Opera Arias 🎼 André Rieu

🎼 Opera Arias 🎼

 André Rieu

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https://youtube.com/playlist?list=PLiyWaRqW7RXy0WepnjvpYPEh5zPl5G0-U
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André Rieu

Plaisir d'amour

André Rieu, Mirusia and Carmen Monarcha performing Plaisir d'amour live in Dresden. Taken from the DVD André Rieu - Dancing Through The Skies (Wedding at the Opera).

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Music🎼Love
https://youtu.be/25FVGrjbtL8

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Fountains ⛲ M.Chodakowska 🇵🇱 Water Sculptures

⛲ Fountains  ⛲

Water Sculptures

🇵🇱  Malgorzata Chodakowska  🇵🇱

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https://youtu.be/Hvcpei2f1LQ

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Małgorzata Chodakowska

Fontaines 

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https://youtu.be/AOEDXIwsIJw

 

Fabulous Fountains

That Blur The Difference 

Between Water And Sculpture
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https://youtu.be/y61NcL-NLoA

Małgorzata Chodakowska
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https://youtu.be/o6zKYPmzNqM
Catalog of works

https://www.skulptur-chodakowska.de/en/fountains/

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🇵🇱  Małgorzata Chodakowska  🇵🇱

Małgorzata Chodakowska (born 9 May 1965) is a Polish-born sculptor. She moved to Dresden in south-eastern Germany in 1991. Chodakowska and her husband have made their home in the countryside on the edge of (de) Dresden since 1995: she has held German citizenship since 2018. She returns frequently to her "Stammfrauen" (loosely, "archetypal women") sculptures of women, generally naked and carved in wood, and has also produced figures for fountains and competition pieces. A striking if slightly unconventional outdoor exhibition area for many of her pieces is provided by the small vineyard on the edge of Dresden where she lives with her husband, (who in 2019 insisted to a reporter that his sculptor wife "brings more income home" than is delivered by the couple's 11 acre winery).

Her public profile was raised by her figure of Trauerndes Mädchen am Tränenmeer (Grieving Girl at the Sea of Tears) which commemorates the bombing of the city in February 1945, and which was completed and installed at the city's Heidefriedhof cemetery (de) in 2010.

Chodakowska won the 1st World Award in Sculpture, in the 2017 (February) International Interartia Festival Competition and she is also candidate honorary Member of the International Art Academy in Volos, Greece.

Provenance and early years

Małgorzata Chodakowska was born and grew up in the heart of Poland, at Łódź, where between 1980 and 1985 she attended the Liceum Sztuk Plastycznyc ("Fine Arts Secondary School"). In 1985 she enrolled at the Fine Arts Academy in Warsaw where she studied sculpture with Jan Kucz. Three years later, in 1988, she moved on again, this time to the Academy of Visual Arts in Vienna, to progress her studies further. Her prize-winning dissertation, which she submitted in 1991, was supervised by Bruno Gironcoli.

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Klaus and wine

In September 1989 Małgorzata Chodakowska took a hiking trip in the Tatra Mountains (Polish side) with a couple of friends. While walking one day the girls fell into conversation with a solitary East German hiker. Klaus Zimmerling was a mechanical-electrical engineer from the Wachwitz (de) quarter of Dresden. (It later turned out that Zimmerling was a frustrated engineer, but a passionate hobby-winemaker.) That evening they agreed to team up for the final part of their break and at the end of the trip Chodakowska and Zimmerling exchanged addresses. Two weeks later she arrived at Dresden on the train from Warsaw to be met by Klaus clutching a bunch of flowers and solemnly unrolling a red carpet across the platform: they were evidently in love. Significant travel restrictions were still in force between central European countries in the "Soviet Empire", but 1989/90 was a period of massive and lasting social and political change. By the end of 1990 Chodakowska had joined her lover in Dresden and the couple were married. At this point, however, Małgorzata Chodakowska still had not completed her course at the Academy in Vienna. Street protestors had breached the Berlin Wall in November 1989, however, and it became clear, after East Berliners—some exultant and others merely intrigued—streamed past bemused border guards, that neither the watching Soviet soldiers nor their East German proxies had received orders to kill. There would be no repeat of 1953. Long-standing restrictions on foreign travel rapidly disappeared and Zimmerling was able to accompany his bride to Austria where she completed her artistic studies in Vienna and he undertook a twelve month internship on an organic winery up-river at Wachau.

