How Much Is Abortion In Ma

Great Singers of the Past: Mario Basiola

life and career: Born in

Annica (Cremona, 1892) in a very humble family, he began studying with the great Antonio Cotogni while doing military service in Rome. He became one of the favorite disciples of the legendary teacher. Despite an early debut in the role of Alfonso XI (1915) finally started her career in 1919 just as Riccardo in "I Puritani" (both times in Viterbo). It happened Rigoletto, Renato, Germont and Figaro. After the corresponding period in the provinces, debuted at the Met (1925-26) where he continued working without interruption until 1932. There he competed face to face with the great names of the decade. Back in Italy, worked for six seasons at the Opera of Rome ("Otello", "Il Pirata" and "L'Arlesiana" among others). From 1932 data also presented at La Scala ("A partita" Zandonai) where again a few times until 1940 ("Rigoletto", "Linda di Chamounix," "La Straniera"). In Europe attended Barcelona, \u200b\u200bBerlin and London. A mid-forties he went to Australia on tour with an Italian company. He remained there teaching singing until his retirement in 1951. Previously he had as a student Aldo Protti. Since the sixties, his son Mario Jr. Basiola career was documented in a discreet disc. He died in 1965.

The voice, the singer:

From any point of view it would appear Basiola was the last representative of the school Cotogni, who carefully prepared their first papers. Owner of a voice aunaba breadth and lyrical warmth, had absorbed a first-rate technique is manifested by opening the mouth diction excellent, perfect welding of register, timbre morbid and easy high register, expansive, and Squillante . Also assumed mean pianissimi voices and authentic and was as effective in the song linked and collected as in the vigorous. Unlike most of his contemporaries did not break with the bel canto repertoire, which dominated best technical resources. However, it was able to update its guidelines, cleaning archaisms and arbitrariness. Of the new school verismo took expressive immediacy and warmth, but not the sleaze and the plates illegitimate. He always classical singing at the service of a way of phrasing and make amazing music today. According Rodolfo Celletti, who heard in the theater again and again, just missed an authoritarian personality. Lauri-Volpi reproached him his unwillingness to interpret without reference Cotogni.

http://www.divshare.com/folder/826029-3d6

unfortunately little Basiola recorded. Among the auditions from an old recital, include arias by Massenet. The vast refinement of the song makes the limits of the Italian language barrier, in tones too many singers exhibits open to the French style. However, the affinity for the verismo repertoire is far lower. The aria from "L'Arles" is a marvel of emotion and simplicity (also topped with a dazzling high G). To remember her bel canto style, "A much love" from "La Favorita" worthy to stand beside the great records of the first quarter century. Just listen to the arias from "Il Trovatore" and "Faust" to check that its peers Basiola had the most complete technique. The difficulties of tessitura is as if there were, the mechanism becomes so perfect that it goes unnoticed. Also worth mentioning the "Largo al factotum" and the rare aria "Il Figliola prodigal." Possibly we are to the best of the dozens of recordings cavatina Figaro. Breakneck speed in the "sillabati" (the ending is beyond belief), incomparably sharp and precise as pearls, irresistible charm and spectacular puntature but easy, never raucous. The beautiful page Ponchielli known for their supreme nobility mezzavoce.

De Basiola retain at least a full live recording, the historic "Il Trovatore" 's debut as Manrico Jussi Björling (1939). This count confirms their extreme versatility, the singer expansive and cordial in the exquisitely sentimental realism or singing Massenet, Verdi displayed here the accent genuine, vibrant and virile but always noble, great man. The ecstatic whisper of "Il balen of suo sorriso" the fierceness of the aristocrat in the Third Act, the amazing breadth of his curses at the end of the Second, are featured on a singing school in a few years recede forever.

London Philharmonic Orchestra And Chorus, Vittorio Gui, Jussi Bjorling, Gina Cigns, Gertrud Palson-Wettrgren, Mario Basiola, Corrado Zambelli - Verdi: Il Trovatore - London Philharmonic Orchestra and Chorus - Vittorio Gui

Finally remember his masterful Tonio in "Pagliacci" Beniamino Gigli.

Franco Ghione - I Pagliacci: Complete Opera

Open bar opinions, m? Music and what I happen, that this is my blog.

Stomach Acid In My Throat

PORTRAIT OF RICHARD JACOBY Piglia

Portrait of the Artist invisible

50 years, is practicing an art form, constantly changing and always a step ahead: the vanguard of the '60s, nonviolent resistance, cunning and conniving against intellectual repression of the dictatorship, the traffic of ideas on the danceable joy Virus, earthy mix of social networking and exchange of the Venus Project and Snowball. Aware of the new technologies, politics and sexuality, Roberto Jacoby is a work which, by nature intangible, fleeting, always thrust forward and waiting to be completed by the viewing experience or be part of it, is reluctant to go to museums. However, next week, the Reina Sofia in Madrid opened a retrospective of her. Ricardo Piglia, who knows from the beginning, runs its course, reveals the illuminating power of his work, explains why his thousand metamorphoses all tend to propose a better life and remembers the day he left Jacoby moved to Umberto Eco in a bar Florida Street.

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By Ricardo Piglia

1. BETWEEN POLITICAL tedium and

Roberto Jacoby's work raises the question-not common today, "What is art?" Or "What can be considered art?", His work focuses more rather around the question "What is an artist?" or perhaps more accurately, "What is an artist?", the ever-renewed amazement how the child but also in the sense of the future: the artist as a fleeting figure who always goes forward, you can not crystallize, which is constantly leaking into the future.

image file operated as part of the installation 1968: the ass you buckle, in the gallery Appetite, 2008.

Sometimes Jacoby embodies that same place, sometimes it says, it keeps track and makes it look. In fact, his work can be thought of as the mapping of a figure almost invisible, the construction of a map to indicate the locations and modes of appearance and of hiding from the artist. An example of this was the level of the wild apple (1986), which drew a diagram of a Buenos Aires area, topography, institutions, parks, galleries, bookstores, bars and even hair salons in the city, where they constituted the fundamental spaces of sociability in the '60s art, and crosses were generated between artists and intellectuals of different ages, generations, tribes, genders and classes. From this perspective, the definition of the artist acquires a territorial dimension: it takes place and specific coordinates and identification Jacoby is for one of the forms of contemporary art practice. Another possible example is the Snowball project: a network of artists, curators said relations between creators from mutual recognition, and attempts to renew the fabric of art in the open condition by new technologies. Thus, through overexposure and the immediacy of the current scene, the work of Jacoby reformulated its proposal: where should an artist?

The boundaries of that search are on the one hand, boredom and, on the other, politics, or rather the revolutionary politics. Stendhal spent part of his novel Red and Black boredom generated by the daily autocratic bourgeois life, which matters only to make an impression on others without, in the end, nobody really enjoy that kind of success. Subject without desire, the bourgeois individual is subject to serialization, vacuum, as a form of control away from the political passion.

In Jacoby's work shows a first limit of what is left out of his universe and it is the indifference, languor, which could be called art in a coma. During the last military dictatorship in Argentina, the effect of terror, though not one personally and directly affected by the repression manifested as widespread inaction, paralysis, terror and boredom as expected mortal. That mood was part in the design of Jacoby, a passive response to the experience of state terrorism: "The political strategies of the military government had operated successfully on the bodies through the destruction, pain, prison, urban control and information systems, since their goal was what Clausewitz called 'the moral and intellectual forces', which is usually in the war the real goal for the destruction of natural or physical forces. Indeed acted on the mood of the population until the impulses of autonomy is almost extinct completely, "writes Jacoby (in joy and Strategy, 2000). Intervention

Mao and Peron, one heart, at Central Park in New York, 1967.

