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The picture of the "Blue Guide: The Marche" on Amazon does not match the ISBN number (0393328880) and may be an earlier edition (though the description calls out 2006 as the copyright). The (as far as I can tell) current edition (2006) is the "Blue Guide: The Marche & San Marino". There is probably small content difference other than the addition of San at said, the book includes most definitely useful info and, as someone else noted, the available travel tutorials for Le Marche are somewhat scarce. The author's writing style takes some adjustment and, as noted, to me seems rather llowing each major section is a "Practical Information" heading listing accommodations of different types, restaurants, cafes, festivals, and local products. This is certainly e most major failing of the book from my standpoint is the lack of maps. There are a few, but inclusion of maps concerning each major section would be most welcome. You will search that having the TCI 1:200,000 "Umbria e Marche" (or equivalent) map handy will be a l told, the book is certainly worth having, but the TCI "The Marche" (ISBN 88-365-4136-4) is an perfect companion.
I'm just back from 10 days in Le Marche. It's such a attractive region, though largely ignored by tourists and guidebooks. I was lucky to have mates who recently purchased a home in the region and have been traveling there for years. This was the first time they had seen a guidebook for Le Marche, and they were impressed by the specific info on all the small towns that dot the mountain tops there. In fact, they liked it so much that I left it at the house for them and their future visitors to enjoy. I might even another one to have to plan my next trip there!
I am planning a trip to Le Marche, Italy, and was glad to search this guide. There just aren't a lot of books on this region of Italy, so choices are very limited. I was delighted to search ANY tutorial to Le Marche!What the book lacks is emotion and a sense of excitement. It fails to impart a "feel" for the place. You won't search a lot of pictures, nor any of the compelling qualities you experience with a lot of travel guides. It is almost too clinical in it's presentation. But what it lacks in emotion, it more than makes up for in info given. The Blue Guide, has info on even the smallest towns. It gives wonderful detail as to the history of each location, as well as locations of lodging, and restaurants. History buffs will love this e region looks fascinating. The Fresh York Times calls it "The next Tuscany". Mountains, rolling hills studded with ancient castles, romantic hill towns, sea coast, amazing cuisine. Obtain excited about this region by doing a small web research...this book will point you in the right direction.
this application is telling me i am no longer registered with an acc with chopper which i am, and when i test to send a notice to chopper about it it keeps saying the "i am not a robot button" which there isnt one!!! so this has a lot of work that needs done on it!!!!
You can use this for single rides. It's amazing for 2 hours so you can transfer. I don't know why they don't advertise this unbelievably convenient feature. It's such a pain to always have exact change, and I don't ride often enough for a pass. So this is perfect. You can obtain OTT passes, according to the information on dart's website. Dart sucks, so you have to dig around to actually learn about the app, but in the end, it's already created my life easier.
Application is extremely buggy. Makes it tedious to read the news. Application presents an error notice when I attempt to sign in, so despite paying for the Register, there are still ads and it limits how a lot of articles can be viewed. If you tap on an photo to create it bigger, when you go back it takes you to the top of the article and you have to search your put again. Sometimes when the application is opened, it fails to load anything and must be force-closed to fix. Issues have persisted through multiple updates.
This application will not let me to view content that requires me to be a subscriber. I am a subscriber and the application accepts my log in information but even after I log in it will not let me to view the subscriber content. Samsung Galaxy 4 and Galaxy Note 10.1 2014 edition.. The issue started with the fresh app. The old application worked great.
....and then again, perhaps it doesn't matter what words she sings. Since Francesca's newest CD (Hybride) is in a language all her own, clearly her intent is on conveying her energy and spirit to the listener. But these songs are such a magnificent mix of Romance languages that I'd love to know what words spark such a musically committed voice.And oh, that voice.... imagine a seamless blend of Alberghetti and Joplin, and you might obtain the glimmer of an idea about her talent. Her choice of musicians is equally superb, and all of them play with heart and a solid sense of ensemble (difficult in these days of recording separate tracks). The songs vary in their cultural musical influences, and these tracks progress they weave a spell of longing and belonging in the globe at huge -- carried on the air of a voice which breathes from whimsical whispers to passionate excess....Seriously, if anyone has access to a translation of the lyrics (or is fluent enough in all three languages to do the job), please write an Amazon review with info about how I can explore what she's singing.... because yes, I *would* love to know!
Francesca Gagnon has such a attractive voice it brings tears to my eyes . i first saw her perform with Circus de sole and i was amazed and in trans i tried to search more of her melody and finally lead me to her solo cd on listining to this cd over and over i just cant seem to obtain enough . i hold cheking here regularly to see if she has a fresh cd out . i cant wait for it and i wish more . so please Francesca ! another cd is what my heart is yearning . ill say it again her voice is mezmerizing and leaves amazing feelings everytime. versital and range and style and heart is what this cd has to offer. and to top it off her voice also matches her beauty. anything that has her singing on it i will be sure to own. god bless.
l'app c'est excellente mais l'utilisation est compliquée, des fois je veux connaître uniquement des infos sur les appelation, donc, pour arriver jusqu'à ce point il faut d'abord faire une recherche personalisé, sélectionner n'importe quel vin et après aller sur l'info de l'appellation, et là, on peut voir la carte des appellations de la région qu'on a choisi précedemment. utiliser l'app n'est pas assez pratique et très compliqué.
