In Gaelic the area is referred to according to its traditional areas: Dùthaich MhicAoidh (or Dùthaich 'IcAoidh) in the northeast, Asainte (Assynt) in the west, and Cataibh in the east. Cataibh is also sometimes used to refer to the area as a whole.
The name Sutherland dates from the era of NorwegianViking rule and settlement over much of the Highlands and Islands, under the rule of the jarl of Orkney. Although it contains some of the northernmost land in the island of Great Britain, it was called Suðrland ("southern land") from the standpoint of Orkney and Caithness.
The northwest corner of Sutherland, traditionally known as the Province of Strathnaver, was not incorporated into Sutherland until 1601. This was the home of the powerful and warlike Clan Mackay, and as such was named in Gaelic, Dùthaich 'Ic Aoidh, the Homeland of Mackay. Even today this part of Sutherland is known as Mackay Country, and, unlike other areas of Scotland where the names traditionally associated with the area have become diluted, there is still a preponderance of Mackays in the Dùthaich.
Another General Election was required to take place before the end of 1915. The political parties had been making preparations for an election to take place and by the July 1914, the following candidates had been selected;
Joan Sutherland sings alternative Cavatina & Cabaletta from Lucia (1961)
Here we can listen a piece wrote for Donizetti's Rosmonda d'Inghilterra (1834) which was used as an alternative Cavatina for Lucia.
Recitative: Ancor non giunse;
Cavatina: Perché non ho dei vento;
Cabaletta: Torna, torna, o caro oggetto.
Recorded during the record of her first Lucia di Lammermoor
Conducted by Sir John Pritchard
July-August 1961
For more knowledge about score changing, insertion aria; I recommend 'Changing the Score: Arias, Prima Donnas, and the Authority of Performance by Hilary Poriss'.
published: 05 Jul 2018
Semiramide, Act 1 Scene 9: No. 5, Coro e Cavatina, "Serena i vaghi rai" (Chorus)
Provided to YouTube by Warner Classics
Semiramide, Act 1 Scene 9: No. 5, Coro e Cavatina, "Serena i vaghi rai" (Chorus) · Joyce DiDonato · Orchestra dell' Accademia Nazionale di Santa Cecilia, Roma · Edoardo Muller
Rossini: Colbran, the Muse (opera arias)
℗ 2009 Erato/Warner Classics, Warner Music UK Ltd
Executive Producer: Alain Lanceron
Chorus: Coro dell'Accademia Nazionale di Santa Cecilia
Conductor: Edoardo Muller
Recording Producer: Laurence Heym
Director: Marcovalerio Marletta
Balance Engineer: Michel Pierre
Orchestra: Orchestra dell'Accademia Nazionale di Santa Cecilia
Composer: Gioachino Rossini
Auto-generated by YouTube.
published: 03 Dec 2014
Giacomo Meyerbeer - Les Huguenots - "O beau pays" (Joan Sutherland)
The role of Marguerite de Valois in Meyerbeer's "Les Huguenots" isn't exactly as rewarding as it is sometimes described. Basically, she appears exclusively in Act 2 or in three full numbers: a cavatina, a duet and the finale to the act. She also appears in Act 3 but only in Act 2 does the Queen have any kind of prominence. Moreover, the music for the smallish part is extremely difficult (her cavatina is crowned by a short but brutally difficult vocally cabaletta) and does require incredible stamina (her cavatina, here shortened to a mere 5+ minutes, is actually a very long, 12-minute grand scene: the present rendition loses the repeat of the cantabile section, as well as the chorus interjections). And we haven't even got passed the aria yet! So, all in all, a virtuoso comprimario part. Tha...
published: 09 Jul 2008
Joan Sutherland - "Surta è la notte ... Ernani, Ernani involami" ERNANI (Verdi) 1967
From a concert in Newark, New Jersey, Australian soprano, Joan Sutherland, sings Elvira's cavatina and cabaletta "Ernani, Ernani involami ... Tutto sprezzo che d'Ernani" from Act I of Giuseppe Verdi's opera ERNANI. The orchestra is conducted by Richard Bonynge in this performance from February 11th, 1967.
