#Iris Amsterdam

[renaissancetourfashion]

Beyoncé in Iris van Herpen for The Renaissance World Tour OPENING ACT - Amsterdam, 2023

[gabby030]

I’m Selling 2x Tickets for Taylor Swift The Eras Tour Concert

in Johan Cruyff Arena, IE for Sat July 6th Send a dm interested!

#erastourtickets

#AmsterdamTSTheErasTour

#AmsterdamTaylorSwift

#TSTheErasTourAmsterdam

#Milan #TaylorSwiftTickets #Ticketmaster #concert #Presale amster

[dutchjan]

November 24, 2024

[ellie88-blog-blog]

Have a Shiny and Hap Hap Happy New Year

"Rudolph’s Shiny New Year" (1976), the sequel to "Rudolph the Red Nose Reindeer," is admired for its originality, superb animation, and engaging music.

Typically, I save this one for New Year’s Eve, but for YOU, I will watch this a few weeks early. “Rudolph’s Shiny New Year,” (1976) the sequel to “Rudolph the Red Nose Reindeer,” is one of my favorites. Where I didn’t care much for the first TV movie growing up, I was always excited to watch this one. I’ve said that “The Year Without a Santa Claus” was my second favorite Rankin/Bass Christmas…

[landograndprix]

woman ✾ l.n - i

❧ you love max, you really do but your little brother has been getting more on your nerves each day as he tries to set you up with one of his friends.

❧ new series! Verstappen!reader is older than max so if your uncomfortable with that, please don't read. 😉 to make things easier for you and myself, Iris/irisxo & sanne/sannetje are your best friends, lots of use of random oc's as your tagged friends. I'm not really sure who wanted to be on my everything taglist so sorry if you're not on here :(

next part

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y/nverstappen

📍 Hard Rock Stadium, Miami Gardens

liked by maxverstappen1, redbullracing and 132,761 others

y/nverstappen a bit of behind the scenes from this weekend, completely shocked by the results. Very proud of this little guy🥇

tagged: maxverstappen1, redbullracing

view all 625 comments

kian18 absolute beast!

maxmaxmax y/n delivering the goods once again 🥰

sharl16 man, p1 was a real surprise!

y/nverstappen nah, absolutely blew my mind when he crossed the finish line first 🤯

martinleblanc there's nothing funny about a 22+sec time gap between p1 and p2..

y/nverstappen I know, I've told him that before but little brothers usually don't listen to their big sisters..

kellypiguet we're all proud of him ❤️

ginaaa09 all you do is post about max & redbull 😭

norry4 girl it's her lil' bro and she's proud of him and the team, let her 💀

irisxo this guys pretty good, he should consider racing

leon12 verstappens 🤮

y/nverstappie boy you either follow y/n or you're actively looking for max content..tell me you're obsessed without telling me you're obsessed

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y/nverstappen

📍 Ibiza, Balearic Islands, Spain

liked by martingarrix, landonorris and 187,982 others

y/nverstappen 'biz baby 🏝

tagged: martingarrix, irisxo, julianpeters, sannetje, liesslot

view all 561 comments

hannahh 🔥 🔥

verstappenmax oh to live a life like this..😩

norrislan Martin not only out here collecting f1 drivers but their sisters too 💀

max33 i don't think most of you know how well known y/ n is in the netherlands and belgium, Martin isn't the only 'famous' person she's just hanging out with..

julieeeexo if anything, y/n might be a bigger person than max lmao

max33 I know right?! I see her more on my TV screen and socials than max 💀

irisxo same time next week?

sannetje I'm too old for that love

y/nverstappen honestly same

patricko 😍

lolaaaxn 🥵

verstapricc beauty 😍

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y/nverstappen

📍 Amsterdam, the Netherlands

liked by charles_leclerc, landonorris and 198,728 others

y/nverstappen home is where the heart is or something like that.

tagged: irisxo, victoriaverstappen

view all 478 comments

blake78 you single?

teampapaya two very desperate f1 drivers in the likes 💀

victoriaverstappen can't wait to spend another weekend in Amsterdam with you ❤️

y/nverstappen take my nephews with you next time!

maxmaxmax absolute beauty 😍

norry4 are you going to be in Italy next week?

y/nverstappen no but I will be in Monaco!

charles_leclerc that food looks amazing

lestappen this boy cracks me up, you need to up your flirting game, this is shit 😭

charlos16 probably better than your pasta pesto..

chilisains Charles sees a pretty woman: "so like you make food often?"

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taglist: @hockeyboysarehot

[gallifreyanhotfive]

Random Doctor Who Facts You Might Not Know, Part 51

The Eighth Doctor can play multiple instruments, one of which is the violin. (Novel: The Year of the Intelligent Tigers)

The Master tried to use Kamelion's remaining connection to the TARDIS to prevent the Fifth Doctor’s regeneration. (Audio: Winter)

A version of the Sixth Doctor and Evelyn got imprisoned in 1903. The parallel Sixth lost Evelyn, his mind, both of his legs, and after a century, his life. (Audio: Jubilee)

The TARDIS has a Hostile Owner Destruction System, which will destroy the TARDIS and anyone inside of it. (Audio: Island of the Fendahl)

Nyssa is still able to point out where Traken is in the sky from Earth. (Audio: Autumn) The light from its destruction must not have reached Earth yet, so she can see it while there but never return.

