Queensland).

The cappuccino was very milky, perhaps a little overly so for my taste, and by the time I got it home it was definitely more like a latte. The aroma was dark and woody and the flavour also had an unusual quality about it when striking the palate that is hard to pinpoint. It was dense and 'heavy' with a slight bitterness, and also was fairly self-contained, fading away reasonably quickly rather than being refractory, leaving only a mild after-taste. Perhaps the best analogy I can make is that the taste was a little like a 'green' or 'young' wine that has not finished its maturation nor achieved its full potential. It was certainly quite acceptable as a 'quaffing' coffee, but did not grab my attention or tastebuds the way that coffees at other local cafes have done.

The next day my 'secret agent' obtained two long blacks for tasting purposes.

Mountain Top Coffee ("MTC") from South America

This coffee has a dark but strikingly fresh roasted aroma. Tasted black it is fruity and full-flavoured in the mouth with a zingy freshness and more than a hint of liquorice. There is quite a strong after-taste which pleasantly lingers leaving the kernel of the flavour behind. The flavour remains fresh and attractive with milk added. This coffee has a refreshing spicyness and would be good at the end of a meal or on a hot summer's day! Its vibrancy would appeal to those who like a coffee with a lot of personality.

Honduras Blend No.7 (Rated No.7 in a coffee tasting competition)

This has a gentler aroma than the MTC, being smooth, balanced and inviting. The flavour itself is smooth and complex, with a rich depth of character which grows in the mouth, displaying both refreshing and dark components. There is a subtle after-taste, with the dark roasted aspects lingering on the palate. With milk added the subtleties of the flavour remain and it is warm and inviting. Gently sophisticated, this coffee would be a good accompaniment to sweet food or chocolate and would suit those who don't like their coffee too strong.

Growers Espresso on Urbanspoon

Coffee Review - Sainsbury's Artisan Bakers

Sainsbury's Artisan Bakers
175 Alexandra Parade
Fitzroy North Vic 3068
Tel: 9489 5555
info@sainsburys.com.au
www.sainsburys.com.au
Medium cappuccino $3.70

Driving past on Saturday 10th November, there was an intriguing sign out the front "Last coffee before Frankston!". As Growers Espresso was closed by this stage of the afternoon and I had to stop at the nearby Officeworks, it seemed like a good opportunity to try a coffee.

The take-away cappuccino had a nice thick froth with lots of chocolate topping. The coffee had a fragrant aroma and a robust, velvety smooth, well-rounded and creamy flavour with a subtle after-taste, leaving a slight tingle on the tongue. It made me think of a fine flavoured chocolate liqueur truffle that just "melts in your mouth".

In the display cases in the small shopfront there were lots of gorgeous-looking pastries (average price $4.50) and breads and savoury 'finger food'.

Isn't it strange that you rarely stop at the places close to home! I have driven past this shop hundreds if not thousands of times over the years but have never stopped before (this was probably not helped by the shop being on the corner of two extremely busy roads). However, I definitely enjoyed the coffee!

Sainsbury's Artisan Bakers on Urbanspoon

Connoisseur Gourmet Ice Cream

Coles Supermarkets recently had a special on Connoisseur Gourmet Ice Cream, so what better opportunity to 'try it out'!

Cookies and Cream
The blurb states that they "crush premium dark chocolate cookies and fold them gently into rich vanilla ice cream". This is exactly what the ice cream tastes like. There is a slightly grainy crunchiness that you would expect with eating a firm choclate cookie, like a chocolate ripple biscuit, but the ice cream base is very smooth and creamy. There is a generous number of cookie chunks. Very moreish!

Summer Strawberry
This is quite a delightful little surprise packet, packed with tangy real strawberry flavour. It contains "pureed summer strawberries and a swirl of strawberry sauce". The sauce has a lovely intensity of flavour, and the ice cream base is gorgeously creamy without suffering from excess sweetness. The uniform soft pink colour is brken up by the darker (almost brownish) saucy swirls. Very enjoyable!


Monday, November 5, 2012

Diva for a day!