The business

Since 1991 Chodakowska has lived with her husband in Dresden and supported herself as a freelance sculptor. It was also in 1991 that she was accepted for membership of the Saxon Artists' Association (Sächsische Künstlerbund). At this point she was still living at Meißner Landstraße 141, close to the river and a short distance to the west of the city centre. In 1992 Zimmerling purchased his vineyard and over the next few years he was able to add to it. In 1995 they had acquired an old farmhouse on the eastern side of the city in Pillnitz near the eponymous Schloss, and positioned between the old royal vineyard formerly attached to the Schloss and the little vineyard the two of them had been managing together: the farmhouse became the couple's new home and business premises, while the vineyard became the backdrop for some of Chodakowska's sculptures. Over time more of her pieces have been erected in public places nearby. Images of her sculptures also appear on the labels of the wine bottles.

Chodakowska states that inspiration for her sculpture comes from travel. A visit to Portugal inspired her oak-wood sculpture "Portugiesischer Schönling" (loosely, "little Portuguese beauty"). She says that another trip, this time to Egypt in 1996, enabled her to lose her reticence over working with gold. Visiting Cambodia in 2000, she was inspired by Khmer carved stone temple dancers that "revealed the embodiment of good and evil bound together in ecstatic unison". Małgorzata Chodakowska's work is both attractive and skilfully promoted. She explained to an interviewer that in 2005 she reached the point that she no longer had to sell everything that she could produce to put food on the table. Since then she has generally retained her original hardwood sculptures, often displaying them on the family vineyard, while selling only the bronze castings produced from them. One speciality is her so-called "water sculptures" or "fountain figures" which combine an attractive (normally) female figure with a fountain. One (admittedly extreme) example of Chodakowska's commercial success was reported in 2010 when "Überfluss" ("Abundance"), a 1.80-meter high bronze fountain figure completed in 2009, was sold to a businessman for €50,000. 

Method

As a student at Łódź and later at Vienna, Malgorzata Chodakowska took the opportunity to work with a number of different themes and techniques. In the end she decided to concentrate on presentations of the human form. She told an interviewer in 2008, "Working with the human form enables me to feel as close as possible to the figure I am working on, and so I have the feeling that this is the form I can best compose sculpturally". Her recurring theme is the so-called "Stammfrau" (loosely, "archetypal woman"), usually carved from wood to give a life-sized or slightly larger than life-sized form. She generally uses wood from uprooted trees, provided either by forestry authorities or by friends and acquaintances. She prefers to work with harder woods, often from fruit trees: linden, Pear wood, cherry wood, oak, tulip tree and, since 2010, ash. Depending on the hardness of the wood and the complexity of the design, a sculpture typically takes Chodakowska three or four months to carve. She prefers harder woods because, she says, she needs the "resistance of the wood" for her work. Her favourite timber variety is oak.

Normally she starts by sketching a series of images for a sculpture with the help of a life model and using photographs of her model. The front view and profile sketches are then applied directly to the selected block of wood which is cut roughly to shape using a hammer and chisel. The finer image then "emerges" from the roughly cut tree trunk, with the human figure and the base forming a single block, the girth of the figure being constrained by the original diameter of the trunk selected: "For the 'Fata Morgana' an oak [trunk] with a 1.20m diameter was necessary". Smaller parts are rarely added.

During her earlier period Chodakowska left her figures as simple unenhanced wood images, often of nudes. Over time she developed an appreciation that colour can bring a new dimension, and make the surfaces appear more reminiscent of real human skin, so that her more recent images are usually "partly clothed", often with acrylic paint. Emphasis is placed on the face and on the garment. "You can use light acrylic paint to give the impression of clothing, which nevertheless comes with a diaphanous quality that does little to conceal the body". The art historian Karin Weber comments that the resulting sculpted closely fitting dresses come across as a contemporary interpretation of the "wetlook style" ("nassen Stil") familiar to specialist scholars familiar with the sculpture of classical Greece. Since a visit to Egypt in 1996 Chodakowska has also worked with gold surfacing as an additional expressive device. Some of her sculptures are coated with a final glaze made of beeswax, linseed oil and turpentine, which enhances the clarity of the grain in the wood.