Fegax was a student at the Prydonian Academy who tried to use a time drill to protest against the elite, but his time drill did not work. The Fifth Doctor - who was Lord President at the time - fixed it for him and returned it, and Fegax used it to flood the whole Academy. (Audio: Time in Office)

Types of regeneration include the Blur, the Disciplinary, the Explosion (subtype: the Slow Explosion, the Reverse Explosion), the Morph, the Swirl, the White Light, and the Memory Vortex. (Novel: How to be a Time Lord)

The Eighth Doctor was taken over by the Fendahl once. While taken over, Lucie said he glowed. (Audio: Island of the Fendahl)

Anya Kingdom, who traveled with the Tenth Doctor and posed as Ann Kelso in the 1970s for a while, is the niece of Sara Kingdom. (Audio: The House of Kingdom)

The Eighth Doctor has been known to occasionally sing while piloting the TARDIS. (Audio: The Dalek Trap)

As mentioned in other parts, the Forge was an intelligence agency that often experimented with enhanced or alien life. While many of them were obsessed with Lazarus - the project about the Doctor - one Forge member was much more interested in Project: Wildthyme, which was about Iris Wildthyme. She decided to end it by giving them her blood, which damaged their Oracle system and destroyed one of their bases. (Short story: Project: Wildthyme)

In the Psychodrome, memories and nightmares were brought back to life. The twisted way Nyssa perceived the Doctor at first blended with her thoughts on the Master melded the two together to create King Magus. (Audio: Psychodrome)

Galah attended the Academy with the Doctor, but they were never close to each other due to differences in opinion. She was a sculptor, but one day, she landed her TARDIS on an asteroid and created a dreamscape by hooking herself up to her TARDIS's protyon unit. (Novel: Strange England)

Temporal energy smells like roses to time sensitives. (Short story: Ring Theory)

There was a moment in The Waters of Amsterdam (which takes place immediately after Arc of Infinity) where the Fifth Doctor seemingly left Nyssa and Tegan behind, but he rematerialized seconds later. While it was only seconds for Nyssa and Tegan, the Doctor did: Omega, The Burning Prince, Time Crash, The Gates of Hell, Fallen Angels, Empire of the Racnoss (in which he took on a new companion we never learn what happened to), The Lady of the Lake, A Requiem for the Doctor, My Dinner with Andrew, The Furies, Relative Time, and Collision Course. Considering we don't know what happened to Alayna, his new Gallifreyan companion, this is an incredibly incomplete list of his adventures during this time before he went back for Nyssa and Tegan. Talk about a side quest, Doc!

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[fdelopera]

The Amsterdam Pogrom is likely part of the terrorist attacks that the Islamic Republic of Iran has been threatening Israel with, and the Netherlands was likely working in collaboration with the IRI to plan this attack.

The Police in Amsterdam had advanced warning that the pogrom would happen, and they facilitated the terrorists in attacking Jews.

This means that the Netherlands is once again collaborating with a terrorist state to murder Jews, just like they did with the Nazis in World War II.

The Netherlands and Iran planned this pogrom on the 86th anniversary of Kristallnacht, just blocks away from the Anne Frank House, where 80 years ago, the people of Amsterdam betrayed Anne Frank and her family to the Nazis.

This is meant to be a direct attack on Jews everywhere, all around the world.

Amsterdam, you have SO MUCH BLOOD ON YOUR HANDS.

Amsterdam has profited off the Anne Frank House since it opened in 1957 as a place for tourists to pay money to gawk at the suffering of a slaughtered Jewish child.

Amsterdam just loves killing Jews, while they make oodles of cash from Anne Frank, the Jewish girl that they sent to her death. Every day, they are profiting off the corpse of a dead Jewish girl that they murdered.

[sefaradweb]

Berlin Jewish youth soccer team attacked by knife-wielding pro-Palestinian mob

🇪🇸 En Berlín, un equipo juvenil de fútbol sub-17 llamado TuS Makkabi fue atacado el jueves por un grupo armado con cuchillos y palos después de un partido contra DJK Schwarz-Weiß Neukölln, según medios como Tagesspiegel. Al parecer, jugadores del equipo contrario gritaban “Free Palestine” y algunos padres de los jugadores afirmaron que los jóvenes fueron escupidos y que el árbitro no intervino. Ante esta situación, el club Schwarz-Weiß Neukölln prometió expulsar a los jugadores involucrados en el incidente. Según Alon Meyer, presidente de Makkabi Alemania, testigos confirmaron que las amenazas y persecución con cuchillos efectivamente sucedieron. Iris Spranger, senadora de Interior de Berlín, condenó los ataques y señaló que la violencia antisemita sigue presente en la ciudad. La unidad de cr��menes de odio, Staatsschutz, está investigando el incidente. Este suceso refleja una creciente ola de antisemitismo en Europa, como los recientes ataques a aficionados del Maccabi Tel Aviv en Ámsterdam tras un partido contra el Ajax, que incluso forzaron la prohibición temporal de manifestaciones en la ciudad. Los fanáticos israelíes tuvieron que ser evacuados en vuelos de emergencia tras el incremento de ataques y disturbios en varias ciudades europeas.

🇺🇸 In Berlin, an under-17 Jewish youth soccer team called TuS Makkabi was attacked on Thursday by a group wielding knives and sticks after a match against DJK Schwarz-Weiß Neukölln, according to sources such as Tagesspiegel. Opposing players reportedly shouted “Free Palestine” at the team, and some parents of the players claimed that their children were spat on while the referee failed to intervene. In response, the Schwarz-Weiß Neukölln club vowed to expel the involved youth from the team. According to Alon Meyer, president of Makkabi Germany, witnesses confirmed that threats and chasing with knives indeed took place. Iris Spranger, Berlin’s Interior Senator, condemned the attack and noted that antisemitic violence persists in the city. The hate crime police unit, Staatsschutz, is currently investigating the incident. This incident highlights a rise in antisemitism across Europe, as seen in recent attacks on Maccabi Tel Aviv fans in Amsterdam following a match against Ajax, which even led to a temporary ban on demonstrations in the city. Israeli fans had to be evacuated in emergency flights after increased attacks and unrest in several European cities.

