Curtis Controller

The Controller (2008)  Video

Posted by fekmax at Dec. 25, 2014
The Controller (2008)

The Controller (2008)
BRRip 1080p | MP4 | AVC, 2039 Kbps | 1920x816 | English AAC, 93.8 Kbps | 2 channels | Runtime: 01:36:31 | 1.44 GB
BRRip 720p | MP4 | AVC, 996 Kbps | 1280x544 | English AAC, 93.8 Kbps | 2 channels | Runtime: 01:36:31 | 755 MB
Genre: Action | Adventure | Comedy

A billionaire's wife is abducted. Now, he is forced to play a game where getting his wife back is the prize…eight hours to win…only he's never played a game like this. He calls on the only people who can help: the Armchair Combat Professionals.
Emma Roberts - ELKIN Fall/Winter 2014 Lookbook by Curtis Buchanan (part 2)

Emma Roberts - ELKIN Fall/Winter 2014 (part 2)
7 jpg | up to 1544*2000 | 10.27 Mb
American actress and singer
Emma Roberts - ELKIN Fall/Winter 2014 Lookbook by Curtis Buchanan (part 1)

Emma Roberts - ELKIN Fall/Winter 2014 by Curtis Buchanan
12 jpg | up to 1600*2000 | 12.99 Mb
American actress and singer

Indians by Edward S. Curtis  Graphics

Posted by nrg at Nov. 11, 2011
Indians by Edward S. Curtis

Indians by Edward S. Curtis
334 jpg | up to 2322*3030 | 250.76 Mb
Photographer of Native American peoples
Controlling in kleinen und mittleren Unternehmen: Vom Geschäftsprozessmodell zum Controller-Profil

Börge Kummert, "Controlling in kleinen und mittleren Unternehmen: Vom Geschäftsprozessmodell zum Controller-Profil"
2005 | pages: 255 | ISBN: 3824408171 | PDF | 18,4 mb

Handel - Admeto (Alan Curtis) [1998/1978]  Music

Posted by Vilboa at March 12, 2017
Handel - Admeto (Alan Curtis) [1998/1978]

Handel - Admeto (Alan Curtis) [1998/1978]
Classical | Virgin 7243 5 61369 2 | TT: 76.48+79.16+60.43 | EAC (FLAC, cue, log) | Covers | 967 Mb

A warm welcome back for this 1977 recording of Handel’s most successful opera, which ran, in 1727, for an unprecedented 19 performances. Curtis and his team were visionary 20 years ago. Recitative is lively, declaimed rather than fully sung; vocal decorations sound spontaneous, period instruments are played with zest and polish – barely a sour note from the handful of strings; colours include a trio of oboes and bassoon and, accompanying Bowman in fine voice, a pair of horns for what Dr Burney described as ‘one of the best and most agreeable hunting songs that was ever composed’. Jacobs reflects the volatile title role, impassioned in his death-bed scene which opens the opera, virtuosic elsewhere, though his affected swoops become rather predictably mannered. Yakar and Gomez sing Alceste and Antigone, roles which Handel wrote for Faustina and Cuzzoni, whose jealous rivalry led them, on stage, to ‘call Bitch and Whore’ and ‘pull each other’s coiffs’! Here, Faustina could not more beautifully have ‘sung adagios with great passion and expression’ than Yakar, while Gomez surely matches Cuzzoni’s ability to ‘conceal every appearance of difficulty’ – contemporary descriptions of their outstanding powers. You may want to tweak tone controls to moderate the bright, remastered sound. (George Pratt BBC Music Magazine)

Visual Studio Online Hosted Build Controller  eBooks & eLearning

Posted by naag at March 12, 2017
Visual Studio Online Hosted Build Controller

Visual Studio Online Hosted Build Controller
MP4 | Video: AVC 1280x720 | Audio: AAC 44KHz 2ch | Duration: 1 Hours | 183 MB
Genre: eLearning | Language: English

Curtis McMurtry - The Hornet's Nest (2017)  Music

Posted by Pisulik at March 6, 2017
Curtis McMurtry - The Hornet's Nest (2017)

Curtis McMurtry - The Hornet's Nest (2017)
Folk, Americana, Singer-Songwriter | MP3 CBR 320 kbps | 00:38:39 | 93 MB
Label: Curtis McMurtry | Release Year: 2017

The Hornet’s Nest bears a humble Americana-style beginning with its spare, banjo-based “Hard Stone Blues,” but the record is filled with lush sonic landscapes featuring chamber orchestra parts, jazzy trumpet accompaniment, and lounge-style duets. These elements, reminiscent of a musical motion picture soundtrack, hearken back to a different time; admittedly, this is an album that requires attention and time spent savoring each song to understand the bigger picture. Of course, it is often said the best pieces of art take time to be truly appreciated.

Handel - Tolomeo (Alan Curtis) [2008]  Music

Posted by Vilboa at March 4, 2017
Handel - Tolomeo (Alan Curtis) [2008]

Handel - Tolomeo (Alan Curtis) [2008]
Classical | Archiv Produktion 289 477 7106 | TT: 56.11+45.25+46.27 | EAC (FLAC, cue, log) | Covers | 703 Mb

For the 1727 season – the waning days of opera's popularity in London – transplanted German composer George Frederick Handel wrote no less than three operas for the English capital's stage. Tolomeo, rè d'Egitto was the last and least enthusiastically received of them. Unsuccessfully revived in 1730 and then again in 1733, Tolomeo was unperformed for the next 200 years, and even now, it remains one of Handel's least performed and recorded operas. Prior to this Archiv set, only a 1995 Vox recording of the work with Richard Auldon Clark leading the Manhattan Chamber Orchestra had been released in the digital era.

Handel - Floridante (Alan Curtis) [2007]  Music

Posted by Vilboa at Feb. 26, 2017
Handel - Floridante (Alan Curtis) [2007]

Handel - Floridante (Alan Curtis) [2007]
Classical | Archiv Produktion 289 477 6566 | TT: 58.28+50.21+54.53 | EAC (FLAC, cue, log) | Covers | 763 Mb

Handel wrote Floridante in 1722 for a London audience infatuated with Italian opera. The plot, like that of so many Baroque operas, was taken from ancient history and concerns romantic liaisons thrown into turmoil by political rivalries, in this case between Persia and Tyre. Handel wrote over 50 Italian operas, and it's remarkable that he was consistently able to summon such a high level of inventiveness and inspiration when faced repeatedly with librettos that must have come to look depressingly alike in the conventions of their labyrinthine plots. Handel, however, had strong enough musical and dramatic convictions that he refused to make alterations to the score of Floridante that would have changed the opera's character, after London's Royal Academy of Music informed him that changes in the performing personnel would require him to rewrite the vocal parts. Handel eventually made some adjustments, but stood firm about others – a bold position, considering the relatively low status of composers in the world of opera at the time. After the premiere with a less-than-ideal cast, Handel restored the score to his original intentions and it's that version that's heard on this recording.