Read maria bonita reviews, rating & opinions:Check all maria bonita reviews below or publish your opinion.
100 Reviews Found
Chino & Nacho have a amazing mix album of the hottest tropical/urban sounds! A small Merengue, Reggaeton, Bachata, Tropical Bolero...they hit all the notes! Listening to this CD just motivates you to obtain up and obtain the party started. Excellent CD for the weekend..the beach, the pool,the boat, backyard BBQs...in the vehicle on the method to the club...it's gets you in that mood. A must have for your collection. Obtain yourself a cold beer or nice drink, and enjoy!
Sam Mangwana posee una de las mejores voces de la música famous congolesa (y eso es mucho decir porque una de las características de esa música es que tiene muchas buenas voces). Este disco compacto contiene todas las canciones de dos LP's que fueron grabados entre 1978 y 1979. Los arreglos musicales son exquisitos. Toda persona que quiera tener ejemplos de música africana con fuerte influencia caribeña debe escuchar este disco.
I really love African rumba music, and this is one of the best CDs that is still in print. The CD is includes two albums recorded in the 1970's: Maria Tebbo (1979) and Waka Waka (1978). Sam Mangwana played with and became one of the masters of Rumba melody with Franco and Tabu Ley. This is classic Rumba music, magically satisfied guitars, hopping horns and "let's dance sister" kind of music. Unless your heart is created of stone, you can't go wrong.
If you have fun this perfect Sam Mangwana CD, I suggest you test very hard to obtain a copy of his Georgette Eckins CD (very rare). The African AllStars recordings are very difficult to search and deserve a thorough internet find through variouys auctions and off-market suppliers.
This is one of those exceptional albums that stands the try of time. It is classic soul melody from an era when every musician place their heart into a track. And who has a bigger heart than the master, Sam Mangwana. Each track sounds better than the last, and when the album starts with the classic Maria Tebbo, that is no mean feat. Takes you back in time to glorious nights of two decades ago...
There is small doubt that this recording of the longest Renaissance polyphonic mass is a landmark happening of amazing importance. There is definitely a case to be created for Obrecht as the major figure of the Prima Prattica, with his relationship to Josquin being related to that between Telemann and Bach. Just as Telemann's reputation completely overshadowed that of Bach's, Josquin's reputation too totally ecclipsed that of Obrecht's - only with Telemann and Bach prosterity has fully overturned the judgement. Perhaps now after five centuries prosperity will bestow a related favour on Obrecht, who faded into total obscurity after his tragic premature demise on one of his rare excursions out of his Flemish homeland that took him through Innsbruck where he wrote the 'Missa Maria Zart' and onwards into Ferrara. There in Ferrara Obrecht got his break with a dream job working for a real patron of the arts after decades of working under harsh conditions with mediocre pay, only to have his dreams shattered as he was dismissed within months on the death of his employer. Soon after Obrecht tragically succumbed at to the plague - doubtless ministering to plague victims as a priest to sustain an income. Rob Wegman's perfect book on Obrecht is highly recommendable, as both eloquent advocacy and moving bibliography, on behalf of this sorely neglected e Missa Maria Zart is described by Rob Wegman as the sphinx amongst Obrecht's masses. The work is an oddity amongst this composer's mature outputs which are usually far more strongly directional, whereas here Obrecht spins out endless passages of two or three part writing that just to go on and on without a clear goal. In Wegman's words "There is no sense of development, no musical progress: the spinning is the process."Needless to say this can create very extremely difficult and perplexing listening. So strange is this work that some writers have suggested there is some cryptic agenda to explain the e Tallis Scholars can always be depended on to show Renaissance polyphony with its typical Oxbridge sound of brilliant clarity and transparency. Often this can produce highly memorable interpretations. On the other, in this instance, this can even be a barrier to the fullest advocacy on behalf of Obrecht. Most continental reviewers (especially the French) complain bitterly that their Oxbridge approach sacrifices content for form. Christophe Huss - just to give one example - described their sound (...) as a 'perfection glacée' (icy perfection). Their relentless pursuit of a polished sound of excellent textural clarity and intonation can create it even harder for the listener to fully engage in an already difficult work such as the Missa Maria Zart - difficult that is for the listener, as much as for the performer. There is no doubt that their performance has a lot of unbelievable things and with time this will become a treasured recording.While this is definitely an essential CD for those with an interest in Obrecht, anyone who wants to hear Obrecht advocated by performers who can communicate their genuinely hearfelt interest in his melody should head straight to the recordings by Janos Bali and the ANS Chorus on Hungaraton. Essentially, they choose works that are much more representative of Obrecht and if you wish to see why Wegman argues for him being the outstanding composer of this age then you are far better listening to representative works of his maturity like Missa Si Dedero, Alma Redemptoris Mater, or the Missa Malheur Me Bat rather than starting with the Missa Maria Zart. The ANS Chorus have elsewhere recieved glowing reviews such as on Goldberg early melody magazine, but also notably by the highly particular Todd McComb of who - unusually for him - gives them a very enthusiastic recommendation. They have a characteristically European sound, related to the Huelgas Ensemble though perhaps just a tip more English. The method they phrase Obrecht's lines is particular attractive and the warm of the sound that they bath the listener in comes as a large relief - it makes falling in love with Obrecht a pleasure rather than an effort. The recorded sound is also a small more atmospheric than the starkly analytical sound typical of the Gimell recordings of the Tallis Scholars (microphones slightly more recessed to capture the ambience of the acoustic). However for those who wish to challenge the sphynx and hear this crytic work, until the ANS Chorus record the Missa Maria Zart, the Tallis Scholars will remain the obvious first choice.