This performance has been in my tape library for years and was finally transferred to CD Rom. I have not listened to the Audio release per is is a strong performance that dispells the idea that Sir Thomas concentrated in lighter works. The BBC performance is emotionally charged and well thought out. All though it was performed towards the end of his life the latest "official recording" was the HMV performance of Ein Heldenleben. If anything the Requiem would have also done him justice. Beecham was an perfect Berlioz conductor with recordings of a lot of of the overtures, "Harold in Italy", and the Symphony Fantastique - to name a e sound (at least on my CD) is quite acceptable considering that it is doubtful that the BBC went all out for the "state of the art" at that period. Nevermind the coughing and hacking that preceeds and follows each movement; it merely adds to the fact that this is a live performance. The Dies Irae leading to the Tuba Mirim builds up to the point where you *know* that you have finally reached judgement day. The chorus and orchestra, not to mention the four brass bands and sixteen timpani are of high quality with an perfect sense of dynamics throughout the ankfully the BBC has permitted this performance along with the memorable concert including the Beethoven 7th to be released on Audio. One can now hope that the equally strong performance that Beecham did of the Beethoven 9th will also be released (if it hasn't all been all ready).Those who admired Beecham must contain this in their collection. Those who wish an outstanding performance of a magnificant work despite the fact that it is "live" should also contain it in their collection. Unlike so a lot of recored performances that can be spliced and "put together" a live performance has a magical quality that canned melody simply can not equal.
If you can only take ten CDs to a deserted island (so the saying goes) create this one of them. The Bulgarian language only adds to the mystery of the Bulgarian voices, and it's excellent for their different vocal affectations, microtonal variations and Eastern European harmonies. But that's getting method too scribed as angelic, heavenly, mysterious, ethereal ... there is also much heart and soul and life in this music. You can feel the passion of those, who for generations, have lived with the seasons and worked with the amazing Earth. Digging deeper, also as much passion as any indigenous melody you'll ever hear, but with as much sophistication (civilization, culture, art) as it needs. The best of both worlds. And this first release is the best of them further add to the mystery, if you ever see them live, you will wonder what planet they came azing!
then you probably wish it already. Most albums of this type obtain too repetitive, and the tracks on this are quite related to each other, but something about the method they harmonize makes it pleasant to even go through the whole thing in one sitting. Win-win.
**Angel Android games in a Machine World**—Walerian Borowczyk’s Les jeux des anges (1964) Earlier this month at the Goethe Institut of Paris, a gem of 1960s surrealist animation was projected : Les jeux des anges (1964), a 13-minute short created by Polish director Walerian Borowczyk (1923 – 2006). François Bonenfant, coordinateur pédagogique cinema et arts visuels at Fresnoy (Tourcoing, France), gave a brief introduction to the film, remarking that the short was “pictoral”, resembling a love-child of “Guernica and Francis Bacon”. Ambitious as it is to say, the movie exactly that. The movie starts with a low rumble, the industrial sound of being within the bowels of a train, and almost-entirely black screen with a pan of grey that chugs along the bottom. This photo stops, leading to the début of the film, without the spectator ever knowing what it was – a sign to come of the abstract surrealist imagery to come. The stage is set when the camera focuses upon an empty grey cell – a prison? the inside of a machine? – garnished only with several begin pipes and a few geometric openings in the walls. Although very much an animation, the camera movements imply that the stage is a painting: the camera slides from room to room methodically, showing the intricate inner workings of a non-peopled world, what could easily be interpreted as the inside of an empty vending machine, or a factory with no product or materials. Suddenly the somber grey and black colors brighten, classical organ melody simultaneously enlivens the tone, and three red objects are quickly covered by a grill, and the first figurative photos are shown: headless, winged beings, the head of a 19th century lady. The rest of the movie shows primarily objects within this gloomy machine-world : with sounds like ice or breaking glass, objects seem to be violently beheaded, head-objects roll like in a child’s marble games, and shape-shifting organic (and alternately non-organic) matter scuffle like little fighting bodies highly reminiscent of Bacon’s abstract carnal forms. All the while, the organ music, at the same time beautiful, powerful, frightening and cacophonic, implies a dark strong morbidity and lack of control. The movie was created in France, six years after Borowczyk moved from Poland to collaborate with such French cinematographic stars as Chris Marker, whose influence upon the movie is clear. Marker’s special photographic style (see: La Jetée, 1962, the “roman-photo” constructed from rapidly montaged still images) is evident in the speed of the moving “beings” of Borowczyk’s film, as well as in his still shots, mechanical camera movements, and rapid stage changes. More recently, the same style can be seen in the work of Jan Svankmeyer, creator of the 2005 movie Lunacy in which stop-motion animation permits pieces of meat (butcher cuts that range from steaks, to eyeballs, to entrails) to escape their packaging, slither, and dance their method around a movie set in a 19th century French insane asylum. The darkness, however, and the very mechanical figures and environments, seem a special product of Borowczyk’s private life