#guilhermina

[thejazzera]

Stuart Carvalhais, Olhos Tristes, music sheet cover, 1930s

Music for the play Cigarro Brejeiro.

Music by Alves Coelho, lyrics by Ascenção Barbosa e Abreu e Sousa.

Illustration by Stuart Carvalhais. Actress Guilhermina Paiva on the cover.

Scanned from the book by Marina Tavares Dias, "Lisboa Desaparecida, volume 4".

[cubojorbr]

TRE-MA rejeita embargos e mantém cassação de deputados Wellington do Curso e Fernando Braide

Todos os sete membros da corte rejeitaram os embargos de declaração, alinhados com o parecer da Procuradoria Eleitoral.

O Tribunal Regional Eleitoral do Maranhão (TRE-MA) rejeitou, nesta segunda-feira (22), os embargos de declaração na Ação de Investigação Judicial Eleitoral (AIJE) apresentados pelo Partido Social Cristão (PSC) e pelos deputados eleitos pela legenda em 2022, Wellington do Curso e Fernando Braide (irmão de Eduardo Braide, prefeito de São Luís). A decisão unânime da corte mantém a cassação dos…

[egoschwank]

al things considered — when i post my masterpiece #1223

first posted on facebook october 12, 2023

augustus john -- "madame suggia" (1923)

"a painter leaves his emotions behind him for posterity to share" … augustus john

"cello, cello, cello, cello, cello, cello, cello, cello cello, cello, cello, cello, cello, cello, cello, cello cello, cello, cello, cello, cello, cello, cello, cello cello, cello, cello, cello, cello, cello, cello, cello" … the who

"[this painting] will serve to remind future generations that here was a musician who matched the nobility of her art with that of her presence on the concert platform" … the manchester guardian

"there's always room for cello" … al janik

[corretorbali-blog]

Origem - Guilhermina: O começo da sua nova história.

More entre duas estações do Metrô, Guilhermina-Esperança e Vila Matilde. O Origem - Guilhermina representa o lugar perfeito para iniciar um novo ciclo em sua vida. Um empreendimento a serviço de sua comodidade, bem-estar e segurança. Um projeto inspirador com toda a infraestrutura que você precisa para uma vida mais prática.

☆ ☆ ☆ ☆ ☆

Composição: Apartamentos de 2 e 3 dormitórios + apartamentos tipo studio.

Unidades disponíveis. Venha visitar os decorados (apartamentos modelo) e aproveite as condições especiais de lançamento. Para mais informações, entre em contato:

☆ Corretor Bali (Imobiliária Lopes) • (11) 98211-1321 WhatsApp ✔

Showroom: Rua Aguaquente, 107 - Vila Guilhermina, São Paulo, SP.

Junto à Av. Gamelinha (Av. Bernardino Brito Fonseca de Carvalho), próximo à Radial Leste e a Estação Guilhermina-Esperança do Metrô.

☆ Salve esta postagem e apresente esta descrição na recepção de nossa loja para agilização de atendimento. Seja bem-vindo(a)! 😊👍

Registro: Creci-SP 178432-F / Negociante Autorizado: Creci-SP 24073-J

[normanblogs]

Arlette Rujel of Peru wins Reina Hispanoamericana 2022

Virreina – Venezuela Congratulations to all the winners of Reina Hispanoamericana 2022! Reina Hispanoamericana 2022 – Arlette Rujel of Peru 🇵🇪 Virreina – Adriana Perez of Venezuela 🇻🇪 1st runner up – Guillermina Montarroyos of Brazil 🇧🇷 2nd runner up – Ediris Joan Rivera of Puerto Rico 🇵🇷 3rd runner up – Diana Robles of Mexico 🇲🇽 4th runner up – Maria Lucia Cuesta of Colombia 🇨🇴 Our very own Miss…

[egobrazil]

Após nova internação da filha, coube à esposa de Juliano Cazarré dar triste notícia sobre sua bebê

Na última quarta-feira (15), Leticia Cazarré usou as redes sociais para dividir com os seguidores que a filha caçula seria internada mais uma vez. Maria Guilhermina, que nasceu com doença rara que afeta o coração e o desenvolvimento de suas funções básicas, precisou ser hospitalizada para retirada de uma sonda. Leticia Cazarré, que chegou a pensar que seria uma internação rápida, voltou às redes…

[this-boy-is-exhausted]

The way Ana Moura is the GOAT right now...