[ax-ky]

Could you share your favorite blogs? x

ty for asking after i complained haha

anyways here are a few blogs i love

@frailbug - probably the sweetest person on tumblr. period!

@silkvo1d - my fav fallen tumblrina. iri i wish u peace and love.

@coldstonedreamery - genuinely my favourite person on here n i dont even know her. immensely talented photographer, and seems super grounded. would love to meet her one day.

@sacred-portal - said it before, i’ll say it again. this is the sacred portal app. the rest of us are just here to witness.

@frankocean - man sometimes i just go on franks old blog and scroll forever.

@trashyayo - suz the first person on here that hmu and was really nice to talk to. one day i’ll make it to amsterdam to hangout. julia fox still isnt clear yet.

@yamborghini - rip yams. him frank and virgil are the only reason i even use tumblr.

@allunderthesamesky - i wish we actually spoke more. seems like we’re into the same things. every time i visit ur blog u post stuff i loooove.

@stalgivc - i feel like everyone on here has reposted her stuff at some point or another. her imagery and visual style is super iconic to me.

@noscenegirls - to me a toronto legend. frankly, i think her work is waaay too good for ye and bianca. her clothes and style feel wholly original and boundary pushing. super excited to see what she does in the future.

[drawing-way-outside-the-lines]

Rain Thompson McKinney

Voice Claim: (Halston Sage) https://youtu.be/WoE8XbHS6Ag?si=3EaHDmDkV172rvBk&t=17

Partner(s): None. Parents: Samuel Cullman-Thompson & Raven McKinney. Siblings: She has a bunch, and loves that she's born into a big family. Age: Immortal, but translates to start-mid 20’s Kids: None Birthday: 9th of November. Height: 169cm (5.5) Body type: Slim but with a bit of curves. Eye color: Light gray with light cocoa around the iris. Classification: (Immortal) Demon/Wolf shifter/Shapeshifter Known powers: Shape shifting, healing by touch, light manipulation. Extrasensory perception (Extrasensory perception, also known as a sixth sense, or cryptaesthesia, is a claimed paranormal ability pertaining to reception of information not gained through the recognized physical senses, but sensed with the mind)

About: Kind, Adaptable, Gentle, Neat, Imaginative, Amiable, Balanced, Creative, Independent, Patient, Helpful, Empathetic, Organized, Playful, Sensitive, Modest, Logical and Genuine. ~ Quite elegant. ~ Bi. ~ Has long white hair ~ Has very soft skin. ~ Half Irish, but doesn't speak with an accent. ~ Addicted to apple juice. ~ Can Shapeshift to a white wolf. ~ Enjoys meeting new people, but is actually very quiet. She just prefers to listen over talking. ~ Doesn't do drugs or alcohol. ~ Is just a really sweet person. ~ Works as a dog walker and dogsitter. ~ Smells like soft warm freshly washed cotton. ~ Dislikes yelling and screaming. ~ Very good cook, and loves cooking for neighbors. ~ Temp at a retirement home ~ Very close to her parents. ~ Very spiritual. ~ The McKinney clan calls her the 'sweet tame demon' as she's said to be the sweetest of all the clan members. ~ Loves to stay at home, listening to loud music while cooking. ~ Gets up with the sunrise every day. ~ Plant enthusiast, but she prefers them outside. ~ Would never eat McDonalds but loves Burger King. ~ Dreams of becoming an actress. ~ Dislikes cabbage and eggplants. It's a texture thing. ~ Is sensitive, but not emotional. ~ Loves dogs, sunrise, her family and friends, rain, Autumn, Winter, Ireland, ponies/horses, antique shopping, up-cycling old furniture, thrift shops, sugar coated almonds, apple juice, licorice, cookies, crispy Autumn leaves, clean sheets, anything vanilla flavored, strawberries and cream, hot cocoa with marshmallows, pigs, salads, honeydew melon, snow owls, chilly starry nights and warm socks. ~ Always wears feminine light fabric clothes. ~ Permanently cold feet. Rain’s tag Rain’s house/home Handwriting/ask answer pic:

One song to describe her: Hollow Coves - Blessings

Personal play list: 1. Gregory Alan Isakov - Amsterdam 2. Amistat - Seasons 3. Brent Cobb - Black Creek 4. Meadows - The Only Boy Awake 5. Frances Luke Accord - Nowhere To Be Found 6. August And After - Wolves 7. Lists Autumn 8. Barn Swallow - North Swallow 9. Astronauts - You Can Turn It Off 10. Boatkeeper - So Go 11. The Arcadian Wild - Wolves Of The Revolution 12. Phoria - Saving Us A Riot 13. The Talbot Brothers - We Got Love 14. Runabay - You I Know 15. Tom Speight - Open Door

[badsciencejokes]

What a Weekend!

This past weekend I was invited to Pella, Iowa from the team at Visit Pella.

 Pella, IA is East, and just a touch South, of Des Moines, IA. It's home to the largest working grain windmill in the country, which you can tour!