In contrast, her practice going into politics, without ever leaving the creative work on the form. As part of that statement we find the set of actions that came to be called "happiness strategies" and that included, among many other proposals, their participation in the refreshing pop-rock group Virus since 1979 and later nomadic festivals in unconventional spaces that organized in the '80s. Virus formed part of a set of practices that were a way of resisting the climate of oppression not only through the use of humor in the lyrics of songs and composition from cheerful and danceable rhythms, but also by conditions production of shows, how to organize the room, the performative dimension of the shows. An invitation to avoid sitting or alone, to dance and celebrate with others.

In this imaginary territory, defined on its edges by the tedium and politics, which is at the junction is friendship, or in terms of Jacoby, the "technologies of friendship": a metaphor for the construction of groups gives us a clue about the figure of the artist that Jacoby wonders in terms of future and desire: for him an artist is, or better, someone who does not think as an individual but favors the collective production collaboration, group action. Hence his interest in experimental companies had their biggest institutions in 2004 when he directed the Experimental Area Companies in the Ricardo Rojas Cultural Center of the University of Buenos Aires, but goes much further back, the failed attempt to Part I, Internal. That project, conceived at the end of dictatorship in an attempt to break the isolation ruling, wanted to produce an exchange network of ideas, insights, readings, texts in the process, among a diverse list of intellectuals. Something that Internet then we got used, but in the early 80s meant riding a circulation system in network messages, images and text, photocopying, faxing and phone calls in a chain. Development of these circuits semi (known group, message series, multiple practices) was the Venus Project, where a group of artists is a virtual society, coining its own currency and immobile forms of government and fleeting, to exchange experiences, services , works, theories, events and public interventions.

find a link between these collective initiatives of Jacoby and assumptions about the intrigues and the groups to plan actions are parallel and alternative worlds that I outlined in my presentation Conspiracy Theory, which I explained in one of the Placido Domingo in which Venus project was conceived. It was a way to define non-secret conspiracy and threatening, but peaceful public. There, I proposed to the forefront as a political response, own specific procedures for the construction of cultural and political power implicit in liberalism, a response to the idea of \u200b\u200bconsensus and agreement as performance guarantees social visibility of public space, the notion of representation and majority as a form of legitimacy. The vanguard would come to question these notions, with its policy of sect, localized and explosive action, with their perception of the cultural logic conspiracy and production of value, as a war of positions. The model of society is leading the battle, not the covenant, is the exception and not the law. Alternative artistic practice does see what the key ideas proposed refuse and weaken the power centers and alter cultural hierarchies and systems of signification. Thus, the artistic vanguard clearly decoded illiberal practice, as a conspiracy version of politics and art, as a plot to experiment with new forms of sociability, that seeps into existing institutions and tends to dissolve and create networks and alternative forms.

Anti-poster of Che Guevara with the phrase "A guerrilla is killed in order to hang it on the wall." 1969. Jacoby

done this type of intervention to create platforms to think together, connect and act outside the institutions. Artistic practice is collective and contingent, anyone can fill the temporary location and distance themselves from it: the figure of the artist is utopian, egalitarian and uncertain. Roberto's work poses the problem from the beginning in the '60s (us-the artists-dematerialized) and renewed until the present (in the intervention group and policy proposed in the Sao Paulo Biennial, 2010).

We are facing a long-term activity defined by the transformation and metamorphosis of art in these fifty years of Jacoby was not a precursor but an artist that illuminates previously secret practices will hear time after an extended and shall immediate understanding. His work has the dual temporality of irony, the meaning is not understood at the time but after an uncertain period the laughter finally illuminates the darkness. The art collection is deferred, the future effect, Jacoby is the ironic artist, who lives as if evil would combine tenses, jarringly, untimely, is untimely.

2. WAYS TO MAKE

Jacoby In what sense can be considered an artist ironic? In line with proposals such as Marcel Duchamp, William Burroughs and Macedonio Fernández, Jacoby thinks more about the artistic act, the action of creating, in the work as finished product. It is in this gesture as I read the imprint of dematerialization in his work: the artistic action is more important than the result Likewise, the invention is not directed toward the object in the full sense but the object is a starting point for building an experience. That to me is the importance of the concept of dematerialization Masotta resumption of the Lissitsky and Jacoby and his team put into practice.

In that sense, his league dematerialisation to everyday technological advances rather than mass media. Technological development is a tool that Jacoby used to produce conceptual effect. Lissitsky say, before one to send a letter using paper, buy an envelope, sat down to write, went to the mail, etcetera. The same message is now sent in a intangible, almost abstract. It is the use of new technologies that go beyond what we traditionally call "media" and Roberto envisioned decades ago, his interest in the formation of connections in real time before the web, the artistic uses of the recorder, the teletype, typing, stencils, the mimeograph, the old copiers, faxes, answering telephone, television, video, infrared vision. It was, in all cases, construction of networks of exchange and circulation of works that were directed specifically to a known community. The artist, in principle, works for a network of friends.

Seen in perspective, it seems that their projects had been awaiting the arrival of the Internet to operate retrospectively in the manner of "Kafka and his precursors." The current conditions can decipher the multiple meanings of interventions and practices that were once considered a minority and closed. For Jacoby, then and now-it's the creative uses of social technology available at all times. Dematerialization accompanies the technical development: the increasingly lightest of messages and transforms them into conceptual means. This is not the dissolution of the object or change context of artistic perception, but the abstract work of reproduction, the number, speed and the ways that technology makes available to society. The technical tools-of print, radio, television, digital network, are the true ready made contemporary art. The current artist is like the Doctor Mabuse, is a cyber illusionist, politicized and mutant, which identifies ways of doing things.

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with Umberto Eco that impacted 1969.

In his essay "The Philosophy of Composition," Poe establishes a highly productive literary tradition: it explains how is a poem for others to make a poem. So did by inventing the detective story and an unforgettable and daring thinker Auguste Dupin. Poe defined the necessary elements to create an intrigue (the criminal, the detective, the victim, the story told in reverse chronological order, etc.) and from that developed conceptually one of the most popular genres of modern fiction . The artist is a creator of forms. In that tradition is recognized Baudelaire, Mallarmé, Raymond Roussel, Borges, the Oulipo group. Similarly, the experience of Jacoby is an artist that builds not only works, but ways of doing work. Art is a potential open, available, a magnetic field of programmatic projects that anyone can activate. Jacoby, as we know, make up styles, procedures, creative concepts, uses them and leaves them to find new ways and new relationships. Constant renewal, permanent revolution, is part of his artistic and political work against the inertia, the repetition, the aesthetics of the bureaucracy always the same. Therefore, their frequent changes in registration (writing, images, research, theory, music, theater, performances, installations): the renewal of languages \u200b\u200bis one of his trademarks as an artist.

Art, Stendhal said, is imminent happiness is always to come, we must be alert, to experiment, go to see, reach utopia. Ways of making art have to do, rather than artistic strategies "pure" - life forms that aspire to happiness. That is the central feature of the poetics of Jacoby. There is nothing specific on the specifics of art, but the attitude, attentive and available, the artist to the good life. So the many ways to do tend to blur the boundaries between life and art: to change the language need to change the way we live. Yet imagine art forms of life to which reality is not ready. Working with effort, with still is, around two major reasons are reiterated in the work of Jacoby: revolution and sexuality. The micro-pilot, technology, friendship, fugitive networks, local alternatives, are places of artistic and political experimentation. Art is a stateless society, the reality of everyday life. Jacoby reminds me of the experience of utopian anarchists who decided to make its proposal for a new society in his personal life. These ways of life possible, which included other sexual habits, other care of the body, the absence of money, the socialization of personal property, identity transformations, clothing, food, afterlife were programs that made this, sought to change the feelings, conceptions and perceptions of reality. That desire for a new life is the condition for Jacoby's artistic practice.

