And Birgit was very mad indeed accepting to sing this "killer voice" role at Royal Swedish Opera in 1947 (one year after her debut there). *Detail she was asked to replace an ailing singer at short notice.
”It was a fine role, this Lady, and I longed for every performance like a child does for Christmas.” Birgit Nilsson
Saying that, Birgit sang Lady Macbeth from 1947 to 1977!
Excerpt from the final scene of Lady Macbeth for the Swedish Television in 1965.
Today I present the great contralto Annie Louise Cary (1841-1921). Here we see a original Foto from 1870 and a Autograph from 1879 of this famous Opera singer. She became the first American woman to sing a Wagnerian role in the United States.
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X-Ray and infrared imaging, for example, uncovered a hidden graphite portrait of King Ludwig II of Bavaria beneath the surface of the 1936 artwork “A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano.” (Ludwig was a patron of the composer Richard Wagner, who appears in the painting.)
Haskell and Cohen believe Dalí's portrait of the monarch was intentionally hidden like an easter egg, rather than an early draft that was painted over.
- i especially like ruined hurt/comfort, as in the comfort cannot actually assuage the hurt, so the comfort becomes a plea of "this is all i can do: i know it is not enough, but please let it be enough" which is delightfully angsty
- however, for ruined hurt/comfort to work, the author needs to understand the comfort to be inadequate
Celebrating the anniversary of the legendary soprano Kirsten Flagstad!!!
(12 Jul 1895 - 7 Dec 1962). 💐🎂👏🏼🎉🎁🎈
"Irene Ravensadale was very friendly and invited me to a memorable performance of Dido and Aeneas at the old Mermaid Theatre, with Kirsten Flagstad and Maggie Teyte. It was one of the only two times I heard my idol in person and although I was enchanted I felt she was holding back the volume of sound for that very small house. I would have given a great deal to have heard her final performances at Covent Garden as Richard had the year previously. " Joan Sutherland
the other thing about that vid (and another thing! lol) being that hierarchically a lot of the people doing the more interesting or out-there research and diversifying the field from a content perspective (and, tbh, demographically) are like grad students or early-career people who don’t even necessarily have any pedagogical flexibility & tend to be slotted in to teach lower-level theory courses-- whose outcomes are predetermined not only by general screwy nasm strictures but by whatever the professor down the line in the curriculum is teaching / expects people to know when they get there. and we get paid (much) less also than tenured professors. which is really a generic “thing about all academia” that doesn’t necessarily become a nefarious personal flaw on the part of said scholars and instead ought to be addressed at a structural level bc the scale of the issue exceeds individual instructors’ spheres of influence.
BUT music occupies such a fucked “totally separate from society” space in many ppl’s imaginations that it’s like oh man how dare it have the same issues as every other field of scholarship bc it shouldn’t “really” be a matter of scholarship in the first place. ie music is culturally rendered a “nothing matters just feel it” / “everything is ephemeral and there is only Innate Talent and nothing can be taught” sort of field such that any intellectualizing thereof &/or suggestion of learnabilty / non-innateness is deemed, like, boring & regressive by some people & i’d say especially people raised with a certain awareness of the “composer-genius” culture of wam education. like i’m completely on the “fuck partwriting parallel fifths are awesome” train as a matter of taste (for example) but that does not mean that learning what parallel fifths are-- and why some old european guys didn’t like them *bc they preferred it to sound like there was more than one voice and it’s easier to create that perceptually w/o an overtone effect* (eg)-- is going to like destroy your artistic Essence and make you a worse musician bc now you’re no longer an empty vessel put on this earth to channel brahms or whoever. & plus i think perpetuating the synonymizing of theory-as-field with wam harmonic rules not only is like factually misrepresentative of current research but also is sort of a self fulfilling prophesy such that ppl who would otherwise have completely fascinating things to say & questions to ask are discouraged from non-platitudinous & open-ended (theoretical) inquiry re the content and aims of their own rep & listening, and tacitly learn that composers’ ~~genius~~ descended from the heavens & you either get it or you don’t, you either “have talent” as a composer or you don’t, et cetera
i think the production arrangement on “let it down” can be explained as john thought this song was boring and george was like boring? okay how about now??? cause like it’s sooo dramatic hahaha