 Dutch culture is very strong as many of the early residents of Pella were from The Netherlands. While I was sharing my walk-through town on Instagram stories (now on my highlight reel) I received so many messages from my friends in Europe thinking I was there, too! They said the large trucks gave it away that I was still in America. ;)

 What surprised me the most on my trip to Pella was how much of a foodie destination this can be! We had excellent meals and pastries originating from Europe as well as some American classics. There was not a bad meal here to be found! (And we ate enough to be able to tell if there was...) 

 The desserts over at Vander Ploeg Bakery were scrumptious. Don't forget to get a Dutch Letter when you visit! It's a puff pastry with an almond paste. 

 We had coffee over at Iris Coffee - a scientific take on coffee! Pairing what would taste best to get you the most amazing cup of coffee. 

Big Acai Bowl had loads of smoothies and yogurt options for a midday snack or paring to breakfast! 

Van Veen Chocolates had these spectacular cookie butter dark chocolates. Had to tell ourselves not to eat them all in one sitting!!!

We had some amazing beef jerky and beef sticks at In’t Veld’s Meat Market. It was some of the best we've ever tasted! 

Liberty Street Kitchen was inside our hotel, The Royal Amsterdam Hotel . We had steak and fish and they were absolutely delicious. What really knocked our socks off was the crème brûlée! (Which we ate too quickly to get a picture of.) 

We also had some of the Pella Red wine from The Wijn House . It was a perfect way to relax while at the Royal Amsterdam Hotel after walking around town all day.

 I won't lie to you, by lunchtime on our first day in Pella my husband was already discussing when we could come back with friends and family. 

 We didn't even get a chance to enjoy all the outdoor activities near Lake Red Rock. Although I am fairly certain I will go there to enjoy the next astronomical event! 

 I really could go on and on AND ON about how much my husband and I enjoyed Pella, Iowa. Whether you're visiting Iowa, traveling across the US on I-80, wanting to go to Europe without a passport, or just looking for an amazing place to visit, Pella needs to be on your vacation dream list.  

See more of my Pella trip on the @bad_science_jokes Instagram with a full walkthrough or my little synopsis video.

[renaissancetourfashion]

Beyoncé's RENAISSANCE WORLD TOUR - Outfits for Amsterdam Night 1 (June 17, 2023)

Iris van Herpen *

Courrèges

David Koma

Loewe

Gucci *

Loewe

Dolce & Gabbana

Coperni

(* = debuted at this date)

[tevantarlos]

Favorite Interracial Couples

These are some of my favorite ones. I'm sure that I left out plenty, but these are the ones I remember off the top of my head. Feel free to post your own favorite interracial couples in the comments. [Note: Couple names, show names, and character names are placed above the picture it's talking about.] Bathena on: 9-1-1 (2018) [Bobby Nash/Athena Grant-Nash]

Chexton on: Chicago Med (2015) [Ethan Choi/April Sexton]

Dawsey on: Chicago Fire (2012) [Matthew Casey/Gabriela Dawson]

Dawstead on: Chicago Fire (2012) [Jay Halstead/Gabriela Dawson]

Glaggie on: TWD (2010) [Glenn Rhee/Maggie Rhee]

Hodgela on: Bones (2005) [Jack Hodgins/Angela Montenegro-Hodgins]

Richonne on: TWD (2010) [Rick Grimes/Michonne Grimes]

Shangela on: Boy Meets World (1993) [Shawn Hunter/Angela Moore]

Sharpwin on: New Amsterdam (2018) [Max Goodwin/Helen Sharpe]

Stellaride on: Chicago Fire (2012) [Kelly Severide/Stella Kidd]

WestAllen on: The Flash (2014) [Barry Allen/Iris West]

[plumomi]

Sinner Demon Girl's Group: "Diva the Damned!"

I'd like to eventually clean them up and make colored refs, but I'm pretty pleased with these preliminary designs!

[Transcription of notes below]

Lead Vocals/Guitar: 'Rainbow Trout'

Real Name: Iris Fischer

Seaweed bows, clam shell earrings, fin twintails (fintails?) á la Hatsune Miku

Died in the 1980s, aged 23

American-born, but lived in Amsterdam when she died

Likes to speak with fake accents

Obsessed with self-image; a perfectionist

Performed on cruises in life (mostly local river cruises)

Had many affairs in hopes of elevating career

Killed by a jealous wife; body tossed overboard

Drums: 'The Horrible Horrible Itch' ("Itchy")

Real Name: Miel Midgley

Her body is a mass of writhing insect legs.

She had extreme entomophobia as a human. This form is her eternal punishment.

Killed her therapist (blunt force trauma to the head with a table lamp) during exposure-therapy-gone-wrong

Died in the 1980s, aged 25 (in a prison brawl)

She doesn't speak.

British, unfortunately

Music calms her anxiety.

Bass Guitar: 'Polenta'

Real Name: Pollyanna De Campo

Scarecrow-based demon. Wears corn cob earrings (mimicking hair)

Died in the 1980s, aged 18

Italian-American

Grew up on a farm in Connecticut, but wanted to be a popstar

Murdered (by her would-be "agent") after she used her life savings (as well as money she stole from her parents) to move to Hollywood.

Very cheerful and sweet... to a fault.

People tend to find her incredibly annoying.

When she is wanted, it's only for her "hot bod." She's got a complex about this and is an infinite people-pleaser, searching for true and genuine connection.

She is too trusting and would fall into many bad deals if Itchy and Rainbow weren't looking out for her.