published: 26 Nov 2021
Anna Netrebko - Quel guardo il cavaliere... So anch'io la virtu magica ( Gaetano Donizetti )
Aria of Norina
Opera : Don Pasquale
Year : 2010
published: 08 Aug 2011
Putin vs Zelensky playing Piano
#putin
published: 09 Mar 2022
Maria Callas & Joan Sutherland "The Art Of The Coloratura" - recorded from vinyl
Please like and subscribe!
Tracklist:
A1 Sutherland*– Emeliana Di Liverpool: Cavatina And Rondo - Finale
Composed By – Donizetti* 6:45
A2 Sutherland*– Zemira And Azor: Rose Softly Blooming
Composed By – Spohr* 3:37
A3 Sutherland*– La Fioraia Fiorentina
Composed By – Rossini* 3:35
I Puritani
Composed By – Bellini* (6:44)
B1a Callas*– O, Rendetemi La Speme!...
B1b Callas*– Qui La Voce Sua Soave... Vien Diletto, E In Ciel La Luna
La Traviata
Composed By – Verdi* (9:24)
B2a Callas*– E Strano!... Ah Fors'e Lui...
B2b Callas*– Follie! Follie!
B2c Callas*– Sempre Libera...
published: 03 May 2024
Gaetano Donizetti - Lucia di Lammermoor - "Egli e luce" (Joan Sutherland) (1959)
The cabaletta to Lucia's opening cavatina is one of the best representations of youthful love in belcanto: the moderately fast coloratura roulandes sections are especially delightful, one almost feels, as though Lucy is beginning to dance with Alisa from the happiness that overflows her mind. The cabaletta is sometimes (usually on complete recordings of the work) given with two finishing, very difficult coloratura sections which give the soprano a good opportunity to wow the audiences one last time before Edgardo's proper entrance.
Joan Sutherland who is wonderfully dramatical in the cantabile has an especially happy time in the cabaletta where her joy is always in evidence. Hope you'll enjoy :)!
published: 06 Aug 2008
Robert De Niro's Favorite Robert De Niro Film
Submit your FEATURE Film Screenplay: https://www.outstandingscreenplays.com/competitions-feature
Have an idea for a TV series? Have you written a TV pilot for it? Submit it to our screenplay competition:
https://www.outstandingscreenplays.com/competitions-tv
Have a short screenplay you wish to turn into a film or get feedback on from Oscar winning screenwriters? Submit it to our shorts competition: https://www.outstandingscreenplays.com/competitions-shorts
Visit our website to read screenplays of your favorite films: https://www.outstandingscreenplays.com/
#screenwriter #screenwriting #screenplay #outstandingscreenplays #film #filmmaking #cinema #movies #directing #acting #didyouknow #robertdeniro
published: 12 Jun 2023
Der Freischutz, J. 277, Act III: Cavatina: Und ob die Wolke sie verhulle
Provided to YouTube by NAXOS of America
Der Freischutz, J. 277, Act III: Cavatina: Und ob die Wolke sie verhulle · Elisabeth Grummer
Legenden des Gesanges, Vol. 11
℗ 2010 Ars Produktion
Released on: 2010-08-24
Artist: Elisabeth Grummer
Conductor: Joseph Keilberth
Orchestra: Berlin Philharmonic Orchestra
Composer: Carl Maria von Weber
Auto-generated by YouTube.
Here we can listen a piece wrote for Donizetti's Rosmonda d'Inghilterra (1834) which was used as an alternative Cavatina for Lucia.
Recitative: Ancor non giuns...
Here we can listen a piece wrote for Donizetti's Rosmonda d'Inghilterra (1834) which was used as an alternative Cavatina for Lucia.
