#coach Bologna

[garciapimienta]

list of fc barcelona people that should be banned from speaking about anything: 1. Xavi Hernandez (ban him from press conferences already) 2. Laporta 3. Deco

[deboramenozzi]

L'intelligenza artificiale può essere un coach spirituale? Risponde ChatGPT

[alizayildiz]

Kenan Yildiz Preferences {after a goal}

✮bf! kenan, who always secretly dedicates his goals to you. Even if he makes the typical Del Piero celebration.

✮bf! kenan, who always looks for you right after he scores a goal, smiling at you blowing you an air kiss.

✮bf! kenan, who this one time didn't do his usual Del Piero celebration. He scored a goal and formed the first letter of your name with his fingers.

✮bf! kenan, who made the whole stadium let out a loud „awww" as they saw his celebration.

✮bf! kenan, who always yells „did you see that Baby ?" after scoring a goal even though you're always in the stadium, first row front seat, seeing his goals in real life.

✮bf! kenan, who knows that you can't hear him yelling if you saw his goal but still asks it every time.

✮bf! kenan, who puts you into the goal when the two of you are playing together on the football pitch. „I'm way better at football then you're" you would always say making Kenan laugh.

✮bf! kenan, who runs from the goal towards your seat jumping over the fences to give you a kiss after he scores.

✮bf! kenan, who has a picture of you as his lock Screen. The picture got taken when he first scored his goal in his series A debut.

✮bf! kenan, who talks all day about how he scored a goal. For example, Juve is playing against Bologna and he scores he would tell you all about it in detail the whole day long. You don't mind listening to him talking about his passion.

✮bf! kenan, who praises you for watching all his games even though he's the one who should get praised for his extraordinary performance.

✮bf! kenan, who goes extra hard on opponent teams where he knows that some of the footballers there texted you.

✮bf! kenan, who spends the 15 minute break between first half and second half laying in your arms even though he should be with the team discussing their next moves.

✮bf! kenan, that buys you a big bouquet of flowers after he scores a goal. He says your his lucky charm, so you deserve flowers to keep blooming yourself.

✮bf! kenan, who calls you FaceTime after a match still in his jersey and on the pitch. His first priority after a game is to talk to you when you're not there to be with him.

✮bf! kenan, who talked his coach into having you as the new marketing manger of the official Juventus TikTok account after you took a viral video of him scoring the last minute goal against Bologna.

✮bf! kenan, you're his motivation for scoring extra more goals.

✮bf! kenan, who gifts you a very expensive ring ever time he scores a goal that is dedicated to you.

„Look at how many rings I've got" you said showing Kenan your jewellery box.

„What about it ?" he asked, laying under the covers.

„That's at least 15 million dollars right there" you replied.

„You're worth much more" he got up from bed and gave you a kiss.

[burningvelvet]

Lord Byron responds to criticism of his poem Don Juan:

“The air of this cursed Italy enervates—and disenfranchises the thoughts of a man after nearly four years of respiration—to say nothing of emission. As to ‘Don Juan’—confess—confess you dog and be candid that it is the sublime of that there sort of writing—it may be bawdy—but is it not good English? It may be profligate—but is it not life, is it not the thing? Could any man have written it—who has not lived in the world?—and fooled in a post-chaise? in a hackney coach? in a gondola? against a wall? in a court carriage? in a vis a vis? on a table?—and under it? I have written about a hundred stanzas of a third Canto—but it is a damned modest—the outcry has frightened me. I have such projects for the Don—but the Cant is so much stronger than the Cunt now a days, that the benefit of experience in a man who had well weighed the worth of both monosyllables must be lost to despairing posterity.” (Letter to Douglas Kinnaird, Venice, 26 October, 1819.)

Francis Cohen remarked: “Lord B. should have been grave & gay by turns; grave in one page & gay in the next; grave in one line, & gay in the next. And not grave & gay in the same page, or in the same stanza, or in the same line… we are never drenched & scorched at the same instant whilst standing in one spot.” (Letter to John Murray, 16 July, 1819).

Byron replied to the critique:

“I will answer [Cohen] who objects to the quick succession of fun and gravity—as if in that case the gravity did not (in intention at least) heighten the fun. His metaphor is that ‘we are never scorched and drenched at the same time!' Blessings on his experience! Ask him these questions about 'scorching and drenching’. Did he never play at Cricket or walk a mile in hot weather? Did he never spill a dish of tea over his testicles in handing the cup to his charmer to the great shame of his nankeen breeches? Did he never swim in the sea at Noonday with the Sun in his eyes and on his head--which all the foam of ocean could not cool? Did he never draw his foot out of a tub of too hot water damning his eyes & his valet's? Did he never inject for a Gonorrhea? Or make water through an ulcerated Urethra? Was he ever in a Turkish bath—that marble paradise of sherbet and sodomy? Was he ever in a cauldron of boiling oil like St. John? Or in the sulphureous waves of hell? (where he ought to be for his 'scorching and drenching at the same time') did he never tumble into a river or lake fishing—and sit in his wet clothes in the boat—or on the bank afterwards ‘scorched and drenched' like a true sportsman? ‘Oh for breath to utter' —but make him my compliments—he is a clever fellow for all that—a very clever fellow. You ask me for the plan of Donny Johnny—I have no plan—I had no plan—but I had, or have, materials.” (Letter to his publisher John Murray, Bologna, 12 August, 1819.)

Letter to Douglas Kinnaird, Genoa, 31 March, 1823:

“I care nothing for what may be the consequence critical or otherwise – all the bullies on earth shall not prevent me from writing what I like – & publishing what I write – “coute qui coute”*– if they had let me alone – I probably should not have continued beyond the five first – as it is – there shall be such a poem – as has not been since Ariosto – in length – in satire – in imagery – and in what I please.” *(“at any cost”)

[elmaestrostan]

Text under the ✂️

Aston Villa help organise a regular charter flight from Birmingham to Spain whenever Unai Emery wants to take a trip home.

Emery books and pays for it himself and often goes during an international break, allowing a couple of days of rest and an opportunity to refresh.

Yet, four days after Villa’s 2-0 defeat at Anfield, a fourth consecutive loss, Emery was pictured at Bodymoor Heath, clipboard in hand, alongside the players who had not gone away with national teams, back in training.