[mybeingthere]

German-born artist Iris Eichenberg received her training as a jewellery artist at the Gerrit Rietveld Academy in Amsterdam, the Netherlands. After her graduation−with a series of work for which she was awarded the Gerrit Rietveld Prize 1994, she taught in the jewelry department for several years, to become Head of Department in 2000. In 2007, she additionally accepted a position as Artist-in-Residence/Head of the Metals Department at the Cranbrook Academy of Art in Bloomfield Hills, Michigan, and moved permanently to the US a year later. Eichenberg has been leading the Metals Department at CAA into new directions, turning it into a research lab where students learn to give expression to their ideas through the rigorous exploration of a wide range of materials and techniques.

[opera-ghosts]

Here we see the Italian bass Nazzareno de Angelis (1881 – 1962) as King Henry from Lohengrin. I love the imposing costume and regal pose.

De Angelis was born at L’Aquila on 17 November, 1881 and began his musical life as a boy soprano, first with local choirs, then at the Capella Sistina in the Vatican. After his voice lowered, he studied with one Dr. Faberi at the Accademia di Santa Cecilia in Rome. For several years, he and his mentors wondered about his true vocal placement, and he studied both baritone and bass scores with equal intensity. The top of his voice was tremendous, but it became increasingly clear that it was centred where kings, prophets and devils live. His last two years at the Accademia were spent developing repertoire, and he gave several recitals there before making his opera début at the Comunale of L’Aquila in May of 1903 in Linda di Chamounix, followed by an opera called“L’Educate di Sorrento, by E. Usiglio, at the same theatre. 

Hearing of his enormous success the management of Rome’s Teatro Quirino immediately engaged him, and, in early July, he débuted in Norma. He subsequently appeared at the Teatro Adriano as Il Spettro in Hamlet, to the Ofelia of Maria Barrientos and the Hamlet of Battistini, followed by Rigoletto and Tosi Orsini’s Yanthis. In 1904, after some twelve performances of La Gioconda at the Teatro Lirico of Milan, he appeared at Santa Maria Capua Vetere as Colline and at the Quirino in La Favorita, Il Barbiere di Siviglia (Basilio), Carmen (Zuniga), Ernani, Norma and Rigoletto. Carlo Galeffi was his Rigoletto in several performances. He toured the Netherlands from December of 1904 to May of 1905, singing such diverse roles as Dr. Grenvil in La Traviata, Zuniga in Carmen, Sparafucile in Rigoletto, Ferrando in Il Trovatore, Fouquier-Tinville in Andrea Chénier, Tom in Un Ballo in Maschera, Angelotti in Tosca, Basilio and Raimondo in Lucia di Lammermoor. The company gave performances in Amsterdam, Rotterdam and The Hague. 

In the Autumn of 1905 he appeared at Mirandola in La Gioconda, at Parma’s Teatro Reinach in Rigoletto and Faust, and at Cagliari’s Teatro Regina Margherita as Alvise, along with those first historic performances of Mefistofele. Gaspare Nello Vetro’s Teatro Reinach says of his Faust Mefistofele: “The young Nazzareno De Angelis, now at the outset of his career, received the greatest applause and had to repeat ‘Dio dell’ Or’ at every performance.” At Cagliari, after his first performance of Boito’s Devil, the applause was interminable and it immediately led to a contract at Bari’s very important Teatro Petruzzelli, where he added Lohengrin and Iris to his roster of operas. 

In the Spring of 1906 he left on his first South American tour, appearing at Santiago de Chile and Valparaiso from June to November. He sang nine roles to enormous success. On 16 August, the region was stunned by an earthquake so severe that performances had to be suspended until 1 September. The opera house at Valparaiso was almost completely destroyed, and it was there that the greatest damage occurred. Hundreds of people died, and the wounded numbered in the thousands. Despite recurring after-shocks, the season eventually returned to normal and, in addition to his scheduled performances, he participated in several hastily arranged benefits for earthquake victims. Among his new assignments were Ludovico to the commanding Otello of Antonio Paoli, and Marcel in Gli Ugonotti. His receptions were increasingly enthusiastic, and, before the season ended, he happily agreed to return. That agreement was honoured in both 1908 and 1909. El Mercurio said of him: “…. at the end of the Prologue to Mefistofele, De Angelis received a huge and most sincere ovation.” A later review stated that “he has reminded us again as Mefistofele how superb an artist he is, and in Germania has made us marvel at his versatility in this new role”. 

The 1908 season saw him in eight operas including Gli Ugonotti with Hariclea Darclee, and in 1909, he sang nine roles including the creator part of Aquilante in Gloria After his appearances at Santiago, he is thought to have sung in Buenos Aires at the Teatro Coliseo, but no details have been unearthed about his roles during that engagement. He returned to the South American continent in 1910, 11, 12, 14, 19 and 1926, and he appeared in Buenos Aires, Rosario, Montevideo, Rio de Janeiro and São Paolo. He sang Mefistofele in every theatre at which he appeared, and in every season, except for 1914. The list of operas he performed in South America only is long: Tannhäuser, La Sonnambula, I Puritani, Gomes’s Il Guarany and Salvator Rosa, Galitsky in Prince Igor (his only Russian opera, though sung in Italian), Les Huguenots (also in Italian), de Campos’s Um Caso Singular, Verdi’s Otello and Franchetti’s Germania.

On 15 January, 1907 he débuted at La Scala as Alvise in La Gioconda and appeared for the first time in Tristan und Isolde, La Wally and as Aquilante de Bardi in the world premiere of Cilea’s Gloria. Despite recurring arguments with the theater’s management, including one four year hiatus, he would sing twenty four roles over twelve seasons. The year offered two other very important debuts, Alvise at the Teatro Verdi of Firenze with Eugenia Burzio, and King Marke at Bologna’s Teatro Comunale with Amelia Pinto, Giuseppe Borgatti and Giuseppe Pacini. Tristan und Isolde received fifteen performances and was followed by De Angelis’ only appearances in Tschaikovsky’s Iolanthe.

