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Alles zu Scrum aus der Praxis: Übungen, Vorlagen und Tipps zum Bestehen der Scrum Master (PSM 1 v.2020) Zertifizierung

Tristan und Isolde (Tristan and Isolde), WWV 90, is a music drama in three acts by Richard Wagner set to a German libretto by the composer, loosely based on the medieval 12th-century romance Tristan and Iseult by Gottfried von Strassburg. First conceived in 1854, the music was composed between 1857 and 1859 and premiered at the Königliches Hoftheater und Nationaltheater in Munich on 10 June 1865 with Hans von Bülow conducting. While performed by opera companies, Wagner preferred the term Handlung (German for "plot" or "action") for Tristan to distinguish its structure of continuous narrative flow ("endless melody") as distinct from that of conventional opera at the time which was constructed of mundane recitatives punctuated by showpiece arias, which Wagner had come to regard with great disdain.

In November 2019, an opera sensation was to be experienced at the Leverkusen Erholungshaus: 232 years after its creation, a comic opera was premiered with "Scherz, List und Rache" (Joke, Cunning and Revenge), for which no one less than Johann Wolfgang von Goethe had written the libretto. The music for it came from Goethe's childhood friend Philipp Christoph Kayser (1755-1823). Inspired by the Italian buffo opera, Goethe and Kayser wanted to create a new kind of German opera with "Scherz, List und Rache". The result was a turbulent three-person play about a young married couple who were cheated out of their inheritance by an old money-hungry doctor.In 2019 it was conductor Werner Ehrhardt and his ensemble l'arte del mondo who performed this opera rarity for the first time in its original instrumentation for large orchestra. Annika Boos, Cornel Frey and Florian Götz took over the vocal parts peppered with virtuoso passages. This is the world premiere recording of the singspiel in co-production with WDR and Bayer Arts & Culture

Grundlagen Volks- und Betriebswirtschaftslehre, BWL-mvel-TIAG-VBL-Kompakt A1-T3-13-161-175-Lz110-Mld150-65F-V3g

During the more recent past, finds in libraries have made it clear that Johann Sebastian Bach held his Gotha colleague Gottfried Heinrich Stölzel in high regard. But what was it about Stölzel’s music that made Bach and some of his contemporaries so interested in it? As in the text of the famous Brockes-Passion, which was set to music by Telemann and Handel and then later by Stölzel, what is involved here is not a biblical text expanded by arias but a free poetic composition based on the Passion.While the Evangelist, like a live reporter, documents Jesus’s last hours, the “Faithful Soul” and the “Christian Church” act from the perspective of knowledge of how events will turn out. The oratorio is divided into twenty-two “Reflections” concentrating the various perspectives of the three allegorical figures on particular moments in the action. This impressive music beyond doubt will have a very individual effect on each and every hearer – as was also the case with Bach, who some years later once again took the manuscripts from his music library and used the aria of the thirteenth meditation, Dein Kreuz, o Bräutigam meiner Seele, as the basis for his own aria Bekennen will ich seinen Namen (BWV 200).

Goethe as an opera librettist: in November 2019, an opera sensation was to be experienced at the Leverkusener Erholungshaus: 232 years after its creation, a comic opera was premiered with "Scherz, List und Rache", to which none other than Johann Wolfgang von Goethe had written the Libretto.

In 4 Wochen zu mehr Körpergefühl und Selbstliebe durch Aktivierung deiner sexuellen Energie, Bewegung und Meditation.

Jede Propaganda", befahl Adolf Hitler, "hat volkstümlich zu sein und ihr geistiges Niveau einzustellen nach der Aufnahmefähigkeit des Beschränktesten unter denen, an die sie sich zu richten gedenkt."
Mit primitiven Produktionen über deutsche Weihnachtsfeiern, Autobahnen, Frontsiege, über den deutschen Wald und "Die englische Krankheit" (Filmtitel) gehorchten deutsche Filmleute der Jahre 1933 bis 1945 ihrem Führer aufs Wort – was wirklich kein Wunder war.
it sentimentalen Durchhalte-Filmen ("The First Days"), hämischen Zeichen-Tricks und markigen Phrasen ("Bombardiert den Feind noch und noch und noch und noch, bis er genug hat!") nahmen sich jedoch auch Hitlers demokratische Gegner aus England und den USA in Kriegszeiten die Freiheit, ihre Bürger auf beschränktem Niveau zu manipulieren – und das ist hierzulande weithin unbekannt geblieben.
Denn die Kriegsgegner hielten die Propaganda-Traktate in ihren Archiven unter Verschluß. Ein Vergleich alliierter und deutscher Beeinflussungstechniken im Film war kaum möglich.
Daß er jetzt dennoch stattgefunden hat, ist ein Verdienst des Österreichischen Filmmuseums. Seine Kuratoren Peter Konlechner und Peter Kubelka holten die "Propaganda und Gegenpropaganda im Film 1933-1945" in 88 Dokumentar-Beispielen aus neun Sammlungen nach Wien und spielten sie in 26 ausverkauften Vorstellungen.
Noch einmal kehrte – im Film "Ein Volk, ein Reich, ein Führer" (1938) – die "Ostmark" heim ins Reich, wurde "Der Fluch des Hakenkreuzes" (USA, 1940) beschworen, der "Sieg im Westen" (Deutschland, 1941) gefeiert und "The Battle of Russia" (USA, 1944) auf deutsche Kosten geschlagen.