Manual Augenblicke: verweile einen Moment ... (German Edition)

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Luke says:.

"...stay a while! You are so lovely!"

Greenwood Goat says:. Ivresse says:. Seymore says:. Drazisil says:. Zarpaulus says:.

Learn German Online for free - deutsch lernen online - manual

Jim says:. M says:. Lord Coyote says:. Sal says:. Sambo says:. GameCobra says:. Switch Master says:. Jesse says:. TS says:. AckAckAck says:.

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Ruby says:. Damien says:. Norman says:. Crestlinger says:. Mista J says:. Garrett Williams says:.


Yawnitz says:. Valkeiper says:.

Vox sonans says:. Besucherin says:. Vrash says:.

[0558] Verweile doch! du bist so schön!

Eve Matteo says:. Octothorp says:. I thought restaurant waiters would say "augenblick! In ordinary conversation,wouldn't it be normal just to say "Moment,bitte! I don't know German,but I've picked up a few conversational 'bits-and-pieces' here and there. Dorian Dorian 2 2 silver badges 5 5 bronze badges. Kein Unterschied. I recall hearing Einen Augenblick noch, bitte. Maybe this is also a regional bias? What was this down-voted? Seems like a perfectly good answer to me. Born and raised in bavaria: I have heard both versions, even though you are comparing different levels of formality. But still, there are regional differences which phrase is being used more often, but no phrase is wrong anywhere.


I find it hard to believe you would have never heard Moment. Especially with that drawn out oooo that means somebody is in trouble and had better cease and desist. Sign up or log in Sign up using Google. And in this country, this city, he could speak meaningfully of the crucial, life-giving importance of art.

It is not even a personal matter; it would, of course, be impossible for the British Head of State, let alone her Prime Minister, plausibly to utter such words, and it is impossible to imagine either trying. However, even if one were to find a more personally and politically sympathetic figure to the arts, such as the current Leader of the Opposition, they would sadly, tragically, remain almost absurdly remote from reality, however conceived.

Alas, it was, with the best will in the world — and I should like to think mine was well intended — difficult to say the same about much of what took place on stage. To take but a couple of examples, his Orfeo ed Euridice had a good few things to recommend it, his Nozze di Figaro , shall we say, rather fewer. There is, I think, little point moaning about what might have been, had the company returned to its home earlier; yes, of course it would have opened with another production, but so what?

Nor need one rule out in principle staging a work that was never intended to be staged, although it is perhaps a little quixotic in reality, however construed, to reopen an opera house with a work that is not only not an opera but which seems in its very essence to resist most, even all, operatic tendencies. It might have worked; alas, it did not. I suspect that anyone unfamiliar with Goethe would have wondered — and not in an especially productive way — what was going on.

The work of set designer and celebrated painter, sculptor, poet, etc. Alas, Flimm seemed not to know what to do with them.

Instead, we had an unclear relationship between actors and singers, drama and music, any number of potential dialectical opposites, without either reconciliation let us say Hegel or radical negative failure to reconcile let us say Adorno. Words were held up on placards. There was an irritating prevalence of silly dancing, quite unconcerned with whatever music was being heard or not.

Was there something of autobiography, or at least a summation of a semi-Faustian career in the theatre? Perhaps, but frankly, I am on the verge of making it up as I go along. Enough of that! He nevertheless conveyed a strong sense of the music, with ideas very much of his own about how it should go, not least a furiously driven Overture. I am not sure that I necessarily liked it that way, but it had conviction and, I think, its own justification.