As

catalog shows that opened on 25 February at the Museo Nacional Centro de Arte Reina Sofia (Madrid) and will run until May 30 this year, will present the book "The desire is born of the landslide. Roberto Jacoby, writings, actions, concepts (Buenos Aires / Barcelona, \u200b\u200b2011), which holds its first projects, statements, songs, conversations and other texts by the artist and sociologist. The book is the result of years of research of the conceptual network of the South and is published under the imprint of Editions La Central, Adriana Hidalgo Editora National Museum Reina Sofia Art Center, edited by Ana Longoni care.

3. A Cicero PAMPAS

My relationship with Robert is in some sense, generational: forking paths and meet again. We started together as it were and still are starting. I think this will start again, the illusion of doing something different and not always repeated, is a mark of those years.

We met at a party at the home of a friend, Gioia Fiorentino circa 1963 or 64. They started talking and since then have been very attentive to what he does. It is one of the most generous and creative culture in Argentina, perhaps the most creative I know. Is a constant generator of ideas, yet everything that happens in the politics and cultural life. He always had a very accurate eye for identifying emerging trends, to draw attention to artistic or political issues with great skill. As a sort of cicerone, and Cicero-cultural world, Roberto is the one who knows see who calls and makes possible, that defines power and style.

always remember that we went together to see Umberto Eco, that was passing through Buenos Aires, invited by the Instituto Di Tella, and bring you the magazine on that Roberto was doing at that time (1969). We are at a bar in Florida and Eco-street at that time as a theorist of Group 63 was one of the leaders of the European vanguard, was surprised by a magazine which first had to be broken to access an unexpected combination of multiple materials : comic books, pamphlets, slogans, statements, theses, life stories, drawings, diagrams. There was no fixed order and removing these leaves Eco photocopied would not understand at all what I was seeing and, in any case, but their categories would allow Argentina figure that fight art, politics, popular culture and propaganda.

When we returned that afternoon to walk down the street and Corrientes had once again convinced that Jacoby was one step ahead of the latest actions of contemporary art. Advanced position, its unclassified position has left alone many times but always held there, with ethics ironic artist who can turn invisible to persist. That's one of the great lessons of his work. So I think that the exhibition which opens on these days in the Reina Sofia Museum in Madrid is an event that will reconstruct the extraordinary career of an artist that is now finally together much (Which probably no longer upset him.)

---

Cover image: I am not a clown in the gallery Beauty & Happiness. 2001 Photo: Paul Mehanna

(*) TEXT PUBLISHED IN CHARGE OF DAILY radar-page 12 -, 2011 .- Sunday 20 febreo

Why Does My Body Hurt When I Drink Alcohol

Tribute to Leonidas Lamborghini

The power of LEONIDAS

parody LAMBORGHINI


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I have prepared a short introduction, and then I will read some texts of the cycle The applicant unseated by way of illustration, because I think it quite fits the issue before us 1.

Politics and History, or, if one country's political history lived as a constant pressure on the writing, embodied here as a destination, as fatum against which we struggle. Poetry, story, verse narrative irregular broken and panting continuous as a symptom of that over-exertion in which the voice emerges from a state of suffocation.

Violence against violence, transgression, trespass. Characteristics that mark the Applicant misplaced stage (1955-1970), which also appear in Partitas, where the poem "Eva Peron in the fire", or rewriting, where the models break pressure and reaches the dismantling and changing of texts. Are repeated, albeit with a greater exacerbation in the mate Stanislas (1979-1985), written during the years of process in exile in Mexico. No longer confined to score at Ulysses (1989-1991), one of their voices, that of Kalaf, El Salvador.

And lately hendecasyllable eddies in the Comedieta conceptual poetry, an unpublished book written in 1994 while awaiting publication. There is a short novel that was published in 1994, a love like few others, where in the monologue ovejerito in the end, it becomes a "picture of the situation."
Strictly speaking, the closer or more distant, politics and political history have always been doing that pressure on my job.

Another ending to give the same appearance to the whole parody is how tragic it is expressed. Laughter is connected to the horror, the misery sung and told from the tone of language fun, parody announcing the tragedy (as Nietzsche saw it), or the story as a tragedy that is repeated does a parody (as Marx).

between these two terms, I think, defines our reality history and politics as they learned to understand and express the gaucho: Hidalgo, Ascasubi, Del Campo, Hernández. The Gaucho as a caricature of the model, the cartoon as the truth of the model. That Sarmiento orate face and gesture disguised as a quarterback that illustrates the poster announcing this series of conferences.

Our historical-political reality is of that nature. Understood the tragedy that entails, and in the process of expressing it, the tears, the whining, do not have in my opinion as effectively as they assimilate the attitude of this distortion, assume and return times. A antiépica epic with an anti-hero as hero. The clowns countrymen Hidalgo Ascasubi, Del Campo, and this clown ripped that summarizes them all: Martín Fierro.

is, in short, a cunning art, as the reality against which to measure and react. Crafty art so you have to sarcastic, ironic. So you have to go unless, apparently, when what is proposed is to take the word of pueblero, or rather remove it to locate, in triumph, to the word of the outcast, the oppressed, in the center of the large shed .
"I am not letrao singer," says Fierro.

But the needy, as we say now, this "speechless", will remain with the word of great poetry. This power, the power of the poetic word.
I tried to explain the aesthetic that fits my work, especially in regard to the milestones outlined above, exploration of new possibilities of the comic and dramatic poetry, characters against a lyricism that became outdated by history or politics and that in any case, adopted a tone of social poetry begging. The comic as a limit from which to express the tragic. The comic as truly tragic our situation, a kind of hopeless laughter. Tragically, as seen from the comic. The meeting with the parody. Parody as really serious. Burlesque relationship with the model. Crisis on all models.

Here I make some notes: When I speak I speak of the travesty of the mixture, taste the mixture, taste for disguise, by shadowing. Macedonian remember [Fernandez], when asked what he liked poets used to say: "Mallarmé ... Estanislao Del Campo ...».

I insist on an idea that has recently come to provide support for testing new inroads into this that I call comedy is tragedy. When I tell you the truth the model is its own caricature, I return to Barthes' idea when he says that the model, the archetype, is there installed, happily, happily and parody is related to that model and any model in term of derision, mockery.

Then this alleged perfection of the model breaks down and shows that cartoon, it really is. A model (political, social, the one you like) may be being offered as a panacea to the parodist appears and shows, for example, that the truth of the caricature model is a tragic, bloody. This is genocide, for example.

Then what Nietzsche says, "begins the parody, the tragedy begins," it says in The Gay Science, in the last pages. Start parody, tragedy begins ... And Marx that says "History as tragedy, then repeats as a parody." Are the two men that have given rise to the parody that the face of tragedy. They have replaced comedy and parody, and have seen that the interrelation between these two. And he gave that imponancia and place, which is not that give the required dictionaries or literary. The lesser of a genre that makes fun of a work dedicated.

Now. All contemporary art is tinged with parody. It's parody. The theater of the absurd. Film. What to watch on television. And if we took the pejorative and we see in terms of that parody is a relationship, we wonder:
"relation with what?. Y.. with the model, "But what relationship?

Y. .. contrast and similarity.

In reality, that means it is burlesque because it is opposed to the model. Which would need to understand better is the song parody as parallel, as resemblance to the model. That is not equality. It's likeness. As the relationship of parent to child. It's parody: there are elements of similarity and difference elements.