Sources — who spoke on the condition of anonymity, like all in this article, to protect relationships — describe the work undertaken over the last 10 days as “huge”. Emery is resolved to arrest the acute decline in form, having entered uncharted territory himself after losing four straight matches for the first time in his 1,026-game managerial career, according to Opta.

Although training has been regarded as positive, the biggest focus and effort has been the sheer volume of analysis. Coaching staff believe that in parts of the losing run, Villa have been on the right track at certain points — aside from the 1-0 loss to Club Brugge, arguably the nadir of Emery’s tenure — but lost the smaller, key details. The Liverpool game served as a case in point; Villa restricted their opponents to little in open play but were punished ruthlessly on transition, from their corners in the 2-0 loss.

To underline the attention to detail, Villa have two staff members focusing solely on defensive and attacking set plays — Austin MacPhee works in tandem with set-piece analyst Jose Rodriguez Calvo, who compiles dossiers of opponents’ dead-ball approach.

Emery’s work ethic is renowned. His commitment, doing 12-hour days (and sometimes longer), has delighted internal staff and members of the dressing room, who have recognised the improvements made during his two-year tenure.

Meetings are typically long and results had been vindicating his methods. His lengthy presentations are partly designed to test players’ concentration but there remains total buy-in. Since Emery’s arrival, recruits must be viewed as psychologically robust to cope with Emery’s intensity.

“We don’t have to do meetings because we are together all day,” Monchi, president of football operations, told Movistar. “We meet for breakfast, for lunch, we live here, we are here all day, we spend 12 or 13 hours practically together.”

The Villa manager does his own analysis on top of the work his six analysts do in preparation for games, before then comparing notes. Often, he will watch footage of upcoming opposition on the treadmill or static bike, using software to clip analysis footage together. He ensures he prepares in the most granular detail possible.

Last season, one source joked how Emery would work past 8pm on Fridays, which would eat into his staff’s weekend plans.

“He is just so driven,” said midfielder John McGinn after Villa’s 2-0 win against Bologna last month. “I have never met anyone like him. He has a few times, he was an OK footballer but he wishes he had the determination and work rate he has as a manager. No one can question what he puts in, the effort — everything that comes his way and our way is on the back of hard work. You feed off your leader. He is our leader and we feed off that.”

Emery and his coaching staff’s diligence has been doubled down upon over the international break. Sources insist Villa have worked “harder than ever” to overturn their form.

Rectifying the finer details in matches has been among the key points of consideration, especially given Villa’s intense fixture schedule — they will play eight games in 28 days.

Villa’s ‘triangle of power’, comprising Emery, Monchi and director of football Damian Vidagany, lead all footballing decisions. The power structure is in charge of recruitment, squad building, long-term aspirations and general direction.

The roles of Monchi and Vidagany, as Emery’s closest confidantes, are to regulate the environment around the manager, enabling him to maintain his focus, specifically, towards on-field matters. The pair look to provide a robust footballing structure for Emery, one strong enough to withstand downturns in form and quickly rectify shortcomings.

“It’s about keeping us close to success, that we don’t go back to the Aston Villa that was in the middle of the table looking down, even in the Championship,” Monchi told Movistar.

Those close to Emery draw comparisons between Villa’s setup and how Manchester City have built a team around a figurehead coach. On the rare occasions City experience setbacks, there has been a support network behind Pep Guardiola to find swift resolutions. In some ways, it is fitting that City and Villa are coming out of the international break having suffered four successive defeats for the first time in their managers’ tenures.

“We can create strong structures so that the Champions League is not too far above us, but that we are very much on a par,” Emery told Movistar.

“The Premier League has 20 of the best 50 managers in the world,” Vidagany said to The Athletic in an interview in 2023. “Unai is close to the top level that marks Guardiola. It’s a matter of time to get there for him. I’ve never seen anyone in my life work as hard as him. This is leadership. He also has a good heart.”

Vidagany has repeatedly explained how a robust upward structure tends to elicit success on the pitch and to go from a “medium club to a great club again”. Villa now have a Spanish-speaking contingent running to more than two dozen, all people Emery wanted and knew he could trust.

“It’s the only place where I feel it’s a project, but I can never forget the results,” said Emery to Movistar. “Everything has gone very well. Some teams are stronger than us, but we want to compete and try to consolidate this project with sustained growth so that we can compete in Europe. If it is in the Champions League, all the better. Aston Villa can recover the greatness of its history.”

“You can see the fever for Aston Villa in the school playgrounds,” added Vidagany. “You walk down the street and you can see the enthusiasm. We are talking about one of the six English teams to have won the European Cup and it was too long without Aston Villa being a source of pride. I think people are proud now.”

Villa’s regeneration under Emery has elevated expectations, to the point where the recent run of results is deeply incongruous. Emery’s hard work has provided the foundations for their raised expectation levels. The international break has allowed him to reiterate those characteristics. He will be hoping those long hours pay off against Crystal Palace at Villa Park on Saturday.

[opera-ghosts]

Ernestina Poli was born in Ferrara, Italy on 3 April 1879, and she studied for only a few years before making her debut at Bergamo in 1902 as Amelia in Un Ballo in Maschera. She had a huge success and was retained for another dozen performances in Il Trovatore and the then very popular Salvator Rosa. She ended the year at Massa. At this point, despite her success, she retreated from the stage for another year of training, after which she debuted at Messina in Andrea Chenier with the tenor Ruggero Randaccio. On 17 Jan, 1904 she sang Micaela for the only time in her career, again with Randaccio as her stage partner. It was not long before the couple announced that they were to be joined in life, and in the summer of 1904, shortly before a tour to South America, they were married. She immediately changed her stage name to Tina Poli Randaccio, and there are interesting and amusing confusions in some South American reviews during the tour of 1904, in which she is listed as the tenor, he the soprano. Poli was assumed to be his first name and Ruggera, hers. 

The tour took the couple to Sao Paolo and Rio de Janeiro where Tina appeared as Mimi, the Trovatore Leonora, Desdemona, Aida, Maddalena di Coigny, Gioconda and Santuzza. He sang in Boheme, Andrea Chenier and Cavalleria Rusticana. The year ended at Sao Paolo with an opera called Cristo alla Festa di Purim, after which she added La Forza del Destino, Ballo in Maschera and Ernani to her assignments in Brazil. The couple traveled with the company to Manaus and Pernambuco, then returned to Europe where Ruggero announced his retirement from the stage. They decided that he would be her manager and coach, and from about this point his name was never seen on a billboard again. 

