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1 mag 2024 · The Rite of Spring, ballet by Russian modernist composer Igor Stravinsky that premiered at the Théâtre des Champs-Elysées in Paris on May 29, 1913. It is considered one of the first examples of Modernism in music and is noted for its brutality, its barbaric rhythms, and its dissonance. Its opening performance provided one of the most ...
1 giorno fa · Nicholas Roerich. The Rite of Spring [n 1] (French: Le Sacre du printemps) is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1913 Paris season of Sergei Diaghilev 's Ballets Russes company; the original choreography was by Vaslav Nijinsky with stage designs and costumes by Nicholas Roerich.
10 mag 2024 · Per gli amanti della pizza romana, sottile e croccante. Fritti eccezionali, per niente unti. Personale gentile. Prezzi nella media. Service: Dine in Meal type: Dinner Price per person: €10–20 Food: 5 Service: 5 Atmosphere: 5. Pizzeria Stravinskij, #343 di Roma pizzerie: 2535 recensioni e 144 foto dettagliate.
4 mag 2024 · Klaus Mäkelä brings the Orchestre de Paris to Decca Classics for a major new album of Stravinsky’s most iconic ballet scores. The album represents Mäkelä’s first recording with his French orchestra, which will be followed by a further Ballet Russes release in 2024 featuring Stravinsky’s Petrushka and Debussy’s Jeux and L’Apres midi d’une faune.
10 mag 2024 · Igor Stravinsky (1882-1971): Suite Italienne arranged for violin and piano by Samuel Dushkin0:00 VI. Minuetto e Finale2:16 FinaleViolin, Yumiko YumibaPiano, ...
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- Yumiba Sisters Violin Channel
2 mag 2024 · ci rendiamo al bar stravinsky per bere un drink a fine pomeriggio e l’accoglienza è a dir poco freschissima. non siete clienti dell’albergo ? no giustamente e quindi ci è permesso di stare 30 massimo 40 minuti ! mai sentito dire questo in un albergo che si vuole di livello ! poi il servizio è di bassa qualità in quanto dobbiamo ri chiedere dello zucchero per accompagnare del tè caldo ...
1 giorno fa · Stravinsky, always exceptionally attentive to linear transparency, helps his performers along, but neither can they afford to cruise on auto-pilot. Hennig ensures balance and smooth weaving of the various fugal strands in the “Expectans expectavi Dominum” movement of the Symphony of Psalms —I cannot think of another recording that quite matches the vocal translucence of this one.
