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Marcello here called Marcus is every inch the typical Peckham, white, working-class guy - right down to the leather jacket, and silver chains around his neck and wrists. Musetta Melissa was even worse. Only Rodolfo Rod and Mimi Lucas stand outside the stereotypes though I do know a lot of gay men who wear plaid shirts and jeans.

But the subjects touched on are universal, they could have, and do, infect every part of a city. The humour in both productions could perhaps have seemed misplaced, but it worked very well. Cavaradossi abbreviated to Cav is still an artist, though should one feel pity for the woman in the audience who spent much of Act I with a picture frame hanging from her shoulders?

Musetta spent an awfully large part of Act I sitting between people or draping herself over them. But strip the humour out and there were moments of drama. The singing was largely very impressive, though the rather intimate size of Studio 2 at Trafalgar Studios can magnify, and sometimes strain, the tone of the voices to a considerable degree. I think all of the soloists deserve credit for bringing in performances that were very well sung - balancing pathos and humour with equitability, and acting, that never bordered on the wooden.

The notes are there, her upper range entirely confident. The other dominant performance was the Rodolfo of Roberto Barbaro. I think he started slightly short on confidence, but the warmth and colour of his voice is beautiful to listen to. One is entirely persuaded that this is a tenor who emotes what he sings; I could swear that in his duet with Mimi, where Mimi confesses to his drug use after their relationship has ended, there were genuine tears in his eyes.

This was in many ways operatic revisionism, opera as theatre, opera as popular art, opera as openly accessible. It could be serious and humorous in equal measure and was an entirely enjoyable way to spend two hours. It was at this estate near Edgware, north-west of London, that the year before Handel had gained employment among the group of musicians that Brydges maintained to perform in his chapel and at private entertainments.

A year later, The Sixteen have embarked upon a mini-tour of the work, beginning here at Cadogan Hall with further concert performances to follow in Chichester, Derby and Warwick. The nine instrumentalists from the Orchestra of the Sixteen played with similar graciousness of style.

The continuo ensemble - cellist Joseph Crouch, theorbo player David Miller, harpist Frances Kelly and harpsichordist Alastair Ross - provided sensitively detailed support. Arranged symmetrically - the violinists leader Sarah Sexton and Daniel Edgar standing stage-right, balanced by the continuo group stage-left - with Christophers dancing lightly on his toes at their centre, the musicians formed a ear-pleasing consort in front of the seated singers at the rear of the stage.

So, what could there be not to like? The singers undertook, in turn, a decorous progress to the front of the stage to sing their arias, then retreated to resume their positions in the Chorus. But, there was little sense of the emotions or psychologies that the work expresses and explores. But, if there was dramatic restraint, there was also musical refinement. Acis is a rather dull dude, and Jeremy Budd seemed a little reserved initially. If both the levity and the intensity were a little lacking on this occasion, then there was musical earnestness and expressive beauty.

A good listen, indeed. I have sometimes thought the Barbican Hall is an unforgiving place for a song recital - it certainly proved so for Diana Damrau when I heard her here last year. This was absolutely not the case for the Lise Davidsen. The switch in register, the seamless joins between the notes as if they are woven from the same cloth, the faultless way in which the accents are shaped are all absolutely beautiful to hear.

The way in which she could just descend into a pianissimo had all the effect of suspension in gravity. They do for Davidsen. The song might be simple in genesis, but musically it is miniature opera, set magically in dialogue with the bass register of the piano to mirror the conversation between a mother and daughter.

The depth of her tone here was sumptuous - and yet it remained entirely feminine. There is little that is romantic about this music; though, they are Romantic in a very mid-nineteenth century context. Again and again, she touched on the feminine in her voice, even though the striking sparseness in her tone could easily have pushed her into somewhat less delicate territory.

It simply chilled me to the bone. The voice here was less dark, simply bleak, and yet the devastation was palpable. The work was originally written for soloist and orchestra and premiered in Gloucester in but Sibelius subsequently reworked it for piano and soprano. Its challenges are formidable - in its length, its intensity and its vocal demands, and perhaps even its language.

But, the range of the voice was also exceptional - everything minutely in place, from the low chest register right up to those vertiginous octaves. Her ability to sustain drops in notes, often between attached words, was simply breath-taking. The three Grieg songs, whilst drawing on German Romanticism, can altogether seem more despairing - songs of denied passion, death becoming, the charting out of anguish and dissolving intimacies are but short - although dense - poems, but Davidsen brought to them a bewildering range of detail and emotional depth.

In this recital - if not on disc - she was simply stunning. The architecture Davidsen is able to bring to Strauss songs is very notable - she builds crescendos with superb convexity, the arc of many of them almost curving from the pages of the scores like a crescent shaped moon in its perfect symmetry.

