John Poor Video
compositore
- Stati Uniti
Ultimo aggiornamento
2024-04-28
Aggiorna
5782 Rosh HaShana Annual Campaign SPECIAL PRAYERS (http•••) "Baruch HaShem Rabbi It Worked..." MARRIAGES, NEW BABIES, WON LAWSUIT, JOB PROMOTION, INVESTMENT & FINANCIAL SUCCESSES...These Are Some of The Personalized Berachot That Were Fulfilled For Last Years Partners In The High Holiday Campaigns. Despite The International COVID-19 Plague, Our Partners Around The World Have Received Extraordinary Blessings & Protection From HaShem. After Hearing & Seeing The AMAZING Messages Coming From The Rosh HaShana & Yom Kippur DONORS In the Last 2 Years, We Are Back With A Bigger Goal: $400,000 (OR MORE) Our Goal Is To Feed 15,000 Poor Jews In Israel. Before We Raised A Single Dollar, We Made The Commitment and Already Sent Money To Feed Thousands of Poor Jews In Israel This Holiday by giving them Gift Cards To The Rami Levy KOSHER Supermarket Chain, but need your help to reach the 15,000 poor Jews. These Are HaShem's Poor Children and Trusting In HaShem Blindly & Completely Is The Way We've Seen The Best Blessings. (http•••)e TIKKUN HaBRIT The Movie: THE MOST IMPORTANT FILM IN HISTORY!!! PRAYERS ARE NOT ENOUGH FOR THE TIKKUN HABRIT EPIDEMIC SO WE MADE A MOVIE YOU CAN BE PARTNER IN!! To Support our KIRUV and Torah Teachings work please DONATE at www.BeEzratHaShem.org If you'd like to invite Rabbi Yaron Reuven to give a lecture at your synagogue, home or office please email •••@••• Rabbi Reuven is based out of Florida but travels to give lectures to different groups. Join one of our interactive "Interesting Torah" Whatsapp groups to get daily updates and short Torah clips that can uplift your day by texting 1.917.468.2324 or +••.••(...) Available on Apple iTunes Store, Amazon App Store and Android Play Store (http•••) GOOGLE App (http•••) APPLE App (http•••) AMAZON App Click here (http•••) To Listen to our very popular "Daily Chidush" short audio series on SOUNDCLOUD or the Podcast Channel at (http•••) Born in Netanya, Israel, Rabbi Yaron Reuven began his American Dream as a little boy, when his family immigrated to the United States. He went from a newspaper boy at the age of 10, to a well-known self-made Wall Street multimillionaire by the age of 23. During his time in Wall Street, he owned his own private brokerage firm, a hedge fund, and an international insurance agency. He was featured on CNBC, Bloomberg and Chinese NDTV due to his success in the financial industry. At age 26 he faced a 7-year battle for his life when a simple surgery went wrong. From that moment his life would never be the same. This moment marked the start of a series of miraculous events and an exciting pursuit of truth, ultimately resulting in Rabbi Reuven renouncing his lofty position and success in Wall Street, after 16 years, to become a full-time KIRUV rabbi. His Teshuva story is sure to catch the heart of every listener. Rabbi Reuven’s shiurim are in English and Hebrew. His classes are focused on spreading the truth and divinity of the Torah through MUSSAR, scientific proofs, and many other methods to reach each individual listener. Rabbi Reuven is the leading educator on the topic of wasting seed in the English language with over 30 hrs of content published online. Rabbi Yaron Reuven is a proud member of the Igud HaRabbonim (The Rabbinical Alliance of America), a national rabbinic organization founded in 1942. Today, our 900+ members are congregational leaders, religious teachers, chaplains, heads of Jewish organizations and communal leaders united in their commitment to traditional Orthodox Judaism. For more information please visit: (http•••) #Torah #Jewish #RabbiYaronReuven
