#Petition la Madama

[conjuremanj]

The Mystery Of La Madama. With Altar Set-up And Offering

A peculiar figure has recently become very popular in Rootwork. This person is La Madama. As you look around on different websites, or online blogs about rootwork or hoodoo you find more and more people are speaking on La Madama. But the conversation on her has become more misunderstood and that people are just repeating the same misinformation they are getting from websites and blogs and I'm no way a expert on her but I talked to some priest and practitioners in Espiritismo so I'm writing this post for the people who may be interested in La Madama or just want to learn about how to work with this type of spirit.

Who is La Madama? (Let's say, Who ARE Las Madamas?) Well, what she is not is part of hoodoo nor a hoodoo Saint as it is written online. She is not a slave women. These are dolls that are made out of porcelain or plastic and dressed in a particular color and this is a misconception that it's a specific spirit. This is totally incorrect. A Madama is a category of spirits - to which many individual spirits and guides belong to.

Again the question is who is she? Madamas are spirits of the dead, spirit guides that were slave women (or the descendants of slaves) round in stature, who has the stereotypical look of a house servant from the 1800's. Now Madamas are NOT conjure women (as in false American root workers what have you believe). La Madama isn't considered a the patron of playing card readers and bone readers or divination at least in hoodoo. Madama originated in the Latin community I believe Cuba not the US. These women are typically either women who practiced Espiritismo and maybe Santeria. When these Cuban and Puerto Rican women were alive they are depicted wearing gingham skirts (aprons) in the colors of the spirit which they worked with (red gingham for Chango or Siete Rayos, Blue gingham for Yemaya or Madre de Agua, etc.) They usually have their hair wrapped and there clothing in the same color. There are countless "Madama" spirits out there and they are NOT just one spirit.

Where did Madama Spirits come from? These spirits comes from the latino countries lik (Cuba, Puerto Rico, the Dominican Republic) and has spread to many other countries including Venezuela, part of Mexico and even the southern parts of The United States and This type of spiritualism works differently than the more formal "white table" version of spiritism found in Europe in the late 1800's. There have many categories of spirits including (but not limited to): Madamas, Indians, Gypsies, Nuns, Arabs, and even Pirates. There is not ONE spirit of La Madama, just like there is not ONE spirit of The Indian, nor is there ONE spirit of the Gypsy.

La Madama type spirits is NOT native to Rootwork and has actually never ever been a part of Hoodoo at all until maybe the last 15 to 30 years.

In the south southern root workers used other spirit's such as (Black Hawk) or other spirits or not native to hoodoo but were only found in Spiritualist Churches in the south and some would argue and I read that Christianity, praying the psalms and working with Saints, Indian Spirits, etc. is a rather new to Hoodoo that's incorrect hoodoo in the south has all ways use Christian prayers and Psalms in their practice. The spirit like Black Hawk plays a part later because of what he did and what he represents to us the south especially in Louisiana. Just like Marie laveau these spirits in the South like Louisiana has become important to us, and has become a part of our practice. (See post on Black Hawk)

Can I Work With "La Madama"? This is an interesting question. The answer isn't that simple. It isn't whether you CAN work with La Madama -because you can, The question actually should be "Do I have a Madama to work with me?" In (Spiritism), you don't go out seeking spirits to work with. Instead, you work with the spirits in your Spiritual Court that already surrounds you. The Spiritual Court is a group of the most intimate guiding spirits you have around you that protect and teach you. They are your "inner court" and they defend you when you cannot defend yourself. They guide you, teach you and inspire you. Each person's Spiritual Court is different than the next's. Similar to being initiated in Vodou we get our loa who wants to work with us and be a guide to that person we don't pick or choose which. Madama is the same you must have your own already in your court and a medium can help with identifying your spirits on your court.

Before you can work with her. "Madama" type spirits you need to find out IF THERE IS ONE IN YOUR SPIRITUAL COURT! This is the most crucial element that people don't take into account. You must first find out if you have such a spirit in your court with which to work and identify who is there for you. You can then work with to strengthen your relationship with those guides through prayer, meditation and contact with these spirits at your Spiritual Altar.

It is up to each person to learn as much as they can about their Spiritual Court. These spirits will act as the conduit for divine inspiration and guidance for that person. If you have a Madama type spirit you would need to find out where she's from, her name, what she practiced in her life and how to work with her.

Working and Petitioning La Madama: I would often see photos of people putting offerings to La Madama and petitioning her as if she was a saint. This is absolutely incorrect. She is not. This is not the manner in which Spiritists would ever work with a Madama-type spirit. Because there are many of her so who are you praying too exactly.

Not my photo

Setting up an altar to La Madama: people like to have depiction of her on their altar, like a statue, picture, doll or prayer card. This object acts as a physical container in which her spirit can manifest so when you call opon her for guidance and support. What a glass of water.

Making offerings to La Madama: Madamas enjoy receiving offerings thanking them for their assistance. This could be bouquets of flowers or a cup of coffee or a cigar. If you do leave her offerings, they are offerings of gratitude. Remember she's not a saint. These are given because she came through and helped you with an issue or to keep your connection with her strong.

Ultimately she will help you with reading, perceiving and psychic abilities as well as giving you inspiration when you do a spell or ritual. After all, she was a priestess in her time and knows how to work spells, (but she will tell you how to do it HER way, not the Hoodoo way) (because she was not a conjure woman, she was an Afro-Caribbean *spiritual worker).

One must understand very clearly that God is who we worship. A Madama-type spirit is not a saint to be petitioned. She is a spirit guide. She is there to give you guidance, inspire your spell work, guard you from harm, cleanse you when you pick up something nasty, and to be a teacher and mentor. You do not worship your teacher right so you would not worship La Madama.

If you don't have a Madama-type spirit in your Spiritual Court, that's fine and normal. You may have countless other spirits who are very powerful and close to you. But this internet fad of La Madama really needs to be handled with respect and people should have a better understanding so they don't waste their energy and money trying to petition a spirit that's not even accessible to them. Focus on the spirits that do surround you and keep those bonds strong, and you'll be much better off in the long run.

"Madama" is something originating from Latino countries, not the USA,

[lamilanomagazine]

Cesena, al Teatro Bonci il progetto musicale “…ballare di architettura!”

