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Doch auch angesichts vieler Absagen bleibt er zuversichtlich. Er war 14 Jahre alt. Gemeinsam mit seinen Geschwistern sang Rivero diese Opern lauthals mit. Dort konnte er einige Gesangswettbewerbe gewinnen, sich einen Namen machen und hatte am Broadway in New York die ersten Auftritte. Die Oper Leipzig ist, wie alle anderen Kultureinrichtungen, zur Zeit geschlossen. Zwischendurch konnte Rivero zwar einige Auftritte spielen, zuletzt Anfang Oktober in Prag, doch die darauffolgende Oper in Mailand wurde bereits gestrichen.

Doch trotz der schwierigen Situation bleibt er erstaunlich gelassen. Wie er das schafft? Und so ist es mit dem Singen. Deshalb muss man das Beste reinstecken, was man hat. Durch die Stipendien verliere er kein Geld, sondern investiere in Talent, in die Zukunft und in das, was in seiner Familie schon seit Jahren gelebt wird. The season was called off, as has been the case with all cultural events in Germany for the last two months.

Now, artistic activity is slowly returning, starting with the opening of museums and exhibit halls, while the authorities keep meticulous watch on the evolution of the pandemic, which is still at an early stage and thus a second wave of cases should not be ruled out. This compulsory halt in cultural life has also resulted in deep reflection concerning how to recover the Arts after this blow, says the Uruguayan tenor, who lives and works between Europe and the U.

Only through teamwork, on the basis of love and respect, will it be possible to get back on our feet again, says Rivero in an exclusive interview with mundoclasico. Our situation was already difficult prior to covid and for various reasons, including education and culture budget cuts by governments across the world, poor management in certain theaters, too much tolerance towards corruption, lack of self-love and of love for the Arts by many artists and agents, and very limited expertise in some theater directors, he adds.

The coronavirus marks the end of an era and the beginning of a new order; it is essential that those who love the Arts, culture, and spiritual matters get together so that -no matter what life brings- we can re-build the Arts, which were created to elevate good human qualities. In fact, the royal house in Saxony a region where Leipzig is one of the most important cities for centuries has exercised the patronage of cultural activities within the kingdom. The most prominent example of this were the works of Johann Wolfgang von Goethe in Weimar during the 18th and 19th centuries; and the same was done in Bavaria by Louis II Wittelsbach with Richard Wagner, from the second half of the 19th century.

A good friend of mine, Prince Alexander of Saxe-Gessaphe, Margrave of Meissen, continues to support artists, including myself, because he knows that a society lacking a robust cultural structure would be like a house without a foundation built on sand, says Rivero. His great-grandfather, King Frederick Augustus III of Saxony, invested a fortune to promote culture, thus turning Saxony into one of the largest hubs for classical music in the world, he says. I figure governments know well what they are doing, and I abide by the decisions made by the directors of the theaters I am working for, in spite of this unstable, unclear situation we are going through in the artistic scene.

Maestro Professor Ulf Schirmer, general director intendant and musical general director of the Opera of Leipzig, keeps us posted via weekly meetings, he adds. And the same does the general director intendant of the Opera and Philharmonic Orchestra of Essen, Hein Mulders, as well as the directors of various venues in Berlin and Italy, where I also perform. Due to the inconvenience created by the required safety distancing measures, and considering the complexity involved in an opera, I believe it will be very difficult to organize lyric events with distanced artists and audiences so as to avoid contagion.

Many theaters are analyzing these alternatives and various methods for cultural life not to die out in the upcoming season. Listening to and watching opera on YouTube or via other virtual media will never compare to a live show at a theater, where emotions are aroused and all the senses are stimulated. This is the reason why opera doesn't work in movie theaters -simply because a microphone will never be entirely truthful to the human voice.

Opera is music, and music can trigger the deepest emotions in our hearts; it can make the short life of a human being seem easier, more peaceful and eternal; music can get us closer to our spiritual essence and forever illuminate this world. Personally, there are but a few moments that I see as 'perfect' ones in every respect, artistically speaking. I have a professional career spanning over 20 years, but I am nevertheless very demanding with myself.

After each show I conduct a thorough review on my performance, note by note, word by word, for the shows given each evening, as well as in relation to my acting on stage and my interaction with my colleagues. I always consider that all art forms should tell a story. Opera is my passion and it cannot be properly interpreted without a heart -but technique is the one thing that should make the difference between an extraordinary performance and an ordinary one.

In general, after each show, I always get the feeling that I can do better, and that is what encourages me to improve week after week, he adds. Anyway, I must say that I am very satisfied with my latest Othello at the Aalto Theater in Essen last season; I believe I was able to take that role to a new level, not only through vocal qualities, but also thanks to the dynamism in acting during performance of this role.

All of these productions from recent years have provided me with almost full satisfaction as an artist thanks to the artistic performance that I was able to deliver, working beside high professionals who, through their competent collaboration, have enabled me to work freely as an artist, feeling respected, and giving my full potential during that period, he notes.. He has repeatedly rejected -with good reason- offers to play Richard Wagner's operas in various lyrical temples around the world; he would rather continue with his brilliant bel canto repertoire.

La temporada fue cancelada, como todas las actividades culturales en Alemania desde hace dos meses. Siempre parto de la base de que todo aquello que es arte debe contar una historia. Uno tiene que saber cuantas funciones puede cantar durante una temporada, y uno tiene que conocer sus propias limitaciones. August 1 , by: www. Ma non intimorito, neanche per quel «Celeste Aida», alle battute iniziali dell'opera, croce e delizia di tanti tenori.

Bravissimo l'architetto che l'ha progettata. Questi romani non scherzavano e sapevano molto bene cosa fare Come mai questa chiamata da Verona? Un colpo fortuito del mio agente che aveva notizie di primo pelo e me le ha sottoposte subito. Avevo qualche data libera, chiedevano un Radames di esperienza, e allora come rinunciare all'Arena? Una chiamata che mi ha fatto un immenso piacere Da che successi arriva? Ho fatte tante Aide, anche con la mia partner dell'Arena, Monica Zanettin: una giovane di grande valore.

Che tipo strano, in definitiva. Un gioco di potere alle sue spalle e lui non se ne accorge e finisce male. Peccato Quando ha iniziato col canto? I miei nonni paterni e materni erano siciliani. Cos'ha di speciale un tenore? Sapere dove va la sua voce. Quindi tanta tecnica. Ma se ti manca la tecnica How did it happen?

