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Sister of Caligula. Wife of Claudius. Mother of Nero. The story of Agrippina, at the center of imperial power for three generations, is the story of the Julio-Claudia dynasty―and of Rome itself, at its bloody, extravagant, chaotic, ruthless, and political zenith.In her own time, she was recognized as a woman of unparalleled power. Beautiful and intelligent, she was portrayed as alternately a ruthless murderer and helpless victim, the most loving mother and the most powerful woman of the Roman empire, using sex, motherhood, manipulation, and violence to get her way, and single-minded in her pursuit of power for herself and her son, Nero.This book follows Agrippina as a daughter, born in Cologne, to the expected heir to Augustus’s throne; as a sister to Caligula who raped his sisters and showered them with honors until they attempted rebellion against him and were exiled; as a seductive niece and then wife to Claudius who gave her access to near unlimited power; and then as a mother to Nero―who adored her until he had  her assassinated.Through senatorial political intrigue, assassination attempts, and exile to a small island, to the heights of imperial power, thrones, and golden cloaks and games and adoration, Agrippina scaled the absolute limits of female power in Rome. Her biography is also the story of the first Roman imperial family―the Julio-Claudians―and of the glory and corruption of the empire itself. 8 pages of color illustrations

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During his years in Italy, Handel absorbed the music of his contemporaries and mastered new stylistic trends. Though the staging of La resurrezione was a memorable event in the Roman musical world, it was the production of Agrippina that marked Handel's definitive investiture as an operatic composer. It met with enormous success and an unprecedented number of performances followed. It's melodic power is overwhelming and in his creation of credible and vivid characters, the alternation of recitat

Agrippina Vronique Gens - CD 8007144604318

Agrippina the Younger held a unique position in the first Roman imperial family. As great niece of Tiberius, sister of Caligula, wife of Claudius and mother of Nero she stood at the centre of power in the Roman empire for three generations. Even in her own time, she was recognised as a woman of unparalleled power. From exile to being hailed empress, across three marriages and three widowhoods, her life, power and role were extraordinary in their scope and drama. Beautiful and intelligent, she is alternately a ruthless murderer and helpless victim, the most loving mother and the most powerful woman of the Roman empire. She is portrayed in ancient sources as using sex, motherhood, manipulation and violence to get her way, and single-minded in her pursuit of power for herself and her son. Agrippina s life sheds light on the Julio-Claudian dynasty and Rome at its height - the chaos, blood and politics of it all - as well as the place of women in the Roman world. This book follows Agrippina as a daughter, born to the expected heir to Augustus s throne, who was then orphaned, as a sister to Caligula who raped his sisters and showered them with honours until they attempted rebellion against him and were exiled, as a seductive niece and then wife to Claudius who gave her access to near unlimited power, and then as a mother to Nero who adored her until he killed her. She was 44 when she died. It takes us from the camps of Germany during a mutiny, through senatorial political intrigue, assassination attempts and exile to a small island, to the heights of imperial power, thrones and golden cloaks and games and adoration. We will see Agrippina found her own city (Cologne), live up to and then flaunt the greatest ideals of Roman femininity and motherhood, and explore the absolute limits of female power in Rome. The biography of Agrippina is also the biography of the first Roman imperial family - the Julio-Claudians, and of the empire itself.

Agrippina the Younger attained a level of power in first-century Rome unprecedented for a woman. According to ancient sources, she achieved her success by plotting against her brother, the emperor Caligula, murdering her husband, the emperor Claudius, and controlling her son, the emperor Nero, by sleeping with him. Modern scholars tend to accept this verdict. But in his dynamic biography - the first on Agrippina in English - Anthony Barrett paints a startling new picture of this influential woman.Drawing on the latest archaeological, numismatic, and historical evidence, Barrett argues that Agrippina has been misjudged. Although she was ambitious, says Barrett, she made her way through ability and determination rather than by sexual allure, and her political contributions to her time seem to have been positive. After Agrippina's marriage to Claudius there was a marked decline in the number of judicial executions and there was close cooperation between the Senate and the emperor; the settlement of Cologne, founded under her aegis, was a model of social harmony; and the first five years of Nero's reign, while she was still alive, were the most enlightened of his rule. According to Barrett, Agrippina's one real failing was her relationship with her son, the monster of her own making who had her murdered in horrific and violent circumstances. Agrippina's impact was so lasting, however, that for some 150 years after her death no woman in the imperial family dared assume an assertive political role.