Cesena, al Teatro Bonci il progetto musicale “…ballare di architettura!”.   Con 28 elementi e 4 voci soliste, i Conservatori “Bruno Maderna” di Cesena e “Guido Cantelli” di Novara presentano al Teatro Bonci venerdì 9 dicembre (ore 21.00) l’originale progetto “...ballare di architettura!”, dedicato a due geni innovatori della musica del Novecento, gli statunitensi Frank Zappa e Steve Reich. Alle ore 18 è prevista nel Foyer la Guida all’ascolto del concerto di Andrea Cappelleri. “Parlare di musica è come ballare di architettura” affermava, con il suo consueto humor iconoclasta, Zappa, il polistrumentista e compositore di Baltimora divenuto un’icona nel panorama mondiale. I Conservatori di Novara e Cesena costruiscono insieme un viaggio musicale partendo da una selezione dal suo album The Yellow Shark per arrivare a Tehillim, capolavoro del newyorchese Reich. Registrato nel 1992, The Yellow Shark è un lavoro multiforme, caleidoscopico: fusion, jazz, progressive rock si mescolano con l’avanguardia e la musica contemporanea. Tehillim, composto negli ultimi anni della carriera di Reich, è invece un vero e proprio viaggio ipnotico, accattivante, scritto per ensemble di strumenti, percussioni e voci, su testi sacri dei Salmi: una sorta di cantillazione moderna che diventa preghiera. L’esecuzione è affidata all’Ensemble di musica contemporana C@n’t tell it, fondato da Andrea Cappelleri, del Conservatorio di Novara, alle voci preparate da Alda Caiello (voci soliste del Conservatorio di Cesena: Eleonora Benetti, Elisa Legname, Caterina Morigi, Laura Zecchini) e alle percussioni della classe di Daniele Sabatani del Conservatorio di Cesena e di Matteo Moretti del Conservatorio di Novara. Direzione tecnica e regia del suono a cura di Donato Napoli del Conservatorio di Novara. Strumentazione a cura di Luca Cori, Paolo Geminiani, Paola Magnanini e Claudio Scannavini. Le installazioni sono a cura del Dipartimento di musica elettronica del Maderna, coordinate da Roberto Zanata. Direttore e concertatore è il Maestro Cappelleri. La sinergia fra le due istituzioni di formazione musicale rappresenta una preziosa occasione per indagare repertori ormai consolidati nel panorama del Novecento ma che spesso devono ancora essere scoperti dal grande pubblico e dai giovani. Direttore d’orchestra, didatta, musicista eclettico e creativo, Andrea Cappelleri spazia dall’Opera al Sinfonismo classico e romantico, dal primo 900 alla musica contemporanea. Ha collaborato con orchestre nazionali ed internazionali come I Pomeriggi Musicali, Orchestra sinfonica “C. Coccia”, Orchestra Filarmonica Italiana, Orchestra Sinfonica Abruzzese, I Solisti Aquilani, Daegu International Opera Orchestra (Corea del Sud). Nel repertorio lirico ha già diretto Dido and Aeneas di Purcell, Mosè, Il Signor Bruschino, La Cenerentola e Il Barbiere di Siviglia di Rossini, Le Nozze di Figaro e Don Giovanni di Mozart, Suor Angelica, Gianni Schicchi, Madama Butterfly, La Boheme e Turandot di Puccini, e La Traviata di Verdi. Ha inciso per l’etichetta Brilliant la Petite Messe Solennelle di Rossini. È stato ospite di Festival ed Ensemble di musica contemporanea come La Biennale Musica di Venezia, Alba Music Festival, Amici della Musica di Modena, GAMO, Nuova Consonanza, Rondò, L’Angelica, Imago Dei (Austria), Borealis (Norvegia). Nel 2014 ha diretto Laborintus II di Berio. Nel 2016 è stato creatore e direttore principale di un imponente progetto dedicato a Ligeti con capolavori del compositore ungherese come Mysteries of the Macabre e Aventures. È direttore artistico di Villa Nigra Opera Festival e docente di Lettura della Partitura presso il Conservatorio “G. Cantelli” di Novara. Programma: Frank Zappa (1940-1993), da The Yellow Shark (1992): Dog Breath Variations (Orch. Paola Magnanini); Uncle Meat (Orch. Paolo Geminiani); None of the Above (Revisione Gino Tanasini); Be Bop Tango (Orch. Luca Cori); Questi cazzi di piccione (Revisione Gino Tanasini); G-Spot Tornado (Orch. Claudio Scannavini). Steve Reich (1936), Tehillim (1981), per voci, percussioni e strumenti, in 4 movimenti. Informazioni: Teatro Bonci, Piazza Guidazzi – Cesena. Biglietteria: aperta dal martedì al sabato ore 11-14 e 16-19. Nei giorni di spettacolo ore 17-21.30. La domenica ore 15-16.30. Biglietti da 16 a 10 euro. Tel. 0547/355959, info@teatrobonci.it info@emiliaromagnateatro.com Guida all’ascolto del concerto: ingresso libero.    ... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[ifaabeyo]

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Morning message Repost from @thebayouaje • Notice I said SPIRITS, meaning there are more than one. La Madama is not the name or title of only one spirit. Madama spirits were not originally Hoodoo or Rootwork spirits. This is a new addition to African American spiritual customs that's only been for about a few decades. Originally Madamas are spirits of females from the Congo who were enslaved in Latin American countries in the Caribbean. In their lives they were Conjurers, Santeras, Espiritismas, Diviners, etc.Their addition to Hoodoo comes from the diaspora aftermath. When many practitioners of Santeria, Espiritismo, etc brought their cultures and practices- they bought the Madamas with them. In the U.S.there is also the mixing up of stereotypical tropes. Madama spirits are often syncretized with the Mammy or Aunt Jemima archetype. Even though most of the Madama spirits were slaves, washer women, midwives in their lives, their descendants who followed in their footsteps were freed women. Madama spirits are not to be worshipped. They really aren't supposed to be petitioned as goddesses or deities either. If you have a Madama on your spiritual court (this is important because again, you're not supposed to go playing spiritual 'Where's Waldo?' with Spirits) you do NOT worship or serve her. If you have one, she is present in your life as a spirit guide. She is a motherly spirit and a helpful spirit with your conjure, home protection, and even money matters. You can leave her offerings but not in the sense of trying to gain something from her. They should be left as gifts of appreciation for just their presence being around you. No Spiritual Court is the same. Not everyone will have Madama spirit and that's perfectly fine. Again, there's no need to play Where's Waldo with the spirits. It will with be divined for you if you have such a spirit or she will reveal herself. (at Utica, New York) https://www.instagram.com/p/CP29Ux0H5KS/?utm_medium=tumblr

[justforbooks]

Enrico Caruso was born on February 25, 1873. He was an Italian operatic tenor. He sang to great acclaim at the major opera houses of Europe and the Americas, appearing in a wide variety of roles (74) from the Italian and French repertoires that ranged from the lyric to the dramatic. One of the first major singing talents to be commercially recorded, Caruso made 247 commercially released recordings from 1902 to 1920, which made him an international popular entertainment star.

Caruso's 25-year career, stretching from 1895 to 1920, included 863 appearances at the New York Metropolitan Opera before he died at the age of 48. Thanks in part to his tremendously popular phonograph records, Caruso was one of the most famous personalities of his day, and his fame has endured to the present. He was one of the first examples of a global media celebrity. Beyond records, Caruso's name became familiar to millions through newspapers, books, magazines, and the new media technology of the 20th century: cinema, the telephone and telegraph.

Caruso toured widely both with the Metropolitan Opera touring company and on his own, giving hundreds of performances throughout Europe, and North and South America. He was a client of the noted promoter Edward Bernays, during the latter's tenure as a press agent in the United States. Beverly Sills noted in an interview: "I was able to do it with television and radio and media and all kinds of assists. The popularity that Caruso enjoyed without any of this technological assistance is astonishing."

Caruso biographers Pierre Key, Bruno Zirato and Stanley Jackson attribute Caruso's fame not only to his voice and musicianship but also to a keen business sense and an enthusiastic embrace of commercial sound recording, then in its infancy. Many opera singers of Caruso's time rejected the phonograph (or gramophone) owing to the low fidelity of early discs. Others, including Adelina Patti, Francesco Tamagno and Nellie Melba, exploited the new technology once they became aware of the financial returns that Caruso was reaping from his initial recording sessions.