Elizabeth Harwood Kathleen Ferrier Lina Pagliughi Rossini Joan Sutherland Richard Strauss Scottish Opera Covent Garden Scala 1912 1916 1918 1933 1935 1938 1960 1961 1967 1969 1970 1971 1972 1975 1982 1990
~The "Glass Shatterers!" series focuses on sopranos who sustain High F, or sing higher. THE SONGBIRD: Elizabeth Harwood +••.••(...)) was raised in Yorkshire by musical parents / her mother was a professional soprano, Constance Read, and gave Harwood voice lessons. Harwood studied at the Royal Manchester College of Music and at the age of 21, she won the Kathleen Ferrier Memorial Scholarship and spent a year in Milan studying with Lina Pagliughi. Her professional debut came as Second Boy in "The Magic Flute" at Glyndebourne in 1960. She became a member of the Sadler's Wells company in 1961 where she sang Manon, Gilda, Rossini's Adele, Konstanze, Countess Rosina, Fiakermilli, and Zerbinetta. After a tour of Australia with Joan Sutherland's company in 1967, Harwood's regular appearances at the Scottish Opera began with Fiordiligi and continued with Sophie, Lucia, Rosalinde, and Eva (her only Wagner role). At Covent Garden in the 1960s and 1970s she sang Fiakermilli, Gilda, Oscar, Donna Elvira, Norina, Arabella, and Manon. For Glyndebourne, she was Fiordiligi, Countess Rosina, and, in 1982, the Marschallin. Appearances abroad included Aix-en-Provence (Donna Elvira in 1967, Galatea in 1969); Salzburg (Konstanze and Fiordiligi in 1970, Countess Rosina in 1972); The Met (Fiordiligi in 1975); and La Scala (Konstanze in 1971). Harwood died of cancer at age 52. This recording of the original 1912 version of Zerbinetta's aria from the BBC, with Norman Del Mar conducting, only exists in poor audio. I have long searched for a better quality file, and even had a contact who works in the audio archives of the BBC search for it there, but to no avail / so for now, this is the best we have. THE MUSIC: Richard Strauss's opera "Ariadne auf Naxos" premiered twice. The first was in 1912 in Stuttgart where it was conceived as a short opera to accompany a new adaption of Moliere's play, "Le Bourgeois gentilhomme." This version was performed in other cities over the next year (Zurich, Munich, Prague, and London), but the play/opera hybrid concept proved ineffective (and way too long at over six hours). Working with his librettist/partner Hugo von Hofmannsthal, Strauss refashioned the opera as a stand-alone work with a newly added prologue, which premiered in this new form to success in Vienna in 1916. This version of the opera was quickly embraced by critics, artists, and the public / it has since been recorded commercially many times and is performed regularly around the world. Only rarely have there been staged or even concert productions of the earlier 1912 version of the opera and there is only one commercial recording. One of the changes Strauss made for the 1916 score was to lower the key and cut or alter about four minutes of music from Zerbinetta's grand aria "Grossmächtige Prinzessin." (In this video, I have roughly marked the three sections of deleted or altered music). Both versions are insane, but this original version is incomprehensibly difficult at nearly 15 minutes in length and with a gruelingly high tessitura, including two High F-sharps. In either version, the scene demands a level of virtuosic musicianship and theatrical flair that is simply unmatched. Zerbinetta is a coloratura soubrette on steroids! In this scene and role, Strauss invented an entirely new musical language to exploit the unique glories of the coloratura soprano voice. He revisited this proprietary mode of highly gymnastic vocalism a few other times afterwards: in the art song "Amor" (1918), with Fiakermilli in "Arabella" (1933), and for Aminta in "Die schweigsame Frau" (1935).
