Priscilla Paris He Noticed Me
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Samedi 7 Juillet 2012(19H) on Stage: Steven
Comme d’habitude, nous mettrons éditions vinyles, pas de CD. Le livre paraîtra en juillet prochain, con- Le quiz dans le car (fort amusant) a été gagné par Wim Coppens. férentes sont à explorer : l’extérieur de Graceland, le foyer, des fleurs au nom de notre Society tiendra 640 pages et sera illustré avec plus de 1.200 photos ! Félicitations ! Vu la demande, certainement à refaire en fin d’année la Jungle Room et le Racquetball Building. sur la tombe d’Elvis et de ses parents, Après les livres King Creole et Jailhouse Rock, nous aurons vers NEWS le 16 août prochain. Il en sera de Un des “Double Elvis” d’Andy Warhol a été vendu l’automne (probablement fin septembre) la parution de Love Me Ten- Dans un atelier à Tupelo, un prototype de la sta- même cette année. Certains mem- chez Sotheby’s à New York pour 37 millions de dol- der et Loving You. Les fanatiques du livre sont bien gâtés avec toutes tue d’Elvis qui ornera la ville d’ici peu, est prêt. La bres (ceux qui restent à la maison) lars. La célèbre sérigraphie fait partie d’une série de ces éditions, mais leur porte-monnaie ne l’est certes pas ! statue sera inaugurée le 8 août prochain. nous ont demandé s’ils pouvaient 22 portraits qu’Andy Warhol a peints d’Elvis Presley. Il y a quelques jours, on pouvait lire dans un contribuer à l’achat d’un magnifique Sur une toile argentée, Elvis est représenté comme magazine américain que Linda Thompson allait ème bouquet. -
Elvis Quarterly 89 Ned
UEPS QUARTERLY 89 Driemaandelijks / Trimestriel januari-februari-maart 2009 / Afgiftekantoor Antwerpen X - erk. nr.: 708328 januari-februari-maart 2009 / Afgiftekantoor Antwerpen X - erk. nr.: Driemaandelijks / Trimestriel The United Elvis Presley Society is officieel erkend door Elvis en Elvis Presley Enterprises (EPE) sedert 1961 The United Elvis Presley Society Elvis Quarterly Franstalige afdeling: Driemaandelijks tijdschrift Jean-Claude Piret - Colette Deboodt januari-februari-maart 2009 Rue Lumsonry 2ème Avenue 218 Afgiftekantoor: Antwerpen X - 8/1143 5651 Tarcienne Verantwoordelijk uitgever: tel/fax 071 214983 Hubert Vindevogel e.mail: [email protected] Pijlstraat 15 2070 Zwijndrecht Rekeningnummers: tel/fax: 03 2529222 UEPS (lidgelden, concerten) e-mail: [email protected] 068-2040050-70 www.ueps.be TCB (boetiek): Voorzitter: 220-0981888-90 Hubert Vindevogel Secretariaat: Nederland: Martha Dubois Giro 2730496 (op naam van Hubert Vindevogel) IBAN: BE34 220098188890 – BIC GEBABEBB (boetiek) Medewerkers: IBAN: BE60 068204005070 – BIC GCCCBEBB (lidgelden – concerten) Tina Argyl Cecile Bauwens Showroom: Daniel Berthet American Dream Leo Bruynseels Dorp West 13 Colette Deboodt 2070 Zwijndrecht Pierre De Meuter tel: 03 2529089 (open op donderdag, vrijdag en zaterdag van 10 tot 18 uur Marc Duytschaever - Eerste zondag van elke maand van 13 tot 18 uur) Dominique Flandroit Marijke Lombaert Abonnementen België Tommy Peeters 1 jaar lidmaatschap: 18 € (vier maal Elvis Quarterly) Jean-Claude Piret 2 jaar: 32 € (acht maal Elvis Quarterly) Veerle -
Allusions and Historical Models in Gaston Leroux's the Phantom of the Opera
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2004 Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera Joy A. Mills Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the French and Francophone Literature Commons, Other Theatre and Performance Studies Commons, and the Translation Studies Commons Recommended Citation Mills, Joy A., "Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera" (2004). Honors Theses. 