@ttereir: majestueux #ballet #ballerina #pasdedeux #balletcore #balletdancer #royalballet #fypdong #aesthetic #giselleballet #swanlake #nutcracker #labayadere #fyy

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teab
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Monday 04 August 2025 21:50:28 GMT
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_..alicq.._
️ :
oh to live in a world where everything isn't sexualized
2025-08-06 17:29:53
13964
fatjigglyasssuckerrr69r
fatjigglyasssuckerrr69r :
2025-08-06 08:56:55
8827
liliths_home
Lilieshome :
people acting like they have never seen a male ballet dancer.
2025-08-08 21:25:24
11
seba45361
Se🇸🇦 :
بنين ستارز أعاده نشره !!!!!!!
2025-08-06 12:52:32
374
lst.84
𝐋'ᥫ᭡ :
me when golden brown..:
2025-08-06 21:35:44
6740
777lottie
Scarlett 💌 :
I hate the people in these comments ballet is meant to be art and our bodies are art too, so there is absolutely no need to sexualise the man
2025-08-06 17:46:01
2613
kaka.ly1
ka ✓ :
what is that????
2025-08-07 11:22:59
317
rqxt7r
⃟ :
2025-08-07 16:21:04
8
0enzo_06
Enzo :
What is THAAAT
2025-08-07 12:35:57
45
joud1312111
جَ :
2025-08-07 13:18:18
1378
kyna351
avatar 🌪️✨ :
2025-08-05 17:29:08
4294
myrm_bsl0
°{•🪭Luffytaro🪭•}° :
what the hell?
2025-08-06 17:42:06
10
vspm.01
Mischa :
ballet has to be the prettiest sport
2025-08-06 21:14:56
1363
ng_ah214
، :
2025-08-07 16:38:10
1550
2die4.ha
H :
You thought we thought we all thought 💀
2025-08-06 11:13:38
54
hanu_jsh
hanu-jhi🇦🇱 :
this is so beautiful
2025-08-06 21:05:53
1373
sidra_ff56
𝑺𝒊𝒅𝒓𝒂 :
2025-08-06 18:52:02
518
lujain_77l
L :
2025-08-07 15:45:29
571
lalehreya
shreya :
oh my eyes 😭😭
2025-08-05 20:27:34
552
aria.ezzati
Haruki :
💐من اصلا منحرف نیستم
2025-08-05 23:46:31
478
melodyk9014
زن میهن😔💅🏻 :
I wish I wasn't born in Iran..🙂:))
2025-08-05 16:47:09
320
kajinkyprivat
kajinkyprivat :
Oh why did I give up ballet..
2025-08-06 20:24:06
320
c3m3tr11ezz
~{DEEDEE}~ :
I with I didn't leave ballet when I was little
2025-08-05 21:46:25
898
uhm.771
Daria :
These comments… just enjoy the dance💔
2025-08-10 01:35:41
53
esmelole
️ :
Mi sueño frustrado:
2025-08-04 22:32:13
539
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The aria “Nessun dorma” is one of the most celebrated pieces in the world of opera, composed by Giacomo Puccini for Act III of his opera Turandot. It is sung by the character Calaf, an unknown prince who, after solving three riddles posed by Princess Turandot, offers her one final challenge: if she discovers his name by dawn, he will accept death. The aria is sung during this tense night, with Calaf confidently declaring she will never discover it, ending triumphantly with “All’alba, vincerò!” (“At dawn, I shall win!”). The music conveys hope, courage, and the inevitable victory of love—all set against a mysterious nocturnal backdrop. Musically, “Nessun dorma” is written in 4/4 time, typically in the key of D major, with a lyrical melody that gradually intensifies, climaxing in the iconic “Vincerò!” sustained on a high B4. The harmonic structure is relatively simple, allowing the tenor’s pure emotion and vocal power to shine. Puccini’s orchestration is delicate: strings provide a suspended, almost ethereal atmosphere, while the brass adds drama in moments of declaration. A notable fact is that Puccini died in 1924 before completing the opera, and it was finished by Franco Alfano based on Puccini’s sketches. So while “Nessun dorma” was Puccini’s creation, its placement and final context were completed posthumously. Franco Corelli’s interpretation of the aria is among the most powerful in opera history and quite different from Luciano Pavarotti’s. While Pavarotti sang with grace and velvet tone, Corelli chose a more dramatic, passionate, and heroic delivery, using rubato freely and emphasizing emotional depth. He often held the final “Vincerò” note much longer, creating a nearly epic sense of triumph. His fearless phrasing, vocal strength, and stage charisma made this version legendary, particularly in live performances such as at the Teatro dell’Opera di Roma in the 1960s. Historically, this aria has transcended the operatic world, becoming a symbol of victory and determination—famously used in global events like the 1990 FIFA World Cup, where Pavarotti’s version became an unofficial anthem. #corelli #classicalmusic #puccini #opera #fyp