1908 brought with it the beginning of his Scala partnership with Ester Mazzoleni. They first appeared in Franchetti’s Cristoforo Colombo conducted by Toscanini in a run of 16 performances, followed by a revival of La Forza del Destino. Mazzoleni described the event: 

You will not be able to imagine what happened on that opening night. Icilio Calleja started ‘O tu che in seno agli angeli’ both too soon and out of tune, at which point all hell broke loose in the house. The theatre took on the atmosphere of a bullring, and, as often happens when things are not going well, the audience vented its rage at everything in sight. Both Pasquale Amato and Luisa Garibaldi were booed and hissed without mercy. The only ones who escaped their fury were De Angelis and myself. At the end, after almost collapsing from nervous exhaustion, we received a standing ovation. Notwithstanding our personal success, Toscanini, eyes ablaze, cancelled the remaining performances. 

On 19 December, 1908 De Angelis and Mazzoleni appeared in the historic production of Spontini’s La Vestale, a revival that was repeated 16 times, and then travelled to Paris. Verdi’s I Vespri Siciliani was next in the list of successes, and, on 30 December, 1909, they caused a sensation in Cherubini’s Medea. In March 1910, they appeared in what was to be their last opera together, Meyerbeer’s L’Africaine. This unbroken string of personal triumphs is one of the most legendary of all stories associated with the Milan theatre. Among other memorable evenings at La Scala was the world première of Montemezzi’s L’Amore dei Tre Re on 10 April, 1913 in the role of Archibaldo, which he later premièred at the Colón of Buenos Aires, the Costanzi of Rome, Rio de Janeiro, São Paolo and Trieste’s Teatro Verdi. 

Of his Archibaldo in the Rome première of L’Amore dei Tre Re, Il Tempo, on 15 March, 1919, said: “De Angelis, the old lion, he of the pungent, powerful voice, sang the ideal performance of Montemezzi’s king.” 

Most of 1910 was spent in the Western Hemisphere. On 31 May De Angelis debuted at Buenos Aires’ Teatro del Opera in Lohengrin with Salomea Krusceniski, Luisa Garibaldi, Dygas and Riccardo Stracciari ,and he completed his season in Aida with Giannina Russ, Garibaldi, and Giovanni Zenatello, Norma with Russ, Garibaldi and Dygas, Mefistofele with Krusceniski and Dmitri Smirnov and Gotterdammerung with Krusceniski and Dygas. In August, the company visited Montevideo for a three week season. after which De Angelis traveled to Chicago for his only performances in the United States. 

On 3 November, 1910 he sang in the inaugural performance of the Chicago Civic Opera Company as Ramfis. The cast included Karolewicz, de Cisneros, Bassi, Sammarco and Dufranne. He subsequently sang Colline in La Boheme with John McCormack, Raimondo in Lucia di Lammermoor and Ashby in La Fanciulla del West. On 18 January 1911, in a closing night gala, he appeared as Ashby with Carolina White, Caruso and Sammarco. It is curious that De Angelis accepted a contract with Chicago for roles so small when he had already become the most important bass at La Scala and in many of South America’s theatres. Perhaps the heady company that he would be keeping attracted him; that, with the hope that other more important roles would come his way. He visited several other cities, but, outside of a single appearance in Fanciulla del West at Milwaukee in November.

Upon his return to Italy, De Angelis prepared for the most important début of his career: the Costanzi of Rome. The theatre was to present a gala ‘Musical Exposition’ of opera and ballet in celebration of the fiftieth anniversary of the declaration of the Kingdom of Italy. Among the notable events were the company premières of Verdi’s Macbeth and Donizetti’s Don Sebastiano and the Italian première of La Fanciulla del West, with Eugenia Burzio and Giovanni Martinelli. Serge Diaghilev’s Ballet Russe presented local premières of Les Sylphides and Giselle with Nijinsky, and Toscanini conducted several of the operas. In the midst of this carnival of riches, on 16 April, 1911, De Angelis débuted as Don Basilio with the stellar cast of Graziella Pareto, Umberto Macnez, Titta Ruffo and Giuseppe Kaschmann. The theatre was packed with family, friends, colleagues from his days at the Vatican and the Conservatorio, and former teachers. Dal Costanzi all’Opera states that “it was an evening of surpassing grandeur, refinement and polish, a performance beyond any criticism”. Il Giornale d’Italia reported that “De Angelis convinced a highly expectant audience that he is truly an artist of the first rank….The tumultuous applause that greeted the singers became a roar each time that he appeared before the great curtain”. He was to tell Paolo Silveri many years later that it was the most emotionally satisfying evening of his career. The bond between singer and city had been permanently cemented and he would return in thirteen additional seasons in seventeen roles.

On 23 May, De Angelis debuted at the Teatro Colon in Buenos Aires as the Landgrave in Tannhauser with Pasini-Vitale, Ferrari-Fontana and De Luca. He sang in ten operas, including his first performances in Don Carlo with Agostinelli, Garibaldi, Constantino and Ruffo, La Sonnambula with Barrientos and Bonci and I Puritani with Barrientos, Bonci and De Luca. The Colon hosted him the following year in seven operas, including his only performances as Friar Lawrence in Gounod’s Romeo et Juliette with Lucrezia Bori and Giuseppi Anselmi. De Angelis sang at the Colon for the last time in 1914, but he returned to Buenos Aires in 1919 as Basilio, Mefistofele, Galitzky, Mose and Archibaldo at the Teatro Coliseo. 