83. https://scholarlycommons.obu.edu/honors_theses/83 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Gaston Leroux's 1911 novel, The Phantom of the Opera, has a considerable number of allusions, some of which are accessible to modern American audiences, like references to Romeo and Juilet. Many of the references, however, are very specific to the operatic world or to other somewhat obscure fields. Knowledge of these allusions would greatly enhance the experience of readers of the novel, and would also contribute to their ability to interpret it. Thus my thesis aims to be helpful to those who read The Phantom of the Opera by providing a set of notes, as it were, to explain the allusions, with an emphasis on the extended allusion of the Palais Garnier and the historical models for the heroine, Christine Daae. Notes on Translations At the time of this writing, three English translations are commercially available of The Phantom of the Opera. -
Louvre to Opera Walk | Page 1 /RXYUHWR2SHUD:DON
/RXYUHWR2SHUD:DON JardinDES des Tuileries ©2013 Inspire Partners, LLC and Girls' Guide to Paris. All Rights Reserved Louvre to Opera Walk | page 1 /RXYUHWR2SHUD:DON 1. Louvre, rue de Rivoli 2. Café Marly, 93 rue de Rivoli 3. Musée des Arts Décoratifs, 107 rue de Rivoli 4. Jardin des Tuileries, rue de Rivoli 5. Musée de L’Orangerie, Jardin des Tuileries 6. Jeu de Paume, 1 place de la Concorde 7. Place de la Concorde 8. Hôtel de Crillon, 10 place de la Concorde* 9. WH Smith, 248 rue de Rivoli 10. Pierre Hermé, 4 rue Cambon Jardin des Tuileries 11. Le Meurice, 228 rue de Rivoli 12. Angelina, 226 rue de Rivoli 13. Place Vendôme 14. Ritz, 15 Place Vendôme *Closed until 2015 ©2013 Inspire Partners, LLC and Girls' Guide to Paris. All Rights Reserved Louvre to Opera Walk | page 2 /RXYUHWR2SHUD:DON 15. Harry’s New York Bar, 5 rue Daunou 16. Palais Garnier, 1 place de l’Opera 17. Café de la Paix, 12 Boulevard des Capucines 18. Place de la Madeleine 19. Fauchon, 24 – 2 place de la Madeleine 20. Hédiard, 21 place de la Madeleine 21. Eglise de la Madeleine ©2013 Inspire Partners, LLC and Girls' Guide to Paris. All Rights Reserved Louvre to Opera Walk | page 3 Louvre to Opéra Walk On this walk, you’ll get a good dose of the world. Look for interesting, frequently culture with a great selection of museums rotating exhibitions at each. to visit, including the world-famous Louvre. It won’t be possible to visit in one day all the Walk out of the museum and through the beautifully landscaped 4. -
Eleventh Grade First Week Aims
GIMNASIO SABIO CALDAS WORKSHEET “HOME ACTIVITIES” ELEVENTH GRADE FIRST WEEK AIMS To Recognize and identify the uses, structures of the different sentences To understand the different context and topics in the reading. To practice part one and two. 1. Look this website for review the tenses https://www.englisch-hilfen.de/en/grammar/english_tenses.htm 20 minutes 2. Read each sentence and complete with the right tense (present simple, continuo, continuo; pasado simple, continuo, perfecto y future simple o con going to. (60 minutes) 3. Read the following text about the life of Elvis Presley. For questions 1-5 below, decide which of the options (a, b, or c) is true. (60 minutes) Elvis Aaron Presley Elvis Aaron Presley (January 8, 1935 – August 16, 1977) was an American singer and actor. A cultural icon, he is commonly known by the single name Elvis. One of the most popular musicians of the 20th century, he is often referred to as the "King of Rock and Roll" or "the King". Born in Tupelo, Mississippi, Presley moved to Memphis, Tennessee, with his family at the age of 13. He began his career there in 1954, working with Sun Records owner Sam Phillips, who wanted to bring the sound of African American music to a wider audience. Accompanied by guitarist Scotty Moore and bassist Bill Black, Presley was the most important popularizer of rockabilly. RCA Victor acquired his contract in a deal arranged by Colonel Tom Parker, who went on to manage the singer for over two decades. Presley's first RCA single, "Heartbreak Hotel”, released in January 1956, was a number-one hit. -
Elvis Aron Presley
