PDF Gli insospettati (Pandora) (Italian Edition)

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You need to gauge his responses. Or he may want to slow things down. You may have come off to strong. The key here is having realistic expectations and changing how you text depending on the quality and quantity of his responses. Don't start the text and then just stop Now this is just cruel. Don't attempt to have serious conversations via text "We need to talk. No long essays about your feelings I get it.

Gay Dating: The 5 Principles of Gay Body Language

The truth leaks out of our bodies like a pockmarked water pail. As soon as we put a finger in one hole another one opens up. You may think you look calm, cool and collected, but look down -- your foot's tapping the floor like a woodpecker. Sexual signals bounce all over the place whenever gay men get together, and they're being sent with heads, eyes, arms, hands, legs, and feet.

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Long story, keep reading. Your body language changes when you see somebody hot. And you're usually not aware of it. Hidden camera studies show that a man's posture changes when he sees somebody that turns him on.


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He, or more to the point, YOU, will:. Body language doesn't just reflect your inner emotions. Keeping your body language "open" isn't just critical to changing other people's moods and attitudes; it's critical to changing yours. This concept doesn't just apply to your hands or your palms; it applies to everything. The best of them those who aimed at the Prix de Rome the object of every ambitious student had to come to his house at seven o'clock in the morning and go through their paces assiduously.

He knew how to make his lessons interesting as well as exacting. In the words of Schneider: He did not confine his hints to matters of technic, but laid bare the inner spirit of the pieces he analysed. But he devoted himself to showing these young folks how to compose a cantata, how to give life to a lyric scene.

They were practical lessons, having in view the securing of the Prix de Rome, the apogee of a Conservatory course. In Massenet resigned his professorship.

During the eighteen years of his activity as pro- fessor he had found time to compose nine operas: But he was now fifty-four years old and felt that he ought to save all his energies for his creative work. His resignation was greatly regretted. It occurred in the same year that Ambroise Thomas died. The post of director, thus made vacant, was offered to Massenet, but even this supreme honour could not persuade him to change his mind.

The story of his life since is simply the story of his operas, which will be related in other chapters, together with diverse personal expe- riences connected with them, amdng which those to be told in the chapter on Werther are of par- ticular interest. He wears his hair long, somewhat wavy at the back, and a blond moustache. His eyes are very quick in their movements; the expression is very gentle.

His profile is finely cut. His shoulders are slightly stooping and he seems short, although he is of medium height. His movements are full of an ever-present, nervous vivacity. Just to see him one feels how natural is that feverish activity with which he spends himself, either in work, or in lessons, or in trips to foreign countries. Once the score is learned, the opera performed, he escapes ovations and returns to Paris.

Quantities of wreaths, adorned with inscriptions in many tongues, faded laurels to which hang old ribbons, preserved their memory, hung on the walls of a sort of sanctum at the publisher Hartmann's, who had constituted himself the faithful depository of these treasures.

It was here, in Daunon street, that Massenet could be found daily from five to seven; here that he received musicians desirous of knowing him, singers looking for an engage- ment, newspaper men eager for first news of his latest work. Hartmann attended to practical matters, the master, with untiring oblig- ingness, had an answer for everyone of these more or less importunate visitors, a few words which left each one satisfied.

He exaggerates this kindness even to the weakness of extolling works he knows are not worth much. One wishes sometimes to see awake in him the instinctive horror of the artist toward platitudes even those signed by great names toward successes pur- chased by unfortunate concessions to bad taste. His kindness remains unalterable and is equalled only by his desire to win the good graces of his interlocutors. One could not be more sensitive to criticism than he is to the darts and arrows of the press, of friends and of others, all of which he dreads equally.

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When the day draws near for the public dress rehearsal of one of his operas he flees Paris, irritable and in bad humour. Some Lamento for orchestra, which was performed on October 31, , at the concert du Chatelet. Gallet had written for the occasion a poem which was recited by Mme. Galli-Marie to the accompaniment of the adagietto from L'ArUsienne.