On 10 October, De Angelis sang Mefistofele at the Costanzi for the first time, and it would be the defining event of his career. The first night audience cheered for nearly an hour and the next day’s reviews were among the most laudatory ever seen: 

Mefistofele at Rome - Il Corriere d’Italia - 11 October, 1911. “This singer and magnificent actor can truly claim to be the greatest basso currently on the lyric stage. Extraordinary power, an excellent voice, clear and perfect diction and impeccable technique were all completely confirmed last night. His success was enormous.” 

His triumph was reported on the front page of newspapers throughout Italy and he was immediately asked to sing the role in virtually every Italian theatre. Within four months he had débuted at Turin’s Regio, Trieste’s Verdi and the San Carlo of Naples, where he sang fourteen performances of the opera. Barcelona’s Liceo received him with enormous acclaim in April of 1913 and Mefistofele was to serve as his debut role at Venice’s Fenice, Genoa’s Carlo Felice and Politeama, Brescia’s Grande, Padua’s Verdi, Palermo’s Massimo and the Verona Arena. In 1918, De Angeles sang the role for the first time at La Scala with Linda Cannetti, Elena Rakowska and Gigli, and, in 1920, at Milan’s Dal Verme, he appeared in some fifteen performances of the opera with Hina Spani as Margherita. It was so overwhelming a part of his career, that in 1923, it was the only role he sang. 

On 4 April, 1915, he sang Mosè for the first time, appearing at Rome’s Teatro Quirino and took the role to Firenze, Livorno’s Teatro Goldoni, the Comunale of Bologna and Milan’s Dal Verme. The cast included Giannina Russ, Adele Ponzano, Luigi Pieroni and Alessandro Dolci, and was conducted by Mascagni. The tour was among the very few performances he gave between the Spring of 1915 and the Winter of 1918. A 1916 press release from the Teatro Municipal of Santiago, Chile notes that, because he was serving in the Italian armed forces, he would not be able to appear. He returned to the stage at Rome’s Costanzi in February, 1918, and sang Mosè there on 23 April. 

Mosè - 2 June, 1918 - Rome Dal Costanzi all’Opera. “On the closing night, which presented the tenth performance of Mosè, De Angelis achieved one of the greatest successes of his career.” 

La Tribuna said: “The great bass received an ovation perhaps without parallel in memory. His performance was of monumental proportions, and the audience responded in kind.” 

Over the next several years, De Angelis sang Mose at La Scala, Buenos Aires, Rosario, Montevideo, Rio de Janeiro, Sao Paolo, Bergamo, Genoa, Ferrara, Trieste, Turin, Ancona, and, for the last time in 1925 at the Verona Arena. 

Although De Angelis’ stage debut was in Linda di Chamounix, Donizetti and Bellini seem not to have been composers for whom he felt much affinity. In 1911, he sang in La Sonnambula and I Puritani at the Colón of Buenos Aires and, on the closing night of the 1926 season at Rio de Janeiro, he sang one additional lonely performance of I Puritani. By 1912, he had stopped singing in La Favorita and Lucia di Lammermoor and seems never to have appeared in a Donizetti opera again. He sang important revivals of Norma with Giannina Russ, Claudia Muzio, Vera Amerighi-Rutili, Bianca Scacciati and Iva Pacetti, but they were few in number and widely separated in time. 

Lucia di Lammermoor at Buenos Aires - La Prensa - 27 May, 1911 Though the soprano role is the centrepiece of this opera, Barrientos’s grand companions, Constantino, Ruffo and De Angelis were all triumphant. 

Norma at Rome - Il Tevere - 28 December, 1928 The evening confirmed the triumph of Norma, and of Muzio, Luisa Bertana, the tenor Mirassou and Nazzareno De Angelis, who conferred, with beauty of voice and physical presence, the ultimate realization of Oroveso.

Don Basilio in Il Barbiere di Siviglia was a very important role in De Angelis’s career, and he sang it in both the largest and smallest theatres. In the Spring of 1916 he toured among Parma’s Regio, Naples’ San Carlo, Pisa’s Verdi, Pesaro’s Salon Pedrotti and Rome’s Quirino in commemoration of the 100th anniversary of the opera’s premiere. The cast for the performances was Fanny Anitua as Rosina; Carpi and Macnez sang Almaviva; Galeffi portrayed Figaro and Kaschmann, Bartolo. At Rome, the cast included de Hidalgo, Salvati and De Luca. He sang it at the Costanzi in 1919 and garnered his usual superlatives. 

Il Barbiere di Siviglia at Rome - Il Messagero - 16 February, 1919 “This old opera rarely has one divo, fewer times two, but tonight there were four, de Hidalgo, Schipa, Galeffi and De Angelis, truly an Olympus of singers. It was a marvellous evening, one which made us almost believe that we were seeing the opera for the first time. The soloists sang as though inspired by some magic spirit.” 

In 1919, De Angelis toured to Buenos Aires, Montevideo, Rio de Janeiro and Sao Paolo as Basilio with Angeles Ottein, Tito Schipa and Armand Crabbe. It was on this tour that he appeared in Prince Igor, Il Guarany and Salvator Rosa for the only times in his career. In 1921 he appeared as Basilio at Spoleto with the inimitable Conchita Supervia and in 1922 he appeared in a lavish production at La Scala with de Hidalgo, Hackett and Galeffi. In 1925 he made both his Swiss debut and farewell as Basilio at Lugano. 