On 2 December 1904 Tina debuted at Milan's Teatro Dal Verme in an opera called Jana with Bergamasco and Schiavazzi conducted by Serafin and from there she went to Oporto where she sang in Aida, Il Trovatore, Don Carlo, Pagliacci, Un Ballo in Maschera and Cavalleria Rusticana. After a short respite, the couple sailed for Mexico, and in September 1905 Tina appeared at the capitol in Les Huguenots (in Italian), Aida, Germania, Un Ballo in Maschera and Giordano's recently produced opera Siberia. The company included Virginia Guerrini, Alice Zeppilli, De Marchi and Magini Coletti, and it is not surprising, given those names, that the tour extended for four months and included visits to Guadalajara. 

Turin welcomed her back to Italy when she appeared at the Teatro Vittorio Emanuele as Gioconda in January of 1907. A tour to Bucharest was arranged by Randaccio and on 11 November Tina debuted as Aida in a cast that included De Angelo, Angioletti and Bellat. On the 18th, she sang in Ernani with Angioletti, Titta Ruffo and Torres de Luna. Her season continued into the middle of December with Un Ballo in Maschera and Il Trovatore, both with Ruffo, Les Huguenots, and La Gioconda. A visit was made to Kiev and Odessa, but I have no record of her roles. 

Tina debuted at Parma's Teatro Regio on 6 January 1908 in Mascagni's brand new opera, Amica and after singing in Red Roses and Damnation of Faust, she undertook a four month tour of Italy with the new work, under Mascagni's direction. The cities visited included, Firenze, Bologna, Modena, Verona, Treviso, Trieste, Ravenna, Ancona, Cesena and Forli, where she received a thunderous welcome and was hailed as the greatest soprano seen there in a generation. At Livorno she sang in the composer's Le Maschere and Iris and the tour ended at Rome's Teatro Adriano, where Tina sang eleven performances of Amica and several of Le Maschere, the latter with Juanita Caracciolo and Carlo Galeffi. 

On 26 December, Tina made a much heralded debut at Venice's Teatro la Fenice as Aida with Ladislava Hotkowska and Henderson. The revival was so well received that a scheduled three performances became six. At Fiume, in April, she sang in Ernani and La Gioconda and in October she returned to the Adriano for Tosca, Aida and the world premiere of Raffaelo,by De Lunghi. 

In February 1910 Tina debuted at Madrid's Teatro Real as Gioconda in a cast that included Flora Perini, Giuseppe Taccani and Ruffo, after which she sang ten performances of Aida and six of Loreley at Catania's Masimo Bellini. The spring found the Randaccios back in Brazil, where, at Rio de Janeiro, on 27 May, Tina sang Isolde for the only time in her career, though it was a moderate, if not overwhelming success. At Rio, she also sang in Il Trovatore, La Gioconda, Loreley, Tosca, Aida, and Germania, and at Sao Paolo, she added another new work, Boscaiuola. Tina's tour partners included Anna Gramegna, Krismer, Giraldoni and Viglione-Borghese, and, as had been the case in Mexico, this starry roster resulted in an extended season both in Rio and in Sao Paolo. 

The most important moment of her career had arrived. On 17 December 1910 Tina debuted at La Scala as the Siegfried Brunnhilde, with the inimitable Giuseppe Borgatti in the title role. There were a dozen performances, and the production was a complete success. Fanny Anitua was an unforgettable Erda according to contemporary reviews, and the hero and heroine received memorable ovations every evening. Though hers would not be a major career in the most important of all Italian theaters, it continued at intervals for a good number of years, and included several world premiers. 

In February 1911 Tina returned to Parma for La Gioconda and then took a well needed break from performing. During the summer, she learned the role of Minnie in La Fanciulla del West, and on 10 September, at Puccini's invitation, she sang the first of thirteen performances at Lucca's Teatro del Giglio with Taccani as Dick Johnson. Her success was enormous, in fact, greater than her predecessor, Eugenia Burzio, who had sung in the Italian premiere earlier in the season. Poli was immediately engaged to repeat the opera at Naples' San Carlo with Martinelli and Viglione-Borghese and at Bari's Teatro Petruzzelli with Corti and Mariano Stabile. After a debut at Palermo's Massimo as Gioconda in March 1912, she sang Minnie at Monte Carlo, again with Martinelli and Viglione-Borghese, and in late May she debuted at the Paris Opera as Minnie in a gala performance with Enrico Caruso.

In November, Tina sang in La Gioconda at Genoa and then prepared for the Scala premiere of Fanciulla. There were many sopranos who had vied for the honor, whose partisans had lobbied intensely for them, and the uncertainty had been a major story in Italian newspapers. Burzio reigned at Scala, but it was not to be. Tina's reputation as Minnie was by now so secure that both Scala's management and the composer agreed that she deserved the honor. On 29 December, before a star studded audience, the Milan theater presented La Fanciulla del West for the first time with Poli Randaccio, Martinelli and Galeffi. Tullio Serafin was on the podium, and the clamor was so enormous that the opera was repeated fourteen times.

Tina repeated Minnie at Monte Carlo in February 1913 with Martinelli and George Baklanov, after which she sang the role at the site of its Italian premiere, the Costanzi of Rome. In the spring there were concerts at Modena in honor of the centenary of Verdi's birth and on 15 December, Tina sang in the world premiere of Mascagni's Parisina at La Scala under the composer's baton. The cast included Luisa Garibaldi, Hipolito Lazaro and Galeffi, and there were twelve performances. 

On 10 February 1914 Poli sang in the world premiere of Smareglia's Abisso and on 2 April in the world premiere of Alfano's Ombra di Don Giovanni, both at La Scala. In May she sang in Tosca at Milan's Teatro Carcano with Garbin and Viglione-Borghese and in October Tina participated in one of this century's most important stage debuts, that of Beniamino Gigli as Enzo, at Rovigo, on 15 October. It was the scene of veritable riots; a star had truly been born, and there were thirteen performances. Tina's year ended with Un Ballo in Maschera at Piacenza, a revival shared with the equally celebrated Celestina Boninsegna. 