Recitative: Ancor non giunse;
Cavatina: Perché non ho dei vento;
Cabaletta: Torna, torna, o caro oggetto.
Recorded during the record of her first Lucia di Lammermoor
Conducted by Sir John Pritchard
July-August 1961
For more knowledge about score changing, insertion aria; I recommend 'Changing the Score: Arias, Prima Donnas, and the Authority of Performance by Hilary Poriss'.
Here we can listen a piece wrote for Donizetti's Rosmonda d'Inghilterra (1834) which was used as an alternative Cavatina for Lucia.
Recitative: Ancor non giunse;
Cavatina: Perché non ho dei vento;
Cabaletta: Torna, torna, o caro oggetto.
Recorded during the record of her first Lucia di Lammermoor
Conducted by Sir John Pritchard
July-August 1961
For more knowledge about score changing, insertion aria; I recommend 'Changing the Score: Arias, Prima Donnas, and the Authority of Performance by Hilary Poriss'.
Provided to YouTube by Warner Classics
Semiramide, Act 1 Scene 9: No. 5, Coro e Cavatina, "Serena i vaghi rai" (Chorus) · Joyce DiDonato · Orchestra dell' Acca...
Provided to YouTube by Warner Classics
Semiramide, Act 1 Scene 9: No. 5, Coro e Cavatina, "Serena i vaghi rai" (Chorus) · Joyce DiDonato · Orchestra dell' Accademia Nazionale di Santa Cecilia, Roma · Edoardo Muller
Rossini: Colbran, the Muse (opera arias)
℗ 2009 Erato/Warner Classics, Warner Music UK Ltd
Executive Producer: Alain Lanceron
Chorus: Coro dell'Accademia Nazionale di Santa Cecilia
Conductor: Edoardo Muller
Recording Producer: Laurence Heym
Director: Marcovalerio Marletta
Balance Engineer: Michel Pierre
Orchestra: Orchestra dell'Accademia Nazionale di Santa Cecilia
Composer: Gioachino Rossini
Auto-generated by YouTube.
Provided to YouTube by Warner Classics
Semiramide, Act 1 Scene 9: No. 5, Coro e Cavatina, "Serena i vaghi rai" (Chorus) · Joyce DiDonato · Orchestra dell' Accademia Nazionale di Santa Cecilia, Roma · Edoardo Muller
Rossini: Colbran, the Muse (opera arias)
℗ 2009 Erato/Warner Classics, Warner Music UK Ltd
Executive Producer: Alain Lanceron
Chorus: Coro dell'Accademia Nazionale di Santa Cecilia
Conductor: Edoardo Muller
Recording Producer: Laurence Heym
Director: Marcovalerio Marletta
Balance Engineer: Michel Pierre
Orchestra: Orchestra dell'Accademia Nazionale di Santa Cecilia
Composer: Gioachino Rossini
Auto-generated by YouTube.
The role of Marguerite de Valois in Meyerbeer's "Les Huguenots" isn't exactly as rewarding as it is sometimes described. Basically, she appears exclusively in A...
The role of Marguerite de Valois in Meyerbeer's "Les Huguenots" isn't exactly as rewarding as it is sometimes described. Basically, she appears exclusively in Act 2 or in three full numbers: a cavatina, a duet and the finale to the act. She also appears in Act 3 but only in Act 2 does the Queen have any kind of prominence. Moreover, the music for the smallish part is extremely difficult (her cavatina is crowned by a short but brutally difficult vocally cabaletta) and does require incredible stamina (her cavatina, here shortened to a mere 5+ minutes, is actually a very long, 12-minute grand scene: the present rendition loses the repeat of the cantabile section, as well as the chorus interjections). And we haven't even got passed the aria yet! So, all in all, a virtuoso comprimario part. Thankfully, the music is quite delightful, if not particularly inspired. The aria itself follows the tradition of, basically, the kind of arias that the great comedian Anna Russell called the "the clear white o' nymphs and shepherd style": the virtuoso writing details Marguerite's pleasure at seeing the beauty of Chenonceaux's gardens.