On Sunday 21 October St Francis' Choir sang the "Missa festiva" by Gretchaninov and John Ireland's iconic motet "Greater Love Hath No Man". It has been one of my favourites since I came across it when I was first at university and started my career as a chorister singing with the Canterbury Fellowship and the Trinity College Choir, both based in Trinity College Chapel at the University of Melbourne.

It is a dramatic motet for both choir and organ, and has divided choir parts in places, which those of us who are first sopranos always enjoy singing. The text is drawn from Christian texts: and I remember hearing once that it had great resonance for the time it was written, when many young men were making the ultimate sacrifice for their country and laying down their lives for their friends.

Many waters cannot quench love,
neither can the floods drown it.
Love is strong as death.
Greater love hath no man than this,
that a man lay down his life for his friends.
Who his own self bare our sins in his own body on the tree,
that we, being dead to sins, should live unto righteousness.
Ye are wash’d, ye are sanctified,
ye are justified in the name of the Lord Jesus;
ye are a chosen generation, a royal priesthood, a holy nation,
that ye should show forth the praises of him
who hath call'd you out of darkness, out of darkness into his marvellous light.
I beseech you brethren, by the mercies of God,
that ye present your bodies, a living sacrifice, holy, holy,
acceptable unto to God, which is your reasonable service.

The Choir's performance was recorded and has been posted on the Choir’s Facebook page:
https://www.facebook.com/pages/St-Francis-Choir/58534273651
and for those without Facebook access, it has also been posted on YouTube:
http://youtu.be/xo2Tfe7C2lw



There are also many recordings (of variable quality) available on YouTube but this one is probably the best (St Paul’s Cathedral Choir, London):
http://youtu.be/rc4RUeKzddg



Further information on John Ireland can be found here http://en.wikipedia.org/wiki/John_Ireland_(composer) and a free version of the musical score is available from http://www1.cpdl.org/wiki/index.php/Greater_love_hath_no_man_(John_Ireland).

In the first part of the motet, there are important short solos for a treble voice and a baritone which 'set the scene' for the remainder of the piece. The treble solo is normally sung beautifully by one of the choir cantors. As she was going to be away for the day, a 'stand-in' had to be arranged. In late April both the cantor and the Choir Director had been absent when we were rehearsing the motet for an earlier performance, and our highly esteemed Assistant Director was taking the rehearsal. As I assessed it to be a "no threat situation" I spontaneously decided to sing the solo part when we got to that point in the rehearsal. The Assistant Director and several other people were quite complimentary about my efforts, which gave me a nice warm inner glow.

When the Director was deciding on an understudy, it did not occur to me that I might be considered, but on the basis of my earlier efforts I was nominated by the Assistant Director and the Director encouragingly suggested "see how you go". Things went OK in the rehearsal run-through, and once again I was relieved to receive positive feedback from a number of people. Thus began several days of anxiety leading up to Sunday's performance.

Although I was able to run over the notes on a keyboard to check my pitch intonation, as always a believer in the Boy Scout motto of "be prepared", when I arrived home from work on Friday I set about checking my CD collection to see if I had a copy of the motet that I could use for practice purposes. When this proved fruitless, I then checked YouTube and the iTunes Store. What I was really looking for was a recording where the two organ cues for the solo phrases were clearly audible. I listened to most of the YouTube recordings, but in the end settled for an absolute bargain on iTunes - a $7.49 album of 40 tracks of English church music recorded by King's College Cambridge - "England, My England". This enabled me to rehearse the solo at my convenience, which I did many times prior to the performance on Sunday. I knew I would be nervous, so I rehearsed the notes enough that they would come automatically (even to the point of boredom at one stage!). A Neonatal Paediatric Fellow once referred to this type of memory as being "brain stem" - so automatic that you did not really have to think about it. I think I alternated between terror, nervous apprehension and trying to be upbeat that this was an exciting opportunity to do a good job. There was an interval of decades since I had last sung this particular solo and this would in fact be my solo debut in my long history with St Francis' Choir!