Rome's Costanzi welcomed Tina back as Gioconda, Tosca and Minnie in the winter of 1915, and after Gioconda at Naples and Aida at Firenze, she sailed for South America and her debut at the Teatro Colon of Buenos Aires. On 25 May, Poli debuted as Gioconda in a cast that included Perini, Lazaro, and Riccardo Stracciari. La Prensa referred to her as "a major talent whose voice can send shivers down one's spine, so present and immediate is the reaction". On 6 June she sang Santuzza and on the 17th, she sang in a concert with Caruso, Bernardo de Muro, Mario Sammarco and Lazaro. The season ended with Tosca and had included performances with the company at Cordoba and Rosario, where she sang Tosca and Santuzza, and at Tucuman, where she sang Santuzza.

Tina traveled from Argentina to Santiago, Chile, and on 27 August, she opened the season at the Teatro Municipal in La Fanciulla del West. The work was so well received that an additional performance was added; it was the only opera to be seen as many as four times. She stayed at Santiago for two months, singing Tosca, Aida, Gioconda, Santuzza, the Trovatore Leonora and Maddalena di Coigny and appeared as Aida, Tosca, Gioconda and the Trovatore Leonora at Valparaiso. Tina returned to Buenos Aires in late October where, at the Teatro Coliseo, she sang all of her Chilean roles except for Maddalena, and after a brief rest, she undertook a long tour of the Caribbean Basin. World War I was in its most intense period and the safety of the Western Hemisphere certainly seemed more attractive than the dangers of Europe.

On 29 January 1916 Tina debuted at Havana as Aida, and later sang in Tosca, Il Trovatore, Cavalleria Rusticana, Iris, La Gioconda, Les Huguenots, and La Fanciulla del West. Her tenor partners were Lazaro and Zinoviev; Enrico Roggio carried most of the baritone weight and Amelita Galli-Curci appeared with Poli in Les Huguenots (in Italian). The company stayed at the Cuban capitol for nearly two months, then toured to Cienfuegos, Camaguey, Santiago de Cuba, Mananzas and in the late spring, to Costa Rica.

In November Tina returned to Italy for Tosca at Bologna with Aureliano Pertile and Jose Segura-Tallien and in January 1917 she sang at Milan's Dal Verme in a gala concert, including act 3 of Aida and act 4 of La Gioconda. At La Spezia she sang Aida, and in June Tina debuted at Zurich as Tosca with Gubellini and Sammarco. After singing Santuzza at the Swiss theater, she returned to the Dal Verme for Aida and at Genoa, she sang in La Gioconda with Vita Ferluga, Folco-Bottaro and Galeffi. 

Tina decided that the climate in Europe was not what the doctor ordered, and in fact, work was difficult to find for nearly everyone in 1917. Many of Italy's most important theaters were closed, and those that remained open presented very shortened seasons. Havana again beckoned and Tina returned in December for Aida, La Fanciulla del West, Les Huguenots, Tosca, La Gioconda, L'Africaine, La Boheme and a new opera, Doreya. Her colleagues included the tenor, Jose Palet, Edith Mason, Maria Barrientos and the basses, Nicoletti-Korman and Virgilio Lazzari. The tour again included Camaguey, Cienfuegos and Santiago. In mid March 1918, the company moved to San Juan and Ponce for a two month season in Puerto Rico. Poli sang the same roles and added Amelia in Un Ballo in Maschera. In June, at Caracas, Venezuela she sang in Aida, Tosca, Les Huguenots, La Gioconda and Cavalleria Rusticana. 

The Great War was over and Tina returned to the safety of a victorious Italy for La Gioconda at Bologna, Milan's Teatro Lirico and Firenze's La Pergola. On 18 December she reappeared in glory for the first of eleven performances of Aida at La Scala. The next few months were spent at Turin with Cavalleria Rusticana and Aida. It was during the revival of Aida that Tancredi Pasero made his absolute opera debut as Il Re, substituting for an indisposed colleague. It is with some pride that the author acknowledges this event, since Pasero's debut has always been listed as at Vicenza in La Sonnambula much later in the year. And with pleasure, I also acknowledge that this information was kindly provided by Robert Tuggle of the Metropolitan Opera Archives. 

After La Fanciulla del West at Trieste's Teatro Rossetti, in late November, Tina debuted as Aida at Barcelona's Liceo and in December she completed her engagement as Gioconda. In January 1920 Tina sang thirteen performances of Aida at Trieste's Teatro Verdi with the stellar cast of Giuseppina Zinetti, Miguel Fleta and Carmelo Maugeri. Rome's Costanzi welcomed Poli back with seven performances of La Gioconda and Genoa saw her as Santuzza in March. May was spent at the Fenice of Venice, where Tina sang in Suor Angelica with Elvira Casazza and in Aida. In June, she traveled to London for a debut at Covent Garden in Tosca with Fernand Ansseau and Dinh Ghilly and was very poorly received by both public and press who recoiled from her strong vibrato and melodramatic impersonations. Tina left London after one performance, never to return.

However, on 31 July she was welcomed with an enormous ovation at the Verona Arena when she sang in Aida with Zinetti and Pertile. After La Gioconda at Turin's Teatro Chiarella, Tina returned for a very long season at Barcelona, appearing in Aida, La Gioconda, Un Ballo in Maschera, Lucrezia Borgia, Cavalleria Rusticana and Ernani, as well as in act two of Tosca during a gala benefit. Her reviews were nothing short of magnificent and in Gioconda, she was heralded by several critics as the greatest that the city had ever seen or heard. The Liceo and Tina Poli Randaccio would continue their love affair over several more seasons. 

In 1921, Tina appeared at Brescia and Trieste for La Gioconda, Palermo for La Gioconda and La Fanciulla del West, Rome for Aida, the Milan Arena for La Gioconda, Vicenza for La Fanciulla del West with Ismaele Voltolini and Stabile, Venice for La Gioconda and at Parma on 29 December in a stellar revival of the Ponchielli work with Giannina Arangi Lombardi as Laura, Irene Minghini Cattaneo as La Cieca, Voltolini as Enzo, Noto as Barnaba and Bruno Carmassi as Alvise. 

The new year found her in revivals of La Fanciulla del West at Naples, Milan's Carcano and at Turin where she was joined by Voltolini and Apollo Granforte. The Dal Verme hosted Tina in Il Trovatore with Zinetti, John O'Sullivan and Benvenuto Franci in October, and after eleven performances of Les Huguenots at Bologna with O'Sullivan, Poli returned to Barcelona for Aida with Aurora Buades and Lazaro, Tosca with Lazaro and Les Huguenots with Cassini and Lazaro.