The present rendition is sung by Joan Sutherland who made quite an impact in this role at La Scala at the beginning of her stardom. Though there have been many famous Marguerites in the 20 century, Sutherland seems to be one of the few who can manage the whole aria: for example, between 4:29 - 4:38 we get several roulandes which, as far as I understand, must be sung on one breath. Quite a feat, and some sopranos have cut a few of them to avoid any unpleasant results. Sutherland manages everything quite admirably and without any obvious strain. Enjoy :)!
The role of Marguerite de Valois in Meyerbeer's "Les Huguenots" isn't exactly as rewarding as it is sometimes described. Basically, she appears exclusively in Act 2 or in three full numbers: a cavatina, a duet and the finale to the act. She also appears in Act 3 but only in Act 2 does the Queen have any kind of prominence. Moreover, the music for the smallish part is extremely difficult (her cavatina is crowned by a short but brutally difficult vocally cabaletta) and does require incredible stamina (her cavatina, here shortened to a mere 5+ minutes, is actually a very long, 12-minute grand scene: the present rendition loses the repeat of the cantabile section, as well as the chorus interjections). And we haven't even got passed the aria yet! So, all in all, a virtuoso comprimario part. Thankfully, the music is quite delightful, if not particularly inspired. The aria itself follows the tradition of, basically, the kind of arias that the great comedian Anna Russell called the "the clear white o' nymphs and shepherd style": the virtuoso writing details Marguerite's pleasure at seeing the beauty of Chenonceaux's gardens.
The present rendition is sung by Joan Sutherland who made quite an impact in this role at La Scala at the beginning of her stardom. Though there have been many famous Marguerites in the 20 century, Sutherland seems to be one of the few who can manage the whole aria: for example, between 4:29 - 4:38 we get several roulandes which, as far as I understand, must be sung on one breath. Quite a feat, and some sopranos have cut a few of them to avoid any unpleasant results. Sutherland manages everything quite admirably and without any obvious strain. Enjoy :)!
From a concert in Newark, New Jersey, Australian soprano, Joan Sutherland, sings Elvira's cavatina and cabaletta "Ernani, Ernani involami ... Tutto sprezzo che ...
From a concert in Newark, New Jersey, Australian soprano, Joan Sutherland, sings Elvira's cavatina and cabaletta "Ernani, Ernani involami ... Tutto sprezzo che d'Ernani" from Act I of Giuseppe Verdi's opera ERNANI. The orchestra is conducted by Richard Bonynge in this performance from February 11th, 1967.
From a concert in Newark, New Jersey, Australian soprano, Joan Sutherland, sings Elvira's cavatina and cabaletta "Ernani, Ernani involami ... Tutto sprezzo che d'Ernani" from Act I of Giuseppe Verdi's opera ERNANI. The orchestra is conducted by Richard Bonynge in this performance from February 11th, 1967.
Please like and subscribe!
Tracklist:
A1 Sutherland*– Emeliana Di Liverpool: Cavatina And Rondo - Finale
Composed By – Donizetti* 6:45
A2 Sutherland*– Zemira An...
Please like and subscribe!
Tracklist:
A1 Sutherland*– Emeliana Di Liverpool: Cavatina And Rondo - Finale
Composed By – Donizetti* 6:45
A2 Sutherland*– Zemira And Azor: Rose Softly Blooming
Composed By – Spohr* 3:37
A3 Sutherland*– La Fioraia Fiorentina
Composed By – Rossini* 3:35
I Puritani
Composed By – Bellini* (6:44)
B1a Callas*– O, Rendetemi La Speme!...
B1b Callas*– Qui La Voce Sua Soave... Vien Diletto, E In Ciel La Luna
La Traviata
Composed By – Verdi* (9:24)
B2a Callas*– E Strano!... Ah Fors'e Lui...