ELVIS ARON PRESLEY ELVIS ARON PRESLEY Elvis Presley also known as The king of rock n’ roll, was born in 8 January 1935. his birthplace was a humble home in east tupelo Mississippi USA. When he was 13 his family moved to Memphis, Tennessee. After graduating there he took odd jobs like such as a truck driver. At that time he sang locally as “The Hillbilly cat”. In a short time period, he signed a contract with a local recording company and later on with RCA recording company. He established early rock and roll by bringing black blues to the white. Girls became hysterical over his sexual gyrations. One in particular got him named Elvis the pelvis, so cameras weren't allowed to film him under the waist. The hillbilly cat WHAT HAPPENED? After the 33 movies he starred in he disappeared. It has been a mystery where he has been for quite a while. Now it is known that he settled in his Graceland mansion. He made a comeback in the 1970 s’. That year he sold out over 57 shows in Las Vegas. He toured around USA and made over 500 live appearances. At the end of the tour the stress and the gain of kilograms took their toll. He died 16 august 1977 in his Graceland mansion. FAMILY He married Priscilla Presley with whom he had 1 child. His daugthter is Lisa Marie Presley. He also has a granddaughter named Riley Keough. Twinbrother Jesse Garon Presley who died at birth. SOURCES Internet - www.imdb.com -www.wikipedia.org -www.google.com - www.youtube.com -www.spock.com lexicon ACTIVITY 1. -
“It's Just a Matter of Time”: African American Musicians and The
“It’s just a matter of time”: African American Musicians and the Cultural Boycott in South Africa, 1968-1983 by Ashrudeen Waggie Thesis presented in fulfilment of the requirements for the degree of Master of Arts (History) in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr. L. Lambrechts Co-supervisor: Dr. C. J. P. Fransch March 2020 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third-party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Ashrudeen Waggie March 2020 Copyright © 2020 Stellenbosch University All rights reserved i Stellenbosch University https://scholar.sun.ac.za Abstract In 1968 the United Nations General Assembly instituted a cultural boycott against apartheid South Africa. The cultural boycott prevented South Africa from having cultural, educational and sporting ties with the rest of the world, and it was an attempt by the international community to sever ties with South Africa. A culmination of this strategy was the publication of an annual registry by the United Nations of all international entertainers, actors, and others who performed in South Africa from 1983. Based on this registry a number of academic studies have been conducted, but very few studies have investigated those who came to perform in South Africa before the publication of the registry even though renowned artists such as Percy Sledge (1970), Brook Benton (1971 & 1982), Jimmy Smith (1978 & 1982) and Isaac Hayes (1978) performed in South Africa during this time. -
Ugo Rabec Bass Franco-Italian Bass, Ugo Rabec Started Studying Violin at Age Four
Ugo Rabec Bass Franco-Italian Bass, Ugo Rabec started studying violin at age four. He began to study singing with Elena Vassilieva in 2000 and was a member of Atelier Lyrique at the Paris Opera from 2005 to 2008. In 2007, he received the lyrical awards from Cercle Carpeaux and AROP 2006-2007. He was selected for the Academy of Verbier Festival in 2008. He followed the master classes of Claudio Desderi, Barbara Bonney, Angelika Kirchschlager, Guillemette Laurens, Raúl Giménez ... He interprets the French, Italian, German and Slavic repertoire of “ Noble Bass ”. He has already incarnated - on stage - Don Alfonso, Così fan tutte at Rennes Opera / Alidoro, Cenerentola at Wildbad Festival / Collatinus, The rape of Lucretia at Paris Athénée Theater / Il commissario Imperiale, Madama Butterfly at Bastille Opera / Barlow, Le Maudit des Mers at Vienna Konzerthaus / Pluton, Hippolyte et Aricie at Palais Garnier / Commendatore, Don Giovanni at Bobigny Theater / Monterone, Rigoletto at Rennes Opera / Il Frate, Don Carlo at Bilbao / Le Bailli, Werther at Trieste / Max, Le Chalet at Toulon / Zuniga,Carmen