I have used in this cycle parody, as we said, to expose the model from laughter.

And rather than mourn in front of him, or complain, reírlo. Critical that laugh, right?

The cycle includes legs at the source, The Statue of Liberty and The ten scenes of patient 2. The legs at the source, speaking of similarity and contrast with a model, try to relate (at that time we were in '66, full Peronist resistance) for this model is the Martin Fierro. The similarity was that there was a marginal mass appearing in the song of Fierro, "El gaucho", later "The Mob" for Irigoyen and "Black Head" in Peronism. There was similarity: mass proscribed, gaucho outlaw, outlaw in the campaign to outlaw this character Applicant dislodged in the city. So I I worked under a system of "urban Gaucho (baptized him and at that time). And I cared not even make a kind of minstrel song, a counterpoint between the Applicant and the Saboteur Sorry misplaced. As we say among Fierro and Cruz. With a counterpoint when, where, if you do not enter the other's voice, can not continue the poem.

You will remember that when Martin Fierro in the first half finished saying his is a man who is not going anywhere. Lost property, lost clothing, not going anywhere. Just then comes the voice of Cruz says: "great friend pa 'men are born to suffer." That is: what motivates them, you expose your experience related, makes him see you are not alone and then when the voice comes Fierro, Fierro is a game that goes anywhere. Take the initiative to say 'we Indians'. But it works from the structure itself, from the same counterpoint. If at that time comes the voice of Cruz, we have a collapsed Fierro.

Here too there is a point at which the speech from the dislodgment misplaced and Saboteur Sorry replied like a man who has been there. Like you're in hell and another in a kind of purgatory.

misplaced Applicant says, "I pause a moment veriguación background." This "I stop for a moment ', speaking of a relationship you look for similarities and differences, is the" Here I sing. " Ie in the 'Here I get to sing "there is an arrest of a character who is a homeless, an outlaw. Of course, if not stopped, if he sings, no poem.


I stop for a moment a criminal background check


try to fix very important state issues;
my poetic vein
pose Whisper contract, combination
and auction. Instead


you do not have their own voice or virtue

said
and write only I wanted
tell a lie lie to purify


The track is surrounded
of all species of all orders and classes


public especially in the first row are the relegated
. Whenever a ruler


some illustrious warrior, a vantage official


kicks off then I come
entering the ring. Sit



no one should miss a show I open my laughter black

a continuing role.

And the paunch
making mine in the country

eyed is king.


Suddenly we are in the circus, we the clown that jumps the track and start doing some tricks. The first part is the disappointment of the fall of Peronism. And here you're going to note: People

lustful greedy lazy curves
because we are good economic

a new awareness I ask
up.

And if things get
decentralize:
-Ready, let's settle
governability is speaking;

support my ear in the worker concentrated:
vibrates. Then recognize


reached to distinguish between 200,000
my good schoolteacher

had a poster with signs
blue gold.

- What kind child was you?
-a, e, i, o, u
intelligent and warm hearts
sacrilege
before she told me my best disciple
-La land to the tiller tilts

"The revolution never stops. She

. Lift
excited
the top of my brain

defoliating
fails meets meets meets meets no
not meet

"Your soul has a delicate crystal neck

-lean-
its stainless steel base is



The defeat, the fall, the disappointment. Frondizi falls:

And before interest succumb
economic thinking
reached
petró1eo babbling, industry, agriculture, livestock
.


Sin is breaking

base
close the last quotation.


still a part of walking, the outlaw, of wandering, lost in a city, shocked by their subjects. The moonlighting


increasingly more
itches
sell catfish
shakespeares used a heartless Moro

discover inscriptions
nonrepresentational
in altamira latrines.

Just this time for anything
By Step
lunch with salads

floor of the Garden of Olives.

"Not everyone
not all are" my poor

species are non-anthologized



In the old trams and in general all public transport


work is to run down below.

When a sunburn:
on the crest of a wave
bright image of my sister gets up


-Mar-mail me splendid.

My schedule is just for
that the hours passed and no

become more public health and not have it fixed
occupation.

"Our mother is happy

our brother, our father continues to grow
only awaits your arrival.

Taking advantage of my free time opportunities or losses
my
but looking for a more
soon exhaust the last
last breath. Crack crack crack


float passes the corrupted football

Where is the great Martino?

neighborhood back one day to the simple structure


cheap little houses and the Villa Park. How

pianta life years
how grumble
how death comes so quiet
.

And the Great Whore
fled to Paris in search of his love
I followed with
imagination-without love can not be well-

Caressing my soul in my solitude in my solitude

can not comfort if they saw my catrera
. Sign



Sorry Saboteur's voice and remembers when he took a job as manager of the factory. Coyo and now is nothing. Is pending. Their experience in the factory and ends:

in my face is etched
resignation accepted both vile
ostracism

later I work is health, is dignified

factor and the other is the crime
damn poetry

I was the right arm now I'm nothing

This guitar falls
and dunk my soul

hopes his latest note.


And here it comes, also in terms of similarity, how soon does the counterpoint. The Saboteur is expected as a purgatory. He says: "This guitar falls and / dunk my soul / her last note / Sleep. Just
there comes the voice of the Applicant weird.


Telegram-response 'Show up tomorrow

sandals without any commitment,
clean of dust and straw. "


There is one final weapon in two voices: "The Divine

Button Integral Success Overcoming Oh

horns of the wicked to hear this jerem


protected land grant us sleep perfectly
fart blossom

where the Ecstasy


Petitioner and public Saboteur
say goodbye
1, 2, 3
exploiting
do re mi fa sol the
yes!

launching the factory.




This is the first poem of the cycle of misplaced Applicant 2. And, as you see, the title gets it. Because "Applicants" we all are. The nature of man is solicitor. For each prayer, others through political activism. And it ends requesting at the last part of the world. Start applying for a job that does not have and ends up seeking power. Let's put it simply.
This is the great drama, right? So this applicant, misplaced as I say, start, apparently asking for a job that has been lost (though it does not say "free," says "misplaced") and we will see, in the course of the poem, what makes you feel bad is not have the power to reverse the situation. And unfortunately we are still in it. We have no power. Is that why, rereading for the whole cycle myself, I say that is still present. Ie remains.
At least in front of me. I can still talk with him. I is not old, decrepit. Meeting parties that I identify with, and through him I also see that many people can identify.



1 This text is part of the presentation of Leonidas Lamborghini in the Meeting "The Politics and History in fiction Argentina" organized by the Universidad Nacional de Litoral in 1994. The full transcriptions of the meeting was published under the title The Politics and History in fiction Argentina by the Center for Coastal University Publications.
Publications Centre © 1995 Universidad del Litoral, Santa Fe, Argentina.
misplaced
2 The Applicant (1971) meet at a single poem, the source Legs (1966), The Statue Freedom (1968) and Ten scenes of the patient (1970)





PART I OF "THE APPLICANT misplaced"
(full version)





Leonidas Lamborghini] [Literature Argentina]

Does My Friend Have A Brazilian

Schlusnus and simplicity of truth

Now retired from the scene and also about to conclude his career liederista , Heinrich Schlusnus recorded a recital of songs by Strauss and Mahler, which included a rarity then, the series "The errant comrade." Rarity from the point of view of the singer himself, that bohemian author had previously recorded only two examples of the series "Das Knaben Wunderhorn." Registration is a kind of art will not only Schlusnus baritone, but a way of interpreting the genre and even the culture of an era. Shortly after Dietrich Fischer-Dieskau , his successor as prime Lieder singer in Germany, recorded the cycle under the direction of Furtwängler. Multifaceted performer and analytical, able to produce with her voice an almost infinite range of colors and intensities, his is a version just as essential but which has been lost forever ineffable art expressive simplicity wars. Just listen to the verse that opens the first Lied to realize that everything in the song Schlusnus is subordinate to tighten up the resources, perfect diction, legato immaculate, small and continuous air modulations softening, color or fade the stamp with the naturalness of who recites. The ability to incorporate light and dark hiding mechanism was always one of the features of his art. The voice remains miraculously clear and light, even youthful, and transmits pure nostalgia of the past. The perfection of support, legato and union between the painful records testify intervals that characterize the melody ("hab ich"), tightly attached to the descent resigned semitones below. By referring a second time to the "dark room" the tone is dark ("Dunkles Kämmerlein") and reveals the depth of despair which dominates the cycle. Schlusnus has another merit: the tone is always popular, plain and direct, at all times so requested. Something that singers do not always get this refinement. So in the middle section, where the bell acquired also an ethereal sound. It is worth addressing the enforcement of many dual regulatory signs required (\u0026lt;>): in particular, two written in the last sentence ("An mein Leiden"). Song on her lips that always maintains the tone and sound binding. A teacher.