B2b Callas*– Follie! Follie!
B2c Callas*– Sempre Libera...
Please like and subscribe!
Tracklist:
A1 Sutherland*– Emeliana Di Liverpool: Cavatina And Rondo - Finale
Composed By – Donizetti* 6:45
A2 Sutherland*– Zemira And Azor: Rose Softly Blooming
Composed By – Spohr* 3:37
A3 Sutherland*– La Fioraia Fiorentina
Composed By – Rossini* 3:35
I Puritani
Composed By – Bellini* (6:44)
B1a Callas*– O, Rendetemi La Speme!...
B1b Callas*– Qui La Voce Sua Soave... Vien Diletto, E In Ciel La Luna
La Traviata
Composed By – Verdi* (9:24)
B2a Callas*– E Strano!... Ah Fors'e Lui...
B2b Callas*– Follie! Follie!
B2c Callas*– Sempre Libera...
The cabaletta to Lucia's opening cavatina is one of the best representations of youthful love in belcanto: the moderately fast coloratura roulandes sections are...
The cabaletta to Lucia's opening cavatina is one of the best representations of youthful love in belcanto: the moderately fast coloratura roulandes sections are especially delightful, one almost feels, as though Lucy is beginning to dance with Alisa from the happiness that overflows her mind. The cabaletta is sometimes (usually on complete recordings of the work) given with two finishing, very difficult coloratura sections which give the soprano a good opportunity to wow the audiences one last time before Edgardo's proper entrance.
Joan Sutherland who is wonderfully dramatical in the cantabile has an especially happy time in the cabaletta where her joy is always in evidence. Hope you'll enjoy :)!
The cabaletta to Lucia's opening cavatina is one of the best representations of youthful love in belcanto: the moderately fast coloratura roulandes sections are especially delightful, one almost feels, as though Lucy is beginning to dance with Alisa from the happiness that overflows her mind. The cabaletta is sometimes (usually on complete recordings of the work) given with two finishing, very difficult coloratura sections which give the soprano a good opportunity to wow the audiences one last time before Edgardo's proper entrance.
Joan Sutherland who is wonderfully dramatical in the cantabile has an especially happy time in the cabaletta where her joy is always in evidence. Hope you'll enjoy :)!
Submit your FEATURE Film Screenplay: https://www.outstandingscreenplays.com/competitions-feature
Have an idea for a TV series? Have you written a TV pilot for ...
Submit your FEATURE Film Screenplay: https://www.outstandingscreenplays.com/competitions-feature
Have an idea for a TV series? Have you written a TV pilot for it? Submit it to our screenplay competition:
https://www.outstandingscreenplays.com/competitions-tv
Have a short screenplay you wish to turn into a film or get feedback on from Oscar winning screenwriters? Submit it to our shorts competition: https://www.outstandingscreenplays.com/competitions-shorts
Visit our website to read screenplays of your favorite films: https://www.outstandingscreenplays.com/
#screenwriter #screenwriting #screenplay #outstandingscreenplays #film #filmmaking #cinema #movies #directing #acting #didyouknow #robertdeniro
Submit your FEATURE Film Screenplay: https://www.outstandingscreenplays.com/competitions-feature
Have an idea for a TV series? Have you written a TV pilot for it? Submit it to our screenplay competition:
https://www.outstandingscreenplays.com/competitions-tv
Have a short screenplay you wish to turn into a film or get feedback on from Oscar winning screenwriters? Submit it to our shorts competition: https://www.outstandingscreenplays.com/competitions-shorts
Visit our website to read screenplays of your favorite films: https://www.outstandingscreenplays.com/
#screenwriter #screenwriting #screenplay #outstandingscreenplays #film #filmmaking #cinema #movies #directing #acting #didyouknow #robertdeniro
Provided to YouTube by NAXOS of America
Der Freischutz, J. 277, Act III: Cavatina: Und ob die Wolke sie verhulle · Elisabeth Grummer
Legenden des Gesanges, Vo...