Back in Argentina was a very insecure place due to the dictatorship. Over Due to that awful situation my parents decided to have most of their children in Uruguay. They were Uruguayans and had a lot of family in that country.

So some of us are Uruguayans some Argentinians but both countries join very similar cultures and the same language so with the exception of futboll games soccer we were always very united. We grow up basically in Argentina because my father worked at Teatro Colon in Buenos Aires since back in the 60's. There are still some recordings of his Il Trovatore, Madame Butterfly , I Pagliacci , Un ballo in Maschera and Beethoven Symphony 9 conducted by Piero Gamba, for sure stuff difficult to find online these days but we have in the family some of those old recordings.

You have five siblings who are active in other professions. Was your father the only musician in the family? My brother started as a trumpet player and one of my sisters studied piano for several years, but the two most renowned musicians in my family were my half uncle the conductor Michelangelo Veltri , known for working and making several recordings with Alfredo Kraus and many other famous singers.

He was also a close friend of my teacher and coach Eugene Kohn. I was never much in contact with this half uncle but my father and him spend a lot of time working together at Teatro Colon. The other great musician to mention is my grandfather from my mother side Ramon Olivera.

He and his cousins were all first class musicians, mostly violinist. My grandfather was the first violin in several orchestras in South America including Teatro Solis of Montevideo during the golden days from the 30's to the 70's. The only break he made during his career it came when he was called by the French resistance during War World 2 and joined the army leaving Montevideo back in the 40's for a period.

Upon his returned to south america he heritage an Stradivarius from his own uncle, who was also a prestigious violinist, married to a german pianist. My grandfather was the only man I knew in this life that possessed an instrument of this level.

Unfortunately during his last days he remarried and then we lost trace of that valuable instrument. It was a huge lost in my family, not because of the monetary value but simple because of the symbolism. This kind of instruments should never be sold, they should stay forever in the family until another prodigious child can take advantage of it.

Was it clear from the first time that you wanted to be a singer? Yes, no doubt. The only period I wanted to have another profession it was when I was 6 years old when I wanted to be a detective or criminologist. Besides those very early years, Opera was and is my life. At 11 I was extremely connected to the Puccini's repertory. I listened to Opera at least 1 hour a day, and at 14 I was in the Conservatory of Music following an Opera career.

I never imagined myself doing anything else, my target was to be a Tenor and Opera singer and follow that profession against all odds. Unfortunately that brought me a lot of discomfort in the eyes of my girlfriend's parents because during those days they consider to be an Opera singer a hobby or an impossible profession from which someone could make a living.

Basically my first relationships were doomed due to that issue. There is no any information in your biography about the years Can you give some points about this period of your life? During that period, I worked as an assistant for lawyers. Preparing at daily bases their documents and materials, very often visiting courts, accountants and notaries.

Working everyday from 8am to 8PM. Fortunately the conservatory of music was just around the corner from their office so during the evenings I used to study at the school of music until 23PM. That was my life from monday to friday. Then during the weekends I performed Operettas by Jacques Offenbach in a small theater with seats in Buenos Aires, playing different roles on stage making very little money but with this second job I was slowly training my acting and singing skills.

If I know well, you have financed your studies in a very special way? Can you tell your story? It was very very very difficult. The first 2 weeks of the months were ok but from then on I survived eating rice, octopus and squid. Things were easier upon my arrival in New York because while working on Broadway and winning competitions , I was able to extend my budget in direction to take voice lessons, coaching Operas and I was able to finished with the mortgage in Buenos Aires.

I can not complain, Baz Luhrmann and La boheme on Broadway supported me a lot taking me as part of the team. You have started your career on Broadway. How did it work? Broadway is like going to a Wedding. You have many guest attending the event with different intentions. There are people who go to a wedding just in direction to see the dresses or checking who will be present during that event, some are trying to make of that day the best in the life of the marrying couple, some others just go with the intention of bringing more attention to themselves than the couple that is marrying.

Some others go just to have fun, drink , dance and eat. I went into Broadway with that intention and energy , let's have fun I said to myself. You can imagine the happiness in my face , jumping from singing in a small theater in Buenos Aires to be performing on Broadway. I did not think so much about the challenges and risk because the truth is that working on Broadway is extreme for an Opera singer.

First of all because you have to deal with 9 performances a week, then you must be very flexible to perform any role at any time, from Rodolfo to a newspaper seller, to a sailor, a gigolo, a fruit seller, a police man, a blind man, a piano player, guitar player, etc. There is no room for Divos or Divas , is all for one and one for all otherwise shows don't last long.

It was fun at that age 23 but I would not do it again today, simply because it is way to much singing in one week. As I see your repertoire, you have not sung Mozart roles. Mozart is not so important for you? I love Mozart, is my favorite composer but I never had the flexibility to sing it well.

I could not do that and I won't try it , I knew my limits then as well as now. I refused many tempting offers from important theaters simply because I felt that it was not my time in order to deal with certain repertory during that specific period. I lose many chances to get recognition and money and very often agents felt disappointed with me for not taking the offers but I consider that to deal with an Opera is like to go to war. You must have the weapons, the strategy and the army in order to win.

If any of these is missing you are at risk of jeopardize you name , the one of your agency and most of all the one of the company that hired you. Is there an opera house in which you absolutely want to perform? Not in an Operahouse in particular but to sing Aida in a stadium with Placido Domingo conducting for an audience of Nowadays, the optical aspect of an opera production is getting more and more importance.

How do you see the balance between singing and acting? Acting for an Opera singer will never have a place without a top vocal technique. If you see the kind of extraordinary things she does while singing, even fighting with a sword on stage while playing the role of Abigaile.

How does she do it? Well her technique is extremely solid and when things are that way you don't have to think about singing, you can just focus in acting. Opera should be excited and thrilling from a violent scene to a love scene or funny scene. Second part You have sung a lot of parts through the years. Which part did you find the most challenging as a singer?

Which character you felt was the most intriguing to play? The most challenging without any doubts Manrico in Il Trovatore. You need to be titanium, solid and flexible, you need to control your fire , use bel canto as much as possible knowing that you will be swimming with sharks. The most intriguing to play it was Cloriviere in Maria Victoire by Respighi. The dark side of the character and the way he manipulates things is perfect if the case is that you like acting.