Lied In the second may be perceived lack of Mahler strong culture to adapt to changing unhealthy humor about the former. Time is default and does not highlight the vibrant Schlusnus Part trot or changes the color to highlight the mocking talk of finch. At this point Fischer-Dieskau is more circumspect. At least until the ascending phrase "Wird's nicht eine schöne Welt" and successive, they must imitate the song of the bird and Sch. Resolves with sudden energy and absolute clarity. What is beyond doubt is the hallucinatory tone, almost in a trance in the slow section ("Und da fing im Sonnenschein") where the issue head allows you to get a sound almost unreal. Anthology also the childlike innocence that marks the close ("Nein, nein, das ich mein ', Nimmer blühen kann mir!").

In "Ich hab ' glühend ein Messer "is reaching one of the highest levels of the discography of this rough and frantic Lied. No other singer exhibits similar accent and diction of nerve and bite in the first sentences. The control of breath and yet expressive sobriety do not give one iota. With respect to a Fischer-Dieskau, Schlusnus also has the advantage of issuance Squillante. For a singer of his age, thirty-five year career and experienced two world wars, this form of singing is an artistic symbol unfading. The tension never absent even when it begins in a tone collected, masterfully increases in the middle to exploit in the return to the main idea. Also culminates with a timbradísimo page Solbes (optional) and then reaches the depths of despair with a small rallentando ("Ich wollt 'ich lag auf der schwarzen Bahr). The only small but it comes with the logical weakness in closing down the sib.

's hard to hear better sense of resignation that Schlusnus expressing the beginning of "Die zwei blauen Augen von meinem Schatz." Again collecting expressive restraint can only emerge from the deepest sincerity. Worth paying attention to the way in which carves "Da ich musste Abschied nehmen vom allerliebsten Platz! ", reinforcing the sound from" nehmen "and maintaining a beautiful pp in a particularly high (almost tenor) with incomparable smoothness. Espressivo Mahler indicates in the following sentence: you can not imagine a greater emotion, referring to the eyes of the beloved (even receives a small tremor) or deeper desolation that "warum." After a stern middle section, the last starts with a calm tone purified to the final solution, where the singer touches the border of the fortunate effect whisper (cleverly disguising the new down to the serious).
accompaniment is
somewhat dour, but provides the necessary frank and strong colors. Subtract the greatness of the song. Song that makes the willful interpretation of Quasthoff commented a few weeks ago it frustrating that other baritones and current (or Gerhaher Goerne) seem half singers, mere imitators of Dieskau. A version that supposedly has not been released on CD and we can enjoy thanks to a YouTube user. And remember this anniversary of the death of Mahler, which was perhaps used as an excuse to also discuss other historical records of the earliest advocates of the work disk.

Link to Playlist of the cycle. Open bar

opinions, m? Music and what I can think of, that this is my blog.

Milena Velba On Megauppload

Great Singers of the Past: Treasures

"Quel ragazzo my fa paura." (Titta Ruffo)

life and career:

Born in 1884 in Malamocco (Venice) went through several master classes before arriving at the Academy of Santa Cecilia. Galeffi however claimed to have been an autodidact, "Of course I studied a lot. But no one really taught me. Most of my musical background dates back to the primary school. At twenty I began my vocal studies. My method was simple: I started as an extra in a theater. An extra! Level had no choir. But listen carefully to the singers. Trying to imitate his way to deliver the sound. I copied their ways of breathing and when I thought I had learned enough about those who considered the requirements of the song, I started learning roles. There was a problem that could not play the piano to accompany me. I worked in a bar pianist Roman - a hard place indeed. When I had mastered several characters I found the courage to audition. Since then I've never looked back. "He came singing debut "The Favorite" in Fermo in 1907. It happened "Thaïs", "Un ballo in maschera" and "Aida." In 1909 he first sang Rigoletto at the San Carlo. No whites frequented scenarios, which hurt his recording career, but became the principal baritone at La Scala since the period of Arturo Toscanini. Between 1912 (Posa) and 1940 (Scarpia) sang thirty-two hundred papers and more functions in the temple of Milan. No other singer of the first rank has reached such figures. His favorite author was, of course Verdi, who also played roles rare then as Simon and Miller, but did not end there. With more than sixty characters, their repertoire Belcanto excluded only (except Figaro) and came to Wagner (Amfortas and Telramund) and even Boris Godunov. Premiered several verismo opera ("Parisian", "L'Amore dei Tre Re" and "Isabeau") and enjoyed the admiration of Puccini. Her career wilted in the forties, but kept its main operations to an advanced age. Eccentric, shy and introverted, retiring in 1955 disappeared from public life. He taught at the Ankara Conservatory in 1959. It was one of more than many singers of the era who spent their last days forgotten and in poverty.

The voice, the singer:

Although he considered the successor of Titta Ruffo, Carlo Galeffi completely escaped the current created by his predecessor and was influenced by the then dominated the development of another rope, tenor. A Galeffi in fact called the "Caruso of baritones." His timbre, of a "morbidezza" and a unique warmth, shared with the tenor of the suggestive tone sentimental Neapolitan, the famous and imitadísima "tear." An instrument of all, not only the light color, but the warmth and sweetness, spoke of a character tenor. It was also a voice that differed from the old school (Stracciari, Ancona) for his uncanny naturalness. Surely this was one of those voices and innately masked. These qualities were projected essentially lyrical yet heroic scale "and through a pantograph (Eugenio Gara). In the beginning, the volume and squillo voice did write to Lauri-Volpi: "It was impossible to hear a more rounded and expansive voice, stretched across the room as if it were composed of infinite vibrations as a fan invaded the atmosphere to fully occupy it. " Handsome and athletic physique was also the spitting image of the nineteenth century chivalric baritone. In its first twenty years of his media career lavished Galeffi idly: the third decade had to be dosed but critics agreed more smooth vocal praise. In their records shows the extent epic "cavata" ease in all registers (including the serious solid) and biting and vigorous diction that distinguish the Verdi baritone. Technically, there seemed to be the passage in its issuance and the perfect air support allowed a immaculate legato singing in a low voice without fear of high tessitura. May not possess the dynamic range of more subtle Stracciari and Amato, but the softness of the ring was equally evocative and effective. Staff vibrato, which was enhanced and did not like in the MET. Despite all the nuances that capture the old stopped recording media, remains one of the most captivating baritone voice of history. One of those chosen in which the tension between ideal and reality does not exist. As a performer Galeffi

was true to his vocal characteristics and its greatest strength lay in the rope and elegiac pathos. According to the critic Eugenio Gara, was almost completely alien to the "evil" baritone typical of the time and always raised the sympathy of the listener even in the most terrible or playing villains or Tonio Rance. Nothing, then, sullen tones and expression grim and gruesome of the followers of Ruffo. If you fall somewhere in common was the use of a somewhat plaintive tone, a deliberate accentuation of the "tear", which ruled in the thirties while the dynamic range is restricted slightly. The parallel with Caruso is evident. Despite his penchant for lyrical expression to Galeffi did not lack means or force to tragic characters. Halfway between the classical solemnity and the new realism expressive violence, imposed the nerve incisive phrasing and articulation. In the theater the transcendent squillo completed more explosive situations, which in the case of Rigoletto ("Yes, tremendous vendetta") left an indelible mark on the audience of La Scala.

