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Various - 2000 - Süddeutsche Zeitung Diskothek ...
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Bücher/Books Compilation on Süddeutsche Zeitung by Various Artists - 2000 - Süddeutsche Zeitung Diskothek Buch & CD

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Various - 2001 - Süddeutsche Zeitung Diskothek ...
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Bücher/Books Compilation on Süddeutsche Zeitung by Various Artists - 2001 - Süddeutsche Zeitung Diskothek Buch & CD

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Various - Süddeutsche Zeitung Diskothek: 1982 -...
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Die drei !!! 27: Vampire in der Nacht (CD(s))
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Various - Die drei !!! 27: Vampire in der NachtAls in der Zeitung etwas von einer toten Kuh steht, der Vampire das Blut ausgesaugt haben sollen, glauben die Detektivinnen zunächst an einen Scherz. Als sich dann aber herausstellt, dass das Rind wirklich von blutdürstenden Saugern heimgesucht wurde, nehmen die drei !!! ihre Ermittlungen auf. Und schon bald finden sie heraus, was es mit diesen Vampiren auf sich hat: Es muss sich um die einzigen Säugetiere handeln, die ausschließlich von Blut leben. Und das sind Fledermäuse, die es nur in Amerika gibt. Aber wer hat sie nach Europa geholt? Und vor allem, wo sind diese nachtaktiven Flügel-Tiere zu finden...

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Orlando
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"Orlando teaches all of us that love is often responsible for our loss of reason," runs a line from Act 3 of the opera. It is a modest moral, and perhaps one not demanding of the dramatic finesse and musical diversity that Handel serves up in Orlando - for the opera's complex of problems is rather more complicated than that. Yet despite such promising omens, Orlando was adjudged to be little more than a moderate success. There were no subsequent productions after the first performance 1733 in London, the work rapidly disappeared into obscurity and did not find its way back to opera house repertoire until the Handel renaissance of the 1920s. Nevertheless, these centuries of neglect are entirely at odds with the universally undisputed quality of the opera. Beneath the fabrice of this masterfully woven constellation of characters and values is a score of such independence and vivacity as to give Orlando a special position among Handel's works - indeed among opera literature in general. William Christie has staged various productions of Orlando, as well as making what is widely regarded as a standard CD-recording of the work. And yet he never ceases to find something new in this opera, which along with Alcina and Giulio Cesare he considers to be Handel's finest. "Jens-Daniel Herzog has produced a sophisticated version of George Frideric Handel's Orlando. William Christie is a fascinating conductor who manages a superb ensemble. Opera that is both cool and cultivated - fantastic!" Aargauer Zeitung

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Orlando
25,17 € *
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"Orlando teaches all of us that love is often responsible for our loss of reason," runs a line from Act 3 of the opera. It is a modest moral, and perhaps one not demanding of the dramatic finesse and musical diversity that Handel serves up in Orlando - for the opera's complex of problems is rather more complicated than that. Yet despite such promising omens, Orlando was adjudged to be little more than a moderate success. There were no subsequent productions after the first performance 1733 in London, the work rapidly disappeared into obscurity and did not find its way back to opera house repertoire until the Handel renaissance of the 1920s. Nevertheless, these centuries of neglect are entirely at odds with the universally undisputed quality of the opera. Beneath the fabrice of this masterfully woven constellation of characters and values is a score of such independence and vivacity as to give Orlando a special position among Handel's works - indeed among opera literature in general. William Christie has staged various productions of Orlando, as well as making what is widely regarded as a standard CD-recording of the work. And yet he never ceases to find something new in this opera, which along with Alcina and Giulio Cesare he considers to be Handel's finest. "Jens-Daniel Herzog has produced a sophisticated version of George Frideric Handel's Orlando. William Christie is a fascinating conductor who manages a superb ensemble. Opera that is both cool and cultivated - fantastic!" Aargauer Zeitung

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HANDEL: Orlando (Blu-Ray)
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“Orlando teaches all of us that love is often responsible for our loss of reason,” runs a line from Act 3 of the opera. It is a modest moral, and perhaps one not demanding of the dramatic finesse and musical diversity that Handel serves up in Orlando – for the opera’s complex of problems is rather more complicated than that. Yet despite such promising omens, Orlando was adjudged to be little more than a moderate success. There were no subsequent productions after the first performance 1733 in London, the work rapidly disappeared into obscurity and did not find its way back to opera house repertoire until the Handel renaissance of the 1920s. Nevertheless, these centuries of neglect are entirely at odds with the universally undisputed quality of the opera. Beneath the fabrice of this masterfully woven constellation of characters and values is a score of such independence and vivacity as to give Orlando a special position among Handel’s works – indeed among opera literature in general. William Christie has staged various productions of Orlando, as well as making what is widely regarded as a standard CD-recording of the work. And yet he never ceases to find something new in this opera, which along with Alcina and Giulio Cesare he considers to be Handel’s finest.“Jens-Daniel Herzog has produced a sophisticated version of George Frideric Handel’s Orlando. William Christie is a fascinating conductor who manages a superb ensemble. Opera that is both cool and cultivated – fantastic!” Aargauer Zeitung

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Intermedial Representations of 9/11 in U.S. Ame...
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For many weeks, the terrorist attacks of 9/11 dominated the newspapers which covered the consequences with an unprecedented immediateness. This study looks at diverging representations of 9/11 in U.S. and German newspapers ( New York Times, Washington Post, Frankfurter Allgemeine Zeitung, Süddeutsche Zeitung ) and explores effects on its possible readerships. The impact of the attacks, forms of heroism, the enactment of leadership, various demonstrations of patriotism and grief as well as the textual and visual presentation of the attacks are analyzed in detail. These intermedial representations reaffirm or contest U.S. American grand narratives. While the German newspapers tend to focus on information and analysis, the U.S. papers tend to strengthen shattered U.S. American identity constructions. The study is based on nearly 2,000 newspaper articles and documents the wide scope of topics prevalent in the post-9/11 newspaper coverage.

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Allgemeine Musikalische Zeitung, Volume 20
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This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. br/br/ ++++br/ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: br/++++ br/br/ Allgemeine Musikalische Zeitung, Volume 20; Allgemeine Musikalische Zeitung; Friedrich Rochlitzbr/br/ Friedrich Rochlitzbr/br/ Rieter-Biedermann, 1818br/br/ Music; General; Music / General; Music / History & Criticism

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