Caruso made more than 260 extant recordings in America for the Victor Talking Machine Company (later RCA Victor) from 1904 to 1920, and he and his heirs earned millions of dollars in royalties from the retail sales of these records. He was also heard live from the stage of the Metropolitan Opera House in 1910, when he participated in the first public radio broadcast to be transmitted in the United States.

Caruso also appeared in two motion pictures. In 1918, he played a dual role in the American silent film My Cousin for Paramount Pictures. This film included a sequence depicting him on stage performing the aria Vesti la giubba from Leoncavallo's opera Pagliacci. The following year Caruso played a character called Cosimo in another film, The Splendid Romance. Producer Jesse Lasky paid Caruso $100,000 each to appear in these two efforts but My Cousin flopped at the box office, and The Splendid Romance was apparently never released. Brief candid glimpses of Caruso offstage have been preserved in contemporary newsreel footage.

While Caruso sang at such venues as La Scala in Milan, the Royal Opera House, in London, the Mariinsky Theatre in Saint Petersburg, and the Teatro Colón in Buenos Aires, he appeared most often at the Metropolitan Opera in New York City, where he was the leading tenor for 18 consecutive seasons. It was at the Met, in 1910, that he created the role of Dick Johnson in Giacomo Puccini's La fanciulla del West.

Caruso's voice extended up to high D-flat in its prime and grew in power and weight as he grew older. At times, his voice took on a dark, almost baritonal coloration. He sang a broad spectrum of roles, ranging from lyric, to spinto, to dramatic parts, in the Italian and French repertoires. In the German repertoire, Caruso sang only two roles, Assad (in Karl Goldmark's The Queen of Sheba) and Richard Wagner's Lohengrin, both of which he performed in Italian in Buenos Aires in 1899 and 1901, respectively.

Repertoire

Caruso's operatic repertoire consisted primarily of Italian works along with a few roles in French. He also performed two German operas, Wagner's Lohengrin and Goldmark's Die Königin von Saba, singing in Italian, early in his career. Below are the first performances by Caruso, in chronological order, of each of the operas that he undertook on the stage.

World premieres are indicated with **.

L'amico Francesco (Morelli) – Teatro Nuovo, Napoli, 15 March 1895 (debut)**

Faust – Caserta, 28 March 1895

Cavalleria rusticana – Caserta, April 1895

Camoens (Musoni) – Caserta, May 1895

Rigoletto – Napoli, 21 July 1895

La traviata – Napoli, 25 August 1895

Lucia di Lammermoor – Cairo, 30 October 1895

La Gioconda – Cairo, 9 November 1895

Manon Lescaut – Cairo, 15 November 1895

I Capuleti e i Montecchi – Napoli, 7 December 1895

Malia (Francesco Paolo Frontini) – Trapani, 21 March 1896

La sonnambula – Trapani, 25 March 1896

Mariedda (Gianni Bucceri [it]) – Napoli, 23 June 1896

I puritani – Salerno, 10 September 1896

La Favorita – Salerno, 22 November 1896

A San Francisco (Sebastiani) – Salerno, 23 November 1896

Carmen – Salerno, 6 December 1896

Un Dramma in vendemmia (Fornari) – Napoli, 1 February 1897

Celeste (Marengo) – Napoli, 6 March 1897**

Il Profeta Velato (Napolitano) – Salerno, 8 April 1897

La bohème – Livorno, 14 August 1897

La Navarrese – Milano, 3 November 1897

Il Voto (Giordano) – Milano, 10 November 1897**

L'arlesiana – Milano, 27 November 1897**

Pagliacci – Milano, 31 December 1897

La bohème (Leoncavallo) – Genova, 20 January 1898

The Pearl Fishers – Genova, 3 February 1898

Hedda (Leborne) – Milano, 2 April 1898**

Mefistofele – Fiume, 4 March 1898

Sapho (Massenet) – Trento, 3 June (?) 1898

Fedora – Milano, 17 November 1898**

Iris – Buenos Aires, 22 June 1899

La regina di Saba (Goldmark) – Buenos Aires, 4 July 1899

Yupanki (Berutti)– Buenos Aires, 25 July 1899**

Aida – St. Petersburg, 3 January 1900

Un ballo in maschera – St. Petersburg, 11 January 1900

Maria di Rohan – St. Petersburg, 2 March 1900

Manon – Buenos Aires, 28 July 1900

Tosca – Treviso, 23 October 1900

Le maschere (Mascagni) – Milano, 17 January 1901**

L'elisir d'amore – Milano, 17 February 1901

Lohengrin – Buenos Aires, 7 July 1901

Germania – Milano, 11 March 1902**

Don Giovanni – London, 19 July 1902

Adriana Lecouvreur – Milano, 6 November 1902**

Lucrezia Borgia – Lisbon, 10 March 1903

Les Huguenots – New York, 3 February 1905

Martha – New York, 9 February 1906

Madama Butterfly – London, 26 May 1906

L'Africana – New York, 11 January 1907

Andrea Chénier – London, 20 July 1907

Il trovatore – New York, 26 February 1908

Armide – New York, 14 November 1910

La fanciulla del West – New York, 10 December 1910**

Julien – New York, 26 December 1914

Samson et Dalila – New York, 24 November 1916

Lodoletta – Buenos Aires, 29 July 1917

Le prophète – New York, 7 February 1918

L'amore dei tre re – New York, 14 March 1918

La forza del destino – New York, 15 November 1918

La Juive – New York, 22 November 1919

Caruso also had a repertory of more than 500 songs. They ranged from classical compositions to traditional Italian melodies and popular tunes of the day, including a few English-language titles such as George M. Cohan's "Over There", Henry Geehl's "For You Alone" and Arthur Sullivan's "The Lost Chord".

On 16 September 1920, Caruso concluded three days of recording sessions at Victor's Trinity Church studio in Camden, New Jersey. He recorded several discs, including the Domine Deus and Crucifixus from the Petite messe solennelle by Rossini. These recordings were to be his last.

Dorothy Caruso noted that her husband's health began a distinct downward spiral in late 1920 after he returned from a lengthy North American concert tour. In his biography, Enrico Caruso Jr. points to an on-stage injury suffered by Caruso as the possible trigger of his fatal illness. A falling pillar in Samson and Delilah on 3 December had hit him on the back, over the left kidney (and not on the chest as popularly reported). A few days before a performance of Pagliacci at the Met (Pierre Key says it was 4 December, the day after the Samson and Delilah injury) he suffered a chill and developed a cough and a "dull pain in his side". It appeared to be a severe episode of bronchitis. Caruso's physician, Philip Horowitz, who usually treated him for migraine headaches with a kind of primitive TENS unit, diagnosed "intercostal neuralgia" and pronounced him fit to appear on stage, although the pain continued to hinder his voice production and movements.

During a performance of L'elisir d'amore by Donizetti at the Brooklyn Academy of Music on December 11, 1920, he suffered a throat haemorrhage and the performance was canceled at the end of Act 1. Following this incident, a clearly unwell Caruso gave only three more performances at the Met, the final one being as Eléazar in Halévy's La Juive, on 24 December 1920. By Christmas Day, the pain in his side was so excruciating that he was screaming. Dorothy summoned the hotel physician, who gave Caruso some morphine and codeine and called in another doctor, Evan M. Evans. Evans brought in three other doctors and Caruso finally received a correct diagnosis: purulent pleurisy and empyema.