There's not a whole lot of point reviewing every mediocre CD of Renaissance melody I hear, but I thought I'd review one so that I've got the indifferent in there with the amazing and the bad. Helpful hey? Isn't this review helpful?Anyway, I digress. Here is a creature of a renaissance mass: at 69 minutes, easily twice as long as just about any other. The cantus firmus tune, "Maria Zart", is unusually long at 32 bars, and consequently each movement is stretched out to lengths which would try the patience of all but the most devoted spite of its strictly musicological interest, it is not the most charismatic or accessible work in Obrecht's oeuvre. Unfortunately this performance does very small to alleviate matters: every note is perfectly tuned and placed, but with the exception of the @#$%!& (who phrase admirably throughout), it sounds like they are doing small more than sightreading. Especially irritating is the sopranos' seemingly utter disregard for either beauty of tone or phrasing. I can understand the attempt to produce a breathy boy soprano sound, but surely this doesn't need to correspond with an articulation in which every note receives identical emphasis?In summary, if you don't have a library near you with Obrecht's Opera Omnia where you can read the mass for yourself, you can always this disc and listen to these people read it instead. If you're a fan of the Tallis Scholars, I'd definitely direct you to their Rore, Lassus, or Gesualdo discs before this one.
Tradition! That is the word for this Cd of Las Hermanas Mendoza. Not just family tradition, but heritage tradition. Las Hermanas Mendoza sing with amazing harmony and melody. These recordings are timeless, it is a part of Texas & Mexico. Before Tejano Melody went into the Mainstream, a lot of Tejano groups, singers of this fresh Century, look up to the past to search inspiration and tradition. And Las Hermanas Mendoza are both inspiration and tradition. And these recordings are timeless and have stand the try of time. I recommend this Cd, because of amazing sound, songs, and voices of two sisters. I'm from South Texas and tradition is a part of life here. And I am still finding my roots. If you are looking for past melody of Texas or, just amazing music. Las Hermanas Mendoza, Juanita y Maria is one of them.
I'm not familiar with her entire catalog, but I can say that whoever picked these tracks did a amazing job. There are twelve tracks, nine of which feature Tania's special scat style. These are true barnburners, and definitely worth the of the disc alone. If you like up-tempo, Brazilian-influenced jazz, you're gonna love this album.
There's more documentation available about Jacob Obrecht than about almost any other composer of his era, the 15th C... more than about Josquin or Busnois or Ocheghem, his closest peers... and musicologist Rob Wegman has integrated that documentaion into a magnificent interpretive biography, "Born for the Muses." We have ample facts about Obrecht's parentage, about his financial resources, about his travels and career choices, and we also have no less than 30 of his masses more or less intact, along with motets, secular songs, and instrumental carmina. We even have an authentic, life-like portrait of the man. Yet about his personality, I confess, we seem to know nothing at all. His inner being is an abstraction, a mystery. His passion for melody is undeniable, but that passion is a kind of Delphic fire, a commitment to Apollonian perfection, to melody for music's sake. He became a priest at a remarkaby early age, yet one has no sense of pietistic fervor from him. There's not a whiff of Petrarchian romanticism in even his 'love' songs. In this way, he is the ultimate voice of the Renaissance musical idealism - serene, dispassionate, aloof from human cares and dramas, timeless. And the ultimate expression of musical idealism is his "Missa Maria Zart", the longest, purest, most abstract of all polyphonic sicologists suppose that Obrecht composed the Missa Maria Zart during a layover in Innsbruck en route to Ferrera. If so, it would have been his final major composition, and it might have been intended as a 'presentation' piece to the Este court or to other potential Italian patrons. As it