Along with her "Stammfrauen" (loosely, "archetypal women"), who are mostly modeled on dancers, Chodakowska has also sculpted a few "Stammmänner", and some couples, representations of children and busts. She explains her preference for sculpting with wood on the grounds that this material "communicates warmth. It is [therefore] especially suitable for representing people". Wood, "with its grained texture, [calls to mind] the tendons and veins in the human body".

During the 1990s Chodakowska went through several years of working with tin and glass, notably with her "Tänzerin" ("Dancing girl", 1993) figure, "Glasmenagerie" (1994) and "Liebespaar" ("Lovers", 1994) which combines both glass and tin. Since the mid 1990s she has, from time to time, worked in bronze, a necessary departure from her preference for working with wood when producing her hallmark fountain figures for outdoor display.

https://en.wikipedia.org/wiki/Ma%C5%82gorzata_Chodakowska

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Malgorzata Chodakowska

Fountains - Water sculptures 2017
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https://www.tumblr.com/blog/arts-dance

How to Translate French Words 🇫🇷 Clever Tricks

How to Translate French Words

WITHOUT KNOWING FRENCH

 3 Clever Tricks

Let me teach you how to read French words without already knowing any French.  

The reasons why these tricks work raise some fascinating facts about the history of the English language.

👇  Watch and I'll explain. 👇
https://youtu.be/3BGaA3PC9tQ

By inserting an extra S here or there, some French words magically become much more like their English equivalents (or "cognates"). Also, the clever deployment of a W can render even the most Gallic of words easily recognizable.

🇫🇷 DISCLAIMER The tricks don't work every time... but when they do, it is enormously satisfying.

 

There is one more trick also explained by the Norman language: 

If a word starts with "ch"  then try to drop the h letter after the c letter . 

For example with "chat" you get cat, with "char" you get car, with "chaudron" you get caudron (cauldron) and with "château" you get "casteau" (castle).

Comments 🗣
I'm french and I think this video is lovely! By the way, the french word for "coast" is also "côte", when used about wines (like "Côte de Bourg" or others...) it refers to the side of the valley where the vineyard grows, so a "côte" is always next to water... So yes, it is absolutely related to "coast".

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Char is a french word. One meaning is an ancient horse-drawn two-wheeled vehicle. The other meaning (more common) is tank (armored military vehicle). Both words char and tank can be used. Actually "char" in french Canadian means car which is very different from the European french word "voiture". 

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Just a detail but castle actually came from old French castel. So here the English version is closer to old french than french is.😊
In old French « Château » was « Castel » and then castle in English.
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As a french person that had a tough time learning English, this is so cool!! Should definitely be taught in school.
J'ai toujours pensé que l'étymologie était très importante mais malheureusement rarement enseignée à l'école
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Just a little detail, the actual french is not exactly based on the dialect from Paris, but the one that was spoken in Touraine (south of Paris, in the Loire’s valley)
It was a bit different from the Parisian, especially for the intonation.
The video is also very fun for french speaker, good job !

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All English words who end with : TION are the same in French but a different pronunciation (une prononciation différente) révolution affirmation, animation, allocation etc... it won't teach how to speak French but it can be really useful 

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One of my favorites is ÉCHAFAUDAGE
É goes to S
CH goes to C
The U needs the L change
And finally AGE words are ING words
Vowels are the glue that can change to other vowels
So we can see the English word magically appear as SCAFFOLDING
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Oh and also thank you for using the word "Trick". I am so fed up with everyone saying "Hack"
*  You can translate "trick"  by "truc" !
* The better word is technique. Tricks are for magicians and circus animals
* And the funniest is that technique is the exact same word in french, a technique, une technique !
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There are a couple of rules that I remember about learning French.  First, only the consonants in the word "careful" are ever pronounced at the end of a French word.  And because French wants to sound beautiful to the ear, it attempts to have most words to begin with a consonant and end with a vowel. That is why the first rule is true.
Then with those words that start with a vowel, they are allowed to "steal" the consonant from the word previous to it in the phrase or sentence.  And that is all that I recall when taking a short self French course on my long-playing 33-and-a third records.  🙂

 