Caruso's health deteriorated further during the new year, lapsing into a coma and nearly dying of heart failure at one point. He experienced episodes of intense pain because of the infection and underwent seven surgical procedures to drain fluid from his chest and lungs. He slowly began to improve and he returned to Naples in May 1921 to recuperate from the most serious of the operations, during which part of a rib had been removed. According to Dorothy Caruso, he seemed to be recovering, but allowed himself to be examined by an unhygienic local doctor, and his condition worsened dramatically after that. The Bastianelli brothers, eminent medical practitioners with a clinic in Rome, recommended that his left kidney be removed. He was on his way to Rome to see them but, while staying overnight in the Vesuvio Hotel in Naples, he took an alarming turn for the worse and was given morphine to help him sleep.

Caruso died at the hotel shortly after 9:00 a.m. local time, on 2 August 1921. He was 48. The Bastianellis attributed the likely cause of death to peritonitis arising from a burst subphrenic abscess. The King of Italy, Victor Emmanuel III, opened the Royal Basilica of the Church of San Francesco di Paola for Caruso's funeral, which was attended by thousands of people. His embalmed body was preserved in a glass sarcophagus at Del Pianto Cemetery in Naples for mourners to view. In 1929, Dorothy Caruso had his remains sealed permanently in an ornate stone tomb.

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[momasarah]

La Madama is a popular spirit in spritism (espiritismo). She is honored by spiritual workers, fortune tellers, and diviners, and mothers. She is depicted holding a broom or basket; the broom sweeps away the negative energy of clients and sweeps in good fortune. The basket is to place offerings in. She brings business and gets timely payment for services. She provides love, luck, and protection for the home-she is my favorite spirit to work with. She is nothing but kind and full of blessings. La Madama spirit was contained in the cloth dolls that were made for slave children who could not afford china dolls like white children. This doll was very precious, because even having spare cloth to make a doll for a child was rare for slaves. If the child was separated from her mother, as often happened during that time, the child was left with the madama doll that represented their mother. The child would keep the madama doll hidden away, so she could not be stolen or destroyed. During hard times, the child would take the doll out, and talk to her knowing that the doll was connected to the real mother's spirit. La Madama's job is to set everything right, to provide protection, keep harm away, and to provide wealth, health, and luck to the home. She provides all kinds of goodies if you invite her into your home and petition her for a favor. 12 inch state with offerings available here; https://shop.conjuredcardea.com/Red-Resin-La-Madama-Statue-with-Oil-and-Altar-Candle-madam.htm https://www.instagram.com/p/CG7yBTjnvFr/?igshid=1od60ocxccxbp

[antoamilano]

Jour 62 et 63 - Samedi 1er et Dimanche 2 Décembre

Questo fine settimana, siamo andate a Torino. Ce week-end, nous sommes allées à Turin. 

Pour mon anniversaire, j’ai décidé de m’offrir un cadeau de moi à moi, comment me remercier ? (ceux qui ont la ref je vous bise). Pour ce cadeau je me suis offert un petit voyage à Turin. C’est une ville du Piémont, la région qui occupe quasiment tout le nord-ouest de l’Italie. La région est collée à la France alors là-bas, beaucoup de monde parle français surtout les commerçants évidemment, et même le piémontais est un mélange entre le français et l’italien. On a donc prit le train avec Colleen et Sarah, et deux heures plus tard nous voilà arrivées sous un épais brouillard et un froid de canard... Nous avons visité en premier la piazza Castello (Place du Chateau), avec le palazzo reale (palais royal, le bâtiment blanc au fond) et le palazzo Madama (à droite). La place est très jolie mais doit l’être encore plus un jour ensoleillé. Le temps nous était pas favorable et c’est vraiment dommage car ça enlève beaucoup de charme à cette ville. 

Ensuite, nous avons été mangé dans un resto, on a pris des penne au pesto, mes premières pâtes au pesto ici, DÉLICIEUX !!! Après, on avait très froid et on avait nos sacs alors on est allées dans notre airbnb. L’appartement était vraiment cool et la proprio était super gentille. Vers 16h30 on est reparties et on est allées sur la piazza Vittorio Veneto qui est l’une des plus grandes places d’Europe :

Comme je l’ai dit plus haut, le temps était pas ouf et je trouve que le gris rend les bâtiments ternes et cette ville un peu tristoune... Après avoir traversé le Pô, nous sommes montées au Monte dei Cappuccini (Mont des Capucins) d’où on a une superbe vue de Turin. Sans brouillard et de jour, on aurait pu voir les Alpes au loin... mais la vue n’en reste pas moins incroyable ! 

Nous sommes ensuite redescendues puis nous sommes allées prendre un aperitivo, Sarah ne pouvait pas quitter l’Italie sans en prendre un !! 

Dimanche 2 Décembre :

Ce matin, nous nous sommes levées avec du soleil et quelques nuages ! Nous avons commencé notre journée par le parco del Valentino (parc du Valentino) avec le Castello del Valentino (château du Valentino) qui abrite l’école polytechnique d’architecture de Turin. Le bâtiment est vraiment magnifique !

En plein milieu du parc et le long du Pô, il y a une reconstitution d’un bourg médiéval piémontais. 

Après cette promenade dans le parc, nous avons été manger; des pasta alla bolognese !! Là aussi, très très bonne !! Après manger, nous sommes retournées sur la piazza Castello, et avec le soleil et bien ça changeait vraiment tout. Le bâtiment blanc, le palazzo reale est magnifique et la place est beaucoup plus vivante avec des cracheurs de feu, des musiciens, un monsieur qui fait des bulles,...

Et puis incontestablement, l’heure du départ a sonnée pour Sarah... On l’a raccompagnée à la gare, non sans tristesse. Bien évidemment, c’était trop court, elle me manque déjà et j’aurais voulu qu’elle reste, mais toutes les bonnes choses ont une fin non ? Après un peu plus de deux jours à mes cotés elle est malheureusement repartie. Et comme je sais qu’elle verra ça, grazie di essere venuta a vedermi a tutta berzingue !! ♥

Notre train pour Milan était un peu plus tard alors avec Coco, on n’a pas pu résisté à l’appel du “vin brulè”, le vin chaud pour finir notre week-end... 

