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Preview Tour 'with the Comm Bertrand Claverie and Anouk Colomes

's Message Vebu.

German Vegetarians have created an event that has teeth. This controversy was brought to our friends enjoyed an impressive global media relay. Explanation .

all starts with the viral video of a head wind merits of the kitchen of a South American tribe with a reputation of be cannibalistic.
He then announces the opening of a restaurant (so cannibalistic!) In Berlin.

Soon, the media pounced on the information relayed over the entire planet in the press, on the net and even in some JT!

It must be said that everything had been done: Advertisements to recruit employees or suppliers, donors ...

A print campaign was also performed in Berlin to communicate over the opening, so the restaurant was virtually complete!

It was during the opening night that reveal the real message was : promote the association Vebu abuse awareness and consumption of meat.

We really loved the buzz it has caused, including how she managed to handle different media relays.

campaign is fully successful, economically in a global media (such as what you can swallow anything to anyone!).

Small flat : cause we were not aware. The buzz is likely to remain longer in memory than the message itself.

What's A Magic Movie?

Apple inspires!

is a surprise (or not)! Apple's widely copied around the world in innovations (phone, tablet ...) and client of TBWA, has in recent years used its TV clips on a white background, close-up product and a beautiful hand that handles:



Now see the new TV clip of Toyota for its new Auris hybrid:



While both companies operate in different markets, they want one like the other focusing on the technological merits and innovative in their machines. Apple is symbolic in this area, it seems that Toyota, Saatchi & Saatchi client, has decided to adopt the same tone.

It will even mimic the effect of touch with the swipe of a finger. There are also the same style of background music. The same target, the same universality ...

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You are like my own personal brand of heroin. Our

An oath to the water, two words in the air, three small boats forgotten by land, a little of your mouth, a lot of your jaws four hairs in the shower, you should live better alone. Your mistakes, my judgments, I swear, your mistakes ... And after? Afterwards, we dream of before. Nothing secret, everything is lost. What have we air at the time of the inventory? Trying for nothing more. Too bad for good. Ultimately, love how you love me? Eight years love, it was a Thursday, the final year, not a letter since. I know well I'm going to lie, I can not find anything new to say. What you have left there for me? Better stop there. But tell me, is what I intend for you?

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Six romances under the sign of the elegy

Verdi is one of those composers who are confused with a genre like Chopin and Liszt identify the piano, Verdi, like his contemporary Wagner, does that one with the opera. However, musicologists and experts tell us that the composer also wrote, in an extremely marginal compared to the rest of his work, a few instrumental works (including a string quartet), and a small thirty melodies with piano . Admittedly, these are like operas, vocal music, reflecting almost exclusive interest of the composer's voice, for singing, but while the engineering Verde is primarily and essentially a dramatic genius, we find here a more intimate Verdi, Verdi a room - or rather lounge.

The first book of Sei Romanze [Six Romances], published in 1838, is the first published work of the young Verdi, who was then twenty-five years and tries, at first unsuccessfully, to represent his first opera, Rocester composed in 1836 to become Oberto, conte di San Bonifacio. Certainly, this collection is not a cycle in the sense that one can hear in Schubert or Schumann: indeed, there no dramatic or narrative thread tying together the various parts that make up, he nevertheless, however, they derive their unity of a community of inspiration elegiac, far from the dramatic contrasts that would could expect from the future composer of operas. In this elegiac inspiration manifests the influence of the bel canto style embodied by Bellini, Donizetti, or by Rossini, not only through the shape of the melody together, but also through more or less accurate memories of their works while beginning to emerge as Verde, several passages foreshadowing even some opera tunes to come.

The melodies of Verdi appear both as a synthesis of bel canto romance that preceded it and as a laboratory experiment, in which the composer is testing, trying, experiencing many processes voice, so technically that expression: he remains, in his operas, to create a dramatic movement to give full meaning, all their strength, that is to say their whole life to the scenes that can be presented in the melodies that form tables. In short, it will be for the composer, backstage pass to the theater itself.