🇫🇷 CONTENTS

00:00   Intro
00:59   Trick 1: Swapping É for S
03:50   Why Trick 1 works
04:58   Trick2: Letters with hats
07:43   Why Trick 2 works
08:17   Trick 3: Swapping GU for W
08:57   Why Trick 3 works
10:53   Translating a sentence
11:52   Goodbye

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Check me out on Twitter & TikTok:

http://twitter.com/robwordsYT
http://tiktok.com/@robwords

🇫🇷 🔠  🔤 🇫🇷 🔠  🔤  🇫🇷🔠  🔤 🇫🇷

Tout va Très Bien💃Madame La Marquise

Tout va Très Bien
Madame La Marquise

Everything is fine Madame la Marquise/Tout va très bien, Madame la Marquise  is a 1935 song , lyrics and music by Paul Misraki , published by Ray Ventura editions has become a proverbial expression to designate an attitude of blindness in the face of a hopeless situation and a clumsy attempt to hide its reality. 

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Tout va très bien, madame la marquise est une chanson de 1935, paroles et musique de Paul Misraki, publiée aux éditions Ray Ventura ; c'est un des grands succès de l'orchestre de Ray Ventura et ses Collégiens avec Qu'est-ce qu'on attend pour être heureux ? et Ça vaut mieux que d'attraper la scarlatine. Tout va très bien Madame la Marquise est devenu une expression proverbiale pour désigner une attitude d'aveuglement face à une situation désespérée.

Ray Ventura et ses Collégiens

Ses auteurs, Charles Bach et Henry Laverne, et son interprète, Ray Ventura, se moquaient par là de l’optimisme forcené que montraient les gouvernements français successifs devant la montée du nazisme.

Tout va très bien 

Madame la Marquise

(Remastered)

La création des premiers camps de concentration, l’incendie du Reichstag, les lois de Nuremberg… n’inspiraient aucune inquiétude. 

Il était plus facile de dire que «tout allait bien» !
Cette indifférence française participa à l’enchaînement d’autres événements historiques hors de France, telles la guerre d’Espagne ou l’invasion de la Tchécoslovaquie et de la Pologne .

Tout continuait à aller bien en France…

 jusqu’au 10 mai 1940,
où l'on cessa de chanter...