Tina debuted at Cairo on 27 January 1923 as Gioconda and continued her season as Minnie and Santuzza, after which she repeated all three roles at Alexandria. Santuzza was the role of her return to Milan's Teatro Lirico in May and on 11 August she appeared at Venice's Lido di San Nicola in Aida with the riveting Gabriella Besanzoni. In November, Trieste saw Poli as Gioconda and on the 22nd, she sang in a gala performance of Aida at Rome's Costanzi in honor of the King and Queen of Spain. Zinetti, De Muro and Enrico Molinari completed the stellar cast and the conductor was Mascagni. Tina's year ended at Mantua with four performances of Tosca, after which she appeared at Brescia's Teatro Grande in Loreley. Neapolitan audiences appreciated her Trovatore Leonora and Romans admired her in L'Africaine with Pasini, Giulio Crimi, Molinari and Pasero and in Tosca with Crimi and Stracciari.

In the summer Tina debuted at Vienna as Aida with Maria Gay, Giovanni Zenatello and Viglione-Borghese, a revival that had to be repeated sixteeen times before moving to Kaiserdam, Germany in September. Berlin saw her Santuzza before she returned to Barcelona in November for another daunting season. This time Tina sang in Aida, Les Huguenots, L'Africaine and a new work, Suor Beatrice. Though Tina Poli Randaccio is primarily remembered in Italy as the quintessential Italian dramatic soprano, she had by now appeared in twenty countries, and with the singular exception of England, had been rapturously received in all. There would be a twenty first. 

1925 began at Naples with L'Africaine and on 30 January, Tina returned to the Costanzi for La Fanciulla del West with Crimi and Parvis. After further performances of Tosca and Aida at the San Carlo in February, she returned to Rome for Il Trovatore and Aida. The Lido di San Nicola at Venice feted Tina to a serata di gala on 1 August as the prelude to an engagement as Aida at the Fenice, after which she sang in Tosca at Rimini with Pertile and Viglione-Borghese. In October, she returned to Genoa for La Gioconda, and on Christmas Night 1925, at Bari's Teatro Piccinni, she sang Norma for the first time. Though she sang six performances, it was not a great critical success, and she decided to drop plans for several other planned engagements in the role.

Trieste's Teatro Verdi hosted Tina in Abisso and Il Trovatore at the outset of 1926, after which she sang in La Fanciulla del West at Genoa's Carlo Felice, in Aida and a Benefit Concert at Rome's Costanzi, and in Il Trovatore at Naples' San Carlo, the last with Ebe Stignani. Poli had been singing for a quarter century and it had been an enormously intense and successful twenty five years, but Father Time, as he will, began to play his inevitable role. After Naples, it was not until September that Tina again appeared on a stage, when she debuted at the Athens Arena in Aida with Franco Battaglia. And so, her year ended.

La Scala beckoned one more time, and, on 9 March 1927, Tina sang in the world premiere of Guarino's Madame de Challant with Francesco Merli and Carlo Morelli, and with these three performances she said farewell to the theater that had presented her as its first Minnie, and in four world premieres. 

Naples again welcomed Tina for Il Trovatore and Aida, and she debuted at Modena's Teatro Comunale in April as Gioconda, and, a week later she unveiled the role of Turandot at the Comunale. At Milan's Carcano she sang in Isabeau and at year's end she returned to Barcelona for the last time, appearing in Aida and La Gioconda, with identical casts, Zinetti, Aroldo Lindi, Granforte and Vela. 

In February of 1928 Tina sang in Turandot at the San Carlo and in February, she bade farewell to Naples as Gioconda. In April she returned to Rome, where, at the newly named Teatro Reale, she sang for the last time, when she appeared in Il Trovatore. Her last engagement of 1928 was as Isabeau at Livorno in a revival conducted by Mascagni. 

In 1929, Tina sang Gioconda and Santuzza at Milan's Lirico, Turandot at Nice, which is listed in the program as the French premiere of the Puccini opera, Aida at La Spezia and Tosca at Firenze's Teatro Verdi. In 1930, her only Italian engagements were at Genoa where she sang Isabeau, Aida, and Santuzza, after which she sailed to Caracas for a season as Gioconda, Tosca, Maddalena di Coigny, Santuzza and Elena in Mefistofele. There would be no further engagements outside of Italy, and few enough in her homeland though she continued to appear for another six years. 

In 1931, she sang Santuzza at Bergamo, Gioconda for Italian Radio both at Rome and Turin, Gioconda in Palermo's Teatro Garibaldi, Nedda at Isola, and Aida at Biela and at Rome's Teatro Adriano. In 1932 she sang in Gioconda at Crema and in Tosca at Milan's Teatro Puccini and at Brescia. 1933 found her again at the Puccini for Isabeau, at the Adriano for Minnie and Aida, and at Milan's Politeama for Santuzza.

In 1934 she returned to Norma, which had played so minor a role in her career, and she sang it at both Monza and the Lido of Pesaro. At Pesaro she also sang Santuzza, a role repeated at Milan's Arena. At year's end she sang Aida at Milan's Nazionale and at the Puccini she sang in La Forza del Destino, a role repeated at Foggia in early 1935. At Foggia she also sang Santuzza. The end came in early 1936, where at Asti and finally at Modena Tina Poli Randaccio sang her opera farwell as Santuzza. The career had encompassed nearly fifty roles, and had presented her on the stages of the World over fifteen hundred times, a monumental parade of memories for nearly two generations of opera goers.

After retiring from the stage, Tina abandoned musical life almost entirely, and died at Milan on 10 February 1956.

[theretirementstory]

Good morning from a cloudy Bar-sur-Aube where it’s currently 9c. I wouldn’t care if there was 6 feet of snow, I am home, with my son, just being in my own home has put a smile on my face.

I had settled myself at the hospital and was managing to eat a bit more than I had (not as much as I am eating at home). I was told I could eat a normal diet and so today we are booked to have lunch at the lovely restaurant. I am on three protein drinks a day, it’s good because sometimes I feel hungry just a couple of hours after a meal and these protein drinks are timed to have then.

