#gluck Tumblr posts

  • yagalootv-blog
    19.01.2022 - 6 days ago

    Es gibt ein tolles neues Video, bzw. Artikel für Dich: https://yagaloo.com/wie-jodi-ueber-sich-hinauswuchs-2-offizieller-trailer-netflix/netflix/

    Wie Jodi über sich hinauswuchs 2 | Offizieller Trailer | Netflix

    Nach ihrer inspirierenden Ansprache ist Jodi (Ava Michelle) nicht mehr nur das größte Mädchen der Schule: Sie ist beliebt und selbstbewusst, hat einen Freund und wurde gerade für die Hauptrolle im diesjährigen Schulmusical bestätigt. Doch mit dem zunehmenden Druck ihrer ungewohnten Beliebtheit wachsen auch ihre Unsicherheiten, als sich neue Beziehungen anbahnen und alte auf den Prüfstand gestellt werden. Und während die von ihr aufgebaute Welt in sich zu zusammenzufallen beginnt, erkennt Jodi, dass über sich hinauszuwachsen erst der Anfang war. Abonniere den YouTube-Kanal von Netflix Deutschland, Österreich und der Schweiz: https://bit.ly/2QSZLs9 Höre die Netflixwoche, der Podcast über alles, was es sich zu streamen lohnt. Mit Hadnet Tesfai und Matthias Kalle: https://www.netflixwoche.de Über Netflix: Netflix ist mit 214 Millionen zahlenden Mitgliedern in über 190 Ländern der größte Streaming-Entertainment-Dienst weltweit und bietet Zugriff auf eine große Auswahl vielfältiger Serien, Dokumentationen, Spielfilme und Handyspiele in zahlreichen Sprachen. Mitglieder können die Inhalte jederzeit, überall und mit fast jedem beliebigen internetfähigen Endgerät unbegrenzt streamen, ohne dauerhafte Verpflichtungen einzugehen. Die Wiedergabe der ausgewählten Titel kann dabei ganz ohne Werbeunterbrechungen jederzeit gestartet, unterbrochen und fortgesetzt werden. Folge Netflix: Facebook: https://www.facebook.com/NetflixDACH/ Twitter: https://twitter.com/NetflixDE Instagram: https://www.instagram.com/netflixde/ TikTok: https://www.tiktok.com/@netflixde Wie Jodi über sich hinauswuchs 2 | Offizieller Trailer | Netflix https://youtube.com/NetflixDACH

    YAGALOO music & entertainment

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  • ebonyduskk
    25.01.2022 - 9 hours ago

    That's exactly how friendship should be initiated

    I couldn't agree more with Murakami at this point

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  • louvreofthoughts
    25.01.2022 - 11 hours ago
    Louise Glück: Cottonmouth Country in Louise Glück Poems 1962-2012
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  • thatsulleninhabitant
    23.01.2022 - 2 days ago
    louise gluck, the encounter || buffy the vampire slayer || glen campbell, wichita lineman || la ley del deseo / law of desire || mary oliver || eat drink man woman || radiohead, jigsaw falling into place || buffalo ‘66
    #web weave#web weaving #idek what this is tbh #louise gluck#intertextuality#comparatives #buffy the vampire slayer #btvs#glen campbell #law of desire #almodovar#mary oliver#poetry #eat drink man woman #ang lee#radiohead#buffalo 66#buffalo '66#vincent gallo #its giving covid mental breakdown #q: no man can find the war
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  • boomgers
    29.08.2019 - 2 years ago

    Aun cuando no encajes, mantente erguida… “A Mi Altura”

    El primer largometraje de la directora Nzingha Stewart es una historia conmovedora y divertida sobre cómo encontrar la confianza para dejar de agachar la cabeza y mantener la frente en alto.

    Sinopsis: Jodi siempre ha sido la chica más alta de la escuela y eso nunca le ha gustado. Tras 16 años de andar encorvada y ser el objeto de las bromas de sus compañeros, conoce a Stig, un estudiante de intercambio sueco que es más alto que ella. El nuevo flechazo de Jodi pone su mundo al revés y la mete en un sorprendente triángulo amoroso, pero con la ayuda de sus dos mejores amigos y de su atractiva hermana Harper, Jodi se da cuenta de que ella vale más de lo que sus inseguridades le han hecho creer.