Agrippina the Younger attained a level of power in first-century Rome unprecedented for a woman. According to ancient sources, she achieved her success by plotting against her brother, the emperor Caligula, murdering her husband, the emperor Claudius, and controlling her son, the emperor Nero, by sleeping with him. Modern scholars tend to accept this verdict. But in his dynamic biography―the first on Agrippina in English―Anthony Barrett paints a startling new picture of this influential woman.Drawing on the latest archaeological, numismatic, and historical evidence, Barrett argues that Agrippina has been misjudged. Although she was ambitious, says Barrett, she made her way through ability and determination rather than by sexual allure, and her political contributions to her time seem to have been positive. After Agrippina's marriage to Claudius there was a marked decline in the number of judicial executions and there was close cooperation between the Senate and the emperor; the settlement of Cologne, founded under her aegis, was a model of social harmony; and the first five years of Nero's reign, while she was still alive, were the most enlightened of his rule. According to Barrett, Agrippina's one real failing was her relationship with her son, the monster of her own making who had her murdered in horrific and violent circumstances. Agrippina's impact was so lasting, however, that for some 150 years after her death no woman in the imperial family dared assume an assertive political role.

Sister of Caligula. Wife of Claudius. Mother of Nero. The story of Agrippina, at the center of imperial power for three generations, is the story of the Julio-Claudia dynasty―and of Rome itself, at its bloody, extravagant, chaotic, ruthless, and political zenith.In her own time, she was recognized as a woman of unparalleled power. Beautiful and intelligent, she was portrayed as alternately a ruthless murderer and helpless victim, the most loving mother and the most powerful woman of the Roman empire, using sex, motherhood, manipulation, and violence to get her way, and single-minded in her pursuit of power for herself and her son, Nero.This book follows Agrippina as a daughter, born in Cologne, to the expected heir to Augustus’s throne; as a sister to Caligula who raped his sisters and showered them with honors until they attempted rebellion against him and were exiled; as a seductive niece and then wife to Claudius who gave her access to near unlimited power; and then as a mother to Nero―who adored her until he had  her assassinated.Through senatorial political intrigue, assassination attempts, and exile to a small island, to the heights of imperial power, thrones, and golden cloaks and games and adoration, Agrippina scaled the absolute limits of female power in Rome. Her biography is also the story of the first Roman imperial family―the Julio-Claudians―and of the glory and corruption of the empire itself. 8 pages of color illustrations

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Directed by Tiziano Mancini. Starring Nigel Smith, Philippe Jaroussky, Fabrice Di Falco.

During his years in Italy, Handel absorbed the music of his contemporaries and mastered new stylistic trends. Though the staging of La resurrezione was a memorable event in the Roman musical world, it was the production of Agrippina that marked Handel's definitive investiture as an operatic composer. It met with enormous success and an unprecedented number of performances followed. It's melodic power is overwhelming and in his creation of credible and vivid characters, the alternation of recitat

Written in Venice in 1709, Handel's Agrippina is one of his most impressive works and his first truly resounding success as an opera composer. This recording was made at the Gttingen Handel Festival in 2015 and features Ulrike Schneider in the title role of Rome's great female schemer. The Festspiel Orchester Gttingen delivers an outstanding performance under the sure direction of Laurence Cummings.