So it’s “The Photographer” who has come to visit me and I was following his flight getting more and more excited at the prospect of seeing him. He hired a car at the airport and drove down first to see me in the hospital then onto my home. He thought the car was going to be a Mazda but no he is in a big Lexus 😳, it’s nice to sit in and he likes it to drive.

My friend Anie invited him for a small repas on Wednesday evening and although he had never met her before he enjoyed her company for a couple of hours. He said by the time he was leaving, his brain was frazzled and he could hardly string English words into a sentence never mind French!

I had to have an echocardiogram and electrocardiography but was told that my heart is strong and so the cardiologist confirmed I can have the treatment. It’s small steps but in the right direction.

Anyone who is a blood donor, I salute you! The platelet transfusions I have needed have been on an almost daily basis and without those I would have been in a pretty poor state.

The food at hospital seemed to improve (think it was just me feeling hungry). I was eating a big breakfast, sometimes lunch was the best meal or it was dinner but I also asked for yoghurts etc to eat at night.

The sport coach returned, he had had a weeks holiday, we did the exercises, I managed all repetitions and he was pleased. Not so when I cried off on Wednesday but it had been a busy day and I was exhausted.

Having unloaded a lot of the anxieties that had been with me about getting my affairs in order, I really feel lightened. Still got some things to do, and I will, but a lot of the mundane has gone.

So Friday I was released, oh wow did it feel good to walk into my house again and to gaze out at my flowers in the garden. Simple pleasures but they mean so much! I go back to the day unit on Monday afternoon for a transfusion and on Wednesday morning it is my PET scan but other than that, I am home, for the short term.

My neighbours asked if they could come to see me, of course they could, they were so happy. They said again that I don’t look ill and never have done. I said I am hungry all the time which they see as a good sign.

So what has been happening in the lives of my other members of the “clan”.

“The Trainee Solicitor” has been stressed with staff absences at work, they really need another couple of secretaries, then, he can move onto his training plan in earnest. Well he went to the boss with a plan, as far as I know that has been implemented and one interview has taken place with ��another couple due this coming week. It won’t make his job that much easier but he won’t have to be “firefighting” and can get on with his own caseload.

“The Reconnect Navigator” had a wonderful birthday. She said she had been totally spoilt! Well that’s what birthdays are about aren’t they? She is settling in at work and is looking forward to dealing with her own cases soon. The best day of the month is rapidly approaching, “pay day.” I still look forward to mine and it’s my pension 😂😂.

Now “The Jetsetter”, took off for Italy, she flew into Bologna, had a day in Venice and a day in Florence. How amazing! I know “apérol” has been consumed (I have seen the photos) but I imagine that there may well have been some “gelato” along with lasagne, mortadella and perhaps even Tigelle.

My gorgeous grandchildren are with their Mum and on Tuesday evening there was a video call in the hospital, it was good to see them as it was an added bonus.

I think “The Photographer” has enjoyed his stay in my house. He has been out and about, practising his French, at the Bar-sur-Aube football match yesterday taking photos. My house is so quiet too, it means that he can get a good sleep. He said the other night was amazing with such fantastic visibility that the constellations were on full view.

Oh don’t worry I hadn’t forgotten the music section. My first piece of music is by Stevie Wonder, so many to choose from but I like this from 1973 it’s “Higher Ground”. Second song is from 1990 it’s “In Private” by Dusty Springfield. Again this lady has such a catalogue of hits and I must say I am a big fan.

Wishing you all a great day, on this 17th March, St Patrick’s Day.

[donfermin]

https://www.tumblr.com/donfermin/740930630986203136?source=share

what does the tweet says?

it was a reply to this tweet, that says: "the real news is that, according to Fabrizio Romano, Thiago Motta is not an option for Barcelona because right now he prefers to stay with Bologna for another season"

and Fabrizio Romano replied: "no, it was translated incorrectly. I said right now Thiago Motta is not an option for Barcelona because, as far as I know, he will stay in Italy. Never said he will stay with Bologna, actually I think he won't" (rumours say that he could be Juve's next coach)

[senorablack]

I'm Beginning to Understand, There's No Mystery to This Man

Words: 5428 Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Relationships: Steve Harrington/Eddie Munson Additional Tags: High School, Pre-Season/Series 04, Oblivious Eddie Munson, POV Eddie Munson, Fluff and Humor, Chrissy Cunningham & Eddie Munson Friendship, Angst, Eddie Munson Has a Crush on Steve Harrington Summary: Four times Eddie thinks Steve Harrington’s fucking with him, plus one time he accepts the compliment. Alternatively, the one where Steve’s been blatant since freshman year and Eddie’s really thick.

It’s ‘82 and Eddie’s legs just aren’t working like they should. His voice has evened, finally, but his body has gone and re-invented itself over night without his permission. There are new secretions everywhere. There are these smells, right, these peak-a-boo death odors that no amount of deodorant and the exact 1.5 sprits of ole Wayne’s Cool Water can mask. Then there are the boners—erections with a talent of showing up, not only unannounced, but as if they kicked opened the parlor door of a funeral home all spirit fingers and show tunes. It’d be an impressive bit of showmanship—because Eddie’s a big fan of how his teenage dick has been filling out—if they’d been invited. They’re not though, not ever and certainly not the fuck now. 

He’s been trying for several long minutes to divert one of those pesky (peck-y?) devils from an acute drop in, staring hazardously at the way some of the other boys’ shoulder blades turn in when they move their arms, how sweat drips down their bare spine and darken the waistband of their gym shorts—when his foot catches on a lodged-in rock during the mile. Coach clocks him instantly (the bastard has been up his ass since the beginning of the year), uses that hell-siren of a whistle, and calls for someone to bring the first aid kit.

Eddie wishes he can blame the fact that he’s got these new factory model legs while he’s shifting through last years manual, la version en espanol, all done so with a good attitude and 8th grade foreign language, but he can’t. He’s literally just this unlucky. How he’d managed to trip on the only rock in an otherwise smooth track at Hawkins High is pretty much a message from the universe and it’s saying, hey buddy, maybe it’s time to admit that you and your Bambi legs are discounted bologna, hm? Have you tried not sucking ass because that seems to work for the other kids.

  He’s so busy envisioning all the mean things the universe is plotting against him and saying behind his back, and hissing at the mild pain that’s starting to blossom, that he doesn’t notice that someone’s approached him. 