[nudesnoises]

Guilhermina Guinle in "Verdades Secretas"

[mahgnib]

Augustus Edwin John, “Portrait of Guilhermina Suggia”,

[lanzanemia]

best duo Guilhermina vitoria grillo and Guilhermina cu di cerol >_<

[plutodetective]

In case I have any Brazilian followers who are into Dracula, here are the names I have this far for my adaptation:

Natália Coelho- I know the name the fandom prefers for transfem!Jonathan is Jo, but that’s not a common name for a woman in Brazil, so I went with the female version of the “Nathan” part of the name. And “Coelho” is a real surname that literally means “rabbit.” I’m not over “Harker” meaning “marshland rabbit or deer”, that’s too adorable.

Guilhermina Costa- “Guilherme” is the Portuguese version of “Wilhem”, and Guilhermina is a real name, that maintains the “Mina” nickname. Murray means “from the coast”, so I’m giving her a surname that literally means “coast”.

Joana Alves- “Alves” means “defender”, which was the closest I could find to “victorious guardian.” Joana because it’s the female Portuguese version of John, and I’m taking a page from Murray Mysteries’ book and making Seward a woman.

Arthur Carvalho- Arthur is a common name in Brazil as well, and Carvalho means “oak.” I went only with the “wood” part of Arthur’s surname.

Quincey P. Morris- Are you kidding me, I’m not changing anything about this man. He’s still a Texan, and thus retains his name.

Lúcia Pitanga- this one was a stretch. Westenra means “from the West”, which to me is significant, because she’s the symbol of everything the cast sees as being threatened by Dracula. Since my version is about Dracula being a colonizer rather than an immigrant, I wanted to give Lucy a surname with a Brazilian indigenous origin. Pitanga is a red fruit, and its name literally means “red fruit.” So it’s the name of a natural resource from Brazil, which is what the colonizers wanted when they invaded.

[temumaneurose]

Meu desajuste no emprego

na sala de espera do dentista

há três passos de distância da faixa amarela do metrô guilhermina

com medo que me empurrem para o meu fim

olho para o lado e ninguém mais tem tanto medo

como eu

queria entrar em cada cabeça atraente

que cruza o meu caminho

para saber como é viver em outro lugar

diferente desse

menos agitado

inquieto

doente

o desajuste começa no próprio corpo

que eu sustento há vinte nove anos

e ainda coleciono tantos roxos

e arranhões

por não entender a dimensão

o cálculo exato

entre meu músculo e o resto do mundo

penso no meu primeiro desajuste

aos nove anos

em frente a cantina de tantos doces

e a competição para quem chamava a "tia" mais alto

o sinal tocava

e eu ainda não havia pedido meu lanche

ser notada sempre foi um problema

talvez eu já estivesse em desajuste muito antes

enquanto feto

ou ideia pulsante

de uma noite de bebedeira

minha mãe sempre disse que eu fui um susto bom

mas quem gosta de se assustar com vinte anos

?

eu

não.

(poesia retirada do livro “se a minha ansiedade tivesse um som seria de uma ambulância”)

[blackswaneuroparedux]

Playing lifts you out of yourself into a delirious place.

- Jacqueline du Pré

Jacqueline du Pré was a brilliant but complex genius whose shyness and vulnerability, particularly in the light of her succumbing to her multiple sclerosis illness, often left her misunderstood. Although her professional career lasted just twelve years, the British musician became a legend in her own lifetime.

Watching old film footage of her you could see her face illuminated by pure inspiration, her long balletic bowing arm, the precision engineering of that wrist, her tremendous long fingers snapping down on the finger board, or executing those heart-stopping slides between notes – what she called her ‘sumptuous glissandi’ – makes you itch to play: her enjoyment remains infectious; everything seems possible.

And For Her it was. She almost makes us forget that, for even the greatest instrumentalists, performing is a continual battle with the body to recreate what the imagination demands. ‘For us mortals, it’s more difficult,’ as her husband Daniel Barenboim commented on a documentary of her life and legacy.

Du Pré’s exceptional talent was nurtured from an early age. Her pianist–composer mother Iris introduced her to a full-size instrument at the age of four and within a year she was attending the London Violoncello School with Alison Dalrymple. Although she was never especially keen on practice, such was her ability that just five years later she was brought to the attention of conductor–cellist John Barbirolli and violist Lionel Tertis, who, having been bowled over by what they heard, had no hesitation in recommending her for a Suggia Gift (a scholarship for young cellists named after the distinguished Portuguese cellist Guilhermina Suggia). This enabled du Pré to fund private lessons with William Pleeth, with whom she studied for seven years and described as ‘an extraordinary teacher, who knew exactly how to guide someone or correct an error with kindness and understanding’.