happened, Obrecht died of plague within a few months of his arrival in Italy, at the tragically youthful age of ria Zart is 69 mins long on this CD, roughly twice the length of any mass by Josquin or Obrecht himself, yet it is composed for only four voices, setting only the five "ordinaries" of the mass without any supplemental texts or antiphons. The 'cantus firmus' is an Austrian devotional song in praise of the Virgin Mary, a music which was also employed in parody masses by other composers. Obrecht, in his latter compositions, was firmly committed to a kind of perfectionist structuralism, evolving from the arbitrary organum-like 'tenor' of earlier polyphonic masses to a more integrated and integral 'tenor' verging on harmonic modular progressions, virtually a fresh theory of key and thematic development. Thus Maria Zart is far less florid than the splendid rhythmic cataracts of Ockeghem or Busnois, or earlier Obrecht. The 'tenor' is treated so melodically that one can almost forget its sculptural supportive role. Cadences are neither disguised nor exaggerated for drama. Everything occurs with a timeless musical certainty. To complain that Maria Zart lacks 'excitement' is to see the absence of trees without realizing the endless depths of the forest. In terms of sheer craftsmanship, this is easily one of the greatest accomplishments of Renaissance e Tallis Scholars performance, recorded in 1996, is the only one available. It's extremely fine, as polished as any performance the Tallis Scholars ever sang. The eight voices, two on a part throughout, are beautifully balanced, with the two women singing the superius line in genderless clarity. Tuning is flawless, rhythmic ensemble is magnificent, the transparency of the polyphony allows every phrase to be relished in true time, and yet I don't hear this performance as the final word of defining perfection. The melody is Apollonian enough, serene enough, without overstating its marble perfection. I search myself wishing that more ardor, more affect, would blossom in passages. Perhaps the dynamics are just a small too restrained and even. I feel an urge to jab Peter Philipps with his own baton, to challenge this squad of topnotch singers to sing it again, taking more risks. I'd love to hear the whole mass sung by other ensembles -- the Orlando Consort one voice on a part, or one of the younger Italian consorts with a truly resonant soloistic basso. Perhaps the recording technology is at fault, but on this CD the journeyman English choral mastery isn't rich enough; the very controlled voices of the Scholars don't sound lovely enough. I hear choristers where I long to hear vertheless, this is a mass that must be heard, and heard more than once, and the more often you hear it, the more you'll hear of its sublimity.
Dieses Buch ist sehr unterhaltsam zu lesen. Es basiert zwar auf den historischen Fakten - ist also eine Biografie - aber das interessante ist, @#$% der Autor auch seine persönliche Stellungnahme zu den Geschehnissen abgibt, was ihm auch den weniger trockenen Geschmack eines Romans verleiht. Und das Werk ist natürlich in Zweigscher Manier geschrieben, so dass besonders die emotionalen Gründe der Handlungen und der Zwiespalt der beiden Hauptfiguren, Elisabeth und Maria Stuart, gründlich analysiert werden.
This is one of my favorite pieces of melody EVER. It is for me (impossibly at the same time) the best and worst of Catholic Church music. Most people now will search this melody boring and ineffective. For the handful of us on earth that hear canon well, small will outdo Obrecht's art!
The Sisters Have Close Harmony .... No question About it Their Melody Will Remain Classic for A lot of Years ... Either WePreserve The Old Classics or We Lose Them .... Growing up in South Texas I Test to Collect as Much of This Melody as Possible.I Have Collected Melody for 60 Years..... This is a Clqassic Addition ....
The harmonies on this CD are absolutely beautiful. Las Hermanas Mendoza are real artists and true singers. There are a BUNCH of songs on this CD which allows you to listen for a very long time. The recording is decent, but overall the melody is amazing. If you wish to listen to great, heart-felt, sorrowful Mexican melodies, this CD is for you.
