*Those Were the Days* / Dorogoy dlinnoyu

"ЮРИЙ ВИЗБОР - ЮБИЛЕЙ С ДРУЗЬЯМИ" 2014

The Hunt For Red October - Original Soundtrack

Утро карнавала (Manhã De Carnaval)

Алексей Иващенко, Ирина Богушевская - Девушка из Ипанемы.avi

Девушка Ипанемы

Смотри какая красивая
Какая грациозная
Эта девушка
Приходит и проходит
Её нежное покачивание, ходя к морю

Девушка золотого тела
Сольцем Ипанемы
Твое покачивание больше чем поэмы
Самая красивая вещь что уж видел я пройти

Ах, почему я так одинокий
Ах, почему всё так грустно
Ах, красота, что существует
Красота, которая не только моя
Которая также проходит сама

Ax, хоть б она узнала
Что, когда она проходит
Целый мир напольняется грацией
И становится красивее
Брагодаря любви

Translated by Érika Batista.

20 Gold Russian Waltz - Tarantelle Napoletane

Os Romanov: Uma Família Imperial (Legendado) - 2000

Old Russian Waltzes

JOSEPH BRODSKY

For in a real tragedy, 

it is not the hero who perishes; 

it is the chorus.

Госуда́рственный Музе́й Эрмита́ж - Museu Hermitage

Hermitage te quero bem ...

Nada de Love you ...,

que isso, 

é para ...

a Mulher Amada !!!

https://it.wikipedia.org/wiki/Ermitage

Подмосковные Вечера

Слова М. Матусовского

Музыка В. Соловьева-Седого

Не слышны в саду даже шорохи,

Все здесь замерло до утра.

Если б знали вы, как мне дороги

Подмосковные вечера.

Речка движется и не движется,

Вся из лунного серебра.

Песня слышится и не слышится

В эти тихие вечера.

Что ж ты милая, смотришь искоса,

Низко голову наклоня?

Трудно высказать и не высказать

Все, что на сердце у меня.

А рассвет уже все заметнее...

Так, пожалуйста, будь добра,

Не забудь и ты эти летние

Подмосковные вечера!

Georgy Sviridov - Waltz "Snowstorm"

Хачатурян. Вальс ("Маскарад") / Khachaturian. Masquerade: Waltz

Masquerade was written in 1941 by Aram Khachaturian as incidental music for a production of the play of the same name by Russian poet and playwright Mikhail Lermontov. It premiered on 21 June 1941 in the Vakhtangov Theatre in Moscow.^[1] The music is better known in the form of a five-movement suite.

Contents

  [hide] 

• 1 Background
• 2 Suite
• 3 Recordings
• 4 References

Background[edit]

Khachaturian was asked to write music for a production of Masquerade being produced by the director Ruben Simonov.^[2] The famous waltz theme in particular gave Khachaturian much trouble in its creation: moved by the words of the play's heroine, Nina – "How beautiful the new waltz is! ... something between sorrow and joy gripped my heart." – the composer struggled to "find a theme that I considered beautiful and new". His former teacher, Nikolai Myaskovsky, attempted to help Khachaturian by giving him a collection of romances and waltzes from Lermontov's time; though these did not give immediate inspiration, Khachaturian admitted that "had it not been for the strenuous search" for the appropriate style and melodic inspiration, he would not have discovered the second theme of his waltz which acted "like a magic link, allowing me to pull out the whole chain. The rest of the waltz came to me easily, with no trouble at all."^[3] Khachaturian dedicated the waltz to the actress who played Nina, Alla Kazanskaya.^[4]

Masquerade was the last production staged by the theatre before the invasion of the USSR by Germany, and the production run was cut short.^[4]

Suite[edit]

Later, in 1944, Khachaturian extracted five movements to make a symphonic suite.^[5] The movements are:

1. Waltz
2. Nocturne
3. Mazurka
4. Romance
5. Galop

ILYA GLAZUNOV - Илья Глазунов

The artist’s father was an historian named Glazunov Sergey Fedorovich. His mother's name was Glazunova Olga Konstantinovna. Ilya Glazunov survived World War II, in part because in 1942, then-eleven-year-old Ilya was transported from besieged Leningrad along the Road of Life. He stayed in the village of Greblo in the Novgorod region after his entire family perished from starvation. In 1944, he returned to Leningrad and studied in the secondary art school. From 1951 to 1957 he studied art under the direction of Professor Boris Ioganson.

In 1956, he married the love of his life, Nina Vinogradova-Benois. He painted the image of Nina in many of his works. Nina Aleksandrovna was a descendant of the Benois family, a familiar name art history. Her uncle was the artistic director of the La Scala Opera for 30 years.