Tout va Très Bien Madame La Marquise
All is Well Madame La Marquise

	.
Allô, allô James ! Quelles nouvelles?	Hello, hello James!  What news ?
Absente depuis quinze jours,	Absent for fifteen days,
Au bout du fil, je vous appelle :	On the phone I'm calling you :
Que trouverai-je à mon retour?	What will I find when I return?
Tout va très bien, madame la Marquise	Everything is fine, Madame la Marquise,
Tout va très bien, tout va très bien	Everything is fine, everything is fine.
Pourtant il faut, il faut que l'on vous dise	But we must, we must tell you
On déplore un tout petit rien :	We deplore a really little thing,
Un incident, une bêtise,	An incident, a foolish thing
La mort de votre jument grise	The death of your gray mare,
Mais à part ça, Madame la Marquise	But apart from that, Madame la Marquise
Tout va très bien, tout va très bien !	Everything is fine, everything is fine.
Allô, allô Martin! Quelles nouvelles?	Hello, hello Martin! What news ?
Ma jument grise, morte aujourd'hui ?	My gray mare dead today!
Expliquez-moi cocher fidèle,	Explain to me  Faithful coach,
Comment cela s'est- il produit?	How did this happen?
Cela n'est rien, madame la Marquise	That's nothing, Madame la Marquise,
Cela n'est rien, tout va très,	It's nothing, everything is fine.
Pourtant il faut, il faut que l'on vous dise	Yet you have to, you have to tell you,
On déplore un tout petit rien :	We deplore a tiny thing,
Elle a périt dans l'incendie	She perished In the fire
Qui détruisit vos écuries.	Who destroyed your stables.
Mais à part ça, Madame la Marquise	But apart from that, Madame la Marquise
Tout va très bien, tout va très bien !	Everything is fine, everything is fine.
Allô, allô Pascal ! Quelles nouvelles?	Hello, Hello Pascal!  What news ?
Mes écuries ont donc brûlé?	My stables have burned?
Expliquez-moi Mon chef-modèle,	Explain to me My head cook, (Head Chef)
Comment cela s'est- il passé	How did it go ?
Cela n'est rien, Madame la Marquise,	That's nothing, Madame la Marquise,
Cela n'est rien, tout va très bien !	It's nothing, everything is fine.
Pourtant il faut, il faut que l'on vous dise	But we must, we must tell you
On déplore un tout petit rien :	We regret a tiny nothing:
Si l'écurie brûla, Madame,	If the stable burned, Madam,
C'est qu'le château était en flammes.	It's because the castle was burning.
Mais à part ça, Madame la Marquise	But apart from that, Madame la Marquise
Tout va très bien, tout va très bien !	Everything is fine, everything is fine.
Allô, allô Lucas ! Quelles nouvelles ?	Hello, hello Lucas! What news ?
Notre château est donc détruit ?	Our castle is destroyed!
Expliquez-moi... Car je chancelle	Explain to me Because I'm staggering
Comment cela s'est- il produit ?	How did this happen?
Eh! bien voilà, Madame la Marquise	Well, here, Madame la Marquise,
Apprenant qu'il était ruiné	Learning that he was ruined,
A peine fut-il rev'nu de sa surprise	Just recovering from the surprise
Qu’ Monsieur l'Marquis s'est suicidé	The Marquis committed suicide,
Et c'est en ramassant la pelle **	And as he was falling down
Qu'il renversa toutes les chandelles	That he toppled all the candles,
Mettant le feu à tout l'château	Setting the castle on fire
Qui s'consuma de bas en haut	Which burned from the bottom up
Le vent souflant sur l'incendie,	The wind blowing on the fire,
Le propagea sur l'écurie,	Spread it to the stable,
Et c'est ainsi qu'en un moment	And that's how in a moment
On vit périr votre jument !	We saw your mare perish!
Mais, à part ça, Madame la Marquise,	But, besides that, Madame la Marquise,
Tout va très bien! Tout va très bien !	Everything is fine, everything is fine.
** “Ramasser une pelle” = signifie tomber	**  “Ramasser la pelle” = “to fall”

Tout va très bien 

Madame La Marquise

Histoire et Analyse de la Chanson
Tout à fait d'actualité !

Un dialogue de ce type figure déjà, en plusieurs versions, dans les Contes populaires russes d'Alexandre Afanassiev (1871), sous le titre générique Khorocho, da khoudo (« Ça va bien, mais ça va mal »). En particulier la version numérotée 230f/417, intitulée en français par Lise Gruel-Apert « Tout va très bien ou le Noble ruiné », qui reproduit un dialogue entre un barine (châtelain) et son intendant, est très similaire au texte de la chanson. Ce texte, recueilli dans la province de Perm, avait été censuré dans la première édition du recueil. Le thème circule à travers toute l'Europe depuis le Moyen-Âge³, certaines des plus anciennes traces littéraires (en latin) ayant été retrouvées dans les Exempla de Pierre Alphonse (XII^e siècle) et ceux de Jacques de Vitry (XIII^e siècle).

L'origine (moderne) du refrain est attribuée à Bach et Laverne, auteur d'un sketch portant le même titre.

Sa création résulte, selon Paul Misraki lui-même [Tout va très bien, la vie d'un compositeur, manuscrit inédit] de l'échec d'une première soirée de tournée de Ray Ventura et ses Collégiens, dans le sud de la France. L'ambiance était morose, et l'orchestre ne parvenait pas à réchauffer la salle. Les musiciens catastrophés cherchaient tous une idée pour relancer le spectacle. C'est Coco Aslan qui semble avoir suggéré l'idée du « sketch avec la Lady écossaise ». Paul Misraki se mit alors au travail, trouva assez vite le « départ » (les premières notes), puis composa toute la nuit, avec comme compagnon un camembert, qu'il mangea en entier. Au petit matin, le compositeur s'accorda une ultime fantaisie : le « pont » qui commence par « un incident, une bêtise... », en rupture totale avec le rythme et l'ambiance de la chanson jusque-là. Et le soir, ce fut un triomphe.

