Two years years, that's right!
Ma dur my dirty world,
I had to win for me the
petty,ạ!
The good with whom I had,
ра asr asr etc for me the
woman looked for me to
find out about me with them,
to have some time to think about
He parle en vous, il courbe, il courbe le corps.
A toi, mene d'la mocelle,
A toi, mene d'la mocelle,
A toi, j'ai pas bousmire ma hene,
J'ai vakne d'la mocelle,
J'ai vakne d'la mocelle,
Il courbe le phareau,
Il courbe,
Il courbe,
Il courbe le phareau,
Il courbe,
Il courbe le phareaux.
In questo allerstimento,
utiliziamo dei mandala,
che sono dei piccoli oggeti
che si trovano nei mercati di Pokolaere.
Ci si pu' a construire di tutto,
una forma longata,
un cerchio,
fattu enteramente in fibra di vetro,
My
This is the maximum of the architects.
There is an ostinato in the arcs at the beginning,
in which Sansan wants to create that sense of pain and affection,
in which the hebrei cry for their own destiny of suffering,
and a little at a time the theme is known.
One, two, three, four, five, six, seven, please.
Attention, I run to please, the intonation,
you have to sing, not like this, please,
but like this, no?
Everything is too low, the head, but everything is seven.
Tenori!
Your mother has appeared.
You can go fast.
Fx – Nx – Nx – Nx – Nx Vx – Fx – Vx – Fx
tales Ṭipyo Ṭ staying
ὗ Ṭāla gujnしました
carto Ṭi Ṭi tto Ṭa
pres 통 p pests
Ṭi mut su lì
Ṭi dua
Ṭi journals
Ṭiыл團
Ṭi
Ṭi Ṭi Ṭi lца
dicen Ṭi ṭera
Oltre adecellere nela composizione e nell'orchestrazione, era un ottimo oratorio
ed è davvero molto raro il senso dramaturgico di questa parte iniziale che dura 15 minuti solo con gli ebrei.
Qua da ha un tempo più energico non solo il tempo però anche il modo di cantare. Qua, ve tu donc ka jamé on se fas?
San sune era un ebrei, è veramente adirato dal fatto che il proprio popolo sia cosi sottunisso i filistel,
i quali sono stanchi di lottare e affligersi, sono totalmente depressi e San sune arriva e li esorte, fermatevi, la voce del signore è qui,
San sune cerca di risollevare il loro spirito e la sua prima entrate in scena è molto energica.
In questa parte per favore, otoni prima della lettera L, un poko più leggero, tutto questo, però gli archi possono sonare di più,
è tutto lo stesso colore, bisogna cambiare, colori, prego, vorrei fare ancora il suo solo.
San sune era un ebrei, è veramente adirato dal fatto che il proprio popolo sia cosi sottunisso i filistel,
il arme fave hoped, il arme roh hopro tä Proper ha me si plase pe.
Noi de la fura del Baus abbiamo realizzat unha trintina di opere, che han rikesto un grande esforzo ekonomico,
ma che è posibile realizzare solo in particolari momenti storici.
Ora però stiamo lavorando su una linea diversa,
visti i tempi di crisi che stiamo vivendo.
La scienza, la scienza, la scienza, la scienza,
è molto esile e semplice e questo progetto di Sanzoni e Dalila rientra in questa direzione di opera sostenida.
Sanzoni è da lui là che entra in questa direzione.
Sanzoni è da lui là che entra in questa direzione di una opera sostenible.
Sanzoni è da lui là che entra in questa direzione di opere.
Sanzoni è da lui là che entra in questa direzione di opere.
Mello spettacolo sono molto presenti i video utilizzati come la scenografia virtuale di luce.
Noi qui lo esponiamo come installazione, con video molto semplice,
quasi come una linea di luce,
non tanto da un punto di vista figurativo,
ma più abstracto, quasi un'opera pictorica.
In the Bible, there is a big story about Sanzoni.
In the Bible, there is a big story about Sanzoni,
who fights the Philistines and kills a centenarian.
This is not in the opera or in the libretto,
but we know it.
So Abimelech arrives, the satrap of the Gaza,
who skirmishes the Jews, their God,
and so he provokes Sanzoni,
who, with his supernatural strength,
grabs the sword from his hands
and hits him at his turn, killing him.
It's very short.
He kills him and it's very short.
Abimelech.
We recommend this,
also this teacher,
a bit of character.
Please, everybody.
We recommend this, also this teacher, a bit of character.
The satrap of the Gaza,
who fights the Philistines and kills a centenarian.
Who fights the Philistines and kills a centenarian.
The satrap of the Gaza,
who kills the Philistines and kills a centenarian.
Who fights the Philistines and kills a centenarian.
There is a permanent conflict now with the Palestinians,
but at the time it was with the Philistines
and Sanzoni is a kind of superpower in this world,
a person who has an incredible brute force,
but he doesn't know how far he can push.
The first act, therefore, is what the story introduces.
The war between the two skirmishes
and Sanzoni becomes a hero
and destroys the enemy's field.
But what happens in these cases?
If you destroy the enemy,
the enemy will destroy you at his turn.
Because at the end of the day, the political stories are always like two forces.
One is what I call the QR force,
which is like a new force, but also more materialistic.
While the other is the conservative force,
which is represented by the code A-barre,
the old code with the number.
When the final tool begins, the essence is to cross out.
So, gentlemen of the core,
since you didn't take it yet,
when, in your last core,
the sword is taken by the Himalayas,
without crossing out.
When the final tool begins,
the essence is to cross out.
So, gentlemen of the core,
since you didn't take it yet,
when, in your last core,
the enemy will destroy you at his turn.
Because at the end of the day,
the enemy will destroy you at his turn.
The French style is a bit different from the rest of Europe.
In Saint-Saëns there is a clarity, a great elegance of sound,
a transparency in the orchestration,
and therefore it is a style on which you have to work a lot.
Saint-Saëns is a classic composer.
All his art is behind the classics,
it is the danger that you encounter in performing your compositions today.
You think that it is a music that belongs to the age of romantic art.
In fact, his work was written in 1877
and many things were already fallen.
But Saint-Saëns is a classic composer
and you always have to remind yourself and the musicians
to maintain that particular color and style of classical compositions.
First of all it is very impressive, that prelude.
You have to play the first note as soon as you hear it.
It should be a bit more interesting.
Can you play it again?
It should be more interesting.
All the way, the whole thing is about
Saint-Saëns.
The question is about the fact that the Philistines
want to discover as much as possible
that Saint-Saëns can have this incredible power
and Dalila, who in reality is a kind of ambassador of the Philistines
and knows all the arts of seduction,
is the only person who can really understand the secret of his strength
and invite him to reach it.
We are here.
The problem is that we have to do it more directly.
We have to come in this way.
This is the time of good luck
that should satisfy my God.
Dalila is willing to have a relationship with Saint-Saëns.
This character so proud, strong and presumptuous.
In the second act, we see how she becomes a soldier
to seduce him, to seduce the enemy.
But the weakness of Saint-Saëns
will be in the fact that he will feel too sure of himself.
We have to come in this way.
Saint-Saëns is obviously very attracted to this woman.
But for her faith in God,
she refuses to reveal the secret of her strength
in the fact that she will feel too sure of herself.
Saint-Saëns is obviously very attracted to this woman.
But for her faith in God,
she refuses to reveal the secret of her strength
in the fact that she will feel too sure of herself.
He has a moment of hesitation
and his love for her prevails
in an instant with respect to his faith in God.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
Saint-Saëns is obviously very attracted to this woman.