This four-voice mass is based on the same Maria zart ("Gentle Mary") hymn tune that Schlick used in his popular organ setting (the one included in Apel's Historical Anthology of Music). The tune is staunchly Phrygian in modality, and has a lot of pungent and attractive turns of phrase, making it an unusually fruitful source for a cyclic mass. Obrecht frequently sustains it in long note values using the cantus firmus technique that dates back to the Notre Dame school. At other times he takes its phrases as the basis for points of imitation or note-by-note elaborations in each vocal line, demonstrating his mastery of this more "modern" paraphrase technique epitomized by Ockeghem's Missa Fors seulement. Often Obrecht combines both approaches simultaneously. Only once, at the end of the mass, does Obrecht actually quote the entire hymn straight through (starting at 8:54 of the Agnus Dei in the sopranos). But most of the rest of the work is consumed with a meticulous note-by-note parsing of the melody, spinning the contrapuntal texture out of endless local repetitions or variations of one of the hymn's 15 distinct ria zart is rather long as hymn tunes go, so this process takes a while to unfold. Indeed Obrecht's Mass is notable for its length, probably the longest of any polyphonic Mass written before the Baroque era. It fills an entire CD, compared to typical masses from Dufay, Ockeghem, Josquin, Lasso and Palestrina which clock in at half that duration. If you aren't already interested in Renaissance sacred polyphony, then your experience listening to this work will be comparable to that of an opera hater obliged to sit through the second act of Tristan. Happily, the hymn tune is printed in the liner notes, and I encourage you to follow along using it as a kind of street map to the work's distended ss ordinary settings like Obrecht's weren't intended to be performed as integral concert works. Their content was spread out over the course of a standard Mass service, alternating with spoken, theatric and even other musical elements which combined could stretch out to two hours or more. Despite this, Missa Maria zart still holds together well when consumed in the modern way: as an integral five-movement composition. Though there isn't the rhythmic differentiation that you'd obtain in Dufay or Josquin, Obrecht compensates by method of textural dozens and an overall epic -- even "symphonic" -- sense of form and proportions. The Kyrie, for instance, has an expository function, introducing the musical material and the development techniques we'll expect for the remainder. The opening, for example, starts right out with paraphrases of the hymn's first phrase. The Gloria and Credo are characterized by extended duo and trio passages, contrasting with the predominant four-voice texture. The Sanctus begins with the most "chorale"-like writing in the work, emphasizing the descending A-G-F-E tetrachord of the hymn phrase "durch mein Ver-dienst" and its successor phrase "Barm-her-zig-keit er-war ben" with an E-D-C descent followed by an F-E-D-C descent. Then in the "Pleni sunt caeli" it moves on to some of the work's most animated music, its triple meter providing relief from the otherwise ubiquitous duple time. The Agnus Dei, as noted previously, is cumulative, ending with the only statement of the complete hymn e recording is exactly what you'd expect from The Tallis Scholars. No instruments, two singers per part (thus eight singers total) with women taking the highest line. The latter is probably anachronistic -- historically women weren't allowed to sing in public Catholic services, and boys or male altos (or starting some decades after Obrecht's time, castrati) would have been employed instead. But regardless of your feelings on that matter, it you're a Renaissance melody enthusiast, you owe your gratitude to Phillips and the Tallis singers for making this work readily accessible. Theirs was the first digital recording of this work when it was released in 1996, and as I write this it's apparently still the only one available on itting Obrecht's Missa Maria zart from a survey of Renaissance masses would be like omitting Bruckner or Mahler from a survey of Romantic symphonies. It's long, not for everyone, and could be considered more or less a dead end historically. But it's an uncompromising, unapologetic dead end that just might astonish you if you're willing to meet it more than halfway.
I bought this album just to obtain the song "Chuleta". I can play it a 100 times non-stop. Scat, samba, jazz, harmony, its intoxicating and addictive. Quite 80's but it will raise your blood pressure if you are sensible to brazilian melody + scat vocals + latin jazz + dissonant harmony + samba rhythm + electronic t it. And play it 200 times just like me ! :-)
O jornal Diário de Santa Maria é muito bom, mas, após fazer uma comparação com o formato impresso, percebo que o formato para o Kindle ainda tem muitas limitações técnicas. São limitações que encontramos na maioria dos jornais para Kindle: faltam as imagens e não há elaboração de diagramação, e, em alguns casos mais raros, alguns elementos do jornal são deixados de fora, como quadros (box) e tabelas. Como o jornal é apenas convertido do impresso para o Kindle, então pode ocorrer de uma matéria que dependa muito das fotos ficar incompleta, pois o texto não é reformulado para compensar esta falta de imagens. Se você mora em Santa Maria, minha sugestão é assinar a versão impressa, que não é tão mais cara (hoje, os valores aprox. são de R$14 Kindle x R$27,50 impresso). De qualquer maneira, é ótimo saber que o jornal de nossa cidade está disponível em qualquer lugar do mundo (um dos poucos no mundo disponíveis para Kindle) e que chega bem antes do formato impresso ir para as bancas (chega logo no início da madrugada. Eu abri a edição de hoje antes das 2h30!).
This is a remarkably `clean' piece, acoustically, the quality of the setting, not to mention the very even quality of the singers, who keep their notes without vibrato, so that long begin notes just roll out, gently rising, falling, e result is rather like standing on some quiet, calm shore with the waves barely ruffled by breeze. Out beyond the edge of vision, where sea and sky meet, fading into each other, it becomes impossible to see which is which, and an empty zone opens and continues. On and e viewer/listener, is floated and held by this cool immensity of horizon/sound. This is singing with the quality of a mantra and The Tallis Scholars do something most magical to keep such a perfectly placed, powerful and pervasive ease and poise for what is after all, a long Mass.
When I saw the earlier review which called this "mediocre" I had to write my opinion that this is an absolute treasure. Yes, you have to have learned the Latin of the mass so you can follow every word of the singing. Yes, this is the most drawn-out setting of the text of any mass you've ever heard--it takes a couple of hearings to adjust your expectations to the extremely long dwelling on every word. Yes, you have to be skilled in listening to polyphony. But this is the kind of masterpiece that makes you think about buying an additional CD in case something should happen to your CD. I own half a dozen performances by the Tallis Scholars, and this is my favorite.