Among the solo recordings include Nabucco, where the pathos of stress, the smoothness of the issue and the extent of legato just unparalleled. The Galeffi Nabucco has nothing to do with violence leonina Ruffo ("Tremin gli'insani") or the majestic priest Stracciari. In "Chi il regional Toglia scettro my" tone is that of a homeless man who turns to his daughter with tenderness. The great aria "Dio di Giuda" is a landmark achievement by the sweetness of mezzavoce (almost the entire piece) and a pathetic expression that will search in vain later interpreters. Two of the most beautiful records, exciting and authentic history of the disc. The same ability to communicate a state of spiritual shock is heard in the pages of Rigoletto, but this time colored by a wildly theatrical sarcasm "Pari siamo". Despite being great, his "tirade" is craving a little lower than the historical or Stracciari Danise (apart from the small problem at the beginning of cantabile). Although such action is somewhat conventional, surprised by the dark tones in the "Credo", remote first page of its coordinates as a singer. However, incisive diction and sobriety of tone are effective. In the distance was attenuated Galeffi interpreter allyl (Stracciari, Ancona, Battistini) of S. XIX: the Renato ("Eri tu") preserves the nobility but is expressed with touching sincerity of a man of flesh and bone. The highest smoothness of the voice ("O dolcezza Perdute") completes the miracle. Figaro was one of his most famous roles: in this recording of "Largo al factotum" the issue seems free from the servitude of the subject.





Previous records date from 1914: there are four disks Edison previous very rare. Of vocal longevity Galeffi after more than twenty year career testify electric logs, which included most notably "O Sommo Carlo." It includes two separate solos intact records of "Pagliacci" and "Andrea Chenier"

Giuseppe Verdi - Great Opera Singers / Baritone Arias / 1926 - 1930 Open Bar

opinions, m? Music and what I can think of, that this is my blog.

Font Wedding Order Of Service

GUAPOY FRIENDS ASSOCIATION CIVIL. Registration (legal status) n ° 35972: The honey-Guarani culture

CIVIL PARTNERSHIP GUAPOY FRIENDS. Registration (legal status) n ° 35972: The honey-Guarani culture

mbya

Brazilian Female Soccer Team

mbya GARABI DAM: sin between two chairs? DESIRE-poem

DILM ATTACKS, CRISTINA BITING THE APPLE


--- The viable terms of trade that allowed by Brazil Mercosur and Argentina, two disparate regional economies, (one among the eight best in the world, the other growing NEWBORN) seems to be smiling about a great encounter not only gender: Dilma and Cristina but alone, they embrace next January 31 , as before Lula Nestor. Some cardinal sin, as we know, we are united.

Folder to signing agreements is sound: digital TV, roads and investment in mining and third (underlined) the dam SUSPENDED Garabi between Rio Grande Do Sud and Garruchos-Panambi. Although not yet studied areas affected, the urgency is that St. Paul with his twenty million people suffer power cuts.

cheap energy is announced: savings Of course it could be worse than an oil spill will affect nearly 100 km of river cause, beyond San Javier, Misiones. The Uruguay River, that of rafts without fuel, pure water rowing, the sliding of its forest green will be the big hurt surubies.

This monster water stress was put on hold after the loss to Argentina meant the Binational Entity Yaciretá , corruption and debt, but above all the social disaster on the Parana River that now carries a large artificial lake. This risk

know very well the missionaries who lost not only its climate, natural water resources, but part of a territory. Little of Paraná is "sustainable" for orilleros. The microclimate change to the point of marginalization of its inhabitants. Thus, the word "relocated" means new excluded: migrants from poor neighborhoods new Yaciretá flooded land near Posadas.

correntinos They know also that always expect the government to proceed with justice, although they seem suspicious. They dream of a foreign investment to enable them to better living, or sleeping, plus so many real tempted. (3)

In Misiones, would be a "referendum" election, after protests and petitions as "NOT A GARABI! "poster that reads in the whole province with some agony. The red land Garabi know that will change the cause of the Alto Rio Uruguay, not only with its rolling coastal hills that tourists consume as Moconá jumps, but the actual weather that causes tornadoes like Tobuna, never happened before. Little

tell the true agreement between the two presidents. Do you expect the apple to rot?

Even before this demand for energy, Dilma facing the thousand dead in Rio by climate change, and also met with petitions as "MONTE BELO PARE: NÃO À USINA MEGA NA AMAZON" (1) to avoid building a similar Zanjon the Panama Canal on Amazon that touches the lung and leave global climate thousands Aboriginal without their habitat, that is lifeless. Cristina in our Arab countries agree on oil. Environmental organizations prepare an appeal to forestry advice of an engineer, just beginning the struggle (2)

Under the crutch of "sustainable economy" is sailing the master signifier that organizes the field of meanings, ie the value of social exchanges in the neoliberal era, but in the meantime made nature ignites culture (**).

Is there life in the river after Garabi? It's not too late to attend, without nostalgia but with struggles, the ultimate meaning of "Uruguay", poem by The Mensú Ruben Ayala: "... and there in San Javier volver a vivir ".-


ENRIQUE ACUNA.

19 enero 2011 .-


(1 )-Belo Monte would be bigger than the Panama Canal, flooding at least 400,000 hectares of forest by expelling 40,000 indigenous and local populations and destroying valuable habitat for many species - all to create energy that could be easily generated with greater investments in energy efficiency.

The pressure on President Dilma is increasing: the President of IBAMA ended resigning, refusing to issue the environmental permit for Belo Monte and exposing the political pressure to bring this project devastating ahead. Experts, indigenous leaders and civil society agree that Belo Monte is an environmental disaster in the heart of the Amazon.

The works will start soon. We will increase the pressure to stop Dilma Belo Monte! Sign the petition before the bulldozers get to work - it will be delivered in Brasilia.
http://www.avaaz.org/

(2)-http: / / www.primeraedicionweb.com.ar/nota/digital/29082/garabi-analizan-amparo-por-avances-de-proyecto . html

(3) - Es el cuasi whimsy optimism un medio correntino frente al "interés" del vecino giant "It raised the need for further energy integration of the two countries and advance the construction of the dam Garabí, which will generate about 2,900 megawatts, on the Uruguay River, between the provinces of Corrientes and the State of Rio Grande do Sul Garabí The original, dating from the 80 provided for a plant with a capacity to generate 1,800 megawatts but was extended in the interests of Brazil. "

(*) see blog GARABI YES OR NO.
http://represagarabisiono.blogspot.com/2009/11/integrantes-de-abaru-y-asociaciones-de.html

(**)- A position against which analyzes the economic criteria, exploitation and conservation, and the political decision to natural resources is in the article by F. Quetglas posted on this blog:

http://la-chicharraviajera.blogspot.com/2007/06/recursos-y-razones.html

Mr. Eric Statements Alfredo
Barney Abrazián (AA): We will meet 37 years from the commencement of works Yacyretá. Will end with the visit of the President. In parallel we are talking about the start of two monstrous works, not as large as Yacyretá but q can be placed in one sector or another, those who want to build and those who do not want: Garabí and Corpus.