at Rennes / Il Bonzo, Madama Butterfly at Limoges... He has already been welcomed by houses such as Opera Bastille, Palais Garnier, Opera Comique ,TCE and Salle Pleyel in Paris, Vienna Konzerthaus, London, Bilbao, Trieste,Versailles, Strasbourg, Rennes, Nantes, Montpellier, Metz, Mulhouse,Toulon Verbier and Wildbad Festival ... He worked with well-acclaimed music directors such as: Daniel Oren, Valery Gergiev, Philippe Jordan, Marc Minkowski, Vasily Petrenko, Evelino Pido, Pinchas Steinberg, Jeffrey Tate, Carlo Rizzi, Alain Altinoglu, Michael Schønwandt, Paavo Järvi ... And he was directed by Robert Carsen, Olivier Py, Willy Decker, Keith Warner, Nikolaus Lehnhoff, Robert Wilson, Coline Serreau, André Engel, Lev Dodine, Gilbert Deflo.. -
Architecture Des Salles De Concert Et Des Opéras
les musique espaces de la de et desopéras des sallesdeconcert Architecture Antoine Pecqueur Philharmonie deParis Parenthèses ISBN 978-2-86364-307-5 / / musique la de espaces Les / Pecqueur Antoine / www.editionsparentheses.com www.editionsparentheses.com 6 Architecture Architecture et musique ISBN 978-2-86364-307-5 / / l’architecture une musique figée musique une l’architecture l’architecture une musique muette. musique une l’architecture meilleure manière que d’appeler d’appeler que manière meilleure musique réintroduire cette belle idée de idée belle cette réintroduire la « appela philosophe n noble Nous croyons ne pas pouvoir paspouvoir ne croyons Nous de U espaces Les Johann Wolfgang von Goethe, Goethe, von Wolfgang Johann / Pecqueur Maximes et Réflexions et Maximes Antoine / […]. […]. » . www.editionsparentheses.com www.editionsparentheses.com : Un dialogue fécond Dans l’Antiquité, musique et mathématiques sont étroite- elles seront créées. Pour l’inauguration de la cathédrale Santa ment imbriquées. Le philosophe grec Pythagore est l’un des Maria del Fiore de Florence, en 1436, Guillaume Dufay a premiers à théoriser ces rapprochements, à travers les lois ainsi écrit un motet, Nuper Rosarum Flores, avec « une rigou- de l’harmonie. Il va même jusqu’à élaborer un lien entre les reuse fidélité aux proportions formelles du chef-d’œuvre intervalles et les distances entre les planètes. Le rapport entre florentin ». Le compositeur équilibre les voix en fonction musique et architecture se nourrit de ces premières considé- des dimensions de la coupole mise au point par l’architecte rations scientifiques. Filippo Brunelleschi. À la Renaissance, Giovanni Gabrieli Au ier siècle avant Jésus-Christ, dans son traité De l’Architec- utilise magistralement le potentiel de spatialisation de la ture, l’architecte romain Vitruve exprime sa profonde admi- basilique Saint-Marc de Venise, en répartissant les groupes ration des théâtres grecs : « Les anciens architectes, ayant d’instrumentistes et de chanteurs sur différentes tribunes. -
19Th Century Architecture • in the Nineteenth Century, Each Nation Came to Value Its Past As Evidence of the Validity of Its Ambitions and Claims to Greatness
19th Century Architecture • In the nineteenth century, each nation came to value its past as evidence of the validity of its ambitions and claims to greatness. Art and architecture of the remote past came to be regarded as products of cultural and national genius. • Neoclassical, Gothic, Baroque, Renaissance revivals, as well as eclectic style which combines different elements from various historical styles. • Additionally, new building materials - iron, steel and glass, as well as reinforced concrete lead to new architectural forms. Neo-Baroque/Beaux-Arts style A grandiose architectural style as taught at the Ecole des Beaux Arts in Paris, widely applied to large public buildings. Beaux-Arts buildings are typically massive; have a symmetrical plan, and rich decoration. The Opera House was built by Garnier for Napoleon the III. It was to be part of the great revitalization of Paris. Charles Garnier, The Opera House (Palais Garnier), Paris. 