The huge scale of this mass can discourage the average listener. If given a chance, however, Missa Maria Zart reveals itself as a work of amazing beauty. It seems to me that this performance is paced to reveal the sensuous beauty of the harmonies resulting from the coming together of the independent voices. Although there are vigorous passages, the overall result is contemplative, especially in the final movement. This is a unbelievable performance of a work that I think is a masterpiece.
I was in Rio de Janeiro when I first heard Tania Maria while watching cable TV. Surprisingly, none of the record stores I went to in Rio knew who I was talking about. I guess she is more famous in the US than Brazil because I had no problem finding a CD by Tania Maria here. Brazil must not know what they are missing! Amazing jazz.
Insight into the past can provide context for a broader understanding of how things are today. Dr. Phipps goes beyond the superficial in this thoroughly researched narrative of one of the dominant personalities of what eventually became known as the Pentecostal or Holiness movement. Different oddities are included that 21st century readers would search hard to believe, but the documentation is provided. Maria Woodworth Etter faced personal and public challenges throughout her life. While there were signs, wonders, and supernatural manifestations in her ministry, her private life was one of traumatic encounters such as the deaths of kids and a spouse who actively worked versus her on occasion. This book is well written and her life inspires one to persevere in spite of overwhelmingly negative circumstances.
This piece is hard for me. My mother asked for it to be played at her funeral although she had a hard time listening to it after it was played at my grandmother's funeral. This song has meant much for generations. I went in find of the best rendition I could find. This is it.
This book moved along slowly, back and forth, from suspect to suspect, as all the books in the Maria Kallio series have. I very much enjoyed all the books in this series, but Death Spiral sustained my interest more than the earlier entries in this series. I look forward to reading more from this author.
I've read all the books in the Maria Kallio series. This is not up to par with some of the others although the setting and premise of the mystery is interesting. However Maria's detection abilities and exercise of common sense makes one wonder how she lead her unit in the future. Perhaps this ditzy impression was significantly influenced by the narration which detracts from Maria's credibility as a rational adult never mind a tough minded Detective Sargent!
3 starsLeena Lehtolainen’s writing is getting better, but very slowly. It took far too long to obtain into the meat of this story. In this book, Maria Kallio is not a very interesting person. She goes on and on about an old love and describes him in far too much detail. From reading her later books, she gets much better – with ria is subbing for the chief of police. A murder occurs at the website of the fresh mine works. Since the demise of copper mining in the small town, an entrepreneur has opened a fresh website at the zone of the old mine. It is part amusement park, part art exhibit and part a put to go to see and be seen. Another murder follows on the heels of the first. It’s up to Maria to figure out who did the e do-er comes as no surprise. I was disappointed in this book.
What I like about this series: no serial killer, no women being dismembered, no psycho weirdo spouting his philosophy. The story is comfortable to read. The "who done it" is hidden somewhat and when revealed, I'm not sure I follow how she got to the answer. The side characters are interesting and any diversions add to the read. I intend to read the whole series.
Interesting mystery and characters. Learning about Finland and its culture it part of what makes it good. Powerful female protagonist and powerful female characters. Each one has an interesting life. Maria, the main character, is intelligent, powerful and compassionate.
I have become a devoted reader of Ms. Lehtolainen. But this recent release from the Maria Kallio series was not quite in keeping with some of the previous efforts.. One of the other reviews indicated that "The Nightingale Murder" really dated from 2005, which is a possible explanation. Anyhow, the effort does hold the attention of the reader and the descriptions of Finnish society and homelife are always interesting. At the end, however, one had the feeling that there were lots of loose bits, and the plot just did not tie together very well.
This is the second in the Maria Kallio series. I have also read the third, and enjoyed each of them so far. There are murders, but very small detailed description. The stories are more based on how Maria tenaciously works through solving them. She is a hero who is aware of, and accepts, her own faults, and someone I would have fun knowing. Would recommend this series to anyone who enjoys a amazing story but does not have fun a amazing of graphic violence and sex.
The plot line is thin and more than slightly wonderful and the writing is telling instead of showing. There's not a single interesting or believable aspect to the main character's relationship with her boyfriend. The writing is stilted, whether lost in translation or the failing of the author, I can`t be sure. I especially liked the chapter that started out with the main hero finding her boyfriend at home on the couch with an empty glass and empty bottle of whisky - which he drinks from a few paragraphs later. Save your and your time.