[whatdoesshedotothem]

Wednesday 4 July 1838

6 ¾

10 40

were to have been off at 8 – could not get our passport till 9 – very fine morning – breakfast at 8 ¼ left Josephine – took George, and A- and I (with merely our night things, a change of linen and our journal books in one sac de nuit) off at 9 50 in a calêche and 3 horses for St. Jean de Luz having our passport visaed for Spain at the French mairie, and at our own consulate and that of Spain – A- and I both in good spirits – A- had taken of letter paper to date to her sister from St. Sebastien – excellent road – very pretty interesting drive – the mountains fine on our left and in less than an hour about 10 ¾ the sea fine on our right – at 11 20 passed the poste aux chevaux at Bidart (1 ½ poste) and Tamarisk hedges – at St. Jean de Luz (1 ½ p. more) chez M. Junca, maitre de poste aux chevaux, hotel de la poste, at 12 50 – gave him the letter from our host M. Theodore Détroyat à Bayonne, begged him to arrange all about our passport – not safe to go by land – must go by a sea – in a steamer if there happened to be one – if not there might be a boat going – or we might hire one – M. Junca un petit homme vif – sent off a woman to see about a boat – the boats not here, but ½ hour off – ordered a mutton cutlet for A- and she having

SH:7/ML/E/21/0139

 fastened her door, I went into the nice little town for ¼ hour – singular church – one large lofty vaulted space – the large organ and large organ-loft to contain the clergy at the west end and the high altar in a richly-covered gilded bay or apse at the east end – 3 oak ballustred oak-pillar supported galleries on each side – the 1st gallery perhaps 5 yards from the ground (the floor boarded) and the 2 above about 4 yards each from the lower gallery and from each other and about 2 or 3 yards perhaps from the square of the roof – called at the poste aux letters – the courier goes Fridays and Tuesdays but now goes by land – so that the idea of crossing with the courier is at an end – on my returning found A- had put on stocking for fear of monsieur how unlucky on my return A- had had her cutlet, and M. Junca had heard of a Patron de Chaloupe (Captain of a boat) just going to start for St. Sebastian with a little cargo and would return on Friday – ended by agreeing to give him 50/. for a boat to ourselves to return with us tomorrow or if we chose to stay till Friday to give him 55/. – Corrigo [or Conigo] Eguia, Patron de Chaloupe a Spaniard but très honnete [honnête ] homme that M. Junca knew well and could count upon – we could not be better – to be ready in ½ hour – A- and I walked down to the church to spend the time there – she made a little sketch of the exterior while I stood by watching a man making linen-listing sandal-soles, and a woman sitting by him serving on the bit of upper-linen (coarse string stitched together by button-hole stitch) to cover the toes – Mr. Junca came to see us embark on the quai in the grande place –

Embark at St. Jean de Luz

written out Monday eight

on one side the house where the d. of Wellington spent 2 or 3 months – on another the old chateau like house while Louis xvi. lodged and on another the house where the infante of Spain his bride Marie Thérèse lodged – A- seeing no rowers hoped there were rowers – yes! four – she had not thought the boat was so small (a little chaloupe about the size of a Scarbro’ cobble) – however we embarked at 2 – there is always a little surf at the entrance of the little harbour – I saw A- was nervous – our little sail made us lean a little on one side every now and then and there was little bit of up and down – A- grasped my hand – said she could not bear it – would return – there was no danger – the afternoon was beautiful – the little wind or air was in our favour and it was a pity poor A-‘s nerves were not stronger – but I saw she was right to return – our captain could only speak Spanish – I had difficulty in making him understand that he must put in at Choco (the fort of ) I really could not make him understand to turn back – but by dint of ‘timore – ella – morire – io –pagare – intrate [rientrate]’ pointing to the fort of Socoa (pronounced as if Choco (tschoco)) I got him to put in there – there was no time to deliberate – besides our 4 rowers we had a stripling boy and a lad about 12 or 13 on board – left the latter to go back with A- and carry her cloak and the travelling bag – took out merely my night-chemise and cap and 50 francs and left all the rest with A- except my umbrella and parasol and 2 cloaks – asked her if she would like me not to go – said if she had least wish for me to stay, I would – no! she had rather I went – in 5 minutes poor A- was landed, and left, and I was re-embarked and off at 2 35 – In a moment I had lost sight of her – and I was pitching in the bay of [?] in a small open boat with a Spanish smuggler (for such is Corrigo) and 3 Spanish rowers and one old French basque rower and my servant George! – about ½ dozen words of French were all our crew could muster and about as Many English (‘good bye – very quick’) – in 40 minutes (at 3 ¼) Andaye (pronounced Andāiah) in sight (a village or little town – with a little tower (church tower or steeple?) and at 3 35 lost sight of Fontarabia (Fontarrābbĭa) [Hondarribia? ]nearer the sea than Andaye and on high ground – looking like a convent, or fort, or what? Irun (could hardly distinguish the building) forms the apex of the triangle between the two (at Andaye and Fontaribia) at the foot of the high 3 or 4 pointed torso or crest of mountain that is so striking from the top of Bayonne cathedral – at 3 35 re-embarked at Socoa – in 40 minutes (3 ¼) Andaye in sight – lost sight of Fontarabia at 3 35 – and ten minutes before this had had the 1st distant glimpse of St. Sebastian or rather the high tower (fort) on the top of the hill on the west of the harbour – the tower of Biarrits’ (pronounced Bēeăris) closes the wide bay towards Bayonne – and the rocky pointe de Figuieras [Figueres?] shuts out the embouchure of the Bidassoa (on which are Andaye and Fontaribia) – Sick at 5 20 – fine as is the afternoon and I quite warm the sea here seems to me as swelling as it was the night we went to Antwerp – land at 6 ¼ - having passed the citadel-rock and high conical little rock doubled the island and entered the harbour to the westwards of it between it and the tower fort – 2 English steamers in the service of the queen of Spain lying at anchor – [?] up to the jetties under the west side of the town, and landed by stairs so narrow, deep, and rough one could hardly get up – at the Fonda (n°5 Plaza ricja (place vielle)  reuve Inciarte) in 10 minutes at 6 35 – queer dirty looking place Corrigo introduced me to the especial care of the people – I could not tell which was the mistress – several women  sat together at a large table full of washed but apparently ungot up linen – the daughter (Luisa) could speak French – asked her to send someone with me to see the town and citadel, and to let me have dinner – she said she would go with me herself and sent a woman to shew me my room – it was au 3me but lofty, and large enough – one common chair and ditto table and ditto bedstead, no curtains – no look of comfort – I was down again among the women in a few minutes but had to wait till young lady was dressed (1/2 hour) when she and Madama appeared in their mantillas quite dressed for promenade – the old lady was one who had been driven from the country – lost all she had and come into the ville, and was at the Fonda I could not make out on what terms – but the young lady could not trust herself with me and George without a madama – I said I was sorry they had made so much toilette and that I really was ashamed of my travelling costume – However the young lady aetatis 18 looked very well pleased and out we sallied – to the church – one large lofty domed space unbroken by anything save the large organ and its large loft at the west end – the clergy (now 21) sat or officiated the organ loft – the bay or apse of the high altar one mass of gilt carving – and a lessen altar on each side of it, transept-wise – imposing looking interior – large odd heavy old plain building outside with 2 low west towers – then to the citadel very few soldiers – saw perhaps a dozen – several people walking along the traverse walks along the rocky hill side – towards the sea one or 2 tombs – that and among 2 [?] of Sir Oliver de Lancy railed off – I went up to read the inscriptions but a solider called me back – not allowed to go! the sea-view very fine from one side – the tower as if laid down upon a map on the other – the grand place (arcaded) and another place and one or 2 straight streets all round round them seemed to compose the ville – 3 convents destroyed by the carlists (the girl said) and houses in all directions unroofed