Glazunov's success at the International competition of Young Artists in Prague prompted the opening of his first single exhibition in Moscow. Soon after in the 1960s, he traveled to Italy for the first time to paint the portrait of many famous actors and actress, among all Gina Lollobrigida and Anita Ekberg. In 1978, Glazunov started teaching in the Moscow University of Art. Their children Ivan and Vera have both become artists. His wife died in 1986.

• The Great Experiment. Glazunov's epic canvas on Russia in the 20th century.

Puškin

Photo by MC

ЕLEGIA 

Degli anni folli la spenta allegrezza

Mi pesa come torpore dopo l'ebbrezza.

Ma come un vino - quanto più invecchia ha più forza

Nell'anima il rimpianto dell'età trascorsa.

È triste il mio sentiero. Predice fatica e dolore

Il mio futuro, mare in furore.

Ma io non voglio, o amici, morire;

Vivere io voglio, per pensare e soffrire;

E so che per me altri piaceri verranno

Insieme a sofferenze, angoscia e affano:

Ancora a volte mi ubriacherò di armonia,

Mi scioglierò in lacrime per una fantasia,

E forse - al mio tramonto sconsolato 

Brillerà un amore col sorriso del commiato.

(1830). 

Puškin 

Pag 137

I Meridiani, ottobre 2012

Mondadori Editore S.p.A., Milano

Traduzione di Giovanni Giudici e Giovanna Spendel

Puškin (1799-1837)

L'Uccellino

L'antica nativa usanza

Rispetto in terra straniera:

A un uccellino ridò il volo 

Per una festa di primavera.

E mi sento riconsolato;

Di cosa mi devo lagnare

Con Dio, se almeno a una creatura

La libertà ho regalato ! 

(1823) 

Puškin (1799-1837)

Mondadori 

Pag 25

St Petersburg

A descoberta da Beleza passa pelos olhos ...

mas precisamos lembrar... 

que ela nasce quietinha ...

dentro de nós ...

ESPIONAGEM NA RUSSIA 1

Assim começava aquela trama ...
Era preciso invadir a Russia, entrar no Kremlin ...
Obter os segredos que lá se escondiam...
Mas para ter sucesso a missão 
deveria se iniciar em São Petersburgo
Cidade imperial ...
Passaria desapercebido um escritor que sem saber russo, iria visitar o Hermitage ....
E lá se apaixonaria por uma russa e sem querer casaria e devagar iria se aproximando do idioma russo... dos costumes russos ...das musicas russas ...
Precisaria ler pelo menos alguns autores russos ....
Dostoievsky, Tolstoy, Puschkin, Chekhov ...

KARL BRYULLOV (1799-1852)

THE LAST DAY OF POMPEII 

Karl Bryullov was born on December, 12th (23), 1799 in St. Petersburg, in a family of the academician, the woodcarver and engraver Pavel Ivanovich Briullo (Brulleau, 1760—1833). He felt drawn to Italy from his early years. Despite his education at the Imperial Academy of Arts (1809–1821), Bryullov never fully embraced the classical style taught by his mentors and promoted by his brother, Alexander Bryullov. After distinguishing himself as a promising and imaginative student and finishing his education, he left Russia for Rome where he worked until 1835 as a portraitist and genre painter, though his fame as an artist came when he began doing historical painting.

His best-known work, The Last Day of Pompeii (1830–1833), is a vast composition compared by Pushkin and Gogol to the best works of Rubens and Van Dyck. It created a sensation in Italy and established Briullov as one of the finest European painters of his day. After completing this work, he triumphantly returned to the Russian capital, where he made many friends among the aristocracy and intellectual elite and obtained a high post in the Imperial Academy of Arts.

An anecdote concerning Briullov appeared in Leo Tolstoy's essay "Why Do Men Stupefy Themselves?".

While teaching at the academy (1836–1848) he developed a portrait style which combined a neoclassical simplicity with a romantic tendency that fused well, and his penchant for realism was satisfied with an intriguing level of psychological penetration. While he was working on the plafond of St Isaac's Cathedral, his health suddenly deteriorated. Following advice of his doctors, Briullov left Russia for Madeira in 1849 and spent the last three years of his life in Italy. He died in the village of Manziana near Rome and is buried at the Cimitero degli Inglesi there.

[edit]

NATASHA ROMANOVA !!!

Natasha sabia que é .....

sempre difícil escolher...

o melhor caminho...

Errar é fácil ...

Todos sabemos...

Porem demorar para agir...

pode se tornar o maior erro !!!