I did not sleep much on Saturday night and there was plenty of nervous anxiety on Sunday morning. The Assistant Director kindly gave me a 'run through' prior to the rehearsal, and the rehearsal went without incident and there was lots of support and encouragement and kind words from other Choir members, including compliments on my 'pure treble tone'. I did feel a lot calmer when we got into the church and got through most of the service without significant nerves. However, these began to resurface as the appointed time drew near. Somehow I 'held it all together' and sang the solo without noticing any obvious errors on my part, even managing to watch the Director for the entries. I was desperately hoping that it had sounded OK to others, and was relieved to hear that it had, including from both the Director and the Assistant Director. The latter, whose opinion I greatly respect, even suggested that perhaps I could do other solos in the future! It was a great relief when it was all over, but I think it took me a few days to recover from the nervous exertion!

I think my somewhat extreme form of performance anxiety was the reason that I stopped putting myself forward for small solos. It is a physically unpleasant sensation and oh so distracting and all-encompassing. I try to do all the right things to get on top of it, but this is quite challenging.

It has always been a matter of great wonderment to me that people such as myself can be so anxious about solo performances (whether in music or exams or medicine) whilst other people just ooze confidence and don't give it a second thought. I have always wished that I could be like that! There are reasons (which I will not go into here) why my confidence has been eroded over time until I guess it has become a habit to be lacking in confidence, but I long to be different. Perhaps singing this solo will prove to be one small step on the way, and I am very grateful to all the people who believed in me.

Melbourne Symphony Orchestra plays the "West Side Story" score

On Saturday 20 October I had the privilege of hearing the MSO accompany the original "West Side Story" film in the newly renovated Hamer Hall.


Originally a musical by Stephen Sondheim (lyrics) and Leonard Bernstein (music), the 1961 film starring Natalie Wood, Richard Beymer, Russ Tamblyn, Rita Moreno, George Chakaris and Tucker Smith went on to win ten Academy Awards, including Best Motion Picture. The spoken words and vocal tracks were preserved on the film, whilst the orchestra provided all the accompaniment. Interestingly all of Natalie Wood's songs were dubbed by Marni Nixon, as were some of the songs by Rita Moreno.

The 'new' Hamer Hall is visually stunning, with a warm orange and ochre theme and wooden-backed seats with orange velvet cushioning. Cylindrical pendulum lights hang from the ceiling like tongues of flame. They reminded me of large luminous 'lava lamps' with shiny metallic tips.

The size of the orchestra was also visually impressive, virtually filling the whole stage, with a big and bold brass and percussion presence and oh so lush strings. There was also a harp used in places in the score. The music itself is confident, colourful and sassy and there is liberal use of a latin beat.

It is an amazing exercise in logistics to pull off a coordinated enterprise of this nature, and the conductor had a video screen displaying the film in real time (which was regularly punctuated by coloured 'bar lines' - signficance unknown) in front of him in addition to the orchestral score.

I was immediately struck by the vivid and somewhat unnatural colourisation of the original film and the amount of make-up worn by the actors! The choreography by Jerome Robbins is simply brilliant and there is a lot of very sharp dancing and some wonderful fluffy and flouncy dance costumes for the female leads. Aside from the dark undertones of the clashing gangs and the inherent racial intolerance that spawned their differences, there is also a chilling element of police brutality and threats.

In this modern-day version of 'Romeo and Juliet', things do not end well for the young lovers (as in the traditional story). It caused me to think that over the fifty years since the film was made, sadly very little has changed in terms of all humanity managing to live together in peaceful coexistence. We are lucky here in Australia to have a relatively tolerant multi-cultural society, but there are certainly many other places in the world that are hotbeds of intolerance, whether in regard to gender or race or religious beliefs.

But I digress ... The orchestra was simply fabulous, and the combination of the film and the 'surround sound' swirling about you served to draw you into the story in a more intense way than sitting in a cinema.