What kind of productions you prefer? Do you prefer hero characters or roles like Pinkerton or Turridu? Also I can show more temperament. I certeinly do not like so much to play anti-hero such as Don Carlo. Which conductor you found yourself the most at ease with? Daniel Barenboim, he is in control but let me shine at much as I can.

I believe that is all about high quality Opera and he is a huge supporter on that direction. You were mentored by Eugene Kohn. How much did that influence you and how? Eugene is the best thing that could have happen to me in my operatic life. He fixed and upgrade my technique. He also trained me in direction to have the resistant of a horse, pushing me to the limits of my physical resistance, training after several hours of singing, pushing me to run 10, 20 , 30 km a day.

He guided me and trained me in direction to my real repertory lyric -spinto repertory and he introduced me to Placido Domingo, a key person for the development of my career. You received a lot of awards. Could you tell somethings of these awards' difficulty level and features, and whether you consider one of them more significant to you or your career than the others?

All of them are important to me. Some cover months of training and some open the doors of Opera houses. I never saw a competition as the last stop in my career, neither as a short cut to become fast famous, so I never thought so much about getting the 1st Prize, I always consider that in order to pursuit a career as an Opera singer I was going to have to deal with much more than 4 arias.

My advice to those doing competitions is "treat the other competitors well, after all they are the ones with whom you will spend the most of your life if the case is that you get the recognition, not the jury neither the audience, the singers are the ones who will be next to you in the battle field" Which composer do you consider the closest to your heart and why? He is the one I listened the most even when I am jogging or working out.

Just listen to the Adagio of his Klavier concerto n. He was just someone touched directly by God , and the deepest to my heart, who can write that kind of music. Which one is the part that you have never played but you would love to be offered? I would love to play Hoffmann , I love the evolution in the character besides that I am a huge Offenbach's fan.

Also Alvaro in La Forza, Calaf in Turandot and the title role in Othello, all of these roles are close to deep memories of my life. What is in your upcoming repertoire? What is your guilty pleasure? Life is too short to feel guilt while having pleasure. I have none. Your favourite piece of art? I am an art collector myself. It would be difficult to chose a particular piece from all of my own statues, antiques, paintings and porcelain from around the world.

What is your favourite dish? Fish and Sea food. I could eat it everyday. If you were a king what would you do first? I would check the borders of my kingdom and see who are my neighbors Which composer you do not click with? I am not a big lover of contemporary Opera. I could give you a long list. If you had a super power what would it be?

Fly If you were an animal? Think about fishing and the movement of the water in the sea Do you ever watch your neighbors through window? Never , no time for that, otherwise I would have Facebook. Do you have a nickname? Pepe Grillo Jiminy Cricket What would be your dream cast for a dinner party? What is the most annoying noise for you? Your favourite violist joke?

February 26 , by:??? Gaston Rivero is a spinto tenor from Uruguay who has thrilled the audiences for quite a few years, bringing his commanding physical persona and his potent lyrical voice to many stages all over the world.

He is a first choice tenor for many opera houses and he has many upcoming surprises for his fans all over Europe: Aida, Luisa Miller, Carmen While singing in La Traviata in Israel, he was kind enough to give Operamylove an exclusive interview.

I am sure the readers will be as delighted as I was with his thought-provoking answers. Operamylove: Manrico, Cavaradossi, Ismaele Gaston Rivero: Personally the most challenging role I have in my repertory and I performed in several productions is Manrico in Il Trovatore. It deserves a lyric, spinto and dramatic Tenor, flexible with a solid center of the voice and good quality high notes, so to sing this role well is a real challenge.

Audiences and critics will be judging you for your whole performance, just if the high C in the Caballeta goes wrong something that is not even written in the original score but is tradition to sing. If it is the case that the production has a lot of action and you want to bring excitement to the audiences showing your skills as an actor, you will certainly lose four pounds after each performance.

I sang this role for the first time in Klagenfurt, when I still was 32 years old, and I can assure that I was able to do it thanks to the training and strategy of my vocal teacher and coach in NYC. Anyway, at the moment my favorite role to sing is Radames in Aida, the melodies are sublime and I identify a lot with the character. Operamylove: Which conductor you found yourself the most at ease with?

Gaston Rivero: There are four that I must mention as the top conductors I met in my career and they are Daniel Baremboin, Ulf Schirmer, Anthony Bramall and Israel Gursky; they enjoy making music, they love good voices, high notes and great singing. Therefore, you feel accompanied at all times, supported by them while acting. Daniel Baremboin is so amazing that only with one look from him you know what to do, how and when to approach a note, and during the arias or solo sections he will give you all you need in order to make music shine.

Ulf Schirmer has been supporting me a lot in Europe for several years; he opened his opera house for me in Leipzig and gave me the opportunity to debut roles and perform in concerts. Israel Gursky is not just an extremely talented young conductor but also a very close friend of mine, most of my early training I received from him and my first steps in my professional career were following his advice.

We worked together several times but one of the most memorable performances we did together was Romeo et Juliette by Gounod at Portopera in Maine, I never saw so many people crying in the audience by the end of the performance; it was an experience that I'll never forget.

Now I'm on my way to Israel in order to meet Mto. Zubin Mehta for the first time, I'm sure that his name should be also added to this list. Operamylove: You were mentored by Eugene Kohn. He offered me his friendship as well as an undoubted solid technique that becomes stronger through the years. Even though I was a professional soccer player during my early teens in Argentina, I stopped almost completely from exercising at 26 years, and old I found myself a little overweight.

Eugene not only trained me in my vocal technique, but also pushed my physical strength to the limits, making me run the whole Central Park 6 miles after a 2-hours intensive lesson. I follow this schedule at least three times a week.

Those lessons were priceless; there is no amount a singer can pay in order to receive such a high level of vocal training from someone with this kind of knowledge. Operamylove: You received a lot of awards. Could you tell our readers about some of these awards' difficulty level and features, and whether you consider one of them more significant to you or your career than the others? Gaston Rivero: From to I won prizes in over 30 vocal competitions.

I never saw them neither as the last station in this career, nor as a guarantee of overnight success and fame. Competitions for me were a door to make connections and some money in order to pay for lessons. Anyway, I must assure you that each competition gave me back something that was more valuable than a prize, self-confidence.