“Munson right?” Says a shadow. Eddie has to shade the sun from his eyes when he looks up.

It’s Steve Harrington, the burgeoning legend himself. He’s this dude with lots of money, charisma and hair. Lots of hair, on his head and dotting his chin, and up his chest and dusting his belly and down into—Eddie swallows. 

“What’s it to you?”

[crazyf0rswayze]

What are some headcanons running around in your head rn (doesn't have to be the outsiders related)

Here ya go bud...

-Rocky Balboa hates bologna....idfk why but he does

-Andrew Clarke wishes he didn't have to wear his varsity jacket bc he doesn't think his sport defines him as a person

-John Bender doesn't give a shit that his family is horrible. He's gone completely numb to it

-Tex likes strawberry ice cream bc I said so

-Dalton (road House) is either very ashamed or very proud of the scars he has bc of being a cooler

-Dalton likes when his SO kisses his scars during spicy time bc it makes him more confident in them

-Brian (Breakfast Club) wants to either be like Bender or Andrew. He wants to have that 'idgaf' attitude but deep down he does care and it gets hard for him to hide it

-Clair wishes she wasn't popular. She wants to go back to simpler times

-Johnny Castle used to ice skate

-Johnny Castle likes blondes and red heads

-Johnny Castle rode horses

-Rocky (I've only watched the first movie btw) wants to beat Paulie bc of how he treats Adrian

-Rocky would beat anyone who catcalls his SO or flirts or ANYTHING

-Charlie from MD wants to learn how to figure skate

-If Charlie had an SO on the opposing team he would flirt to make their guard go down

-yk all the pranks is MD 3...yea Charlie would make sure his SO is not involved bc he wants them safe

-Gordon/Coach thinks of his players as his kids and would protect them with his life.

-Gordon would keep his SO away from his old coach at all costs bc he's scared of them getting hurt

-doesn't what his SO involved it hockey bc of what he went through

-Luis also keeps his SO out of all the pranks

-SO definitely helps him learn how to stop on his skates

-wants his SO involved in hockey so they have more to talk about

-Ferris would protect Cameron with his damn life.

[accessible-tumbling]

ID 1: A post by Cat @Cat_LeFey@pagan.plus: My kid is in a club at school, and they meet 4x a week for 4 hours. So all the parents chip in and stock a "snack cabinet" (granola bars, juice boxes, etc.) because teenagers are hungry goblins. I went to fill the cabinet and noticed a padlock on it, apparently someone had been "stealing." I admit, this triggered me. I spoke to the coach and told him that perhaps he should talk to the kids and find out if one of them is food insecure instead of locking up some two dollar box of granola bars. The look on his face, I could tell it kinda clicked, he didn't even think of that, just assumed it was some punk kid breaking rules. People who grow up with wealth don't even realize that it changes the way they think. Luckily, he's a cool guy, and he was horrified that one of 'his kids' might be hungry at home. Sometimes it just takes one comment to open up someone's eyes to their privilege. As I tell my own children: If you see someone stealing food, no you didn't.

ID 2: In response to the question "My teenager got caught getting food at 1:00 AM. What should I do?", Charisse Watson responds: "Got caught"? It's food, not drugs. Feed the child. Christ, why is this even a question? If they're hungry at 1 am, that means they didn't eat enough at dinner. Increase their food portions and snack times, and decrease your judgement. In fact, it would be a cute idea to create a midnight snack platter for when your teen is hungry in the middle of the night. Cheese, crackers, grapes, strawberries, sliced bologna/ham/turkey, just throw it on a plate with some plastic wrap and a note saying "You must be starving, eat it all! Love you" And then go to sleep and stop obsessing over stupid shit. End ID.

Check you privilege every day

[sardies]

La Dinamo si mangia la Virtus

Esordio casalingo indimenticabile per coach Bulleri. I biancoblù giocano la miglior partita della stagione, battono 76-68 Bologna e iniziano un nuovo percorso Continue reading La Dinamo si mangia la Virtus

[rmfantasysetpieces1]

A Final Day of the UEFA Champions League left

Feyenoord defeat Bayern 3-0 a guardiolist who relegated burnley showed his true colors.

MCFC lose 4-2 after leading by two goals- Fernandhino vs Viniciusjr + Nunes vs Barcola , the third psg goal a free header. PSG can't defend, and MCFC can't defend worse,like Benfica the day before. But like BArcelona, PSG came back

while Real MAdrid scored five goals, and none of them were from defensive errors like raphinha's two against Benfica, both of raphinha's goals came through defensive errors of Benfica, the keeper passed to raphinha and then benfica didn't even have correct defensive posture and the benfica keeper came out silly.

As the group stage ends you can see the teams who collectively defend well and collectively attack well, or who have a balance where they implement their attack or defense to a plan.

Thank you Henry, Guardiola coached a team that was exposed the same way twice by PSG . And again, no one in media is suggesting Guardiola has had it but many in media suggest Ancelotti is out of it.

Silly fools. Barca and MCFC and PSG are all ripe to get knocked out with their defense, each is exposed, run and gun eventually catches up to you

My one club in the tournament Atletico Madrid have red bull salzburg.. a tough match. It is clear from round 7, that salzburg will go for it, so the rotation need to be up for it.

For Ligue1

Monaco face Inter Milan - Inter Milan will want to end in the first quadrant so this is a vital match for the youth in the squad or the monaco squad itself. The experience, the possibilities. They are guaranteed the playoffs so go for it. The media ranks Inter Milan higher but the truth is Monaco is a youth team, they lack the experience so it is uncertain how they will play. But I think an even match.

Lille face Feyenoord- A battle, another battle, Lille have no reason to not go for it. It will be a great experience , again, a test to Lille, One against an opponent not rated higher than them. But it will be an even match for me.

Brest face Real Madrid- Brest are a battling team but Real Madrid has the most weapons of a team in the tournament, and Ancelotti is finding the balance with the squad and will not disrespect Brest. Brest must be ready to fight.

PSG vs Stuttgart- Stuttgart will battle for their lives. PSG have young weapons who are growing, and thank you Luis Enrique for explaining to pundits that PSG in the galactique era can't be compared to psg in the , what i call, coequipe era. The issue with PSG is they can't defend, they came back but they came back because their defense is weak, run and gun costs you and psg must win, if both psg + stuttgart draw and mcfc win, mcfc is through.