SH:7/ML/E/21/0140

and made unhabitable by them (for fear of xtians should take shelter in them) gave all around a look of ruin – one whole village just on this side the river on the road to Hernani quite destroyed – could go very safely to Hernani now – no carlists between here and there – could also go to Passages – but no farther – asked the girl to get me a guide to Hernani in the morning – determined to be off at 6 and back in time to breakfast and embark at 11 – out from 7  5 to about before 9 when I had seen all there was to see – had to wait a little for dinner – they seemed to expect George to dine with me, but on my saying it was not selon [?] habitude, he fined in the kitchen or somewhere, and I told the young Louisa to come and sit by me or I should be triste – I had soup, ham, chicken and potatoes – I dined on the 1st and a little cheese and bread, nothing else looking tolerable – finding no chance of a guide who could speak word of anything but Spanish took a man to shew me the way (not far) and off about 9 20 to our consul – not at home – would return at 11 to supper – this would not do – at the moment 2 English officers went upstairs – spoke to one them – said what I was come for, and begged to have a solider to accompany me in the morning – the officer very civil – Lieutenant of the artillery as I afterwards found – promised me a solider at 6 tomorrow am – returned to the fonda and went upstairs with the fille to see my bed prepared – ready by 9 ¾ - very fine day – doubted for a moment whether to undress – my sheets not feeling very dry – took them off

[operaportugues]

Bidu Sayão (1902-1999) foi a mais importante cantora lírica brasileira. Iniciou sua carreira na Europa, estreando em Roma, em 1926, como Rosina em “O Barbeiro de Sevilha”. No mesmo ano cantou pela primeira vez no Theatro Municipal do Rio de Janeiro (TMRJ). Em seus primeiros anos de carreira cantou nos maiores teatros da Itália, incluindo o Teatro alla Scala. Pouco depois transferiu-se para a França, onde foi artista de grande destaque na Opéra e na Opéra Comique de Paris. Sua estreia no Metropolitan de Nova York deu-se em 1937 com “Manon”. A partir daí, Bidu tornou-se uma das cantoras mais célebres do mundo. Apresentou-se em todas as temporadas do MET até 1952, ano em que não renovou o seu contrato com o teatro, preparando assim a sua despedida definitiva dos palcos, que ocorreu poucos anos depois, em San Francisco, com o “Mefistofele” de Boito. Bidu veio diversas vezes ao Brasil e cantou quase todas as óperas do seu repertório no TMRJ.

- Viaje no tempo com esta imperdível entrevista ao radialista Lauro Gomes Pinto em 1987    - Palestra do ECAI - Bachiana nº 5 - Cantilena (Heitor Villa-Lobos) - Floresta do Amazonas (Villa-Lobos)  - ária "Adieu, notre petite table" (Manon)  - (vídeo) ária 'Gavotte' (Manon) 1951  - ária "Ah, non credea mirarti" (La Sonnambula) 1945   - “La Bohème”, de 1946, em que a cantora carioca contracena com o célebre tenor Ferruccio Tagliavini no Theatro Municipal do Rio de Janeiro  - ária "Ah, fors'è lui... Sempre libera" (La Traviata) 1943   - ária "Addio del passato" (La Traviata) 1943  - ária "Je veux vivre" (Roméo et Juliette)   - ária "Jóias" (Faust)  - (vídeo) O Mio Babbino Caro 1951 - (vídeo) Un Bel di Vedremo (Madama Butterfly) 1952  - ária "Je dis que rien ne m'épouvante" (Carmen) 1948   - ária "Gentile di cuore" (O Guarani)  - ária "Come serenamente" (Lo Schiavo)  - ária "Una voce poco fa" (O Barbeiro de Sevilha) 1943 - ária "Bel raggio lusinghier" (Semiramide) 1943 - ária "Qual Fiamma avea nel Guardo" (Pagliacci) 1951    - ária "Deh, viene, non tardar" (Le Nozze di Figaro) 1940  - ária "Batti, Batti, o bel Masetto" (Don Giovanni)  - ária "L'altra notte in fondo al mare" (Mefistofele) 1951  - (vídeo) Desfile da escola de samba Beija-Flor em 1995, com enredo "Bidu Sayão e o canto de cristal"  

[joaquimblog]

LES ARTS: IL VIAGGIO A REIMS

Per a un rossinià confés ( a part d'altres filies musicals prou conegudes i airejades) celebrar l'aniversari de Rossini assistint a una representació d'una de les seves òperes és més què ideal, un goig, i si aquesta representació és reeixida, com ho va ser la d'ahir al Palau de Les Arts de València ens situem ja en un graó quasi d'excel·lència, que ja sabeu que em costa molt d'assolir.La representació d'ahir de Il Viaggio a Reims hagués pogut vorejar la perfecció si el director musical hagués estat un veritable rossinià, però Francesco Lanzillotta em sembla que es va deixar endur per l'excel·lència de l'orquestra de la Generalitat València en lloc d'aprofitar-la, vull dir que amb una orquestra tan dúctil i amb solistes tan de relleu hagués pogut obtenir un so molt més subtil, lleuger i cristal·lí, en lloc d'aquelles sonoritats tan grandiloqüents o feixugues que en algun cas van dificultar fins i tot l'audició de les veus, que no eren pas petites.Va començar poc inspirat i va anar corregint al llarg de la representació, però en cap cas va ser capaç d'extreure aquella enjogassada lleugeresa de l'orquestració rossiniana, i si es veritat que en el Palau es van aconseguir moments catàrtics, van ser més gràcies al geni de Rossini acompanyant una encisadora melodia amb una rapa angelical i una posada en escena d'aquelles que ajuden a que la música prengui tot el protagonisme.L'equip de cantants era bo, amb un parell de les principals veus clarament millorables.Oblidats els referents de la històrica versió de la descoberta a Pesaro dirigida de manera prodigiosa per Abbado, posteriorment hem vist i escoltat bones i boníssimes interpretacions dels rols principals d'aquest gran concert líric disfressat amb una lleugeríssima i poc coherent trama dramàtica.Els cantants excel·lents (per a mi) de la versió gaudida ahir van ser: Mariangela Sicilia en una deliciosa Corinna en primer lloc. Va ser capaç ajuda, molt ben ajudada, per Michieletto i l'acompanyament deliciós de l'arpa, de crear veritable màgia vocal i deixar sense respiració durant molts minuts a un públic que va deixar d'estossegar (lamentablement algun mòbil va fer la guitza).També em van agradar molt Maria Viotti (Marchesa Melibea) tot i no ser una contralt, però va ser audible en tot el registre. La presència vocal i escènica  que va lluir en el gran duo que inicia la segona part (no pas acte, ja que l'opera és d'acte únic) amb Il conte di Libenskof, va ser admirable.Preciosament el tenor que va interpretar aquest rol, el rus Sergey Romanovsky va ser un altre dels que em va agardar molt. Ja l'havia gaudit a Pesaro i ahir va demostrar una evolució notable i sobretot una entrega absoluta i sens reserves. va estar a punt d'esgarrar alguna nota sobreaguda perquè és un cantant valent que canta sense xarxa, no especula i es llança amb emocionant i comunicativa entrega. va estar molt brillant i això que la veu no és especialment bella.També em va agradar en a mi i al resta del públic que el va bravejar moltíssim, el Don Profondo del baix Misha Kiria en la seva agraidíssima intervenció a "Io Don Profondo-Vedeste Il Cavaliere"   Veu i sentit teatral.Expertíssim i bon coneixedor de l'estil el baríton Fabio Capitanucci com a Barone TRombonok i també molt encertat el Cavalierev Belfiore del tenor rus i de prometedor esdevenidor, Ruzil Gatin.La soprano Albina Shagimuratova va estar bé, però potser no tant com esperava. La veu és interessant, ample i ben timbrada, però potser li va mancar una mica més de personalitat i no tan histrionisme. Va resoldre bé totes les lleugereses i sobreaguts, tot i que se n'hagués pogut estalviar algun no escrit.També va estar bé però l'ombra del gran Ramey és molt allargada, el baix-baríton Adrian Sâmpetrean en la meravellosa intervenció de "Ah! perché la connobi-Invan strappar dal core...."Noi em va agradar gens la Madama Cortese de la soprano Ruth Iniesta, molt aplaudida però de veu feridora i impostació artificiosa. Tampòc em va agradar el Don Alvaro de César San Martin, poc adequat vocal i estelísticament en un rol complicat i poc agraït. En els rols més petits van estar bé el cantants del centre de perfeccionament de Les Arts: Max Hochmuth (Don Prudenzio), Joel Williams ( Don Luigino), Aida Gimeno (DElia), FRancesca Cucazza (Maddalena), Eugeniya Khomutova (Modestina), Gonzalo Manglano (Zefirino) i Antonio (Omar Lara).L'orquestra de Les Arts mereixia un altre director, ja ho he dit, per lluir bé totes les seves capacitats, que són moltes i el Cor de la Gneralitat Valenciana em va semblar, tot i que desconec si hi hagut la natural incorporació de veus joves que necessita tot cor que vulgui mantenir l'estratosfèric nivell de fa pocs anys, que ho necessita. No és alarmant però va denotar en algunes sonoritats de les cordes femenines, que les veus no eren tan dúctils. Res alarmant per`po que caldria vigilar abans que succeeixi el que ara lamentem al Liceu.La producció escènica de Damiano Michieletto és una inofensiva genialitat del imaginatiu director italià, que aquesta vegada encerta de ple en el seu plantajament dram`+atic, en una obra que originalment té un argument molt feble com a pretext per deixar anar un reguitzell d'àries escenes genials sense cap lligam dramàtic de consistència.Michieletto ho situa ne una galeria d'Art en lloc del balneari de luxe a mig camí de Reims, molts dels personatges de l'òpera són extrets del quadre que François Pascal Simon va fer en motiu de la coronació de Charles X a la catedral de Reims, que és el motiu de l'òpera.Aquest genial pretext que té la seva culminació mentre Corinna canta "All'ombra amena" (en aquesta versió allargassada per motius del "guió"), serveix perquè Michieletto faci interactuar personatges reals: Madama Cortese aquí una sofisticada directora de la galeria "Golden Lilium" (el balneari era "Il Giglio d'Oro"), Don Profondo o la ingenua Corinna convertida en una jove estudiant, amb altres extrets de la tela del pintor, tot i que això ho sabrem al final, que es barregen amb altres coneguts protagonistes de quadres molt famosos de Velazquez, Goya, Kalo o Magritte, entre d'altres i personatges reals que visiten l'exposició, com una parella d'enamorats que es barallen i reconcilien mentre Melibea i el Conte LIbenskof canten la meravellosa confrontació vocal ""Di che son reo", entre d'altres troballes iròniques o oníriques com l'ària de Lord Sidney convertit en restaurador,Una brillant idea per a una brillantíssima òpera sense argument dramàtic que Les Arts ha presentat amb molt d'encert a un no res d'encertat de ple.Bravo!