Operamylove: Which composer do you consider the closest to your heart and why? Gaston Rivero: Mozart; he is the top composer for me. So much hope and love are written in his music; so much passion for life. He is, in my opinion, the biggest proof in the world of music that love and talent can triumph against mediocrity even after life.

Operamylove: Which one is the part that you have never played but you would love to be offered? Gaston Rivero: There are two roles that I was never offered yet and I would love to sing someday. The first one is Hoffmann; I love the evolution in this character and his deep emotions searching for love. The second role is Othello, but it is too soon, I still need more maturity in order to face this challenge.

This is the role my father was preparing when I decided to become an opera singer. Unfortunately, because of family problems, he was never able to sing it. So it is kind of a challenge I have in front of me. Operamylove: You sang in many theaters; could you give us a feedback of their differences, whether in their set-up or in the response of the spectators?

Which theater would you consider the most rewarding for you and why? Gaston Rivero: Audiences are like blind dates. You never know what to expect. It doesn't matter if you are in your home country, or surrounded by many friends. The answer you will receive depends on your skills seducing the audience and the audience's knowledge.

You also depend a lot on the team work you will do with your colleagues in order to achieve success. Anyway, under any circumstances friendly theaters with friendly audiences will give you a lot of pleasure, while tough theaters with more challenging audiences will make you stronger. Operamylove: What is in your upcoming repertoire? Opernnetz hat kurz vor der Premiere mit ihm gesprochen. Allerdings nicht an einem Opernhaus, sondern am Broadway in einer Produktion des australischen Filmregisseurs Baz Luhrmann.

So wurde die Idee, die Rolle des Rodolfo zu singen, zweitrangig. Seitdem mein Vertrag mir erlaubte, verschiedene Rollen darzustellen, fragte ich die Produzenten nach Gelegenheiten, nicht nur den Rodolfo zu spielen, sondern auch andere Rollen. Ich brauchte nicht mehr dem traditionellen Konzept des Tenors zu folgen. Liegen Ihnen die Rollen des italienischen Verismo-Fachs besonders gut? June 27 , by: Jordi Kooiman, "Tenoren van de toekomst: Gaston Rivero In operaland staan de felste spotlights gericht op de prima donna's.

Maar de primo uomo's komen op een goede tweede plaats. Met hun hoge noten en heldenrollen hebben ze een speciale status in en buiten de operahuizen. Wie zijn de 'leading gentlemen' van de toekomst? In deel drie van een serie Gaston Rivero. Wie is Gaston Rivero? Hij was finalist in Cardiff en bij Operalia en prijswinnaar op het Belvedere.

Hij schuwt zware rollen niet en gelooft heilig in een ijzeren hardloopregime om zijn zang te versterken. De jonge Gaston kreeg de operamuziek dus met de paplepel ingegoten - of hij het nu leuk vond of niet. Als jonge tiener ontdekte hij dat hij zelf ook wel wat in zijn mars had op vocaal gebied en begon hij zangles te nemen. Op zijn zestiende studeerde hij al fulltime en op zijn twintigste vertrok hij naar New York om zijn zang te verfijnen.

Inmiddels is de naam 'Gaston Rivero' zich steeds steviger aan het vestigen bij voorname operahuizen als bijvoorbeeld de Deutsche Oper Berlin en de Oper Leipzig. De komende tijd staat hij onder meer in Hannover, Tokyo, Berlijn en Essen. En de weg naar grotere faam lijkt voor hem open te liggen.

Wat zegt Gaston Rivero? Wachtend op een mogelijke invalbeurt had hij tijd om met Place de l'Opera te spreken. Ben je vaak understudy voor andere tenoren? Maar ik was net klaar met een Butterfly toen ik gebeld werd door de Wiener Festwochen, dus het paste in mijn agenda. En ik heb veel vrienden in Wenen, dus het is niet erg hier te zijn. Daar woont mijn vrouw ook. In Europa is Leipzig mijn basis. Daar doe ik ieder jaar minstens tien voorstellingen. Maar het grootste deel van mijn tijd ben ik 'on the road'.

Vorig jaar was ik in het hele jaar 29 dagen thuis in New York. Verder vermaak ik me wel met wat films en met hardlopen. Als het niet in Central Park is, dan wel ergens anders. Ik luisterde er altijd naar, ook al hield ik er niet van. Maar op mijn twaalfde speelde ik een keer met wat anderen de opera Turandot na. Ik begreep er zelf niks van.

Ik had toen nog een kinderstem, maar opeens kwam die grote, volwassen stem eruit. Mijn vader was in een andere kamer. Hij sprong op, kwam naar ons toe en vroeg: wie deed dat?! Op mijn veertiende besefte ik dat ik goed was en op mijn zestiende was ik al fulltime aan het studeren. En gevaarlijk.

Gelukkig had ik een goede eerste leraar, die me niet pushte, maar me alleen noten liet zingen die er echt al in zaten. Toen ik ging studeren kreeg ik een aantal slechte leraren. Na zes maanden was ik mijn stem kwijt. Ik ging terug naar mijn eerste leraar. Die zei: luister naar je eigen verstand, ongeacht wat je leraren zeggen.

Dat deed ik, al waren mijn leraren daar niet erg blij mee Hoe heeft hij je verder geholpen? Daarna werden we vrienden. Op bijna militaire wijze begon hij me toen te coachen. We trainden uren op een dag en aan het einde droeg hij me altijd op om voor het slapen gaan nog heel Central Park door te rennen. Voor een betere weerstand, zei hij. Dat was zo'n tien kilometer. Soms deed ik dat wel vier of vijf keer per week.

Zingen doe je met je hele lichaam, je hele lichaam werkt als je zingt. Het gaat erom dat je in vorm bent. En dan heb ik het niet over fitness, maar over hardlopen, simpelweg rennen. Ik ren nog steeds dertig of veertig kilometer per week. Ook doe ik af en toe marathons. Dit is een groot geheim in ons vak. Als meer zangers zouden weten hoeveel kracht ze hieruit kunnen krijgen Je zou twee keer op een avond Trovatore kunnen zingen. En Pavarotti met tien keer zo veel kracht En dat lukt, ik kan er goed mee omgaan.

Ik weet ook in welke wateren ik kan zwemmen en in welke wateren ik door een haai gebeten zal worden. Ook heb ik al aanbiedingen gekregen voor La forza del Destino en Turandot - van belangrijke huizen en regisseurs - maar ik heb telkens nee gezegd.