(vocal Collection). Comprehensive Collections of Arias in Italian, with Translations and Plot Notes. Includes Some Arias Not Found in Any Other Collections. Contents: Adriana Lecouvreur: Io Son L'umile Ancella, Poveri Fiori * Agrippina: Bel Piacere * Alcina: Ah Mio Cor! * Un Ballo in Maschera: Morro, Ma Prima in Grazia * Belfagor: O Mamma, Mamma * La Boheme: Mi Chiamano Mimi, Quando Men Vo, D;onde Lieta * La Calisto: Piante Ombrose * I Capuleti E I Montecchi: Oh! Quante Volte * La Clemenza Di Tito: S'altro Che Lacrime * Cosi Fan Tutte: Come Scoglio * Don Giovanni: Ah, Fuggi Il Traditor!, Mi Tradi Quell'alma Ingrata * Don Pasquale: Quel Guardo Il Cavaliere... so Anch'io La Virtu Magica * Ernani: Ernani!... Ernani, Involami * Gianni Schicchi: Oh! Mio Babbino Caro * Giulio Cesare: Piangero La Sorte Mia, Da Tempeste Il Legno Infranto * Idomeneo: Zeffiretti Lusinghieri * Lucia Di Lammermoor: Regnava Nel Silenzio * Lucrezia Borgia: Com'e Bello! Quale Incanto * Madama Butterfly: Un Bel Di, Vedremo * Il Marito Disperato: Dovrei Punirti * Mefistofele: L'altra Notte in Fondo Al Mare * Le Nozze Di Figaro: Dove Sono I Bei Momenti * Pagliacci: Stridono Lassu * Il Re Pastore: L'amero, Saro Costante * La Serva Padrona: Stizzoso, Mio Stizzoso * La Sonnambula: Ah! Non Credea Mirarti... Ah! Non Giunge * Sour Angelica: Senza Mamma * Il Tigrane: Squarciami Pure Il Seno * Il Tito: Che Mi Consigli, Amor? * Tosca: Vissi D'arte, Vissi D'amore * La Traviata: Ah, Forse E Lui... Sempre Libera * Il Trovatore: Tacea La Notte Placida, D'amor Sull'ali Rosee * Turandot: Tanto Amore, Segreto * Le Villi: Se Come Voi Piccina * La Wally: Ebben?... Ne Andro Lontana

Messalina Agrippina, Lucrezia Borgia, the Empress Wu, Catherine the Great, Catherine de'Medici, Mata Hari and many others, all with their exciting histories and loveliest dresses.

This companion to the Penguin translation of Tacitus' book XIV provides commentary on an important period of Roman history, the years 59-62 AD when Nero was freed (mainly by murder) from the restraints imposed by Agrippina, Burrus and Octavia. The commentary pays special attention to Tacitus' use of stylistic devices to emphasis important events and traits of personality.

 The only authorized biography about the creator of the renowned Russian ballet curriculum–for the first time in English. The first English edition of the only authorized biography of Agrippina Vaganova (1897-1951) was originally published in Russian in 1989. It tells the story of one of the most important dance teachers of the 20th century, who created a system of teaching ballet that spread throughout the former Soviet Union and beyond.Vaganova rose through the ranks to become a ballerina in the Imperial Ballet during the last days of Tsarist Russia. After the Revolution of 1917, she became a teacher and transformed the St. Petersburg/Leningrad School of Ballet into a premier institution. She also served as the artistic director of the Kirov Theater.Written by a direct eyewitness to many of the described incidents, someone who knew Vaganova intimately, the biography is a window into the personality and thinking of this great teacher. It vividly recounts the training and individual styles of such world-renowned ballerinas as Marina Semyonova, Natalia Dudinskaya, Galina Ulanova, and Tatiana Vecheslova, and it offers a unique insight into the world of classical ballet during the era of Tsarist Russia and the early Soviet years.  

Agrippina Vaganova desenvolveu um método de ensino do ballet clássico que ficou conhecido como Método Vaganova. Ela se inspirou nos métodos de ensino dos professores da Escola Imperial Russa, mas fundiu também elementos dos métodos francês e italiano.A iniciativa de Ana Silvério de traduzir este livro que é considerado a bíblia do ensino russo desde 1934 até nossos dias, é admirável pois coloca à disposição de todos aqueles de língua portuguesa os ensinamentos desta grande mestra nos seus mínimos detalhes.Ana Silvério, bailarina formada em Coreografia, Metodologia e Pedagogia da Dança na Rússia, e dominando o idioma russo, é a pessoa indicada para tão árdua tarefa. O livro está de fácil compreensão para todos os envolvidos com a dança e sobretudo com o ballet clássico.Ana Botafogo

This production of Les Sylphides is from Agrippina Vaganova's 1928 restaging under it's original name. The dancers include soloists Altynai Asylmuratova and Konstantin Zalinsky (Mazurka and Valse), Yelena Pankova (second Valse).