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At the end M. Colonne performed the overture Patrie which Bizet had dedicated the year before to his friend Massenet. His great sensitiveness is simply a corollary of his kindness. His amiability is so general, that it seems hard for him not to get the benefit of the same disposition on the part of others. At bottom all this conceals, perhaps, an incom- mensurable timidity. Every day you listen to a crowd of singers, you attend every rehear- sal, and, besides, you are professor at the Conservatoire.

When do you find time to work? Every morning from five to ten sees him at his table, busy with his manuscripts or his corre- spondence. No letter remains unanswered, and for every visitor he has a few minutes to spare, provided he is punctual. Casual callers he re- ceives in his studio at his publisher's office. His home, at figreville Seine-et-Marne , is open to his friends only. Here he cultivates the flowers he loves, and gives to his grapevines his per- sonal attention.

Here, in rural solitude, and quiet, he also composes his operas. He calls the wearing of this, "homarder," Schneider tells us "homard" being French for lobster. Concerning his method of composing, Imbert gives these details: His dexterity equals that of the composer of the Danse Macabre, who also, like Massenet, composes without the aid of the piano.

There is never a rough orchestral draft, so to speak, of the score; not that he never goes over again what he has written; but on the whole there are few correc- tions. The minutest shades, the movements of the bow, even, are marked with scrupulous care. But the composer is so sure of what he does that he sends the orchestral score to the printer before it has been played, and it is this score that the conductor uses.

He was brought up by Jesuits a ' se'minariste,' and has remained true to his bringing up, having thorough- ly imbibed their principles. He would call a singer, man or woman, the most insulting names to a third person, then, if a phrase pleased him, change his tone completely to the artist or even change with no specially good reason. And the women reciprocated. As Schneider puts it, "a woman is like a child; she goes instinctively to the person who loves her. This explains why his incessant glorification of woman made all women like him.

When Esclarmonde was about to be given, he wrote to Miss Sander- son: You are making your dbut, but I predict for you a future also unique. Later on, when speaking of theatrical glory, people will name Sanderson. The dis- tinctions conferred on him by men evince the contrary. Doubtless the distinguishing trait of this music is a feminine tenderness, but this tenderness appeals to many men as much as it does to any women. A spiteful critic wrote subsequently that he did this to advertise himself. But in Massenet was already a very famous man, who did not need to exhibit himself as a "virtuose de la reclame.

In a letter to the author dated August 6, , a few pages of which are reproduced herewith in facsimile, he says: With this letter he sent an autograph copy of the melody of his iLUgie for this volume, which is reproduced on another page.

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It has been frequently intimated by un- sympathetic critics that he is capable of being moved by only two sentiments the love for t. Those who made this insinuation could not have heard his Navarraise; nor could they have read, in his autobiographic sketch in The Century Magazine, his truly masculine and impassioned outburst of patriotic fervour and grief. To cite a few lines of this: To several of these friendships refer- ence has been made in the preceding pages.

When Ambroise Thomas died, Massenet de- livered the address at the obsequies. In this ad- dress he said: There are also rivers of azure tint, which flow on calmly and majestically, enriching the plains they pass -through.

The much longer discourse delivered by him on the occasion of the unveiling of a monument to Me'hul may be found in Imbert's Profiles d'Artistes, pp. Massenet extricated himself with the following diplomatic letter: In Le Figaro of January 19, , there appeared an interview in which he spoke of Wagner's in- fluence: My professor's chair at the Conservatoire has protected me from these excessive enthusiasms. I have charge of young minds that are more ardent, more progressive, more Wagnerian still, as you say, than I was myself, for the world has moved, thank heaven; and it has seemed to me necessary to hold them in check, until after a gradual cultivation of taste, step by step, in accordance with the dis- tinctive characteristics of the French genius, they can risk an excursion into these new worlds, which are full of real charms, but also of mislead- ing mirages.

Wagner," and the newspapers related with much zest an anecdote regarding the composer Reyer, who, when he heard that Massenet had exclaimed: I shall consider myself fortunate to reach his ankles!