Provided to YouTube by NAXOS of America
Der Freischutz, J. 277, Act III: Cavatina: Und ob die Wolke sie verhulle · Elisabeth Grummer
Legenden des Gesanges, Vol. 11
℗ 2010 Ars Produktion
Released on: 2010-08-24
Artist: Elisabeth Grummer
Conductor: Joseph Keilberth
Orchestra: Berlin Philharmonic Orchestra
Composer: Carl Maria von Weber
Auto-generated by YouTube.
Provided to YouTube by NAXOS of America
Der Freischutz, J. 277, Act III: Cavatina: Und ob die Wolke sie verhulle · Elisabeth Grummer
Legenden des Gesanges, Vol. 11
℗ 2010 Ars Produktion
Released on: 2010-08-24
Artist: Elisabeth Grummer
Conductor: Joseph Keilberth
Orchestra: Berlin Philharmonic Orchestra
Composer: Carl Maria von Weber
Auto-generated by YouTube.
Here we can listen a piece wrote for Donizetti's Rosmonda d'Inghilterra (1834) which was used as an alternative Cavatina for Lucia.
Recitative: Ancor non giunse;
Cavatina: Perché non ho dei vento;
Cabaletta: Torna, torna, o caro oggetto.
Recorded during the record of her first Lucia di Lammermoor
Conducted by Sir John Pritchard
July-August 1961
For more knowledge about score changing, insertion aria; I recommend 'Changing the Score: Arias, Prima Donnas, and the Authority of Performance by Hilary Poriss'.
Provided to YouTube by Warner Classics
Semiramide, Act 1 Scene 9: No. 5, Coro e Cavatina, "Serena i vaghi rai" (Chorus) · Joyce DiDonato · Orchestra dell' Accademia Nazionale di Santa Cecilia, Roma · Edoardo Muller
Rossini: Colbran, the Muse (opera arias)
℗ 2009 Erato/Warner Classics, Warner Music UK Ltd
Executive Producer: Alain Lanceron
Chorus: Coro dell'Accademia Nazionale di Santa Cecilia
Conductor: Edoardo Muller
Recording Producer: Laurence Heym
Director: Marcovalerio Marletta
Balance Engineer: Michel Pierre
Orchestra: Orchestra dell'Accademia Nazionale di Santa Cecilia
Composer: Gioachino Rossini
Auto-generated by YouTube.
The role of Marguerite de Valois in Meyerbeer's "Les Huguenots" isn't exactly as rewarding as it is sometimes described. Basically, she appears exclusively in Act 2 or in three full numbers: a cavatina, a duet and the finale to the act. She also appears in Act 3 but only in Act 2 does the Queen have any kind of prominence. Moreover, the music for the smallish part is extremely difficult (her cavatina is crowned by a short but brutally difficult vocally cabaletta) and does require incredible stamina (her cavatina, here shortened to a mere 5+ minutes, is actually a very long, 12-minute grand scene: the present rendition loses the repeat of the cantabile section, as well as the chorus interjections). And we haven't even got passed the aria yet! So, all in all, a virtuoso comprimario part. Thankfully, the music is quite delightful, if not particularly inspired. The aria itself follows the tradition of, basically, the kind of arias that the great comedian Anna Russell called the "the clear white o' nymphs and shepherd style": the virtuoso writing details Marguerite's pleasure at seeing the beauty of Chenonceaux's gardens.
The present rendition is sung by Joan Sutherland who made quite an impact in this role at La Scala at the beginning of her stardom. Though there have been many famous Marguerites in the 20 century, Sutherland seems to be one of the few who can manage the whole aria: for example, between 4:29 - 4:38 we get several roulandes which, as far as I understand, must be sung on one breath. Quite a feat, and some sopranos have cut a few of them to avoid any unpleasant results. Sutherland manages everything quite admirably and without any obvious strain. Enjoy :)!