1861-74 Napoléon III- Baron Haussmann Emperor of the French French. administrator and Haussmannian urban planner streetwork between 1852 and 1870 (in red). Haussmann inaugurated a wide-reaching program of municipal improvements in Paris, including a new water supply and sewage system, the creation of wide avenues through Paris's mass of small streets, the landscape gardening of the Bois de Boulogne, and the construction of the Paris Opéra. The style is monumental, with multicolored marbles and lavish statuary. Charles Garnier, The Opera House, Paris. 1861-74 It is elaborately decorated with galleries, statues and columns; gilded decoration and lavish mix of expensive polychromed materials. The Grand Escalier in the main hall CARLO MADERNO, facade of Saint Peter's, commissioned by Pope Paul V, Vatican City, Rome, Italy, 1606-1612. -
Palais Garnier Opera Bastille
THE CONTEXT OF ARCHITECTURAL DESIGN Strengthening a Sense of Place ABSTRACT: BACKGROUND: Within every city is a sense of place. An experience that is unique to it and it alone. It is an experience that reflects the ideals, A sense of place is most commonly defined as “a multidimensional construction representing beliefs, emotions and behavioral history, and aspirations of a community. Which is manifested in its architecture. When a building seeks to fit within this context commitments concerning a particular geographic setting.” It is the essence of the culture and values of the people in any it builds upon what is already there to fortify the character and overall meaning of the buildings around it. It does this by using particular location. The two main categories that contribute to a sense of place are physical and symbolic factors. Essentially the similar architectural motifs, proportions, and materials. All these elements come together to promote the singular voice of the answers to the following questions: what are the physical attributes of a place that make it unique? And what is the perceived people that built it. However, when a building doesn’t seek to fit into its context it disrupts the conversation of the buildings meaning or symbolism of that place? The purpose of this study is to demonstrate how the architectural design of a building can around it. If more and more egotistical buildings are built, the place becomes at risk of losing its voice and true self. In this study strengthen or weaken the sense of place established by its context. -
Trophée Des Arts 2009 Robert Wilson
Trophée des Arts 2009 Robert Wilson The New York Times described Robert Wilson as “a towering figure in the world of experimental theater.” Susan Sontag has said of Wilson’s work “it has the signature of a major artistic creation. I can’t think of any body of work as large or as influential.” Wilson’s works integrate a wide variety of artistic media, combining movement, dance, lighting, furniture design, sculpture, music, and text into a unified whole. His images are aesthetically striking and emotionally charged, and his productions have earned the acclaim of audiences and critics worldwide— especially in France, where Wilson has been named “Commandeur des arts et des lettres” by the Minister of Culture. Born in Waco, Texas, Wilson was educated The Life and Times of Joseph Stalin, a at the University of Texas and Brooklyn’s twelve-hour silent opera performed in 1973 Pratt Institute, where he took an interest in New York, Europe, and South America; in architecture and design. He studied and A Letter for Queen Victoria in Europe painting with George McNeil in Paris and and New York in 1974–1975. In 1976 Wilson later worked with the architect Paolo Solari joined with composer Philip Glass in in Arizona. Moving to New York City in the writing the landmark work Einstein on the mid-1960s, Wilson found himself drawn to Beach, which was presented at the Festival the work of pioneering choreographers d’Avignon and at New York’s Metropolitan George Balanchine, Merce Cunningham, Opera House, and has since been revived and Martha Graham, among others.