Mercedes Neue Modelle 2025

Régine Crespin Notwithstanding her great success in the German repertory, Régine Crespin was quintessentially a French artist. With an unmistakable sensuality betraying her origins in Mediterranean France, she was guided by an unfailing sense of elegance. Whether as Kundry, the Marschallin, Carmen, Didon, Amelia in Un ballo in maschera, or Sieglinde, her large, lush voice was deployed with refined abandon. Her top register, powerful and soaring when it was working as the singer wished, sometimes emerged congested, as tones that began as clarion would cloud over and lose their cutting edge. As it became increasingly problematic, Crespin looked toward roles only equivocally soprano, where she could rely on the luxurious amplitude of her middle and lower registers. Her Carmen, presented at the Metropolitan Opera in 1975 after a period of vocal restudy and a loss of weight, was distinctive for its subtle danger and meticulous delivery of text and vocal line. Following studies at the Paris Conservatoire with Georges Jouatte and celebrated bass Paul Cabanel, Crespin made her debut in 1950 singing Elsa at Mulhouse. In August of that same year, she appeared for the first time at the Paris Opéra, the role once again being Elsa.

Dieses Buch führt mathematisch präzise in die stochastischen Modelle ein, die bei der Bewertung von Schadensbeträgen für Versicherungen von besonderer Bedeutung sind. Abgedeckt werden Modelle für kleine und große Schadensbeträge, Modelle für extreme Ereignisse, Risikomaße, sowie die stochastischen Prozesse der aktuariellen Risikotheorie: Zählprozesse, zusammengesetzte Prozesse, Erneuerungsprozesse und Poisson-Prozesse. Zentrales Thema ist die Bestimmung der Ruinwahrscheinlichkeit des Versicherers. In diesem Zusammenhang werden analytische Lösungen, asymptotische Approximationen sowie numerische Algorithmen wie die Monte-Carlo-Simulation vorgestellt.