    Estreno: Septiembre 13, 2019 en Netflix.

    Protagonizada por Ava Michelle, Luke Eisner, Anjelika Washington, Griffin Gluck, Clara Wilsey, Rico Paris, Paris Berelc y Sabrina Carpenter.
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  • napsapnapsap
    22.01.2022 - 3 days ago

    sapnap deserves to get his dick sucked

    #gluck gluck etc #.txt
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  • theghostofsomeonelonely
    22.01.2022 - 3 days ago
    #Big Time Adolescence #pete davidson#griffin gluck #machine gun kelly #movie#my edits#my gifs
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  • arthuriankings
    21.01.2022 - 4 days ago

    [me reading anything] wow just like in the raven cy

    #zain.txt #liveblogging #this is the authors note to proofs & theories by louise gluck btw <3
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  • camisetaescritaeuteamo
    21.01.2022 - 4 days ago
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  • geekcavepodcast
    21.01.2022 - 4 days ago

    Live-Action “Aristocats?”

    Deadline is reporting that Disney is developing a live-action version of 1970′s The Aristocats. Will Gluck and Keith Bunin are writing the script.

    The animated The Aristocats follows Duchess and her three kittens who are cat-napped by their greedy butler when their owner decides to leave her fortune to their care. Accidentally dumped in the country, the family is aided by the alley cat Thomas O’Malley.

    (Image from 1970′s The Aristocats)

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  • opera-ghosts
    20.01.2022 - 5 days ago

    Christoph Willibald Gluck (1714-1787) is the earliest opera composer represented in the repertoire of the modern opera house. In this coun- try three of his works survive. These are, in the order of their production, “ Orfeo ed Euridice”” (Orpheus and Eury- dice), ‘‘Armide,” and “‘ Iphigénie en Tauride”’ (Iphigenia in Tauris). ‘‘Orpheus and Eurydice,”’ produced in 1762, is the oldest work of its kind on the stage. It is the great- great-grandfather of operas.

    Its composer was a musical reformer and ‘‘Orpheus’’ was the first product of his musical reform. He had been a com- poser of operas in the florid vocal style, which sacrificed the dramatic verities to the whims, fancies, and ambitions of the singers, who sought only to show off their voices. Gluck began, with his “‘Orpheus,”’ to pay due regard to true dra- matic expression. His great merit is that he accomplished this without ignoring the beauty and importance of the voice, but by striking a correct balance between the vocal and instrumental portions of the score.

    Simple as his operas appear to us today, they aroused a strife comparable only with that which convulsed musical circles during the progress of Wagner’s career.

    The legend of ‘‘Orpheus and Eurydice’’ as related in Virgil’s Georgics, from which are the lines just quoted is one of the classics of antiquity. In ‘‘Orfeo ed Euridice’’ Gluck has preserved the chaste classicism of the original. Orpheus was the son of Apollo and the muse Calliope. He played so divinely that trees uprooted themselves and rocks were loosened from their fastnesses in order to follow him. His bride, Eurydice, was the daughter of a Thracian shepherd. .

    The réle of Orpheus was written for the celebrated male contralto Guadagni. For the Paris production the composer added three bars to the most famous number of the score, the ‘‘Che faro senza Euridice,’’ illustrated above. ‘These presumably were the three last bars, the concluding phrases of the peroration of the immortal air. He also was obliged to transpose the part of Orpheus for the tenor Legros, for whom he introduced a vocal number not only entirely out of keeping with the réle, but not even of his own composition —a bravura aria from ‘‘Tancred,’’ an opera by the obscure Italian composer Fernandino Bertoni. It is believed that the tenor importuned Gluck for something that would show off his voice, whereupon the composer handed him the Bertoni air. Legros introduced it at the end of the first act, where to this day it remains in the printed score.