The MSO, conductor and the no doubt large technical team are to be congratulated on a very successful outcome. I understand that the MSO now performs film scores 'live' several times a year, and based on this performance, this is something not to be missed if one of your favourite films is given the star treatment.

www.mso.com.au
More about "West Side Story": http://en.wikipedia.org/wiki/West_Side_Story

Norwegian Language Resources

There are many kind people out there in cyberspace who provide free resources for those who wish to start learning a language, both in terms of web-based resources and apps for iPod/iPhone/iPad and Android. (However, it is often the case that premium features or additional content do attract a fee.)

In my attempts to maintain my Norwegian and Swedish language skills, I have tried out a lot of them over the past few years, and have also purchased some audio and multimedia sets on CD-ROM.

The little "Norwegian Word of the Day" widget below is provided by Innovative Language. They also offer online learning and a number of apps (some free, some paid).

I have also recently found a site with an enormous number of resources for learning Norwegian:
http://norwegianlanguage.info/resource/links/language.html

This site put me onto the free online exercises offered by Cappelen Damm, publishers of a number of a
graded series of textbooks for learning Norwegian as a second language.
http://www.cappelen.no/
http://pavei-oppgaver.cappelendamm.no/
http://steinpastein.cappelendamm.no/
http://herpaberget.cappelendamm.no/

Scandinavian Crime Drama - "The Bridge" and "The Protectors" (paying homage to "The Eagle")

SBS has recently been screening some high-quality Scandinavian crime drama in the form of the Swedish and Danish co-production "The Bridge" and the second season of the Danish drama "The Protectors".

One of the things that I have always liked about the Scandinavian storylines and casting is that they portray people who are "ordinary" in appearance and their foibles, and not all "beautiful people" as is often the case in American-made series. In "The Bridge", one of the two key detectives is a Swedish female with distinct Asperger Syndrome characteristics. She is very good at her job but a bit of a disaster when it comes to interpersonal relations. The storyline is still unfolding, but it is cleverly written, with lots of twists and turns in the plot, and clever linkages between characters that initially appear to be almost randomly introduced into the story.

"The Protectors" has been screened in two-hour blocks, allowing a complete story arc to unfold, and this has been very satisfying from the viewer's perspective. At the conclusion of Season Two, several career changes for key members of the cast are foreshadowed. The writers some years earlier also wrote another outstanding Scandinavian crime series "The Eagle". This was based around a charismatic (but also somewhat Aspergers-ish) male detective who was the lynchpin in a task force investigating transnational crime in Europe and based at Holmen in Copenhagen, Denmark.

In an interesting twist, actor Thomas Gabrielsson played one of the arch villains in "The Eagle" but was head of the Protector unit. At the end of the second season of "The Protectors", he drives his wife to that same location at Holmen and explains to her that he would like to take up a job as head of a new transnational crime task force to be based there! It was a lovely thought to imagine that there might be new adventures for The Eagle, but sadly it probably isn't going to happen.

From an internet search, it appears that there may be a third season of "The Protectors" yet to come, but regardless all three series are recommended viewing!

A rogaining we will go ... an easy guide to packing for novices.

I recently participated in the 6 Hour Rogaine held by the Victorian Rogaining Association as part of the Victorian Championships. I always like to be well-prepared for outdoor events, and my initial packing list was not too bad, but I was able to do a little but of 'tweaking' after the experience to improve it. I offer the latest version below in case it is of assistance to anyone else.

Packing list for 6 Hour Rogaine

Clothing:
  • Cap or wide-brimmed hat 
  • Shell jacket (or rain poncho). 
  • Overpants 
  • Layers depending on weather e.g., 
  • *singlet/camisole 
  • *T-shirt/polo short with collar (short or long-sleeved) 
  • Polar fleece top/other warm jacket 
  • Durable trousers 
  • Compression tights for legs 
  • Socks - woollen blend 
  • Hiking boots (waterproof depending on weather) 
  • Gaiters (depending on weather/conditions) 
  • Change of clothes (for afterwards) in a second bag to leave in the car. 
Equipment:
  • Compass 
  • Map holder case 
  • Pencil/pen 
  • Notepaper 
  • Reading glasses if needed 
  • Sunglasses 
  • Sunscreen 
  • First aid kit 
  • Analgesia 
  • Antiseptic hand gel 
  • Hairbrush/comb/elastics (if needed) 
  • Whistle 
  • Telephone 
  • ?Emergency GPS (leave inside bag unless needed to transmit coordinates in an emergency). 
  • Torch 
  • Velcro ties to attach jackets etc. to outside of pack. 
  • Small amount of money and ID. 
Food and water:
  • Adequate water - bottles or Camel-Bak type bladder. 
  • Lunch if not supplied. 
  • Thermos for hot drink of preference 
  • Muesli bars/dried fruit/nuts 
  • Fresh fruit if preferred. 
  • Chocolate bars (if normal personal practice). 
For afterwards:
  • Folding chair 
  • Plate/bowl/cup/cutlery/tea towel/serviette 