From a concert in Newark, New Jersey, Australian soprano, Joan Sutherland, sings Elvira's cavatina and cabaletta "Ernani, Ernani involami ... Tutto sprezzo che d'Ernani" from Act I of Giuseppe Verdi's opera ERNANI. The orchestra is conducted by Richard Bonynge in this performance from February 11th, 1967.
Please like and subscribe!
Tracklist:
A1 Sutherland*– Emeliana Di Liverpool: Cavatina And Rondo - Finale
Composed By – Donizetti* 6:45
A2 Sutherland*– Zemira And Azor: Rose Softly Blooming
Composed By – Spohr* 3:37
A3 Sutherland*– La Fioraia Fiorentina
Composed By – Rossini* 3:35
I Puritani
Composed By – Bellini* (6:44)
B1a Callas*– O, Rendetemi La Speme!...
B1b Callas*– Qui La Voce Sua Soave... Vien Diletto, E In Ciel La Luna
La Traviata
Composed By – Verdi* (9:24)
B2a Callas*– E Strano!... Ah Fors'e Lui...
B2b Callas*– Follie! Follie!
B2c Callas*– Sempre Libera...
The cabaletta to Lucia's opening cavatina is one of the best representations of youthful love in belcanto: the moderately fast coloratura roulandes sections are especially delightful, one almost feels, as though Lucy is beginning to dance with Alisa from the happiness that overflows her mind. The cabaletta is sometimes (usually on complete recordings of the work) given with two finishing, very difficult coloratura sections which give the soprano a good opportunity to wow the audiences one last time before Edgardo's proper entrance.
Joan Sutherland who is wonderfully dramatical in the cantabile has an especially happy time in the cabaletta where her joy is always in evidence. Hope you'll enjoy :)!
Submit your FEATURE Film Screenplay: https://www.outstandingscreenplays.com/competitions-feature
Have an idea for a TV series? Have you written a TV pilot for it? Submit it to our screenplay competition:
https://www.outstandingscreenplays.com/competitions-tv
Have a short screenplay you wish to turn into a film or get feedback on from Oscar winning screenwriters? Submit it to our shorts competition: https://www.outstandingscreenplays.com/competitions-shorts
Visit our website to read screenplays of your favorite films: https://www.outstandingscreenplays.com/
#screenwriter #screenwriting #screenplay #outstandingscreenplays #film #filmmaking #cinema #movies #directing #acting #didyouknow #robertdeniro
Provided to YouTube by NAXOS of America
Der Freischutz, J. 277, Act III: Cavatina: Und ob die Wolke sie verhulle · Elisabeth Grummer
Legenden des Gesanges, Vol. 11
℗ 2010 Ars Produktion
Released on: 2010-08-24
Artist: Elisabeth Grummer
Conductor: Joseph Keilberth
Orchestra: Berlin Philharmonic Orchestra
Composer: Carl Maria von Weber
Auto-generated by YouTube.
In Gaelic the area is referred to according to its traditional areas: Dùthaich MhicAoidh (or Dùthaich 'IcAoidh) in the northeast, Asainte (Assynt) in the west, and Cataibh in the east. Cataibh is also sometimes used to refer to the area as a whole.
The name Sutherland dates from the era of NorwegianViking rule and settlement over much of the Highlands and Islands, under the rule of the jarl of Orkney. Although it contains some of the northernmost land in the island of Great Britain, it was called Suðrland ("southern land") from the standpoint of Orkney and Caithness.
The northwest corner of Sutherland, traditionally known as the Province of Strathnaver, was not incorporated into Sutherland until 1601. This was the home of the powerful and warlike Clan Mackay, and as such was named in Gaelic, Dùthaich 'Ic Aoidh, the Homeland of Mackay. Even today this part of Sutherland is known as Mackay Country, and, unlike other areas of Scotland where the names traditionally associated with the area have become diluted, there is still a preponderance of Mackays in the Dùthaich.