[momasarah]

La Madama is a popular spirit in spritism (espiritismo). She is honored by spiritual workers, fortune tellers, and diviners, and mothers. She is depicted holding a broom or basket; the broom sweeps away the negative energy of clients and sweeps in good fortune. The basket is to place offerings in. She brings business and gets timely payment for services. She provides love, luck, and protection for the home-she is my favorite spirit to work with. She is nothing but kind and full of blessings. La Madama spirit was contained in the cloth dolls that were made for slave children who could not afford china dolls like white children. This doll was very precious, because even having spare cloth to make a doll for a child was rare for slaves. If the child was separated from her mother, as often happened during that time, the child was left with the madama doll that represented their mother. The child would keep the madama doll hidden away, so she could not be stolen or destroyed. During hard times, the child would take the doll out, and talk to her knowing that the doll was connected to the real mother's spirit. La Madama's job is to set everything right, to provide protection, keep harm away, and to provide wealth, health, and luck to the home. She provides all kinds of goodies if you invite her into your home and petition her for a favor. 12 inch state with offerings available here; https://shop.conjuredcardea.com/Red-Resin-La-Madama-Statue-with-Oil-and-Altar-Candle-madam.htm https://www.instagram.com/p/CBI8iaJn20P/?igshid=8jga4epmtnvg

[momasarah]

This 5 inch La Madama is perfect for any altar, large or small!  La Madama is a popular spirit in spritism (espiritismo). She is honored by spiritual workers, fortune tellers, and diviners, and mothers. She is depicted holding a broom or basket; the broom sweeps away the negative energy of clients and sweeps in good fortune. The basket is to place offerings in. She brings business and gets timely payment for services. She provides love, luck, and protection for the home-she is my favorite spirit to work with. She is nothing but kind and full of blessings. La Madama spirit was contained in the cloth dolls that were made for slave children who could not afford china dolls like white children. This doll was very precious, because even having spare cloth to make a doll for a child was rare for slaves. If the child was separated from her mother, as often happened during that time, the child was left with the madama doll that represented their mother. The child would keep the madama doll hidden away, so she could not be stolen or destroyed. During hard times, the child would take the doll out, and talk to her knowing that the doll was connected to the real mother's spirit. La Madama's job is to set everything right, to provide protection, keep harm away, and to provide wealth, health, and luck to the home. She provides all kinds of goodies if you invite her into your home and petition her for a favor. AVAILABLE HERE https://shop.conjuredcardea.com/5-Inch-La-Madama-Statue-Good-Luck-Prosperity-Protection-SMLM.htm https://www.instagram.com/p/B3xh5XwHM-0/?igshid=10mcnzypdzbwk

[momasarah]

La Madama is a popular spirit in spritism (espiritismo). She is honored by spiritual workers, fortune tellers, and diviners, and mothers. She is depicted holding a broom or basket; the broom sweeps away the negative energy of clients and sweeps in good fortune. The basket is to place offerings in. She brings business and gets timely payment for services. She provides love, luck, and protection for the home-she is my favorite spirit to work with. She is nothing but kind and full of blessings. La Madama spirit was contained in the cloth dolls that were made for slave children who could not afford china dolls like white children. This doll was very precious, because even having spare cloth to make a doll for a child was rare for slaves. If the child was separated from her mother, as often happened during that time, the child was left with the madama doll that represented their mother. The child would keep the madama doll hidden away, so she could not be stolen or destroyed. During hard times, the child would take the doll out, and talk to her knowing that the doll was connected to the real mother's spirit. La Madama's job is to set everything right, to provide protection, keep harm away, and to provide wealth, health, and luck to the home. She provides all kinds of goodies if you invite her into your home and petition her for a favor. 12 inch state with offerings available here; https://shop.conjuredcardea.com/Red-Resin-La-Madama-Statue-with-Oil-and-Altar-Candle-madam.htm https://www.instagram.com/p/CG7yBTjnvFr/?igshid=3q0klmauxvqx

[momasarah]