Ik ben niet het soort tenor dat het toch probeert, maar dan afhaakt of half werk levert of niet komt opdagen. Als ik voor een rol ga, dan moet ik weten dat ik het aankan. Dat is een kwestie van respect hebben voor opera's en operahuizen. Je hebt als zanger een serieuze verantwoordelijkheid. Zijn gevoelens zijn eerlijk, maar hij is verward. Ik kan me goed met hem identificeren. Otello is ook een favoriet. Die rol wil ik al sinds mijn kinderjaren zingen.

Eens wil ik dat karakter worden. Bom, tudo era novo para mim. Trabalhar com Baz Lurhmann, conhecido pelo Moulin Rouge, foi maravilhoso. Voltaria a Broadway? March , Vol. Mit meinen Geschwistern war es allerdings nicht so. Obwohl sie zum Teil auch Instrumente gelernt haben, gingen sie dann eher in den Informatik- und Finanzbereich. Aber gleichzeitig erkannte er mein Talent auch an. GR: Nein, bis jetzt noch nicht. GR: Absolut! Leider ist das in anderen Kontinenten we- niger der Fall. Das Schwierigste an diesem Beruf In die- sem Beruf ist eigentlich nichts einfach.

Heute z. Ich habe die ganze Nacht mit Ler- nen verbracht Eigentlich hat dieser Beruf viel mit Einsamkeit zu tun. Aufopferung und Einsatz sind enorm gefordert. GR: New York! Aber du wirst lachen Das sagt ja schon alles, oder? RS: lacht Okay GS: ebenfalls lachend Ja! Laut privaten Aufzeichnungen hat er diese Rolle an die mal gesungen. Er selbst meinte, es seien mehr als mal gewesen, was ich mir allerdings nicht wirklich vorstellen kann.

Ein Leben, in dem jeder Augenblick so einzigartig ist und festgehalten werden sollte. Die Zeit wird kommen! GR: Ich kann mich schwer selber beschreiben, hm RS: Und wie sieht es mit Wien aus? Auch wenn das erst in 3, 4, 5 oder 10 Jahren der Fall sein sollte. RS: Du hast bereits einige Gesangswettbewerbe gewonnen u. Was ist das Besondere an diesem Wettbewerb im Vergleich zu anderen?

GR: Ich habe an vielen ver- schiedenen Wettbewerben teilgenommen. Damals kam dann nach der Vorstellung der Inten- dant der Klagenfurter Oper auf mich zu und bot mir Aida an. Von jedem Gesangswettbewerb nimmt man etwas mit. GR: Gerne! Wie kam es dazu? Leopold Hager wollte ihn unbedingt nach Europa holen.

Aus diesem Grund hatten meine Eltern beschlossen, dass meine Mutter mich in Uruguay entbinden soll. War Ihr Vater der einzige in der Familie, der musikalisch war? Die ersten Opernaufnahmen, die mich wirklich faszinierten, waren Gesamtaufnahmen von Tosca und von Turandot. Ich war da gerade 13 Jahre alt, als ich mit meiner Schwester spielte und so nebenbei Arien mitsang. Mein Vater kam ganz aufgeregt ins Zimmer und schrie "Wer war das, wer war das?

Wir konnten uns keine Privatschule leisten. Ich arbeitete als Assistent in einer Rechtsanwaltskanzlei. Am Abend setzte ich dann mein Gesangsstudium fort. Das war im Jahr Sie finanzierten dann ihr Studium auf eine sehr spezielle Art und Weise? Ihm gefiel meine Stimme und er lud mich zu einer Audition ein.

Eine Oper am Broadway? Wie hat das funktioniert? Es war aber trotzdem eine tolle Erfahrung. Das ganze spielte sich ab. Vorher nahm ich an ein paar Gesangswettbewerben teil und konnte unter anderem auch in der Carnegie Hall auftreten. Sie waren ja bei Bewerben sehr erfolgreich. Welchen Stellenwert messen Sie diesen Veranstaltungen bei? Sie produzierten dann auch eine CD, die auf diversen Market-Places zwischen 35 und 80 Dollar gehandelt wird?

Ja, das tat ich auch zur Promotions-Zwecken. Ira Siff wiederum hat mir beigebracht, wie wichtig Disziplin in diesem Beruf ist. Seitdem sind Sie ja gut gebucht. Unter anderem kam ich so zu einem Gastspiel nach Japan. Meine Stimme geht mehr ins Dramatische. Meine Interessen und auch meine Stimme liegen sicherlich im dramatischen italienischen und franzoesischen Fach. Gibt es ein bestimmtes Opernhaus, in dem Sie unbedingt einmal auftreten wollen? Nicht wirklich.

Das ist mir egal, es ist einfach wichtig, dass die Konzeption nicht gegen das Libretto und die Musik gerichtet ist. Oper kann so spannend sein und es wird viel Action geben! Wie vorhin angesprochen bereiten Sie neue Rollen vor. Wie gehen Sie dabei vor? Dann versuche ich mich in die Figur, die ich darstelle, reinzudenken und dabei Parallelen zu meinem Leben zu finden. Bei Helden ist das wahrscheinlich eher leichter als wenn man Figuren wie Pinkerton oder Turridu darstellt?

Ja, da kann es schon vorkommen, dass man in seiner eigenen Seele ein paar dunkelschwarze Winkel durchforsten muss und mit sich selbst auch ins Reine kommen muss. Turridu sehe ich aber eher als Opfer. Sie will einen jungen, tollen Liebhaber, aber auch nicht auf viel Geld verzichten.

Sie ist eine Frau, die immer mehr will. Des Grieux sehe ich irgendwie als Idealisten an. Auch da entwickelt man sich als Singschauspieler immer weiter. Da habe ich mich in den letzten Jahren sehr weiterentwickelt. Sie haben sicherlich schon einiges im Laufe Ihrer Karriere erlebt? Ich hatte einige lustige Erlebnisse auf der Buehne. Viele Opernbesucher warten eigentlich immer nur auf das "Hohe C". Wenn man eine gute Technik hat, sollte das Erreichen dieses Tones kein Problem sein - wenn man die Voraussetzungen dazu hat.