Following the example of his own mentor Julius Klengel, Pleeth allowed du Pré’s burgeoning musical insights to blossom naturally, though her mercurial personality was quite different from his own. She had a tricky adolescence and it was Pleeth’s sensitive handling of the situation that prevented her from going off the rails. Meanwhile her playing went from strength to strength, including her TV debut in 1959 aged 14, playing the Lalo Concerto. The following year she won the Queen’s Prize – chair of the panel Yehudi Menuhin promptly invited her to play piano trios with him and his pianist sister, Hephzibah – and attended a series of masterclasses with Pablo Casals.

She did not attend a specialist music school, and felt lonely and sometimes alienated at Croydon High School and Queen’s College, which she left aged 15. Any lack of formal education was compensated for by her larger than life personality and infallible intuition, and probably helped her develop her own creativity.

Having made her official professional debut in March 1961 with a dazzling recital at London’s Wigmore Hall, she also made her Proms debut in August 1962 with Malcolm Sargent, playing the work with which her name would become indelibly associated: the Elgar Concerto. Shortly afterwards she spent six months studying with Paul Tortelier at the Paris Conservatoire, and her impeccable cello education was rounded off in 1966 when she went to study with Mstislav Rostropovich in Moscow, by which time she was already a renowned soloist in her own right.

‘The ability to dismiss rules was most important in her music-making’ remarks Wilson, though she also has no doubt that, in the years of her illness, she suffered from having missed out on a broader education. But people underestimated her intelligence at their peril, according to Nupen: ‘Some tended to think her rather fey, and naive.

It’s true, she often didn’t know the day of the week or what things cost, but when it came to the really important matters the depth of her perception was shattering.’ It was she who recognised the importance of the films he started making, and the fact that they could reveal more about their music-making than a concert or recording could.

A description by pianist Fou Ts’ong echoes this: ‘It was such strange combination – such seeming innocence with real earthiness. Daniel used to laugh at her apparent ignorance and disinterest in practical things. “Where is Oslo?” he might ask her, “Is it in Germany?” she would reply… At the same time there was such richness inside her; the fire and the temperament were unbelievable.’

Her understanding of music was so instinctive that it was unnatural for her to approach it with an academic logic or consistency, as cellist Moray Welsh discovered when he embarked with her on an edition of the Elgar Cello Concerto, some years after she had stopped playing: ‘The first thing she said was, “We must scrub out Elgar’s marking of nobilemente!” I explained that we couldn’t do that, but she was determined to make her stamp by flouting this convention (though that was exactly how she played it).

Du Pré’s captivating presence and larger-than-life musical personality made her a natural exponent of the concerto repertoire. Her ability to weave a compelling emotional narrative through the classics of the 19th-century Romantic era helped bring then-neglected scores such as the Schumann and Lalo concertos into the performing mainstream. Like her former mentor Paul Tortelier, she believed that music was above all about feelings and that it was her responsibility to reveal to an audience the composer’s inner soul. As a result she could sound hemmed-in on occasion by music that sits on a knife-edge between structural absolutism and expressive power, such as the sonatas of Beethoven and Brahms. When working alongside players of equal stature, she was also a fine chamber music exponent. For du Pré, technique was a facilitator rather than an end in itself. Close inspection of filmed performances reveals a player blessed with exceptional right- and left-hand coordination, making continual microadjustments of bow angle, weight and pressure to enhance the music’s expressive profile.

‘She had a capacity to imagine sound such as I never met in any other musician,’ Barenboim reflected in later life. ‘She did not know what it was to have technical difficulties or what it meant to play safe.’ Du Pré’s tone was unveiled and direct yet infinitely varied, as though she were revealing an instrument’s natural colours in pristine condition. She played with the same clarity and openness throughout the range, enhancing the lower register with a captivating litheness and immediacy, as though a sonic veil had been lifted.

More than any other player of her generation, du Pré imparted to the cello a sense of interpretative fantasy and bracing technical freedom invariably associated with the violin. Pieces she had played hundreds of times would spring to life as if she were discovering its special qualities for the first time. At her finest she created the impression she was improvising each work as she went along. She embraced her audiences with an emotional vibrancy and generosity that made them feel a vital part of the re-creative process.

If a surfeit of musical instinct and spontaneity can be considered a weakness, then du Pré had a tendency on occasion to focus on short-term expressive intensity at the expense of long-term structural imperatives.