Copper Heart is a book that at first seems like it should fit nicely in the Scandinavian Crime Fiction genre, but doesn't. The first portion of the book includes some very nice descriptive passages giving us an idea of this former Finnish mining town. But the author fails to build much tension as the story of the first and second murders is doled out to the reader during subsequent chapters. The hallmarks of Scandinavian crime fiction are missing here; no graphic violence, no tense action, no vivid characters, no believable scenes. The book is written in very easy language and reads much like a young adult book, probably no coincidence since the author wrote a number of YA novels before tackling adult crime fiction. There are a lot of characters that are hard to distinguish, a amazing share of them with names beginning with either J or M. The finale of the book, when the heroine confronts and overcomes an armed villain far underground in a collapsing copper mine filled with explosives, is hard to swallow. The reader is asked to believe that the average-size heroine slings a wounded full size man on her back and then holding him, climbs 300 feet straight up a pitch black elevator shaft on an unprotected metal ladder when the mine elevator fails. And of course there is a heavy explosion coming any moment. It is all too much to accept and leaves one wishing for a tattooed foul-mouthed heroine or a sullen, chain smoking detective. With a small cleanup this would have been a amazing YA novel.
This is the third in the series featuring Finnish detective/lawyer Maria Kallio, and the best of three. The Finnish setting is the key thing that created me hold reading after two rather pedestrian efforts, and in this book that's even more in focus. Maria is filling a temporary post as sheriff in her home city -- a little northeastern Finnish mining city called Arpikyla, which translates into "Scar Town". The city has indeed left scars on a lot of of its residents, including Maria, and the depiction of little city life is very interesting. The secondary characters are also better developed than in the first two novels, where a lot of of the suspects seemed like various editions of the same person. Not so here. The plotting is still relatively predictable (I guessed who did it early on), but the book was distinctly enjoyable. On to the next!
Copper Heart is one of a series of books about a young woman, Maria Kallio, who works in law enforcement. In this book, she is the "summer sheriff" of her home town, a put where corruption is a method of life and most of her high school mates are stuck emotionally and physically. The most interesting part of the book with Marie trying to herself from her teenage crush on a ne'er-do-well former friend. The mystery part of the book, which should have been the best part, was so dull and uninteresting that I had problem reading the book to the end. This book created me consider how people change from their roots -- what makes us various as adults from what we were as adolescents. For that, I am glad I read it. However, my recommendation is tepid at best, because most people will come to the book looking for a gripping mystery story. And that story is simply not in this book.
"You are not my favorite poet. That implies comparison. You are poetry itself." in a letter from Marina Tseteyeva to nce I do not speak German, I can speak neither to the accuracy of translation nor interpretation (realizing that they are separate concepts). But I can tell you that this keeps me coming back for more (so much so I have 2 copies, plus a hardback, which differs slightly in content). It's the sort of book that if I loan it, I'm astonished to obtain it back. And don't really chell has included in his notes excerpts from diaries and letters which I otherwise would never have had the joy of knowing, nor insght into not only the heart of the poet, but the heart of God as chell also has the integrity to refrain from attempting to translate some works which, I believe, he would have otherwise loved to share. His rationale, from the intro to the "Notes" section, follows:"Translating poems into equivalent formal patterns is to some extent a matter of luck, or grace, and this is especially real of rhymed poems. Rilke called rhyme "a goddess of secret and ancient coincidences" and said that "she is very capricious; one cannot summon or foresee her; she comes as happiness comes, hands filled with the achievement that is already in flower." Some of my favorite poems never got beyond a rough draft, because that sweet goddess refused to create even the briefest appearance."This poetry is a love letter to life, no matter what an acedemic might say about the relative merits of the translation/ interpretation. Reading Rilke, I understand why Jung (I think it was Jung) said, "Everywhere I go, I search the poet is there before me." (or words to that effect) Enjoy.
The Introduction is worth the of the book. I'm not fluent in German, but do appreciate the original language on the left page (poetry more than prose benefits from this) and the translation into English on the right. This translation is the one I have come to prefer.
"Death Spiral" (the fifth book in Leena Lehtolainen's Maria Kallio series), opens with the murder of Noora Nieminen, an up and coming ice skater with the Espoo (Finland) Figure Skating Association. Even though she is but still a teenager, the list of suspects is long. At the top of the list is Vesku Teräsvuori who had a short-lived relationship with Noora's mother and has recently been stalking the family. Tragedy then compounds itself when Maria provides Noora's mother with the ever so slight chance that Vesku's alibi might not keep up. With her own pregnancy to with and the chance of a promotion to think about, Maria's days are full... while the bag of solutions to the murder seems empty.I enjoyed this story for a lot of reasons, but there is one particular section that gave me pause. Maria chastises herself (rightly so) for mentioning to Noora's mother that contrary to what she said earlier, Vesku's alibi might not hold. That's not amazing police procedure. But then, when Noora's mother acts on that information, Maria blames herself for Vesku's death. Maria's colleague then points out that if he had investigated more thoroughly, there would have been no doubt as to his alibi. Does blame ever lie beyond the person who commits the crime?I enjoyed this story and have already begun number six in Lehtolainen's series, "Fatal Headwind."