Nein, ich setze mich da nicht unter Druck. Oj wej! Gut gemacht! Seine Website: www. Das ist das Risiko, das Interpreten bei Live-Auftritten eingehen. Gaston Rivero's Originaltext: "The production of Tosca in Klagenfurt in many ways will be revolutionary. My collegues and I are working day and night on this wonderful Tosca production at the Stadttheater Klagenfurt. We sincerely believe, the Klagenfurt Tosca Production will be oustanding and well reviewed. November , Vol. Ante ese panorama, la alternativa casi inevitable estaba fuera de fronteras.

Y las primeras opciones que se le presentaron llegaron de Holanda, Italia y Estados Unidos. March 25 , by: Mariko Sato, ""I wanted to sing for the children in Tohoku by all means" Carmen, the world's most frequently performed opera, added to its record this past January with an electrifying production at New National Theatre Tokyo. Stunning the audience with his powerful rendition of the ill-fated lover Don Jose was Gaston Rivero, a spinto tenor whose busy schedule takes him to opera houses across the globe, especially in Germany.

Born in Uruguay , Rivero at an early age moved with his family to Argentina, where he began studying music. He later continued his studies in New York. A big break came in , when Rivero made his Broadway debut in a production of La boheme staged by film director and producer "Baz" Luhrmann. His heart goes out especially to the people of Tohoku, the region ravaged by the March earthquake and tsunami: "When the Carmen job was arranged, I wanted by all means to also schedule a performance in Tohoku to sing for the children there.

For many of the children, the tenor's uplifting voice was their first encounter with operatic singing, and Rivero says that all their faces lit up during the concert. Giuseppe Verdin Aida Savonlinnan oopperajuhlilla. Sen piti tapahtua kaksi vuotta sitten, mutta pandemian vuoksi se tapahtui vasta perjantai-iltana Giuseppe Verdin Aida-oopperan uuden ohjauksen ensi-illassa. Olikohan vitsi hieman irrallinen? Muutkin keskeiset solistiosat oli miehitetty asiallisesti. A beautiful, fluent voice, strong, sensual-sounding arias, and a wonderful duo with Don Carlo, a Uruguayan-born American singer Gaston Rivero who has lived up to the expectations of a resounding, powerful, high-voice tenor who can capture a full range of lyrical tones.

Not just due to the demanding musicality and challenging fraseggio and high notes but due to the fact that it is a character divided in 3 different interpretations and none of them is fully connected to each other. First we have the Verdi's Don Carlo with temper , passion and French romanticism, with Italian fire, then the Schiller Don Carlo, an antihero , dreamer , idealist, lost in love and finally the real Don Carlo, a man from which the comments around were nothing but negative.

An absolute immature child , crazy, disrespectful, absolutely out of control, aggressive to people and animals, a real danger to the Spanish crown and all the members of the royal family. We must take into consideration that during those days Spain controlled a huge portion of the world from Mexico to the South of Argentina parts of Asia and Africa and a lot of Europe, undoubtedly Don Carlo was with his behaviour and wishes of rebellion against his father one of the most dangerous personalities during those days.

Gaston Rivero: Since I love so much acting, this role and production allow me to develop these 3 different characters in one and with the help of the professional team at the Lithuanian National Opera I was able to understand the original conception from the Regisseur in this particular production I debut this role in Budapest 12 year ago under very special circumstances. The Hungarian State Opera had a problem with the Tenor scheduled and they were unable to find anybody to replace him. I was happening to be there performing Madame Butterfly and they had only two options to asked me or to cancelled a sold out performance.

Let me clarify that I knew at that point only the duet with Rodrigo and I had only 48 hs to learn the entire role. Well I accepted the challenge and worked 15 hours a day with a pianist. I sang that performance and the following 4 , later on they called me again in order to interpret that role in several occasions and I was able to perform Don Carlo at Staatsoper Berlin, Wielki Opera Warsaw, Strasbourg, Oper Leipzig, Kansas, Aaltotheater Essen among other Theaters.

This is certainly one of my top 5 favourite operas. Opera Lithuania: How is this G. Verdi Opera in the world contest today? Gaston Rivero : What Russia is doing is an atrocity, pushing the entire world to go back in time to what happened during WW2. During the lasts months with several colleagues and friends in Germany and the US, we had been providing food, accommodation and financial support to women and children from Ukraine, arriving in west Europe.

Just the lost and sad faces upon their arrival of these women and children breaks my heart. We were able to provide them with sandwiches, coffee and cookies plus blankets and toys for the children during the first months.

We also bought a lot of furniture and provided them with accommodation but the work is not finished and we have no idea what level of damage this dictator in Russia is planning to achieve As artists,and members of the conscious humans race , the best statements we can bring are our own actions, while creating art , while helping each other , while protecting those unable to protect themselves from bullies. Like Verdi shows us in Don Carlo, ready to die for our honest believes , for our dreams and those we love.

Ultimately we are all dead , but as long as we are alive we can chose if to leave a legacy of constructive love , mental development and solid respect or to be part of those lost selfish souls that thought that they were going to be eternal while damaging their brothers and sisters. The only message we can give to these people is "you can be sure sooner or later you will die and goodness always wins because it is the human essence , it is in our DNA.

Before accepting the offer for Il Trovatore I asked about the soloist and they told me that Asmik Grigorian was the soprano, I immediately accepted but I spent only 3 days in the city so I saw basically nothing of the city. However fortunately Maestro Sisto Quatrini invited me for this Don Carlo and taking into account that he is one of the most prestigious conductors in the world these days , and a top quality musician and voices lover , it took no time for me to accept the invitation.

I just hope that my participation will reach his and the audiences expectations in order to return soon". Para algunos forma parte de la leyenda rosa o blanca , para otros de la leyenda negra del reinado de Felipe II el Prudente , encarnado por Ante Jerkunika. Carsen quiere hundirse en una cierta intemporalidad de la historia y captar sobre todo a los personajes. Efectivamente, hay algo de Hamlet en este joven enamorado de la soledad.

Pocas veces se ha escuchado esta partitura sonar con tanta entrega, tan naturalmente verdiana, con su gama de matices inauditos, desde el fortissimo martillado hasta los efectos acariciados. La Essener Philharmoniker ofrece interpretaciones alternadamente ardientes y brillantes.

El elenco les hace plena justicia. Ante Jerkunica es un bajo con un sonido brillante. Gabrielle Mouhlen es una Isabel de Valois muy atractiva. Am Aber des Historikers! Schiller geniale Dichtung ist auch eine Wahrheit eigenen Rechts.