From 1961 du Pré played a bold-voiced 1673 Stradivari cello (later owned by Lynn Harrell and Nina Kotova). Keen to find an instrument with a mellower sound, in 1964 she acquired the 1712 ‘Davidov’ Stradivari, courtesy of her godmother Ismena Holland. This greatly enhanced the range of colours she commanded, as can be savoured on her classic 1965 recording of the Elgar Concerto. However, the ‘Davidov’ didn’t take kindly to her punishing schedule and constant changes in air temperature and pressure, so in 1967 du Pré borrowed (and ultimately bought) a Francesco Gofriller from string expert Charles Beare, which provided her with a more full-throated projection. Her final instrument was a 1970 Sergio Peresson, purchased for her by Barenboim, which she affectionately described as ‘very healthy and strong as a tank’. Du Pré preferred heavy bows, and when her trusty John Dodd was damaged irreparably in a freak accident involving a car door, she switched to a Louis Panormo, which became her natural bow of choice.

Du Pré’s career was cut tragically short before she had time to develop beyond an initial period of international acclaim. She started out recording a comparatively restrained collection of miniatures for the BBC in the early 1960s, including works by Falla, Fauré and Paradis, after which EMI (now Warner Classics) snapped her up and was instantly rewarded with two classics of du Pré’s discography: the Delius Concerto (with Sargent, coupled with Songs of Farewell and A Song before Sunrise) and the Elgar (with Barbirolli, coupled with Janet Baker’s glowing account of Sea Pictures). These immediately established du Pré’s rare ability to recreate in the studio the same sense of emotional imperativeness that informed her live performances.

Although she subsequently went on to work with a number of notable conductors, and in 1968 even stepped outside her comfort zone by premiering Romanza by Alexander Goehr (which was written especially for her), the remainder of du Pré’s official commercial discography is dominated by outstanding musical partnerships with her husband Daniel Barenboim, whether as conductor (Haydn, Dvořák, Boccherini, Saint-Saëns, Bruch, Schumann), accompanist (Beethoven, Chopin, Brahms, Franck) or as a chamber music partner with Pinchas Zukerman in the piano trios of Beethoven and Tchaikovsky.

[awesomeredhds02]

laricgio

tbt do desfile...a cara é de brava, mas sou um amorzinho 😇 . #model #modelo #modelofotografica #modeling #makeup#makeazul #🦋 #byclo #ruivasbrasil #ruiva #ruivantes#ruivasdobrasil #ginger #gingerhair #gingergirl #ruivaspower#013 #013baixadasantista #013santos #013pg#013baixadasantista #praiagrande #praiagrandespbrasil#guilhermina

[kamilapetelin]

⋆⭒˚.⋆ Aula 3 - HMEC ⋆⭒˚.⋆

29/08

Rotina: ♡ Consulta Guilhermina

Sentimentos sobre a consulta: A consulta da Ana foi uma bagunça, nada estruturada, mas totalmente compreensível, ela não tinha se preparado e a culpa é toda minha! Pedi de ultima hora para ela ser a médica e como uma boa amiga, aceitou.

(obs: não foi de graça, prometi uma barra de chocolate)

Santo cristo, como eu odeio o READ, preferia que fosse só questões de aprendizado diretas como na tutoria... 22 páginas de tortura.

Combinamos de cada um fazer seu prontuário para não sobrecarregar ninguém.

A consulta em si era sobre Guilhermina que sentia dores no pescoço e cansaço. Linfonodos cervicais estavam aumentados e apresentava possível depressão pela perda recente do marido, possivelmente, por isso bebia. No geral, não entendi o motivo dos linfonodos estarem assim, mas a anamnese não foi muito boa. Vou tirar essas dúvidas na síntese provisória.

Sentimentos sobre minha participação: Eu tenho uma apresentação de SBE sobre Ensaio Clínico e preciso me dedicar, afinal se a apresentação for perfeita, o Maqueda vai se apaixonar por mim (é o que as vozes na minha cabeça dizem) por isso, implorei para a Ana fazer a consulta e ela aceitou! Meu papel foi apenas de observadora.

Sentimentos sobre os professores: Os feedbacks da Madga são tão bons quantos os da Rafaela, odeio críticas, mas gosto delas, é uma relação paradoxal.

Sentimentos sobre a turma: Felizmente não tive contato com o resto da turma hoje.

Link relevante: https://edisciplinas.usp.br/course/view.php?id=78845#section-2

(READ e prontuário em anexo)

≽^•⩊•^≼ fim

[pumilo]

Check out this listing I just added to my Poshmark closet: GUILHERMINA SHOES.