Bouquets and Brickbats - A Tale of Two Breakdowns

Over the past couple of months I have had the second of my significant bad experiences with K-Mart Tyre and Auto (KTAS) at Northcote Plaza. 

The initial unhappy experience ...

A couple of years ago when I was working in Shepparton I brought the car in for a service when I was down in Melbourne. One of the mechanics left a wire off somewhere in he engine that resulted in the car burning fuel twice as fast as usual, and cost me a lot of money in extra fuel before I could bring it back to Melbourne.

KTAS did not even offer an apology, nor any compensation for the additional fuel costs.

The even more unhappy recent experience ...

Recently my car broke down on a Sunday afternoon (and had stalled unexpectedly several times over previous weeks). The RACV came and said it was a faulty fuel pump causing the problem. The car had to be towed to KTAS.

When I came to pick up the car, KTAS informed me that the car had started for them, and despite the history they did not think the fuel pump needed to be replaced. I had timed picking up the car for just before I needed to catch a train to go to work, but when I arrived I was told that a headlight and wipers needed to be replaced (not having been informed of this in the 'phone call the previous day and no apology was offered for this either). I was told that this wouldn't take long so I reluctantly waited as I didn't want to have to come back again, and then as I was about to leave it transpired that the wiper on the rear window hadn't been replaced, so I had to wait longer again and then only had then minutes to get home and get to the train station.

I made three short trips with the car after picking it up and then the following Saturday the car wouldn't start again. The RACV came again and said it was definitely the fuel pump and it was unsafe to drive. In short, this was a complete disaster as I needed to use the car to go various places on the weekend and suffered financial loss as a result. I then had to take more time off work during an extremely busy period to bring the car back on the Monday. 

There was no apology or acknowledgment of the inconvenience etc and one of the mechanics said it was good that it happened again and there was almost an argument between myself and the manager as to whether the fuel pump needed to be replaced - "we don't like to replace things until they need to be replaced" and no consideration that I actually needed a reliable car and this is what I brought it in for the previous week.

The manager also tried to use my own profession to suggest that people (i.e. doctors and the RACV man) do not always give the correct advice. The RACV man was very senior and a former Nissan mechanic, so I believe that he knew what he was talking about, and the explanation about the carbon brushes being responsible for the fault made perfect sense in the context of the intermittent failure.

Once again, no apology was offered and no concession made financially. I expected to pay for the pump, but it would have been nice to offer a concession re the labour cost to acknowledge the problems that had resulted from not repairing the car properly the previous week. KTAS did fix the car on the day when I brought it back, which was appreciated.

In all three examples customer relations have been handled poorly and as a result I will be taking my business elsewhere in future.

Hoyts lets down its audience!

Recently I was dismayed to discover that Hoyts Cinemas had gone back to the same alienating experiment which occurred several years ago of not publishing session times and requiring people to look them up online. Session times were not published in the newspaper on two successive weekends, merely a cheery note to look them up online, and as a result my plans were abandoned and Hoyts lost some business.

As there are a lot of people out there in the community who do not have smartphones or instant internet access or 24 hour ADSL and rely on the information published in the newspapers to make decisions about whether to go to the movies or not, I felt that this was a retrograde and unfair step on the part of Hoyts and wrote to them about this.