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Concert Two passionate and Italian Opera Arias

The duo Laurence and Claude Hunckler Sitterlin gives a concert at the Toy Museum, Saturday, December 4 at 20 pm, a recital for voice and piano entitled "Unfinished Love". The program includes songs and arias from Italian operas by Verdi, Puccini, Bellini and Giordano. Admission is free, tea will flow.
Born in 1965 in Besancon, Laurence Hunckler moved to Colmar where she completed her vocal studies in class after working Henrik Siffert singing with Arlette Steyer, Robert Dumé, Franz Petri, and choral conducting with Claire Marchand and Erwin List.
With a broad and powerful soprano and multi-faceted that allows him to juggle a range to the other, she sings with the Opera National du Rhin and participated in productions of Wagner's Parsifal (2003), The African Meyerbeer, Schumann's Scenes from Faust (2004), Benvenutto Cellini Berlioz, Verdi's Don Carlos, Les Troyens by Hector Berlioz (2006), Rossignol / Oedipus Rex Stravinsky Russian version (2007), Un ballo in maschera Verdi (2008), Louise G. Carpenter (2009), Verdi's Macbeth (2010).
She also works with the Grand Theatre Dijon and sang in Gounod's Faust (2007), Puccini's Tosca and Verdi's Macbeth (2008). She sings in
Divas, a creation of the Trio Vocalise where she plays a quirky blend stamp diva soprano and mezzo character.
This eclectic artist likes to travel through the emotion and particularly loves the meeting with the public. Curious, always looking for new modes of expression, she feels free to explore over his meetings with other genres as opera, like the medieval chant, jazz, song, humor but also contemporary music. Born in 1977 in
Guebwiller Claude Sitterlin has an unusual musical journey that gives flavor to all forms of music. It begins at the keyboard in pop music, studying classical piano and saxophone.
After joining the chain of classical study at the Ecole Nationale de Musique de Colmar piano classes Walther Bertrand, Alain and Dominique Toiron Gerrer, she won the award unanimously Interregional upper chamber music in Nancy in 2003.
It turns today to the ensemble, and particularly loves working with singers.
In 2004, she was the pianist's Vocalise Trio where she played a pianist somewhat austere but not without humor.
For several years she accompanies on piano and various music workshops whose voice students singing classes Geraldine Cassidy, Sandra and Laurence Stöhr Hunckler and plays the saxophone under the baton of Astrid Jund ECOMUSIC with Alsace.
Program: O mio babbino caro Gianni Schicchi - Puccini; Vaga luna che inargenti - Bellini; Per pieta bell'Idol million; Pace, mio Dio La forza del destino - Verdi di notte oscura Nell'orror; perduta ho la pace; Vissi d'arte Tosca - Puccini's E uccellino - Puccini , Earth and Sea, When men vo La Boheme - Puccini, More, Elisa, the tired poet - Verdi; In a lonely room, Morro, but before grace in Un Ballo in Maschera - Verdi; not join thee urn - Verdi; Ah, pity, oh Addolorata; The dead mother - André Chénier, Giordano.
Musée du jouet et du petit train, 40 rue Vauban à Colmar Tél 03.89.41.93.10.

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The Love Song of Laura Hunckler

The cloister of the Dominicans traditionally becomes a sounding board for the festival of music, and friends of the library in recent years, offer a few days before their concert with a program that must meet the search originality. Tuesday night, they invited Laurence Hunckler, soprano, and Claude Sitterlin the piano for a concert entitled "Unfinished Love".

A large audience has taken possession of the site to be carried away by air from the Italian repertoire, Puccini, Verdi, Bellini and Giordano. The physical presence of Laurence and Hunckler rich facial expressions were dressed in a voice that was able to start releasing excerpts of the finest operas. Laurence was in turn, young love, lover, mother or tearful pleading, liberated woman, intimate and sometimes jealous. She declined the love in all its varied forms in a romantic journey, sometimes ruthless, navigating between tenderness and passion, as she too knows how to be a happiness too often ephemeral. Also noteworthy is the grace and sensitivity of Claude Sitterlin, ballet of hands caressing the keys, the melee with the instrument to fit into the musical world of the singer. The relationship with the musician's instrument becomes a love story that will feed the pleasure, almost a voyeur, the music lover. Then came the finale of a beautiful poem that Andre Chenier Giordano set to music, the quintessence of words and music in a great climax. But the audience wanted more, and divas (the name of their show with Vocalise Trio), returned to an excerpt from Carmen.

© Dernières Nouvelles d'Alsace, Friday, June 18, 2010. - All rights reserved

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story.

I realized that we're not friends.

Friends should love one another.

and after what happened I could never love you.

and you can not love me anymore either.

verily I hate you.

I've never hated anyone as much.

endings each of my body is electrified by hate.

A fire burning pit of hatred inside me.


ready to explode.