I am tired with detectives full of indecisive moments, confused goals and systemic issues to indicate their delicate humanity. Well at least there weren't any drinking problems. As for padding the book with page and pages of ice skating minutia, I was quite capable of skipping over to the actual book plot line. Somehow the pregnancy bit fell flat as far as creating private interest.. Over all I have begun to tire of this series for the same reason (human weakness) as I did with Louise Penny's Inspector Gamache. In any happening there is small inspiration to continue reading from this series.
I discovered Maria Merian when looking for women botanists to share with my students. I was shocked to search out that Maria Merian was an awesome artist and scientist with a amazing story. This book captivated my students. Well written and illustrated.
I came across Maria Merian Sybilla when I was doing my genealogy. She lived in a commune with my family. I wanted this for my grandson so he could see that history can relate to his own history too. I'm glad she is being celebrated. A fascinating woman and added necessary ideas about habitat and how organisms reproduce.
This is the second book in the Maria Kallio series. I enjoyed this more than the first because there was more suspense and fewer characters with impossible names. My only complaint is that she doesn't contain much of the uniqueness of Finland and its people.
Q3 Ir Book ReviewMaria in Call Me Maria by Judith Ortiz Cofer moves to America with her Dad to live in America. She learns to live with her Father in Fresh York and attends a public school. She expresses her difficulties of going to a fresh school and speaking Spanish and English, which is Spanglish. Maria through the difficulties of finding her content and satisfied self-finds her satisfied and content self by writing in various varieties that obtain her thoughts out. This book really shows how to search a satisfied put with yourself and how to with what could be various and weird situations.I would recommend the book Call Me Maria by Judith Ortiz Cofer because it is a book that middle schoolers or early high schoolers could easily connect to. I agree that the story line is a very simple plot with small to no conflict or action. I also agree that this book is a very well written book in the sense that it is simple to understand what is going on. If you are looking for an simple read book that you could learn life lessons about how to in certain situations I would recommend it because it provides websites in ways to cope. In Maria's situations, she wrote different poems, letter to her Mother, and reason why I would recommend this book is because it was a very simple plot line to obtain into and to understand, with small to no action. One put that it had a very simple plot development was when Maria and her father first moved to Fresh York. A lot of would think that something poor or difficult would occur but it was an simple transition for them into their fresh apartment. Another put that this book had an simple plot development was when Maria started her fresh school. Even though she really only had a one really close friend, Whoopee Dominguez they got along so well that they never got into an argument or disagreement. They also did not go one day with our seeing each other. That is a beautiful easy, and easy plot because something normally happens between friends, but nothing happened between Maria and Whoopee, and she moved and attended a public school nothing else.Another reason why I would rate this book a 4 out of 5 stars is because is written in a sense that you can understand it. Judith Ortiz Cofer is a very amazing author and does a amazing job at switching up the method she is writing. She does this by changing the writing from prose to poetry by Maira and letters also written by Maria. Instead of Judith always narrating the book, when she thought it was best for Maria to present her personality and feelings she would contain one of Maria's poems and or letters. This provided the reader with a amazing understanding and a amazing sense of the book by not always having the author narrating the e latest reason why I would recommend this book is because me being a high schooler, I could connect well to it so I think that others could. I could gain a lot of life lessons about how to cope with situations. A life lesson that I gained is when you least expect it people will be looking out for you. This happened when the people that lived upstairs of Maria in Florida with her mom, wrote Maria letters to create sure she was doing well. This could happen when you least expect it, this was one of the a lot of life lessons that I could obtain out of Call Me favorite hero throughout the book was Maria. I say this because even though she saw herself as down in the underground during sometimes in school, she always picks herself up and thinks of the positive. This happened throughout the whole book. She always says she will reach for the sun. Maria was the type of person who always reached to do her best and when she does her best will not present off. I love reading about characters who will always pick themselves up and have a positive attitude because a lot of the time I learn life lessons from them. In Maria's situation, I learned that if my family is not paying much attention to me pick myself up and move on because you will always be one family. I think that the best quote from Call Me Maria was, “ I'm doing the same here, trying to learn the words if my small world.”(Ortiz 21). I think that this is the best quote because she is responding to her mom in a letter and taking tip from her mother, about how to with a fresh language. I love this quote because even though Maria and her Mom are not living together and have not seen each other in a while, Maria still takes tip from her mom and looks up to her as a role model from their postcards and letters back and forth to each other. This proves that anyone can be a role model to you no matter how close or far away they are from you and distance away from people does not mean you are separated forever. Once again if you dig deeper into a line of the book you can gain a lot of life lessons.