Their glib reply was that they see 'online' as the 'way of the future' and people are welcome to pick up a leaflet from the cinema with the session times or ring up the information hotline. Both of these are poor substitutes for being able to look at the session times across a number of films and cinemas 'at a glance' in your good old-fashioned newspaper.

Perhaps I was not the only one to complain, as Hoyts are now publishing session times in general every second day (and telling you to look online on the other day). I note that since Hoyts started this 'experiment', every other cinema chain (without exception) has been publishing session times daily, and I am sure they will pick up business from Hoyts as a result.

If you also have family and friends who are disadvantaged by this inconsiderate approach, then why not let Hoyts know? Only by militating for change will change occur.

Sunday, November 4, 2012

Bouquets and Brickbats - Credit Card Surcharges

(Updated 9 November 2012 - Item 4 added. Updated 24 December 2012 - Items 5 and 6 added. Updated 10 January 2014 - Item 8 added.)
(Updated 9 January 2014 - link to article from "The Age" added and the only 'bouquet' so far!)

09 January 2014 - for further information on the current situation in Australia (and how there is still a long way to go) see the following feature article from "The Age" (Melbourne):
http://www.theage.com.au/national/rba-reforms-fail-to-curb-inflated-credit-card-surcharges-on-airline-bookings-20140108-30hm5.html

A Bouquet at last!
By happy coincidence I was reading through the accumulated 'dogalogues' at home and came across a flier for OzCruising, which claims to be "Australia's Largest Online Cruise Specialist" (www.ozcruising.com.au). On the bottom of the flier it specifically states: "No credit card surcharge for Amex, MasterCard or Visa". Good on them for their consumer-friendly attitude!

Commentary thread started on 09 November 2012:
I am not exactly sure when credit card surcharges were permitted by the Reserve Bank and started to come into vogue as a manner in which firms could pass on the cost of doing business to consumers rather than absorbing it, but from my perspective as a consumer it causes nothing but grief. If you do not wish to pay what is in essence a penalty for using your credit card, you are compelled to pay by EFT from a bank account. This involves more time, trouble and uncertainty for the consumer (as the transaction cannot be confirmed until receipt of funds is confirmed) and presumably it results in additional time and costs for the supplier, as these transactions have to be processed on a case-by-case basis. However, if consumers pay by credit card, the merchant is guaranteed of receiving the payment in a very timely fashion with no further complications. It is also somewhat puzzling as to why businesses do not wish to take advantage of tax deductibility for such fees and charges!

In order to raise awareness (and perhaps even garner a groundswell of opposition) I will mention three recent cases which I have become aware of.

1. Iceberg Events Pty Ltd

This company recently organised the International Conference of Aerospace Medicine in Melbourne. There were hundreds of delegates from Australia and overseas. It seemed to me to be a very unfriendly welcome to Australia to say to the international delegates that yes, you can have the most convenient option of payment by credit card without having to worry about exchange rates and international transfers, but by the way, we will be charging you a fee over and above the (not inexpensive) conference registration fee to do this. Do you have any other choice? No, not really if you are from overseas. Domestic registrants had the cumbersome option of EFT payment. The 2% surcharge was not mentioned on the registration form and only became apparent when working your way through the payment procedure online.

2. Jetstar Airways

One would think that payment by credit card is the perfect medium for travel bookings and that any other option would be a lot more time-consuming and cumbersome. However, many airlines (and travel agents) inflict levy credit card surcharges on their 'captive audience'. Jetstar charges the outrageous amount of $30 per booking to use your credit card, except if you have a Jetstar branded credit card, in which case you pay nothing extra. The only way of avoiding this is to pay by EFT within strict time limits, and then the booking is held in abeyance until payment is confirmed, so in the meanwhile travel plans are effectively in limbo. So, you are forced either to have a Jetstar card or to pay by EFT unless you want to pay a fee for the privilege of using your own credit card. Most people already pay an annual fee for having a credit card, and paying surcharges can add considerably to the cost of using one. Having to revert to EFT payments instead of using your card also means that people miss out on the Frequent Flyer etc points they would otherwise have accrued.