His Wagner roles were seven: King Marke in Tristan und Isolde, Wotan in both Das Rheingold and Die Walküre, King Henry in Lohengrin, Hagen in Götterdämmerung, the Landgrave in Tannhäuser and Gurnemanz in Parsifal. In 1914, he sang Gurnemanz an amazing twenty seven times during La Scala’s first season of Parsifal and premièred the opera at Buenos Aires’s Teatro Colón the following May. In January 1922, he returned to La Scala for eleven performances in a cast that included Helene Wildbrunn, Amadeo Bassi, and on the fourth night, the debut at that theater of Apollo Granforte. He appeared at Paris as Gurnemanz in May of the same year. De Angelis appeared in Die Walkuere at Rome, La Scala, Naples, Rio de Janeiro and Sao Paolo and in Das Rheingold at Bologna, Rome and La Scala. In the winter of 1938 at Rome, he sang Wotan in Das Rheingold and Die Walküre, as well as Hagen, in the first ‘Ring’ ever performed completely in Italian. The undertaking was supervised by Tullio Serafin and the four operas were broadcast throughout Italy. De Angelis’ last Wagner performances were as Gurnemanz at the San Carlo of Naples in April, 1938.

Of his performances in the 1938 ‘Ring’at Rome, the following reviews are quoted. 

Il Messagero, 25 January - Das Rheingold De Angelis sang with enormous resonance. His achievement was hard to imagine, sung with the greatest of expression, vigour and vibrancy.

Il Piccolo, 27 January - Die Walkuere He maintained a level of excellence throughout this very long and difficult role that was exceptional. 

Among Verdi’s operas, he sang Zaccaria in Nabucco, Silva in Ernani. Ferrando in Il Trovatore, Grenvil in La Traviata, Sparafucile in Rigoletto, Tom in Un Ballo in Maschera, Padre Guardiano in La Forza del Destino, Procida in I Vespri Siciliani, Fiesco in Simon Boccanegra, King Philip in Don Carlo, Ramfis in Aida and Lodovico in Otello. Interestingly, he sang far fewer performances of Verdi than he did of Wagner. In fact, in no Verdi opera, outside of Aida, did he sing more than twenty five performances, and Simon Boccanegra, had only one revival, at La Scala in 1933. It was his last new role. 

Aida - Rome - La Tribuna - 6 October, 1911 The Ramfis of Nazzareno De Angelis showed an extraordinarily robust, mellow and vibrant voice. 

Nabucco - Rome - La Tribuna - 2 June, 1916 A memorable evening of art, of patriotic love.... in which all the artists offered a spectacle of singular interest. The interpreters, Nazzareno De Angelis in the white robes of the high priest, Zaccaria, Carlo Galeffi, Cecilia Gagliardi and Fanny Anitua gave superb examples of their great art. 

Non-operatic appearances were fairly infrequent. He sang in Verdi’s Manzoni Requiem several times, most importantly at La Scala in 1913 under Toscanini’s direction, at Rome’s Teatro Augusteo in both 1913 and 1922, and in 1924 at Vicenza and the Verona Arena. The Verona engagement with Rinolfi, Minghini Cattaneo and Taccani, was so successful that after two performances in the outdoor stadium, an additional two were given at the Teatro Filarmonico with Lucia Crestani singing the soprano music. In May 1938 he returned to the work for the last time when he sang it at Rome’s Teatro Adriano with Caniglia, Stignani and Alessandro Granda. On 4 December 1924, under Toscanini’s direction, he and Hina Spani sang at Giacomo Puccini’s Funeral in the Duomo of Milan, and on the 29th , the program was repeated at La Scala. Among De Angelis’ more interesting concerts were three at Rome’s Teatro Quirino. On 4 April 1915 he appeared with Russ and Battistini in an all Mascagni programme honouring the composer. In September, 1915 he appeared in a composition called Inno alla Patria by Zandonai accompanied by Gabriella Besanzoni, and in June 1916, he sang in Canto di Guerra, written by the great bass-baritone Giuseppe Kaschmann. 

De Angelis’ career in Iberia was not impressive. He sang Mefistofele at La Coruña, Spain in 1908 and appeared at Barcelona’s Liceo in the Spring of 1913 as Boito’s Devil. The La Coruña engagement includes a reference to Gounod’s Faust, which, if it were to have happened, would have been an extremely interesting juxtaposition of roles. Perhaps it did. There are announcements of a second engagement at La Coruña in 1912, but I have found no details. It would seem, from the evidence, that he never appeared in Portugal.

By 1927, De Angelis was averaging no more than 20 performances a year, though he continued to make recordings at a prodigious rate. In 1934, his only appearances were as Mefistofele at Piacenza and, about a year later, he sang Oroveso, Gurnemanz and Padre Guardiano at Genoa’s Carlo Felice. After a three-year absence, he returned to Rome’s Teatro Reale in January of 1938 for Mefistofele and the celebrated ‘Ring Cycle’. In August, after a debut at Rome’s Caracalla as Mefistofele, he sang his valediction at Naples’ Arena Flegrea as Boito’s Beelzebub, with Delia Sanzio, Margherita Grandi and Granda. De Angelis had appeared in fifty seven operas and had sung well over fifteen hundred performances. 

It has been reported that he gave occasional recitals until about 1942. Upon his eventual retirement, he taught in Milan and, later, at his favorite city, Rome. He died on 14 December, 1962, in Rome, at the age of 81.