UEFA CHAMPIONS LEAGUE 2024-2025 GROUP STAGE

1st quadrant- round of 16 seeded

mandatory 1st quadrant Liverpool Barcelona

mandatory 1st or 2nd quadrant Arsenal Inter Milan

mandatory 1st or 2nd or 3rd quadrant Atlético Madrid AC Milan Atalanta Bayer Leverkusen

2nd quadrant- playoff seeded Aston Villa Monaco Feyenoord Lille Brest Borussia Dortmund Bayern Munich Real Madrid

3rd quadrant- playoff unseeded Juventus Celtic

Can still enter the 4th quadrant PSV Eindhoven Club Brugge Benfica Paris Saint-Germain Sporting CP VfB Stuttgart

4th quadrant- eliminated Manchester City Dinamo Zagreb Shakhtar Donetsk Bologna Sparta Prague RB Leipzig Girona Red Star Belgrade Sturm Graz Red Bull Salzburg Slovan Bratislava Young Boys

#rmsoccer

[cryptoto]

Borussia Dortmund takes the decision of Erik ten Hag after the dismissal of the coach

Erik ten Hag, who had been tipped to take over at Borussia Dortmund, will not replace Nuri Sahi following his sacking on Wednesday, reports in Germany claim. Sahin, who only took over at Dortmund in the summer, was relieved of his duties following the 2-1 defeat to Bologna in Champions League, although it is the club's poor performance in the Bundesliga that is largely responsible for his…

[hamsdd]

Borussia Dortmund takes the decision of Erik ten Hag after the dismissal of the coach

Erik ten Hag, who had been tipped to take over at Borussia Dortmund, will not replace Nuri Sahi following his sacking on Wednesday, reports in Germany claim. Sahin, who only took over at Dortmund in the summer, was relieved of his duties following the 2-1 defeat to Bologna in Champions League, although it is the club's poor performance in the Bundesliga that is largely responsible for his…

[nardogranata]

D'Anna salva il Nardò da una sconfitta certa.

REAL ACERRANA - NARDÒ 2-2

Goal: 3' D'Anna, 31' Elefante, 53' Ndiaye, 94' D'Anna.

R. ACERRANA: Rendina, Todisco, Fontana, De Giorgi; Caminiti, Fabiano, Esposito, Langella; Ndiaye (77' De Simone), Laringe, Elefante (74' Samb).

Reserve: Moccia, Mundula, Barillari, Thiaw, Cuomo, Saviano, Gaeta. Coach: Giovanni Sannazzaro.

NARDO': De Luca; Muňoz (78' Delvino), Davì (60' Gatto), Fornasier, Pinto, De Crescenzo (83' Montagna); Correnti, Vrdoljak, Milli (54' Ciracì); D'Anna, Piazza (54' Maletic);

Reserve: Galli, Gianfreda, Orlando, Gemma. Coach: Fabio De Sanzo

Arbitro: Alessio Vincenzi di Bologna. Assistenti: Andrea Della Bartola di Pisa e Giacomo Ginanneschi di Grosseto.

Ammoniti: De Giorgi, Elefante (RA)

Il derby dei tori granata finisce in parità. Apre e chiude Simone D'anna con due goal di classe ed esperienza, in mezzo tanta Acerrana con un Laringe straripante, due goal di pregevole fattura di Elefante e Ndiaye e le parate di De Luca che hanno tenuto in piedi la squadra neretina fino alla prodezza finale di D'Anna.

Sfugge ancora allo scdere il risultato agli acerrani che oggi per volume di gioco, determinazione e occasioni da goal avrebbero meritato la vittoria ma non hanno fatto i conti con un giocatore che in questa categoria segna la differenza tra la normalità e la classe.

Lode a Simone D'Anna ma anche a Laringe che dalla parte campana ha illuminato il gioco con scatti, dribbling e potenza atletica ribadendo, non a torto, che è uno degli oggetti del desiderio di molti club di alta classifica.

La cronaca.

Il Nardò parte forte e va subito in goal. Al 3' punizione-lancio di Vrdoljak verso l'area, Rendina non trattiene il pallone, piomba come un falco D'Anna e insacca.

Reazione acerrana con un corner di Langella respinto da Fornasier.

Al 6' goal annullato a Laringe per fuorigioco

Al 12' cross di Ndiaye accompagnato fuori da De Luca.

18' punizione di Fabiano, barriera aggirata con pallone alto.

Al 22' Laringe per Ndiaye, filtrante in area respinto da Fornasier tre minuti dopo, corner di Esposito, testata di De Giorgi, para a terra De Luca.

Al 31' arriva il pareggio dell'Acerrana: incursione e tiro di Todisco deviato da Elefante sottoporta. De Luca è battuto. 1-1.

Reazione Nardò. Al 37' discesa e cross radente di Correnti, D'Anna sfiora l'impatto vincente.

Finisce il primo tempo sull'1-1.

Secondo tempo.

Punizione cross di Langella, allontana di testa Fornasier.

50' tiro di Esposito alto. Il Nardò prova a rispondere ma si sbilancia. Al 53' difesa neretina scoperta, Laringe appoggia per Ndiaye che si inserisce e batte De Luca. 2-1

De Sanzo corre ai ripari. Entrano Maletic per Piazza e Ciracì per Milli. Il Nardò non riesce a rendersi pericoloso e rischia la capitolazione. Al 60' pericolosa ripartenza di Laringe, pallone troppo lungo per Esposito. Al 70' De Luca salva miracolosamente su Ndiaye.

Al 73' tiro di Laringe deviato da Pinto in corner. Il Nardò vacilla ma non crolla.

Al 77 discesa e cross di Gatto. Troppo lungo per Maletic.

L'Acerrana sfiora ripetutamente il terzo goal. All'81' De Luca para in uscita su Laringe, un minuto dopo gran tiro di Laringe e De Luca devia in corner.

Il Nardò si rende pericoloso solo nel finale. All'86' punizione dal limite di D'Anna. Rendina si salva affannosamente. Sembra fatta per l'Acerrana invece Maletic appoggia di testa in area per D'Anna che in semi rovesciata acrobatica batte Rendina e chiude i conti. 2-2.

Tanto rammarico per l'Acerrana, un punto sgraffignato da un Nardò sottotono.