3. Great Southern Rail

This company runs The Ghan, The Indian Pacific, The Overland and The Southern Spirit train services. The 1.2% credit card surcharge (which would add a not insignificant amount to the booking cost) is not mentioned in their print advertising or when initially enquiring about booking availability and does not appear in the printed Terms and Conditions. Once again, you would think that it is advantageous to the merchant in every way to receive payment by credit card and would involve extra staff and administration costs to process EFT payments, but this is exactly what you are required to do if you want to avoid paying the surcharge.

4. Karworx Vehicle Service Centre

I took my car here for a service as part of a voucher offer through Yellow Pages. A 2% credit card surcharge was not mentioned at the time of booking and I only found out about it once I arrived and was asked to fill in some information on a sheet. This was going to cause me a lot of additional trouble and inconvenience to arrange payment as I did not actually have an EFTPOS card with me as I did not know it would be needed, but in the end the manager kindly offered to waive the credit card surcharge on this occasion in order to facilitate payment at the time of collection. They also gave me a mini-flashlight for my keychain and said that all people with Yellow Pages vouchers were being offered "free labour" for their next car service as well, so full marks for trying with regard to good customer relations!

5. Aldi Grocery Stores

Aldi levies a credit card surcharge on all purchases which requires you to pay by cash or eftpos if you wish to avoid it. The other annoying thing about Aldi is that you unpack your trolley to put the goods through the register, then the cashier puts them back into the trolley and then you take the trolley elsewhere and then unpack them another time and re-pack them into bags ... At least the other supermarkets have not yet resorted to this multiple-handling and time-intensive (for the consumer) "solution"!

6. Toyota Cairns

Credit card fees: 1% on Visa/Mastercard, 2% on corporate cards and 3% on American Express. Fees are charged on the portion of any invoice exceeding $200. The justification is that "the bank charges us these fees so we have to charge you these fees".

7. Megabuy.com.au

Amongst other dubious practices (see separate blog posting), this online store slugs consumers with a hefty credit card handling fee ($8.08 on a $299 purchase) in addition to delivery costs. Dealing with this outfit is not recommended.

8. ICC Cricket World Cup 2015

Along with other online ticket providers like Ticketek, a somewhat puzzling "service/delivery fee" of $6.00 is levied for tickets to print at home. Yes, that's right! For their largesse in sending you a PDF of the tickets you have already paid handsomely for and which you will print at home using your own paper, toner and electricity, an automatic extra charge is levied. If you want your tickets posted using standard mail, it is $7.00 and Registered Post is $10.00. Quite mysterious how it only costs $1.00 more when they have to print the tickets, supply an envelope and pay postage! This brings me to another bugbear - most of the ticketing agencies will not send tickets to a PO Box!!! How can this make sense? I have a nice secure PO Box which is much safer than my letterbox at home which is open to the street and anyone can help themselves to the mail, and it simply infuriates me that ticket providers and various online retailers will not deliver to a PO Box. Shame on you all!

Oh yes, the credit card surcharge - 1.75% for Mastercard and Visa and 2.75% for Diners or Amex. Is there any other way to pay and avoid the surcharge? NO!!

As a result my ticket purchase was inflated from $180 to $189.15 - a tidy little extra earner of 5% on top of the purchase price.

Commentary ...

Credit card surcharges are not consumer-friendly and paying by EFT in order to avoid them disadvantages and inconveniences the consumer. Requiring consumers to pay by EFT must necessarily involve additional time, costs and administrative procedures for the merchant, so one really needs to ask whether it is cost effective from the merchant's perspective and they would be better off absorbing the credit card processing costs (as used to be the case) as a 'cost of doing business' and receiving safe and secure payment. These card processing costs are also tax-deductible to the merchant as a 'cost of doing business'. Many of the merchants levying surcharges are in a monopoly position, so the consumer does not have the choice of going elsewhere and perhaps finding a merchant who does not levy a credit card surcharge. There is an imbalance of power in favour of the merchant and the consumer is powerless to change the situation if they cannot take their business elsewhere.