Alejandro Barrionuevo (AB): Over the next few days, the mayors of the south end of missions and the far north of Corrientes will travel to Buenos Ayres to meet Cristina Kirchner, maybe not going to be really promoted this trip but what they will agree is prima facie Garabí closing, this has already been agreed between the two countries. There is talk of a power station with two locks and that the work would begin in parallel with the completion of additional works Yacyretá. And this division in society and was installed in Garabí, Concepción de la Sierra, entire area will be affected.


AA: You're right to be this division? Some believe this will benefit you and others who do not benefit them, others that the benefit is for the future. Others believe that the benefit will be a very long term.

AB: In this province, the problem is not that we have no energy, is that networks are obsolete 30 or 40 years and has more energy than continue having these problems.

AA: Garabí Garabí yes or no?

AB: In other words ignore the economic benefit that is worth the environmental damage and future generations?

AA: Let's check to Mr. Eric Barney. I have called because you know much about it and these by Garabí No.

Eric Barney (EB): Sure, we long ago by no ... the imposition of things that people were not consulted. Here things continue as usual ... with a fait accompli and can not go back and you wonder why and people? Although Barrios Cacho not understand how people can say that has no influence over their resources, when there was a referendum on Corpus that was made years ago with the same laws we have now.

AA: Do you think you can actually damage Garabí more or less than Corpus or more or less than Yacyretá?

EB: q It is more or less ... what happens is that q Dams Association in this area requires that the subject of all the consequences bicherios and not to do so. Then you say it is possible that despite all the consequences that we see and still not reach the schistosomiasis which is the worst of all bugs that are still in Falls and is falling slowly to our area when all these things come just the people will realize and will be late because the people have not been consulted, he reports that the University is not released because they are totally negative about the environment. Nor is that the environment is studied and we can do the work without asking, without asking. The issue of who owns resources, even if he is an international river, Art 41 states that supports and has to be consulted the affected people. The Constitution required the province, and here one refers to nothing. Hydraulic mining resources then all you have is the people not the government, not the president, Lula is not, is the missionary people, and people q missionary has to be consulted. Then we are in business as usual. Closs says we're like not even talk about Garabí this year because he knows that there are currently more than 70% for the no. Then one wonders why they spend so much dough in studies while still not know what the people want.

AA: You say that you okay to make a referendum?

EB: Not that I feel good ... the action is of the people and when there is a problem, people must be consulted, then here you first have to spend twine for actual studies and inform the people, and when the people are informed you have to do the popular consultation was done with Corpus at the time.

AB: In April this year will meet 37 years from commencement of work Yacyretá this year end and 15 years of that plebiscite was done in 1996, mainly missionaries said Corpus q not, and if memory serves me correctly to any other dam in the province. What value did you have?

EB: Well, the query people was very important, including Cristina when Paraguay went to speak to Corpus told here there is a plebiscite, there is a law and is binding, she can not pass a law ... and they were all still there quietly and not talk about it anymore Corpus, and if you want to do you think those are the same people Corpus Yacyretá, the same people who deceived us, if you go to Puerto you wonder how we can make are to inaugurate the work and not even down the buildings of the port or you Garupá ... if you look at the bridge, many areas will be no more than half a meter tall ... You wonder these people are going to open something that is not finished.

AB: As to Yacyretá, Eric, cost benefit ... what is left to the missionaries?

EB: Well that's what you have to wonder, because they say the cost of energy more expensive not only here but also in the Corrientes Ituzaingó ... have to buy power to the national center, they have cheap energy, including the island that was just connected it, how many years ago who are waiting ... and this energy is missing in Misiones, no power needed, what is lacking is infrastructure lines and transformer stations for a sawmill in San Pedro has the energy we have us and by processors who have installed Posadas by EMSA.

AB: You offer a micro-generating system in streams and waterfalls, there are many in missions and the exploitation of biomass, ie the material remains of the forest to convert them through a steam boiler and that in electricity, no?

EB: Sure, we've advised Closs in this sense, that first of all, there is an energy crisis right now, because I got the transformers that we receive almost 600 MW of the nation's dam-Urugua í ... what we should do is start small micro power ... not because the micro only solve a problem for a house family or a group of families, but the mini turbines that are as Arroyo del Medio, Oberá, Piray Guazú, Mini Piray there are plenty of beautiful river that could begin to experiment, make two or three and see the results, the same with power stations, we are not talking about 10, 20 MW of biomass, we are talking about a small plant of 1MW in Oberá or in Eldorado, an area where many mills, and study the behavior while investing money in high-voltage lines and stations transformer for the energy available in Posadas actually reaches our province, 20 or 30 years ago no one gets a handle ...

AA: That would not be We miss the water underlying or Aquifer?

EB: Well, the aquifer is another interesting story, for example, here in Oberá if we could make a hole and get 4 m3 per hour, could provide hot water throughout the city, which is drinking water, not only drinking but hot water with incredible energy savings you in your home, for example, when your daughters are going to go out and are one hour in the shower, I wonder who pays for all that energy, that energy when we have it all down here in the aquifer.

AB: Something like the mayor did was a chantada Oberá ...

EB: The issue of thermal water in Misiones, the only place where he made a hole in the aquifer is here in Oberá.

AA: Excuse me, I think it barely made a hole to do this ... corruption is so great that they will start with I want a concession for mineral water packaging ... I want for this ... always going to take advantage of the private ... never will be for the benefit of the population, may be a sector .. or I think the aquifer does not have to be available to the public, commercially speaking ...

AB: It has to be a social q ...

EB: Sure the aquifer is an incredible contribution that we --- in Brazil Curitiba There are two thousand holes Aquifer, and here in Eldorado are missed in other places we Aquifer drilling but with very small pipes are not more than 80,000 liters per second, meaning that all these things are things that must be established. And if there is an order of a Department of Energy, a Division of Water Resources as Closs are bureaucratic elements as we once said, you think, the Tourism Department is also not a bureaucratic thing? No one denies that Spain and Mexico Tourism lives, if we promote tourism is a very important thing but there are other things that are important, as cheap energy available, useful, imagine if you do small hydro dams on missions and foster domestic development engineers .. lines ... everything is in the province, however our major dams, if you're there in front of the Paraná'll see only the large barges Cargill with Paraguayan soybean, and that is for us ... there is never nothing. Then one is so deluded ... the same people who imposed Yacyretá and we are imposing all these things, what I want there no people like us

And when one asks for the report that the University did not even give because you want it is totally negative.

AA: Now Eric, obviously you stand is against the construction of these large dams, but yes for the construction of small dams that eventually it would not cause environmental damage?

EB: No, because fijate, Arroyo del Medio is a typical case here in Oberá, which can take 6 MW, which could solve the days of major outages, because here we depend on the line 132, in Oberá when light short everything was finished, there is no way to generate Arroyo Middle ... then it would be a solution because this fitted in a barrel does not affect anybody.

AA: Now I say one thing Garabí not going to serve to solve the problem Oberá water, for example?

EB: Of course you can serve, but when they do things like they are bad, and when we bicherío, we do not want any dams in large rivers because they know the consequences and the interests of IRSA, you know what IRSA is not? The IRSA is the mega-projects that need navigation waterways, energy, or lines, roads, paths ... But the missionary people, the people living inside q Missions q is crying out for years screaming her you imagine a development ... Mayor eg May 25 that has 4 or 5 river, the guy can do farming, irrigation, drinking water, tourism, bridge .. but there is no address q ordered ... no money. All these things continue as usual, and all the care that we have ... then you ask the people, the people who live inside when you will play a development when it will be possible for someone to put money for their development. Closs says for that I have no money. Q including royalties are destined for another kind of development put them in asphalt Moconá to pay wages or a destination that is more political, not what was intended.