Aber ob das so gemeint war? Das passt zwar in die Klatschpresse von heute, aber nicht zu Schiller und Verdi. Bei beiden ist er eine tragische Figur von Format. Dann kam Corona und der unendliche Lockdown. Diese hatte alle Berufsorchester darum gebeten, das Werk in ihre Programme aufzunehmen - im Gedenken an die Menschen im Kriegsgebiet und aus Protest gegen Russlands Aggression.

Gelungen: der gezielte Einsatz von Licht, der spannende Details ins Spiel brachte. Kraftstrotzend kann er sich in zene setzen. Seine Vorliebe fur hohe Tone is unuberhorbar. Diese gelingen ihm auch gut. Dennoch wurde ich mir in seiner Stimme ein paar Schattierungen mehr wunschen". He also continued his own performing career to live and virtual audiences.

As he gears up for the season, Rivero spoke with OperaWire about the work of his past year, his career development, and his relationship with Oper Leipzig. Rivero lleva adelante una excelente carre- ra internacional cantando en los principales escenarios del mundo. First up will be a new production of Verdi's "Aida" by director Phillipp Himmelmann who asserts that "'Aida' must be retold, because the world has changed irrevocably. Sponsored by New York-based art agent and patron Ms.

While immersed in her hard work, the Spanish pianist has very kindly agreed to talk with us at mundoclasico. Below is our exclusive interview with her: Juan Carlos Tellechea: What are your thoughts on the halt in cultural activities in general and in musical events in particular due to the coronavirus? Miriam Gallego Lorente: The coronavirus has led to a halt in many activities -industrial, artistic, social, and economic ones. Once again, this has shown that art moves sensations and emotions that we need to express in our daily lives, things we wouldn't be able to express in other fields.

Therefore, we have had to look for other ways to channel art either through social media, uploading multimedia content on the web, and so on. But this is not the most straightforward, pleasant way to do so. The different restrictions, as well as the confinement imposed, have resulted in the normalization of physical and emotional distancing. Music in particular, as well as the rest of the Arts, preserves that human part that has been so invaded and affected this last year.

What positive and negative conclusions do you derive from this situation? Softcover ISBN : Series ISSN : Edition Number : 1. Number of Pages : XI, Skip to main content. Search SpringerLink Search. Buying options eBook EUR Softcover Book EUR Learn about institutional subscriptions.

Table of contents 9 chapters Search within book Search. Front Matter Pages i-xi.

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El verde de tus ojos La dulce Mimi El gondolero Canto al sol Paloma mensajera Esa boquita roja Cabaretera Solamente una vez Caminemos Piel canela Ramona Ansiedad Amor, no me quieras tanto Perfidia Dos arbolitos El cantor Quiero un amante Libre El jibarito Cuando amanecen las flores De que te quiero te quiero Tu nombre me lo callo Solo Titiritero Que se cuente Se fue Sencillamente nunca Gracias Ahora Como yo te amo No me comprendo Se me va Estar enamorado Zuray-Zurita Pregunta a pregunta En carne viva El amor Dama, dama Si no fuera porque A la huella a la huella El hombre Sentado a la vera del camino Falso Para volver a volver Enamorado de la vida Y fuimos dos Frente al espejo Despertar al amor Estoy llorando hoy por ti Quien me lo iba a contar Es mentira Me estoy quedando solo Hay momentos de amor Yo sigo siendo aquel Dile que vuelva A veces me pregunto A esa Detenedla ya Voy a llenarte toda A que no te vas Si amanece Tengo mucho que aprender de ti Voy a perder la cabeza por tu amor Si te vas con el Oye Ni muerta Estoy tan lejos Voy a cruzar los dedos Te voy a echar al olvido Echale guindas al pavo Dime que me quieres Con mi borriquillo Ojos verdes Tio, tio Popurri Me embrujaste Mi jaca La bien paga Una locura Si supieras El amor es algo maravilloso La tierra Se me hizo facil Macorina Adiviname quien soy Demasiado dentro No le pegues mama Soy lo peor Sin ataduras Desde el fondo de mi alma A otro Orgullo de metal La bikina Adonde fue a parar mi vida Persona no grata Buena para nada No he podido fallarte Sombras Desmejorado Presumo El amor va conmigo Dos clavos a mis alas Aunque no sea conmigo Dijo de mi Estar contigo Noche de paz Silent Night Bendita y maldita Navidad Un nuevo sol Soleado Blanca Navidad White Christmas Pastores venid A cantar Vuelve por Navidad Medley Procuro olvidarte Igualito Y grito no Que viva la novia Te quiero tanto E-mails Ven a caminar conmigo Hasta que te olvide Soy como soy Cantares feat.

Joan Manuel Serrat Alejandro Sanz David Bisbal Volverte a ver feat. Juanes No puedo quitar mis ojos de ti feat. Alaska Infinito feat. Enrique Bunbury Hijo de la luna feat. Ana Torroja Como yo te amo feat. Rocio Jurado Quiero abrazarte tanto feat. Morir de amor feat. Volver volver feat.

Vicente Fernandez El cielo puede esperar feat. Manuel Martos Adoro feat. Armando Manzanero Paloma San Basilio Mi gran noche feat. Adamo A mi manera My Way feat. Paul Anka La cumparsita Caminito Cuesta abajo A media luz Uno Cambalache Nostalgias Malena Yira yira En esta tarde gris El choclo Milonga sentimental Balada para un loco Madreselva Historia de un amor Tres palabras Voy Toda una vida Usted Mira que eres linda Angelitos negros Encadenados Envidia Mi ciudad La media vuekta Un mundo raro Gritenme piedras del campo Piensa en mi Que te vaya bonito Si dios me quita la vida Luz de luna Enfadados La mujer del lago azul Cosas de la vida Eso que llaman amor Sexo sentido Cuatro estrellas Confidencias Por ti Naturaleza muerta Si ha de ser asi Me gusta pensar en ti Un buen amigo Disculpame bonus track No puedo arrancarte de mi Blanca Navidad Navidad, Navidad Ven a mi casa esta Navidad Felicidad Te deseo muy felices fiestas Amarga Navidad Noche de paz El tamborilero Aunque a veces duela Infinitos bailes Carrusel Cada septiembre La carta Igual Loco por cantar La duda desnuda Semilla o flor En pie Negro Del principio hasta el fin Una vida Inmensidad Manuel Carrasco Vida loca feat.