    When the tenor Nourrit sang the rdle many years later, he substituted the far more appropriate aria, ‘“‘O transport, 6 désordre extréme”’ (O transport, O ecstasy extreme) from Gluck’s own “‘Echo and Narcissus.”

    But that the opera, as it came from Gluck’s pen, required nothing more, appeared in the notable revival at the Théatre Lyrique, Paris, November, 1859, under Berlioz’s direction, when that distinguished composer restored the rdle of Orpheus to its original form and for a hundred and fifty nights the celebrated contralto, Pauline Viardot-Garcia, sang it to enthusiastic houses.

    The best production of the work in this country was that of the American Opera Company. It was suited, as no other opera was, to the exact capacity of that ill-starred organization. The representation was in four acts instead of three, the second act being divided into two, a division to which it easily lends itself.

    The opera has been the object of unstinted praise. Of the second act the same French authority quoted above says that from the first note to the last, it is ““a complete masterpiece and one of the most astonishing productions of the human mind. ‘The chorus of demons, ‘What mortal dares,’ in turn questions, becomes wrathful, bursts into a turmoil of threats, gradually becomes tranquil and is hushed, as if subdued and conquered by the music of Orpheus’s lyre. What is more moving than the phrase ‘ Laissez-vous toucher par mes pleurs’? (A thousand griefs, threatening shades.) Seeing a large audience captivated by this mythological subject; an audience mixed, frivolous and unthinking, transported and swayed by this scene, one recognizes the real power of music. The composer conquered his hearers as his Orpheus succeeded in subduing the Furies. Nowhere, in no werk, is the effect more gripping. The scene in the Elysian fields also has its beauties. The air of Eurydice, the chorus of happy shades, have the breath of inalterable calm, peace and serenity.”

    Gaetano Guadagni, who created the réle of Orpheus, was one of the most famous male contralti of the eighteenth century. Handel assigned to him contralto parts in the “Messiah” and ‘‘ Samson,” and it was Gluck himself who procured his engagement at Vienna. The French produc- tion of the opera was preceded by an act of homage, which showed the interest of the French in Gluck’s work. For while it had its first performance in Vienna, the score was | first printed in Paris and at the expense of Count Durazzo. The success of the Paris production was so great that Gluck’s former pupil, Marie Antoinette, granted him a pension of 6,000 francs with an addition of the same sum for every fresh work he should produce on the French stage.

    The libretto of Calzabigi was, for its day, charged with a vast amount of human interest, passion, and dramatic in- tensity. In these particulars it was as novel as Gluck’s score, and possibly had an influence upon him in the direction of his operatic reforms.

    #Christoph Willibald Gluck
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  • brambeag
    20.01.2022 - 5 days ago

    i <3 girlfriend 

    #lil sumfin in between oc obsessed madness #myart#Morrigan#dragon age #right gluck again
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  • clintnatalias
    20.01.2022 - 5 days ago

    denial. fear. longing.

    donika kelly | jennifer hubbard | vàzaki nada | terry evans photography | richard siken | sierra demulder | the world to come (2020) | louise glück  | anaïs nin | federico garcía lorca

    #web weaving#webweaving#on love#on denial#on longing #my web weaving #poetry#compilation#donika kelly#jennifer hubbard#vazaki nada #terry evans photography #richard siken#sierra demulder #the world to come #louise gluck#anais nin #federico garcía lorca #my webweavings are literally just for me fdhsjakjfa theyre about my dnd character and npcs #but i hope someone else enjoys them anyway #elwenn#anna #otp: i can't help it
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  • ramascreen
    19.01.2022 - 6 days ago

    Poster And Trailer For TALL GIRL 2

    Poster And Trailer For TALL GIRL 2

    Netflix has released these official key art and trailer for TALL GIRL 2 Film Release Date: February 11, 2022 Directed By: Emily Ting Written By: Sam Wolfson Produced by: McG, Mary Viola, Corey Marsh Cast: Ava Michelle, Griffin Gluck, Sabrina Carpenter, Anjelika Washington, Luke Eisner, Clara Wilsey, Rico Paris, Jan Luis Castellanos, Johanna Liauw, Chris Wlyde, Angela Kinsey, Steve…

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