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Apache2 Debian Default Page: It works

Apache2 Debian Default Page

This is the default welcome page used to test the correct
operation of the Apache2 server after installation on Debian systems.
If you can read this page, it means that the Apache HTTP server installed at
this site is working properly. You should replace this file (located at
/var/www/html/index.html) before continuing to operate your HTTP server.

If you are a normal user of this web site and don’t know what this page is
about, this probably means that the site is currently unavailable due to
maintenance.
If the problem persists, please contact the site’s administrator.

Debian’s Apache2 default configuration is different from the
upstream default configuration, and split into several files optimized for
interaction with Debian tools. The configuration system is
fully documented in
/usr/share/doc/apache2/README.Debian.gz. Refer to this for the full
documentation. Documentation for the web server itself can be
found by accessing the manual if the apache2-doc
package was installed on this server.

The configuration layout for an Apache2 web server installation on Debian systems is as follows:

/etc/apache2/
|-- apache2.conf
|       `--  ports.conf
|-- mods-enabled
|       |-- *.load
|       `-- *.conf
|-- conf-enabled
|       `-- *.conf
|-- sites-enabled
|       `-- *.conf
          

• apache2.conf is the main configuration
  file. It puts the pieces together by including all remaining configuration
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• ports.conf is always included from the
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• They are activated by symlinking available
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  a2enmod,
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  and

  a2enconf,
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  . See their respective man pages for detailed information.

• The binary is called apache2. Due to the use of
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  Calling /usr/bin/apache2 directly will not work with the
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By default, Debian does not allow access through the web browser to
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directories (when enabled) and /usr/share (for web
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Meg’s Tales, performance reviews, staging Creative Lab “Ugol” – Afisha-Theaters

Performance

Courtesy of afisher.info

About the performance

This story is about Meg, her magical library and the city that never snowed. Before the performance there will be a New Year’s interlude with Father Frost and the Snow Maiden.

Afisher.info

Genrydetsk

Age6+

Duration 1

Special offers

Collections “Posters”

Autumn forecast: up to -30% for New Year’s plans

performances for children and adolescents about outstanding artists

performances for children and teenagers about financial literacy

tips on how to pass the CDF (and any exam) with excellent marks

Events

9Create a unique page of your event on the Afisha

This is an opportunity to tell a multimillion -dollar audience about it and increase the attendance of

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Falstaff

Set in Windsor during the reign of Henry IV.

Act one
Scene one
Doctor Caius bursts into the Garter tavern: Falstaff’s friends, Bardolph and Pistol, robbed him clean the day before. Having escorted the deceived doctor out, Falstaff inspires his friends that it is necessary to steal skillfully and on time. The affairs of Sir John himself are unimportant: the purse is empty, there is nothing to pay the bill. The situation can be improved by the goodwill of two Windsor ladies, wives of wealthy husbands. He just prepared love letters for both and is now asking friends to deliver messages. Bardolph and Pistol pompously refuse, stating that it is not in keeping with the rules of honor. Falstaff loses his temper and, having sent letters with a page, pours out his indignation in a contemptuous monologue about honor, at the end of which he grabs a broom and drives the scoundrel away.

Picture Two
In the garden near Ford’s house, the merry Windsor gossips Alice Ford and Meg Page meet, along with them the neighbor Mrs. Quickly and the Fords’ daughter Nannetta. Reading the confessions of Falstaff, who did not even bother to change the text and sent the same letters to women, everyone is indignant and thinks of giving him a good lesson.
Meanwhile, at the other end of the garden, the men are discussing their plan of revenge. Bardolph and Pistol retaliate by warning Ford of the old rake’s plans. Here, along with them, Dr. Caius and young Fenton, who joined the company to meet his beloved Nannetta. While ladies and gentlemen confer, lovers can spend a few moments alone. Ford decides to befriend Falstaff in order to find out his plans.

Act two
Scene one
Falstaff condescendingly accepts the repentance of Bardolph and Pistol, who appeared at the Garter allegedly with confession. However, it turns out that they not only came to confess, but brought Mrs. Quickly with them with answers from Meg Page and Alice Ford. Quickly reports that both ladies are crazy about Falstaff, and Mrs. Ford even made an appointment for him.
Before Quickley has time to leave, Bardolph brings Ford in disguise to Falstaff. Calling himself the name of Fountain, he hands Sir John a full purse, persuading him to help him seduce Alice. Falstaff assures a new acquaintance of the success of the intrigue: just now Alice’s husband is absent and the fat man is going to go to her. Ford is furious. He burns with jealousy and represents the reprisal that he will inflict on an unfaithful wife. Having dealt with his feelings, Ford leaves the tavern with dressed-up Falstaff.

Scene 2
In Ford’s house, the merry gossips are getting ready for the arrival of Falstaff: they bring in a laundry basket, open the screens. A well-dressed gentleman finds Alice alone. As soon as he manages to declare his love, Quickly comes running and warns the couple about the arrival of Meg. Falstaff hides behind the screens. When Meg, feigning fright, informs Alice of the imaginary appearance of her husband, an enraged Ford with a crowd of witnesses really breaks into the room. He is looking for a seducer everywhere, even in a large laundry basket. Not finding it, the jealous rushes to other rooms. Meanwhile, the women push Falstaff into a basket, and Nannetta and Fenton, taking advantage of the general turmoil, take cover behind the screens. Soon the sounds of kisses reach the hearing of the returned Ford. He brings down the screen in anger – and everyone sees the embarrassed lovers. An angry Ford again hurries to search. Alice orders the servants to throw the basket with all its contents out the window, into the ditch, and invites her husband to look at Sir John’s whereabouts.