Enesco Béla Bartók Paul Sacher Zoltán Székely Kolisch Hungarian Quartet Budapest Quartet 1939 1941 1945 1998 2013
The String Quartet No. 6, Sz. 114, BB 119, was the final string quartet that Béla Bartók wrote before his death. It was begun in August 1939 in Saanen, Switzerland, where Bartók was a guest of his patron, the conductor Paul Sacher. Shortly after he completed the Divertimento for String Orchestra on the 17th, he started on a commission for his friend, the violinist Zoltán Székely. Székely was acting as intermediary for the "New Hungarian Quartet", who had given the Budapest premiere of the String Quartet No 5. With the outbreak of World War II and his mother's illness, Bartók returned to Budapest, where the quartet was finished in November. After his mother's death, Bartók decided to leave with his family for the United States. Due to the difficulties of the war, communication between Bartók and Székely was difficult, and the quartet was not premiered until 20 January 1941, when the Kolisch Quartet, to whom the work is dedicated, gave its premiere at the Town Hall in New York City. The work is in four movements ; each movement opens with a slow melody marked "mesto" (sadly). This material is employed for only a relatively short introduction in the first movement, but is longer in the second and longer again in the third. In the fourth movement, the mesto material, with reminiscences of the first movement material, consumes the entire movement. It can be seen from Bartók's sketches that he had intended the last movement to have a quick, Romanian folk dance-like character with an aksak rhythmic character,[5] but he abandoned this plan, whether motivated by pure compositional logic or despair at the impending death of his mother and the unfolding catastrophe of the war. In poor health and financially insecure, Bartók composed relatively little in the United States before his death in 1945, but, in the last year or so of his life, he made some sketches hypothesized to be the slow movement of a never completed seventh quartet. Recording made in 1998, with the record label "Pierre Verany" Picture : Amir Hossein Zanjani, "Blue Impression" (2013)
Zhang Huoding Kang Severe 1940
Re-uploaded with some slight revisions My amateur translation, thanks to operabeijing for the original video: (http•••) Please feel free to leave any translation corrections/suggestions in the comments. "The Unicorn Purse" (锁麟囊/Suo Lin Nang) was written in 1940 by Weng Ouhong (翁偶虹) at the request of Cheng Yanqiu (程砚秋), one of the "Four Great Dan" of the twentieth century and the teacher of the teacher of Zhang Huoding. This video presents a version of that play with a few cuts and a new ending. "Suo Lin Nang" literally means "locked 'lin' purse", a "lin" being the female variant of a mythical Chinese animal that is often translated as a "unicorn," even though it really isn't one. See: (http•••) Random notes: -"I want the ducks in... five colors": Traditionally, blue, yellow, red, white and black. -"The jewel that is the fulfillment... (如意珠)": This could be a reference to the "Cintamani" of Buddhism, though I doubt it. 如意, meaning, roughly, "as you will", is a fairly common term and I think it would be odd for Xiangling to have this sudden diversion into theology. -"Plain white handkerchief": In Chinese culture, white is the color mourning and therefore inappropriate for a wedding. -"It's neither a pig nor a dog!": I'm not sure what this means... In general, the servants in this play use a lot of Chinese humor that I don't know how to translate. -"when the stars align": Jixiang literally just says that the 18th is a "good day". But in Chinese, "good day" is understood to mean a day that is auspicious or fortuitous for numerological or astrological reasons. -"magpie bridge": (http•••) -"mermaid-pearls": A poetic term for tears, though Chinese mermaids are actually frightening monsters. -"different key": as in a musical key. Sort of like "she marches to the beat of a different drum" -"dried-out, tough, crabby, and rude": This play has a lot of touches of northern Chinese culture; "dried-out, tough, crabby, and rude" is used to refer to a certain type of personality among natives of Beijing. I think. -"a mat for her kang": A kang is a heated platform that you can sit on, eat on, sleep on, etc. that was commonly used in the old days before central heating. This is another instance of Chinese humor that I don't know how to translate. -Luan bird: A mythical bird. -"if you mimic other people...": The first line of a nonsensical children's chant. -"flower of my youth": This line could also mean something like "we are both unfulfilled", but several internet sources say that it refers specifically to "unfulfilled years". -"the laundress fed Hanxin": It's said that, before becoming one of the founders of the Han Dynasty, Han Xin was a poor man who depended on what he could catch with his fishing rod to survive. He was not a very good fisherman but, fortunately, whenever one of the laundresses who used the same river he did saw that he had not caught anything, she would share her meals with him. Later, when Han Xin became a powerful general, he sought out that laundress and tried to reward her. She refused to accept anything and said something to the effect that she had fed him for his sake, not hers. -"look at this person's style": Another joke I don't understand. -"Scoundrel!": Luhan actually calls the gong player a "thing". In Chinese, this is something like saying "You are less than human", though not quite that severe. -"The first bow is to heaven and earth": These are all lines spoken during a traditional Chinese wedding ceremony. -"Day to return to her parental home": After marriage, a woman would move in with her husband's family; on certain days, she would be expected to go back home to visit her parents as an act of filial piety. -"three generations his junior": This is a joke I actually get! Jixiang is essentially saying to Tingxun, "The death of your wife is equivalent to the death of my grandmother, and the death of your son is equivalent to the death of my father." In other words, "The death of someone who is of the same generation as you is equivalent to the death of someone who is two generations older than I am, and the death of someone one generation younger than you is equivalent to the death of someone one generation older than I am." Deference to one's elders is central to traditional Chinese culture; Jixiang is is flattering Tingxun by saying his wealth demands a two generation-gap's worth of respect.
o
- cronologia: Compositori (Nord America).
- Indici (per ordine alfabetico): P...