The aria “Nessun dorma” is one of the most celebrated pieces in the world of opera, composed by Giacomo Puccini for Act III of his opera Turandot. It is sung by the character Calaf, an unknown prince who, after solving three riddles posed by Princess Turandot, offers her one final challenge: if she discovers his name by dawn, he will accept death. The aria is sung during this tense night, with Calaf confidently declaring she will never discover it, ending triumphantly with “All’alba, vincerò!” (“At dawn, I shall win!”). The music conveys hope, courage, and the inevitable victory of love—all set against a mysterious nocturnal backdrop. Musically, “Nessun dorma” is written in 4/4 time, typically in the key of D major, with a lyrical melody that gradually intensifies, climaxing in the iconic “Vincerò!” sustained on a high B4. The harmonic structure is relatively simple, allowing the tenor’s pure emotion and vocal power to shine. Puccini’s orchestration is delicate: strings provide a suspended, almost ethereal atmosphere, while the brass adds drama in moments of declaration. A notable fact is that Puccini died in 1924 before completing the opera, and it was finished by Franco Alfano based on Puccini’s sketches. So while “Nessun dorma” was Puccini’s creation, its placement and final context were completed posthumously. Franco Corelli’s interpretation of the aria is among the most powerful in opera history and quite different from Luciano Pavarotti’s. While Pavarotti sang with grace and velvet tone, Corelli chose a more dramatic, passionate, and heroic delivery, using rubato freely and emphasizing emotional depth. He often held the final “Vincerò” note much longer, creating a nearly epic sense of triumph. His fearless phrasing, vocal strength, and stage charisma made this version legendary, particularly in live performances such as at the Teatro dell’Opera di Roma in the 1960s. Historically, this aria has transcended the operatic world, becoming a symbol of victory and determination—famously used in global events like the 1990 FIFA World Cup, where Pavarotti’s version became an unofficial anthem. #corelli #classicalmusic #puccini #opera #fyp
The piece
The piece "Summer" (L’estate) is part of the famous cycle “The Four Seasons” (Le Quattro Stagioni) composed by Antonio Vivaldi around 1723 and published in 1725 within the collection Il cimento dell’armonia e dell’inventione, Op. 8. This cycle is among the earliest examples of program music, portraying vivid scenes from each season with accompanying descriptive sonnets—possibly written by Vivaldi himself. In "Summer," he evokes oppressive heat, buzzing insects, looming thunderstorms, and a terrified peasant overwhelmed by nature's fury. The concerto is structured in three movements: 1. Allegro non molto – conveys the exhaustion of summer heat with suspenseful pauses expressing dread. 2. Adagio e piano – Presto e forte – features bird calls (cuckoos, doves, finches), later interrupted by swarms of gnats and flies. Signs of the coming storm creep in. 3. Presto – the storm erupts in full force. Vivaldi uses 3/4 and 4/4 time signatures, cascading scales, and rapid semi-quaver passages to depict thunder, lightning, and chaos. A fascinating musical detail: “Summer” uses tone painting or musical onomatopoeia, a technique rare in Baroque. Vivaldi captures buzzing insects with staccato, thunder with tremolos, and lightning with sudden dynamic changes. This concerto was revolutionary, influencing composers like Astor Piazzolla, who reimagined the seasons with a tango twist. Scholarly sources like the British Library and Grove Music Online affirm that Vivaldi likely wrote both the music and the poetic texts, merging music and literature in an innovative way for his time. #classicalmusic #violin #vivaldi #baroque #fyp

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