Luis Fonsi Treinta y seis feat. Gloria Trevi Pablo Alboran Agradecer la marcha feat. Natalia Lafourcade Lucha de gigantes feat. Mikel Izal Frente a frente feat. Mon Laferte Sensodrom - Jetzt Oder Nie. Nafis - Beautiful Mind. Kolby Wade - Pilgrimage. Scann-Tec - Phaeton Remains. Saycet - Ayrton Senna. Zinovia - Northern Wind. Troels Hammer - Azur. Minor Rain - Before The Storm. Bob Holroyd - Mirror Lakes. Marc-George Andersen - Visions.

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Michael E - Hathor's Theme. Steen Thottrup feat. Tom Day - Somewhere In October. Tigerforest - Vermilion. Fade - Aguhja. Promid - Separation. Eskadet - Un Songe. Amane - Tangerine. Tom Day - Departures. Federico Albanese - We Were There.

John Metcalfe - The Silver Track. Corrado Saija feat. Florent Campana - Amanda. Paul Hankinson - Fantasie. Nest - Charlotte. Masayoshi Fujita - Tears Of Unicorn. Mike Salta - Rheya. Slow World - Saturday. Claude Debussy - Beau Soir. Randy Edelman - Watch Me. Jurgen Knieper - Au Moulin. Markus Hauck - On Faith Alone. Frederico Mompou - Suite Compostelana Nr. Wojciech Kilar - Twilight Cellos. Ernest Tomlinson - Little Serenade.

Wolfgang Huschke - Silberregen. Ludovico Einaudi - Le Onde. Niki Reiser - Jenseits Der Stille. Andrea Morricone - Love Theme. John Barry - Eternal Echoes. Lee Johnson - Sand Floor Cathedral. Edward Shearmur - Bluebird. Howard Shore - Precedent. John Barry - Lullabying. Franz Schmidt - Notre Dame. Ennio Morricone - Gabriel's Oboe. Edvard Grieg - Aase's Death.

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Thomas Lemmer - One. Junopilot - Raumboote. Michael E - Suzanne. Dollboy - Dadgad. Marcus Loeber - A Day Before. Edgar Knecht - Schlaf. Sine - Our Secret Garden. David Clavijo - Uttara Kanda. Axel Schultheiss - Magic Hour. Electrix feat. Nayumi - Je Me Vois. Michael E - Promise. Merge Of Equals - Hot Rain. Sonic Adventure Project - Momentum. Setsuna - When Night Is Calling.

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L'usine - February. George Moraitis - No Fate. Solee - Ditzingen. Liston - Temperate. Worakls - Bleu N'to Remix. Gidge - I Feel Love. Masterton - Closer. Eelke Kleijn - Eenvoud. Ruede Hagelstein - Detuned. Playmodul - Lupita. Kiasmos - Wrecked 65daysofstatic Remix. Rival Consoles - Odyssey. Pascal Schumacher feat. Maxime Delpierre - Tango Of Points.

Himbrecht - Moose. We Need Cracks - Epitaphe. Mashk - Dad. Luca Bacchetti - Genesis. Max Tenrom - Horizon. Teho - Arif. Younotus - Sundaze. Pachanga Boys - Time. Jens Buchert - Reflections. Orbient - In Time Korean Version. Alex Cortiz - Spoonful Of Air. Noiseshaper - Moving Together. Island Groove - Buggin' Out. Rauschfaktor - Funkstille. Calmstreet - Coming Home.

Dale Sumner - Miracle Of Puskar. Light4Lines - Misty Sunrise. Max Melvin - Slowburn. Island Dream - Whispering Wind. Flipside - Andante. Biggabush - Under The Pyramid. Molasses - Meditation. Deep South Progression - White. Biggabush - Intravenus 2. Razoof - Le Soleil. Moonwalker - Mellow Planet. Faust - The Faust Tapes. Biggabush - Theme Ypey - Without You.

Aaron Wheeler - Poppy Deeds. Numaro - From The Lab. The Havana Boys - Regy's Dream. Susie Wilkins - Dream Reflection. Bliss - A Last Meeting. Sophie Barker - Just For You. Kenneth Bager - Romeo. Brian Eno - An Ending. Ludovico Einaudi - Ascolta. Fragile State - Paper Smile. Christophe Goze - Le Coeur Grenadine. Junopilot - Mondschnee.

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Jonson - Moon To Earth. Marcus Loeber - Moment. Udosson - Interflug. Fade - Orbiter. Sonic Adventure Project - Haze. Normandie - You Are Here. Max Melvin - Sand Reprise. Akmusique - Sandade Inside Mix. Naomi - White. Slop Shop - Blue Angel. George Pallikaris - Seaside. Lovas Robert - Ime Adagio. Kookoon - Beyond Blue. Anima Sound System - The End. Zofka - L'Automobile Minus 8 Remix.

The Havana Boys - Microlash. Karma - Get My Mojo Working. Nigel Hayes - Bad Stone. Compendium - Brandnew Start. Belladonna - Meltin Guitar. Al-pha-X - Finally Free. Al-pha-X - Solar Ascension. Al-pha-X - Punjabi Prelude. Al-pha-X - A Bollywood Moment. Al-pha-X - Destination Underwater.

Ma Faiza - Liquid. Ma Faiza - Genesis For Nina. Ma Faiza - What. Ma Faiza - On The Edge. Ma Faiza - Desert Angel. Cellar 55 - With Or Without You. Da Flow - Is It You. Rivera Rotation feat. Sagres Superstar - Sundowner. Superlounger feat. Stella - Amour. Major Boys feat. Aurelia - Sous Le Soleil. Susannah Montero - Lagrimas Instrumental. Akmusique - Subtile Lady. Nardis - Goodnight Star. DJ San Martino - Limelights. Cantoma - Etoile. The Man Behind C.

International Pony - Our House Papa. Argy - Love Dose Luciano Remix. I-Robots - Frau Pandullo vs. Und Mix. Andre Kraml feat. Seymour Bits pres. Ellen Allien - Brain Is Lost. Boys Noize - Volta Green Velvet - UFOs. Play Paul - Lalaland. John Starlight - Shadowbreaker.

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