La Madama is a popular spirit in spritism (espiritismo). She is honored by spiritual workers, fortune tellers, and diviners, and mothers. She is depicted holding a broom or basket; the broom sweeps away the negative energy of clients and sweeps in good fortune. The basket is to place offerings in. She brings business and gets timely payment for services. She provides love, luck, and protection for the home-she is my favorite spirit to work with. She is nothing but kind and full of blessings. La Madama spirit was contained in the cloth dolls that were made for slave children who could not afford china dolls like white children. This doll was very precious, because even having spare cloth to make a doll for a child was rare for slaves. If the child was separated from her mother, as often happened during that time, the child was left with the madama doll that represented their mother. The child would keep the madama doll hidden away, so she could not be stolen or destroyed. During hard times, the child would take the doll out, and talk to her knowing that the doll was connected to the real mother's spirit. La Madama's job is to set everything right, to provide protection, keep harm away, and to provide wealth, health, and luck to the home. She provides all kinds of goodies if you invite her into your home and petition her for a favor. 12 inch state with offerings available here; https://shop.conjuredcardea.com/Red-Resin-La-Madama-Statue-with-Oil-and-Altar-Candle-madam.htm https://www.instagram.com/p/CBI8iaJn20P/?igshid=cxirgmmj1zep

[momasarah]

La Madama is a popular spirit in spritism (espiritismo). She is honored by spiritual workers, fortune tellers, and diviners, and mothers. She is depicted holding a broom or basket; the broom sweeps away the negative energy of clients and sweeps in good fortune. The basket is to place offerings in. She brings business and gets timely payment for services. She provides love, luck, and protection for the home-she is my favorite spirit to work with. She is nothing but kind and full of blessings. La Madama spirit was contained in the cloth dolls that were made for slave children who could not afford china dolls like white children. This doll was very precious, because even having spare cloth to make a doll for a child was rare for slaves. If the child was separated from her mother, as often happened during that time, the child was left with the madama doll that represented their mother. The child would keep the madama doll hidden away, so she could not be stolen or destroyed. During hard times, the child would take the doll out, and talk to her knowing that the doll was connected to the real mother's spirit.  La Madama's job is to set everything right, to provide protection, keep harm away, and to provide wealth, health, and luck to the home. She provides all kinds of goodies if you invite her into your home and petition her for a favor. 12 inch state with offerings available here; https://shop.conjuredcardea.com/Red-Resin-La-Madama-Statue-with-Oil-and-Altar-Candle-madam.htm https://www.instagram.com/p/CBI8iaJn20P/?igshid=tdepnp818f6x

[momasarah]

This 5 inch La Madama is perfect for any altar, large or small!  La Madama is a popular spirit in spritism (espiritismo). She is honored by spiritual workers, fortune tellers, and diviners, and mothers. She is depicted holding a broom or basket; the broom sweeps away the negative energy of clients and sweeps in good fortune. The basket is to place offerings in. She brings business and gets timely payment for services. She provides love, luck, and protection for the home-she is my favorite spirit to work with. She is nothing but kind and full of blessings. La Madama spirit was contained in the cloth dolls that were made for slave children who could not afford china dolls like white children. This doll was very precious, because even having spare cloth to make a doll for a child was rare for slaves. If the child was separated from her mother, as often happened during that time, the child was left with the madama doll that represented their mother. The child would keep the madama doll hidden away, so she could not be stolen or destroyed. During hard times, the child would take the doll out, and talk to her knowing that the doll was connected to the real mother's spirit. La Madama's job is to set everything right, to provide protection, keep harm away, and to provide wealth, health, and luck to the home. She provides all kinds of goodies if you invite her into your home and petition her for a favor. AVAILABLE HERE https://shop.conjuredcardea.com/5-Inch-La-Madama-Statue-Good-Luck-Prosperity-Protection-SMLM.htm https://www.instagram.com/p/B3xh5XwHM-0/?igshid=1jb638senjd8r

[lemaupertus]

https://e3o.org/e3o/video-yoga-tummo-practice-pavel-yang/

Vidéo : Yoga-tummo practice. Pavel Yang

News Glagla: Ils sont accros à la baignade hivernale! – Suisse – Le Matin Online 11/01/2019 – Le Matin Online Des participants à la Coupe de Noël 2018, à Genève, plongent dans une eau à 7 degrés! Il a fallu du courage à tous ces gens. Image: Le Matin/Jean-Guy … Tummo: Le yoga du froid, … Plus… News Glagla: Ils sont accros à la baignade hivernale! - Suisse - Le Matin Online 11/01/2019 - Le Matin Online Des participants à la Coupe de Noël 2018, à Genève, plongent dans une eau à 7 degrés! Il a fallu du courage à tous ces gens. Image: Le Matin/Jean-Guy ... Tummo: Le yoga du froid, ça ravigote - Suisse - Le Matin Online 02/01/2018 - Le Matin Online Nous nous sommes immergés dans le Léman avec des adeptes de cette pratique surprenante, dont les bienfaits ne se comprennent que par l'expérience.... Votre esprit aurait la capacité de contrôler la température de votre corps ! - Gentside 14/04/2013 - Gentside La force de l'esprit a parfois des répercutions tout à fait inattendues. Comme dans le cas de ces nonnes tibétaines capables de modifier selon leur bon vouloir la ... Non, vous ne pouvez pas attraper froid. Mais un virus, oui! - 24heures.ch 25/11/2018 - 24heures.ch La saison des refroidissements est ouverte. Malheureusement, bonnets, écharpes et chaussettes en laine ne vous protègent pas des virus. Petit aperçu des ... Sahel: l'armée française veut surveiller les autoroutes du désert - RFI 06/10/2014 - RFI L'armée française est en train d'établir une base temporaire, dans le nord du Niger, dans le cadre d'une opération visant les activistes liés à al-Qaïda.... Raouf Farrah : «En Libye, tout le monde est perdant après l'attaque de Brak al-Shati» - La Tribune Afrique 25/05/2017 - La Tribune Afrique Le bourbier libyen a abordé un dangereux virage après l'attaque perpétrée le 12 mai par la 3e Force, contrôlée par la puissante milice de Misrata et loyale au ... Niger: Madama, base de la lutte contre les trafics - RFI 01/01/2015 - RFI Le ministre français de la Défense, Jean-Yves Le Drian, s'est rendu jeudi 1er janvier sur la base avancée de Madama dans l'extrême nord du Niger. Une.... Hennebont (56). Un atelier sophrologie le 20 mai - Breizh Info 10/05/2017 - Breizh Info 10/05/2017 – 10h15 Hennebont (Breizh-Info.com) –La médiathèque d'Hennebont organise un atelier découverte de la sophrologie, le samedi 20 mai 2017.... Hiver: Les bonnes recettes nordiques pour lutter contre le froid - 20 Minutes 07/01/2017 - 20 Minutes De la « hygge » danoise au jogging suédois, nos amis scandinaves nous donnent quelques conseils pour braver le froid…... La méditation améliore le cerveau - Le Point 05/07/2014 - Le Point Rencontre avec Antoine Lutz, chercheur à l'Inserm, qui explique au "Point" pourquoi les neuroscientifiques s'intéressent à la méditation.... Articles proches Tummo : Tummo : Le yoga de l?éveil de la chaleur interne (1DVD) Tummo : Le yoga de l’éveil de la chaleur interne (1DVD) News : Tummo