Consumers have the power to militate for change and to indicate to merchants that they are not doing themselves any favours in terms of initial or repeat business or recommendations if they do levy a credit card surcharge. Change will only occur if we make it happen - if credit card surcharges and their implications offend you, speak out!

Around the Rink - Ice-Skating at the Medibank Icehouse, Melbourne


With one of my nicknames being "the Ice Princess" and having a natural inclination towards winter sports, I have for some time wanted to try out the 'new' Olympic-sized ice skating rinks at the Docklands in Melbourne - the 'Medibank Icehouse' (http://www.icehouse.com.au/). Cudo had some short term vouchers available for all-day ice skating for $10 including gear hire, so I bought a couple. The locker cost of $3 for 3 hours was not included.

There are two rinks - one which is primarily used for ice hockey (as you come into the stadium) and the other for general recreational skating. On the first occasion I just skated on the general rink using hire skates. This was an afternoon session and as there were not too many people it was quite possible to 'find your feet' without unduly interfering with anyone else. I hadn't skated for quite a while, so I took things cautiously at the start but by the end of my visit was happily skating around 'hands free'! In the background loud pop music was playing and there is a large video screen for the music videos and also atmospheric lighting. One thing I didn't enjoy so much was the hire skates. They were a bit sloppy and even with the laces fully tightened I couldn't get a really stable fit to stop my foot from rolling sideways in the boot. I also didn't like the amount of heel on the boot (as I normally wear pretty flat heels) and by the end of the session managed to work out that figure skates have a heel and ice hockey boots (in common with many other types of sports boots) do not. It was possible to 'upgrade' to ice hockey boots for an extra $2 hire cost.

On the second occasion I took my own skates (which do not have a heel) and provided a snug and stable fit, and felt much more comfortable right from the start and skated much better as a result. Unfortunately it was school holidays, so the main rink was pretty crowded, and there were lots of shaky beginners to avoid. Beginners have the option of using a metal frame not unlike the walking frames used by elderly people. There were some free group lessons offered during the course of the afternoon, but as the beginners lesson took too long, a number of us were disappointed by the intermediate lesson was cancelled. When people kept arriving, the ice hockey rink was opened up for the more confident, and this was simply a joy to skate on. It was harder and faster and less 'chopped up'. I had a lot more fun this time around.

Both times there was a break in the middle of the session for the 'Ice Cat' machine to come out and resurface the recreational rink. On the second occasion, when we were allowed back onto the rink we were sent around in the opposite direction, so it was fun to have the experience of going around both ways!

As well as general skating sessions there are also themed sessions and ice skating and ice hockey lessons. Curling teams also practise at the Icehouse. Group bookings and functions are also available. There is a special deal for students on Tuesdays.

The Icehouse is accessible by both tram and car, but there is very limited street parking (commercial parking is available). Except in the evenings, street parking also carries a cost. Anyone interested in receiving information regularly can sign up for an email newsletter.

Book Review - "The Confessor" by Daniel Silva


"The Confessor" by Daniel Silva
Michael Joseph, an Imprint of Penguin Books, 2003

A friend kindly lent me this book, and for me it takes crime fiction to a higher level. It avoids the usual cliches of many mediocre representatives of the genre, and is taut, entertaining, clever, inventive and historically well-researched.

It is very cleverly crafted and I enjoyed it from start to finish. It certainly does not have the formulaic sense of a lot of other crime novels that I have read in recent times.

The book shines a light on the controversial issue of the role of the Pope and the Vatican in World War II and the plight of the Jews, and is very sympathetic towards the latter and educates the reader in the process.

None of the characterisations are wasted, and the relationships between the characters were so intricately drawn I was highly tempted to draw a 'family tree' to show the linkages. There are some very unexpected twists and turns in the plot, and the denouement is not at all what we are led to expect.

In short, I thought it was brilliant, and really enjoyed reading it. The notes indicate that there is at least one more book by this author featuring the same lead character, art restorer and ex-Secret Service operative Gabriel Allon, and a number of other 'spy thrillers'.