Ed Reicin's Schools

• University of Illinois Law School JD

Ed Reicin's Publications

• Edward E. Reicin on Wrongful Death Law, Edward E. Reicin December, 2010 By: Edward E. Reicin Prior to beginning my business career with MPC Containment Systems LLC, I served as Managing Parter of a successful Chicago-area law firm. During my tenure as an attorney, I published several articles on the changes in Illinois’s wrongful death laws that were occurring at the time. A type of common law claim, wrongful death can be invoked when one person is shown to be liable for the death of another. Usually, wrongful death claims are brought forward by the relatives of the deceased. In the United States, a wrongful death conviction requires the preponderance of evidence to be on the side of the deceased. As such, the death must be shown to more likely than not have been caused by the actions of the other party. This is in contrast to the standard required in criminal law, where the defendant must be proven guilty beyond a reasonable doubt. Although they are not mutually exclusive, wrongful death claims are often easier to win than the equivalent criminal cases, which is why such routers are frequently taken by the families of the deceased. Additionally, if a company holds responsibility for the death, a wrongful death claim is the only option. In Illinois, wrongful deaths are governed according to the provisions of the Wrongful Death Act. For 1867 to 2007, the Illinois Wrongful Death Act held that individuals could not be compensated for mental grief of bereavement following the death of a loved one. Since 2007, however, the Act has been amended to allow compensation for bereavement, as well as for suffering and/or poverty caused by the death. This gives significantly more leeway to individuals who bring forward wrongful death claims, as grief and sorrow often constitute the primary loss suffered by the loved ones of the deceased.

• Ed Reicin: Opera Terminology March, 2011 Professional opera singer Ed Reicin has performed in multiple productions throughout his career. A fan as well as a participant, Ed Reicin recognizes that opera may seem daunting to those who have never attended. Like every special interest, opera has its own special language. In order to make the genre more accessible, “Ed Reicin”http://www.edwardreicin.org offers the following information about opera terminology. 1. Libretto: Just like modern songs, opera compositions have two parts: music and lyrics. An opera’s libretto is the lyrics, written by a librettist. 2. Aria: A solo piece in an opera sung by a single vocalist; main characters typically perform arias. 3. Vocal range: Opera singers have a range of notes that they perform. For instance, a bass sings the lowest notes while a soprano sings the highest. The main categories include bass, baritone, tenor, alto, and soprano, although distinctions exist in each vocal range. For instance, a basso profondo has a very deep bass voice, while a contralto tends to be the lowest female voice. 4. Pants role: When a woman plays the character of a young boy with a high voice, it is called a pants role or a breeches role. 5. Overture: Before the opera, and sometimes at the beginning of each act, the orchestra plays an introduction that sets the mood and often incorporates musical themes the audience will hear throughout the act or entire work. 6. Recitative: Sometimes in opera, characters will “speak” in a singing voice, moving through dialog quickly. “Soprano Recitative.mpg”http://www.youtube.com/watch?v=l_sN7Z-cxlg&feature=related 7. Leitmotif: A musical theme to represent something else, such as a character, idea, place, or a state of mind. Wagner was particularly well-known for incorporation of the leitmotif in his operas. 8. Prima donna: The term for the lead female singer in an opera. 9. Grand Opera: A long production with several acts, this type of show features a large cast, complex staging, and dancing. By Edward E. Reicin

• March, 2011 Posted by Voceditenore By Edward Reicin Operas tell timeless stories that play on our emotions like a finely tuned instrument. Unfortunately, most people harbor preconceptions toward opera that keep them from enjoying the performances, let alone venturing out to attend one. Allow us to address and disprove several common opera myths in the hopes that you or someone you know will become more willing to give opera a chance. 1. Myth: Operas are too difficult to understand. These days, comprehending opera scripts is as simple as watching a foreign movie with subtitles. Where subtitles are shown at the bottom of a television or theater screen, supertitles are shown during operas on a screen set over most stages. 2. Myth: Most, if not all, opera singers are rotund, screeching thespians. The belief that all opera singers are large individuals wearing horned helmets is a prevalent stereotype. In the case of opera, the stereotype remains false. These days, most opera singers are built and dressed according to their roles rather than the Wagner-era, Viking-esque characters and costumes that many associate with the art. 3. Myth: Operas are too expensive to enjoy. In an age where movie theater tickets cost upward of $15 and sports arena seats run as much as 10 to 20 times that amount, opera tickets are comparatively inexpensive. Tickets to the San Francisco Opera start at $10 and rise from there, although not dramatically. The San Francisco Opera also offers special discounts for students and other groups. 4. Myth: Only older people enjoy the opera. Perhaps the least factual of all these myths, opera audiences are expanding rapidly, and now include more young people than ever before. The attendance rate among members of Generation X has grown by approximately 18 percent in recent years and continues to flourish.

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