alone. The destruction, the violence, the cacophony, can be seen as a critique of the different forms of outside control of Poland, which during Borowcyzk’s life suffered not only a Nazi occupation, but a Soviet occupation, before finally, a short time before the director’s move to France, the People’s Republic of Poland was declared. All three highly repressive regimes in terms of freedom of speech, Borozcyk struggled with his cinematographic expression both in and outside of Poland. Most recently, his movies have pushed the envelope on the filming of desire, notably in his live-action movies La Bête, which contains a highly-graphic stage of a “beast” resembling a bear copulating with a (human) woman, and Contes Immoraux (1974) which contains three chapters, each on a various taboo. Due to the explicit nature of these films, his work has recently been derided as pornography, and the begin of his actual soft-core pornography career in 1987 did small to dissuade public opinion on the art-house value of his live-action films. Les jeux des anges, however, shows nothing that is sexually explicit, although the darkness of the music, colors, actions, and figures foresees a violence to come. Despite lack of linearity and the abstraction of the images, a dark philosophical notice is evident symbolically identical to his (more linear) animation of the same period, Renaissance (1963) : destroyed objects reconstitute themselves until the final item, a bomb, reconstitutes itself, detonates itself, and renders all, once more, a ruin. In such a way, the morbid globe of flesh and mechanics that Borowczyk describes in Jeux des anges is one that reminds us all of the violence and futility of society and life itself. Patricia Bass
After reading the not good reviews of The Des Moines Register's updated application I'm going to dive into the deep end and hope is OK, at best. So wish you help my town & it's paper... Understanding that change happens & working bugs out takes time. More later (hopefully that means stars).
This application is sorely lacking in robustness & sadly the most inaccurate race tracking application I've come across. You are supposed to be able to find a participant by name/bib/email but only name works. The live tracking was WAY off! It had me at mile 8 but I was actually at mile 5. My family got so frustrated they uninstalled it mid-race it was so inaccurate. There is no information behind the FAQs. Once you on sponsors you have to on a 2nd sponsors to actually see the sponsors ... which is silly.
This prize-winning book provides comprehensive info on every aspect (including legal info) of the drug, DES, the artifical estrogen that was given to millions of pregnant women in the mistaken belief that it would prevent miscarriage. It is clearly written with the consumer in mind, well-organized and still accurate, even more than two decades since its publication.
The Berlioz Requiem has become such a staple as a sonic spectcular that it seems improbable to a radio broadcast in mono from 1959. BBC Legends released this Beecham performance in tribute to his latest public appearance in Albert Hall and, of course, his deified position in British musical life. A lot is lost in the dated sonics, which strongly favor the chorus. But for its era the sound is clear and detailed, with sufficient bass, and the chorus is among the best on records for clear enunciation of the notices also that these men and women sing as if the Requiem was deeply private for each of them. The words are dramatized even in the quietest passages, which does a lot to give the performance its emotional impact - you'll never hear more courageous tenor singing as they cry from the soul. Beecham may have been a self-taught conductor, but he had an innate musicality that tells in his shaping of the vocal lines here--one never feels that the melody is sagging or a bit threadbare, which is too often the case. His overall manner is urgent and expressive, another large plus. The Royal Phil. plays very well although not in the same league as the BSO or Berlin Phil. in their recordings under Ozawa and James Levine respectively. In all, what we obtain is a gripping performance that transcends its sonic limitaitons once you obtain into the spirit of Beecham's musicmaking.
Obviously the only connection between this CD and CT's work is the lyrics from both are in my experience incomprehensible and enchanting.Les Mystere is voiced with harmonies vastly various from what we hear in the e work is exotic, filled with deeply engaging counterpoint and passions that are as deep as they are lacking translation--liner notes are a thing of the LP eir mystery is not a complete mystery: no words need to be literally translated for a listener to hear pain and love, loss and ecstasy, and to experience a melody that is is CD is proof that we can deeply have fun globe music.
We already owned this album and several others by the same group. This was created to send a copy to a former student in Croatia. When we were visiting her in August, we heard that she had downloaded related melody from her computer. Since she did not know of the group, we sent her this copy. She has since reported that it is on "continuous play" at her house. For us, the clean voices of the choir and the excellent blending of the disparate voices are the main draw. The subtle, eastern, modulations run counter to most western music; however, they are wonderfully executed, and, of course, further add to the allure of the entire CD. When I ordered this for my student, I noticed that a lot of of the other CD's by this group were now unavailable. This is a shame as the sound is truly both special and captivating.
Ridetime had a much easier user interface to use to track buses. I could add shortcuts directly to the stops I frequented as an application icon. Also, the UI usage was in line with the gestures used during normal phone use. MyDart is kludgey, slow and seems like it was not really tested well. I'm really disappointed and frustrated this application is replacing one that works 100 times better.