חוץ מזה הכל בסדר - צמד העופרים

Découvrir l’adaptation en hébreu de la chanson par Dan Almagor, interprétée par Esther & Abi Ofarim en 1962

Tout va très bien, Madame la Marquise, sous les ressorts populaires d’un divertissement musical, avec son refrain en fanion sonore, devient la rengaine d’une dérision de l’ignorance volontaire, au temps de l’installation du nazisme ; d’une allusion au déni satisfait des signaux des malheurs qui s’avancent.  

Ce que Freud pointait déjà, lorsqu’il dénonçait dans ses Conférences de 1932, ces «méchantes illusions dont les hommes attendent un embellissement et un allégement de leur vie, alors qu’elles n’apportent en réalité que dommage».

Le succès de Tout va très bien, Madame la Marquise n’eut hélas pas plus d’effet que ce qu’Éric Fromm disait du chœur de la tragédie grecque: «commenter le cours tragique des événements sans avoir le pouvoir d’ l’infléchir»

C’était en 1935!
Tout à fait d'actualité!

Chantée à trois voix à l'origine, la chanson raconte une conversation téléphonique entre une vieille aristocrate et son valet James qui lui fait part des catastrophes survenues dans son château pendant son absence de deux semaines (de manière antéchronologique, depuis la mort de sa jument jusqu'au suicide de son mari, chacune de ces catastrophes étant la conséquence directe de la précédente, plus grave encore).

Ses auteurs, Charles Bach et Henry Laverne, et son interprète, Ray Ventura, se moquaient par là de l’optimisme forcené que montraient les gouvernements français successifs devant la montée du nazisme. La création des premiers camps de concentration, l’incendie du Reichstag, les lois de Nuremberg… n’inspiraient aucune inquiétude. Il était plus facile de dire que « tout allait bien » ! Cette indifférence française participa à l’enchaînement d’autres événements historiques hors de France, telles la guerre d’Espagne ou l’invasion de la Tchécoslovaquie et de la Pologne. Tout continuait à aller bien en France… jusqu’au 10 mai 1940, où l'on cessa de chanter.

Au même titre que le film de Renoir La Règle du jeu, Tout va très bien madame la marquise est devenu un raccourci historique pour dépeindre l'immédiate avant-guerre (années 1935-1939) en France et peut-être plus particulièrement les accords de Munich (septembre 1938). Dès l'année suivant son enregistrement (22 mai 1935), la formule fait déjà florès auprès des journalistes. L'expression « Tout va très bien monsieur Herriot » est employée au moment des grèves de juin 1936. Ce sera ensuite « Tout va très bien Monsieur Mussolini. » 

Et enfin Tout va très bien mon Führer sur les ondes de Radio-Londres .

La chanson a été adaptée en russe dès 1935 par Alexandre Bezymenski, et interprétée dans cette langue notamment par Leonid Outiossov, en duo avec sa fille Edith ; en hébreu, par Dan Almagor ; en allemand (Heinrich Pfandl, 2010), et en italien.

Tout va très bien Madame la Marquise
Version Hollande

Paul Misraki continuera toute sa vie à avoir du mal à assumer ce fulgurant succès (il avait 28 ans, et la chanson s'est faite en une nuit), plusieurs de ses écrits mentionnant cette chanson comme un « incident », justement.

Tout va très bien Madame la Banquise
(clip officiel Dominique Dimey)

Pour les plus jeunes, le clip officiel de l'album "Tout va très bien Madame la Banquise". Un album, plein d’énergie qui convaincra petits et grands, qu’ensemble il est possible d’agir et de protéger notre planète. 12 titres aux rythmes colorés, aux paroles qui font mouche. Des chansons porteuses d’espoir, passerelles pour parler avec les plus jeunes du réchauffement climatique, de la solidarité, leur apprendre à penser le monde autrement, et leur donner envie de s'engager pour la planète...

• https://fr.wikipedia.org/wiki/Tout_va_tr%C3%A8s_bien_madame_la_marquise_%28chanson%29
•  http://dutempsdescerisesauxfeuillesmortes.net/paroles/tout_va_tres_bien.htm

MaMusiQ

https://fr.wikipedia.org/wiki/Tout_va_tr%C3%A8s_bien_madame_la_marquise_(chanson)

https://fr.wikipedia.org/wiki/Tout_va_tr%C3%A8s_bien_madame_la_marquise_(chanson)