AA: Well, Mr. Eric Barney thank you very much for speaking with the Impact Show this morning.

Jockstraps For Football

Progress and dogma in Haiti

Let there be no mistake: it will take to the Haitian leaders not to repeat, raising his arms to heaven, I have referred to as Papa Doc said it on the balcony of the presidential palace now half-destroyed "je suis inmateriel", "I'm invisible. " Voodoo culture is at odds with progress.

-Eduard Punset,

in What will stand in Haiti

(Via: Blog of Eduard Punset )

Nightmare Campus 5 Stream

***



CRAVING



Cup Tour, open your eyes, let the tears ...

wine and music is just for today. Hopefully



desert cactus flourish and speak their language,

Even if the plastic balcony no one understands ... Hopefully



child's black eyes are not a museum terracotta soul and live

fireworks. Hopefully



reality is less poor to enrich the few

building and not at the expense of many ...


unpredictable
only hope and know that

Because we are part of their response


architects of a future that is not only
artifice .-

***




EA

31/12/2010

Does La La Wear Hair Weave

Complete list of works and activities of Santiago a Mil 2011 Japanese Fashion

• " THE HAMLET OF RAUL NATIONAL PROGRAM LEADS RUIZ SANTIAGO A MIL "(4) 19/10/2010 SECOND
• " GLOWING WORK IN CHILE SANTIAGO A MIL " 10/20/2010 TIME
• "SANTIAGO A MIL STREET THEATRE BRINGS " 10/20/2010 Metro (1)

See all activities and works.

Local Frequency Guide

Increasingly, young Dominicans are joining a phenomenon that has arisen in the distant Japan. This trend in fashion, customs, music and tastes influenced by transculturation content and opening markets.

products such as video games, animated series (anime), Japanese music and oriental culture are having a great consumption in the Anglo world and European, Latin America and the Dominican Republic in particular are no exception. (Read more .. )

In our country, fans meetings are held where people dress up and act like characters from anime and video games. This type of Cosplay costumes are called and those who use "cosplayer." Sites like J-Fest and Odu.ukos organize these meetings with a large number of fans.

As for the music, the band have Meganime Dominican dedicated to the interpretation of theme songs from anime, classic animated series and video games. With its colorful music has captured the taste of the fans.

A

others made several exhibitions of comics, manga and anime mainly sponsored by the Faculty of Arts at the Universidad Autonoma de Santo Domingo UASD and the Ministry of Culture in collaboration with the groups involved subject. Teaching courses, workshops on various topics related to anime, manga, comic and Eastern culture.

This cultural phenomenon is part of a changing society in a changing world, and how we are open to new experiences.

Written by Juan Jiménez

• Pefile of Megánime on facebook: http://www.facebook.com/meganime
• page J-Fest: http://www.j-fest.net

Invitation For The 35th Birthday

Galeffi Carlo Spotify: "Lieder" with Gary Bertini Mahler

This recording of Mahler's Lieder , which is not in the cycle Gary Bertini Symphony which released Emi, was recorded by the WDR over 1993. Like all Mahler director of the Israeli, is of high interest.

takes a little getting used to the voice of young Quasthoff, characterized by striking changes in timbre between records. While the bottom seems a bit cavernous, central baritone is clear but somewhat guttural, and as soon as it ascends through the passage (note the "Verdorre nicht!" In the first song on the album) the sound is close, it loses vibration and afalseta for lack of shading required. At some point he even has the impression that we are listening to a tenor short (the rise of "Wie mir doch die and lt W gefällt!" in the second). In "Ich hab ein Messer glühend" with its rough expressionistic writing, the upper register is very needed and the perceived open issue is a little squeaky voice for a baritone. The severity of the cycle "Kindertotenlieder" is reflected in the position, which is more comfortable for the singer and allows you to their fullest record, shading and expressive.

These technical problems limited its ability to slightly thin the ring, but still says it takes the text and even their color to accentuate inequalities in changes in tone and humor. In any case it is a unique voice that conveys emotion and interpreter is especially fortunate when it comes to suggesting a mood of introspection and hallucinations (central section "Ich bin ausgegangen in stiller Nacht" from "Die zwei blauen Augen von meinem Schatz") or the disappointment of "Kindertotenlieder." In the first of its way to link them is a little marble, which in some way a part of their issuance. The singer conveys a sincere pathos in "Wen dein Mutterlein" and "Oft Denk 'ich, sie sind nur ausgegangen." For the simplicity of gravity moves from tenderness, probably in "In diesem Wetter, in diesem Braus" where more exciting is his song (hear this whispering how the final "Haus").

The songs from the series "Das Knaben Wunderhorn" Håkan Hagegård offers no personality so recognizably, in part because his voice is more "normal." Ring clear and pleasant but a little haughty, the bass is unobtrusive and some jumping, Revelge "and" Der Tambourg'sell "penalize its upper register. In the humorous sermon San Antonio, although the execution is notable for its delicacy, is a bit serious and repeated some words that the singer would call chiaroscuro not apply. In general, the interpreter captures the popular tone of this series (especially in "The Drummer") putting the robust simplicity of expression word analysis, although much less effective disdains color and intensity variations. Is particularly subtle and evocative lyrical sections of "Der Schildwache Nachtlied" despite any appearance of falsetto at the end.

Accompanying Bertini however, is the great attraction of the record. Sleek and imaginative in how many points are considered. First, above all can sing with the soloist. Thus, at the beginning of "Die zwei blauen Augen von meinem Schatz" in "Da ich musste Abschied ..." or wrapped in dreamy textures baritone overnights in the Song of the sentinel . The magnificent recording to appreciate also the work in the instrumental solos, which can add a touch of pathos or make an ironic commentary to the text. For example, touching the whisper of the clarinet in the last section of Lied above. Bertini not stay in the dissection of rings, a common occurrence in the current conductors, or highlight certain details of the orchestration, but always succeeds in finding the expressive color of each song - something that is much more important. Compare the brief postlude of "Ging heut morgen übers Feld", a comment full of melancholy, with the blackness of the lower strings reflecting the absolute resignation to conclude Lieder eines fahrenden Gesellen . The richness of timbres requiring the music of the "Wunderhorn" by Mahler, as close to folk style of Dvorak, is amply satisfied. For example, in the woods screaming "Revelge", which become sinister in "Der Tambourgesell", including a ghostly bass clarinet. It also highlights the particular Mahler makes use of percussion and metal, perfectly translated by the baton, most sarcastic and insightful than just bulky. Conversely, the first two Lieder of Comrade Errante, they characterized by bright colors, light and upbeat. In cycle more melancholy, the "Kidertotenlieder" Bertini shows found equally at home with the most breath symphonic, but always tried to chamber music on a scale commensurate with its intimate atmosphere (the interrogative interventions string "Nun seh 'ich wohl"). The wood and horn have that color characteristic of Mahler, without leaving the warmth romantic, and introduces a note of ambiguity and instability expressive music announcing the new century. Lyric first and foremost, Bertini lacks a bit of roughness in the first four stanzas of "In diesem Wetter, in diesem Braus" but in the comforting epilogue (horn and string) almost makes you cry. Music that gets to where the words only point.

Gary Bertini - Gustav Mahler: Lieder eines fahrenden Gesellen / Lieder aus "Des Knaben Wunderhorn" / Kindertotenlieder

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