Act three
Scene one
At the Garter tavern, Falstaff indulges in gloomy reflections. Old John is as lonely as ever: his hair is turning gray – his hour will soon come. The tavern owner brings hot wine, and Falstaff’s spirits rise. When Quickly arrives with a new letter from Alice, he is going to drive the intriguer away, but she assures that the lady in love is not to blame for anything. On the contrary, she wants to meet him again and invites the hero at midnight to Windsor Park, to Gern’s oak, the legendary Black Hunter, who once hanged himself on this tree. Falstaff must disguise himself as Gern, who, according to legend, wanders around his grave just at midnight. “Cupid loves mystery,” Quickly explains. The entire Ford family, Meg, Fenton and Caius watch the scene from afar. Convinced of Falstaff’s innocence, the conspirators are preparing for a nightly joke: they will disguise themselves as fairies, elves, witches and other evil spirits in order to teach the lover of love adventures a lesson. Ford promises Caius to betroth him to his daughter that very night: he will bless the disguised couple – the monk and the fairy queen. Quickly accidentally overhears the conversation and decides to thwart this plan.

Scene 2
At night in Windsor Park, Fenton looks for Nannetta, who, hearing his voice, hurries to meet him. The date is interrupted by Alice, she convinces the lovers to follow her instructions for a successful outcome. Midnight strikes. Falstaff appears disguised as a hunter Gern. Seeing Alice, he rushes to her, passionately showing his love. Cries for help are heard from afar, and the coquette, pretending to be frightened, slips away. The adorer himself, in fear, falls prone to the ground. And then “supernatural beings” surround him from all sides. Nannetta says a spell. The masked company rushes at the old knight, pinching him, whipping him with nettles, rolling him on the ground, showering him with curses and ridicule until he repents of his sins. Then everyone takes off their masks, and Falstaff realizes that he has been fooled. But this is not the only exposure of the magical night. The engagement of Nannetta and Caius, conceived by Ford, fails: by Alice’s cunning, Nannetta is married to Fenton, and Caius is married to Bardolph dressed as a fairy. Sir John rejoices that he is not the only one in trouble, and concludes:

Everything in the world is a joke!
Man is born a joker,
And seriousness only clouds the mind.
Everyone is fooled!
Everyone is glad to make fun of another,
But he laughs well,
Who laughs last.

Verdi hatched the idea of ​​a comic opera for about forty years. Creating masterpieces in the dramatic genre, the maestro seemed to avoid the sphere of musical humor. Contemporaries believed that Verdi was deprived of a comedic gift, especially since the only experience of the composer at the dawn of his creative path – the now forgotten opera “King for an Hour” – ended in complete failure.
Before the premiere of Falstaff, in the words and letters of the composer, from time to time there are echoes of that mental trauma – the “great sentence”, as Verdi called it for himself. And yet, after the successful premiere of Othello in 1887, knowing about Verdi’s innermost dream, his librettist and friend Arrigo Boito finally created a script discussed for decades based on The Merry Wives of Windsor and the comic interludes of Shakespeare’s Henry IV chronicle. Verdi took a chance and composed something completely unusual, unexpected. At the enchanting premiere of Falstaff in Milan in 1893, another Verdi appeared before the public.
“Falstaff” is a great musical-theatrical cocktail. It has ingredients of Italian musical situation comedy (opera buffa), French comic opera and German fairy tale, she plays with the speed and colors of Mozart’s dynamic finale of Le nozze di Figaro, and the kind light of Rossini’s style warms her.
Elements of high genres are mercilessly woven into the fabric of Falstaff: love madrigal, ancient church and “serious” instrumental music – which is worth only the mocking “Amen” from the first picture, performed by the servants of the canon, or the fugue in the finale – a rare guest on the opera stage ( they say that Verdi overheard her somewhat angular theme from a humming child).
But Verdi’s Falstaff also has sad undertones. In the midst of the fun, a sensitive ear will catch a barely noticeable haze of melancholy. This sadness appears openly only once, at the beginning of the third act, for a short time, when it turns out that Falstaff is suffering. The point is not even that he is lonely, but that his time has passed. This idea is also embedded in Shakespeare: no matter how scoundrel Falstaff may be, he is a nobleman and in “Henry IV” he acts on a corresponding scale. In The Merry Wives of Windsor, he finds himself in a new and alien environment for himself: the new masters of society, mediocre bourgeois like Ford. And here Falstaff is ridiculed, trampled into the mud. He, like a big child, plays with the world, but the world no longer needs him. Maybe this makes Verdi related to his hero? Maybe Falstaff is a farewell to the theater, because the aged Verdi should have understood that he would hardly be able to carry out another grandiose opera project. And maybe this explains so many hidden quotes and half-allusions to the music of the past, especially the theatrical past, and especially Verdi himself?
Daniil Shutko

World premiere: 9 February 1893, La Scala Theatre, Milan
Premiere at the Mariinsky Theatre: 17 January 1894 (in Russian, translated by Nikolai Spassky)
Premiere of the production: 23 May 2018