Amazing translation of one of the finest poets of the late 19th century and early 20th century. Outside of Germany and Europe, the amazing symbolist poet, who worked with Rodin while in Paris, is not read nearly enough in my view considering his immense talent and influence on later poets. The translator, like all who undertake the thankless task, takes chances but is rewarded by managing to bring Rilke's vivid photos to light along with his subtle philosophical and often almost mystical spirit. No doubt one should always read a poet in the original language to capture nuances of sound and language, but if you do not read German (and the book the German original if you are curious), this is as a very successful translation of one of the amazing symbolist poets I have read, and contains most of his major poems, poetic prose, and the popular notebooks. If you have not read Rilke, and love poetry, you are in for a treat. I am on my second copy as it has been read so much. Perhaps time for the Kindle version, though poetry should be touched, I believe.
If you are on the precipice of purchasing this translation, you are probably moved along that path by the perfect reviews. I cannot add more than to say that I am so grateful to have had a possibility to read the Rilke poetry in poetic English, which I am assured by the scholars is as close as one could imagine to what Rilke would have himself written in our language. To read him in this book of his poetry is enchanting and I search something wonderfully fresh each time through.
I do not read German and must rely on English translations of Rilke's poetry and prose. The William Gass book on Rilke and translation is a beautiful reliable tutorial here but there is no substitute for reading Rilke in various translations. I have a preference for Edward Snow as translator but admire very much the Stephen Mitchell translations, as in this volume. Readable and understandable which is not always the case with the Leishman translations. I have read a lot of poetry through the years - good, bad, mediocre - and Rilke is rapidly becoming my favorite.
The artwork in this story is beautiful, imaginative, and probably inspired by Maria Merian herself. My kids (4-7) have fun this story, ask for it repeatedly, linger on the pages when reading themselves, and can retell the story of Maria Merian's life. This also coincides well with the insect life cycle, a commonly featured part of curricula from pre-school through 2nd grade and can be a nice supplement to academic discussions.
I am sending this to our Granddaughters in July. I fell in love with it and shared it with friends. The illustrations are just attractive and the story of a brave young girl who did her research and discovered how the butterflies perpetuate is a unbelievable example for young girls. Our Granddaughters are 5 and 8. One wants to be scientist so I am sure she will identify with the story. I loved the name Summer Birds for butterflies. I also learned interesting facts from this book.
Like the first entry in the Maria Kallio Finnish crime series, this second entry is OK but not compelling, The plot is an A to about G series of OK, let's look at this suspect, then let's look at that, then let's have a final face off with the killer! The solution is not hard to anticipate, and the antagonism between our heroine and an old line cop is all to simple to predict. The central hero is moderately appealing, but gets irritating, and her private issues seem to be in huge part of her own making. BUT, the Finnish atmosphere is interesting, and the novel was gripping enough to hold me plugging on the end. As I said at the end of my review of Maria Kallio #1, it's amazing enough to create me the next one ----
Leena Lehtolainen has made a credible actor and narrator in her Maria Kallio. In this novel, Maria has moved from investigating crime as a police detective to beginning the practice of law. Yet her curiosity and dislike of loose ends remains consistent.I am also impressed by the method Lehtolainen has framed the cases requiring Kallio's action. In this book, and the earlier My First Murder, the author has developed plots that involve a dozens of people already known to Kallio. The solution of the case requires not only the collection and objective review of evidence, but also a sensitivity to each character's motives and their social attachments to the others. It's a job well done by the author.
I've read the Maria Kallio series from the beginning and this is another solid whodunit. The plot is well paced and never sags. The twists are quite unexpected and, even if I had my doubts about the culprit, the reason for the crime surprised me. I don't give this five stars only because Maria falls into one of my largest pet peeves: making stupid decisions not once but twice, endangering herself and her unborn baby. Oh, yes, BTW, we follow the pregnancy that she discovered at the end of the latest book, which gives it a fun twist (it doesn’t seem to be simple to interview uncooperative witnesses when you need to go to the bathroom constantly). Entertaining and fun.
Much better than previous installments of this series. Copper Heart is more fluid and, even if Maria Kallio is still obsessed over not fitting the norm, the investigation is the main focus. In a way, it reminds me of Camilla Lackberg, since Maria's private life keeps getting in the method of her sleuthing. We still have a lot of chauvinist pigs, but the women are better defined here. There are some very compelling characters. I'm looking forward to the next book.
Maria’s life has fast-forwarded a few years and she has settled well into her position in Espoo’s police force. An attack on a young woman starts a chain of happenings in her most complex case to date. In the meantime, Maria learns more about herself and her Lehtolainen dangles tips just out of reach; the clues suggest this method and that, but coalesce into a satisfying final picture. The smells and colors within the text weave an engrossing backdrop - not always pleasant, but deep. I look forward to the next release.
Well, it was another well written book by a beautiful amazing author. The story line was great. The characters well developed. I can see a movie!! Small bit of a hard-stop at the end (sort of a spoiler alert). Amazing investment in my time to read this one.