There is absolutely no breaking of the line, no pause in the breath between words - every note is amply supported. I think Lise Davidsen rather saw it more as a commemoration of love rather than an attempt to revive a lost one - there were touches of mystery in the voice, less pointed references to the past. Here, she brought a humanity to her voice as the music reflects on pain and joy of love. There was a luxuriousness to the tone, a warmth which suited the darkness of her voice - those majestic tones, the hues of colour which seem rather unique to her.

Taken at a beautifully slow pace, the lines opened up with impeccable ease, the control in the breath almost completely singular from bar to bar. The crescendo was simply flawless, rising like an eagle in flight, the breath control configured to seem almost infinite. In every way, James Baillieu was an impeccable partner. Rather unusually, and perhaps not causing any distraction, much of this recital was accompanied by varying degrees of light.

Small boxes scattered around the stage seemed to add intimacy, and in other songs the wooden organ pipes were bathed in blues, reds and greens. At times, her dress was simply the single focus of light twisting in spirals on its bodice. This all added to a recital which was a journey through the art of song; but it was also a recital which was an artistic triumph and, I think, one which will be remembered for quite some years.

Its quality was well evidenced at the fifth and final , highly polished performance of Parsifal. Conducting was Frank Beermann, long associated with an ongoing since Wagner project at the Stadttheater Minden near Hanover. Like many conductors Mo. Beermann takes much slower tempos than those prescribed by Wagner himself, resulting in a quite long evening. Maestro Beermann and the orchestra were awarded a huge ovation when it was all over.

Toulouse assembled a remarkable cast led by Austrian tenor Nikolai Schukoff as Parsifal. Lithe and handsome Mr. French mezzo-soprano Sophie Koch was the Kundry in her role debut. She reads as a beautiful, sexual woman. She also projects an intelligence befitting a woman who feels and demands to understand the conflict and contradiction of body and soul that consume her.

Kundry was its key, Mme. Koch exploding vocally and emotionally. The stage was blank except for a narrow, dark wall against a pale glow. Kundry in a dark green gown stood in the glow on one side, Parsifal, in white, on the other as they began their epic encounter concert style. Eventually it became a physical brawl, the two bodies and minds in physical and intellectual battle.

Matthias Goerne as Amfortas. German bass-baritone Matthias Goerne was Amfortas. The wounded king was laid out in a horizontal chair carried by ninja-like bearers. Dressed completely in black he was tipped up to deliver his three excoriating monologues. Goerne, a lieder singer by choice, plumbed the depths of philosophical suffering with a profound musical intelligence in the voice of an operatically heroic bass, awesomely rising to his feet in his most intense moments.

Director Bory and his designer Pierre Dequivre worked with few scenic elements, each there for specific choreographic purpose — they were kinetic. The lance was a tube of light that sometimes lighted the face of someone in its wake. The tube was sometimes duplicated into many tubes of light that moved choreographically.

The swan was a shadow puppet magnified onto a suspended slightly circular drape that then served as a gigantic reflecting surface for the immense Act I shadow revelation of the chalice. A huge metal grid lay on the stage in Act I through which Gurnemanz appeared with his companions, the grid disappearing into the loft for the procession to the grail, Gurnemanz was sung by British bass Peter Rose in Falstaffian fashion though he attained true philosophic stature in his third act baptism of Parsifal.

Act I, Gurnemanz leads Parsifal to the grail. The lights illuminated in various configurations and intensities among, behind and over the protagonists to attain maximum illumination at musical and philosophical climaxes. Finally Parsifal, having shed his black knight attire, achieved his apotheosis, his salvation standing upon a cube, again in the white suit of his Act I entrance, now bathed in intense white light.

The orchestral ascension that closes the opera found the male chorus on the stage in regimented formation echoing the geometric perfection of the cube of illuminated lights. Director Bory has a huge presence in Toulouse, and this Toulouse Parsifal may well amplify that presence into a much, much larger, international sphere. Of great effect was the highly choreographed staging of the Flower Maidens, the six veiled singers lined across the stage, the choreography nothing more than the lifting and falling of their veils.

Orchestre National du Capitole. Grown men were sobbing! Verismo might have begun as a French literary movement characterised by naturalism of expression and realism of subject matter, but in opera the term came to be seen as a shorthand for dramatic excess and sometimes violent vocalism. Storchio herself had a voice that might be described as lirico-leggero. Jaho was at her best in the extracts from opera scenes depicting characters pushed to emotional extremes.

Jaho seemed less comfortable in the salon pieces and songs. These comprised much of the first half of the recital, and perhaps it was a combination of nerves and excitement - arriving on stage, Jaho looked out at the capacity audience with a smile, a sigh and a slight shrug of the shoulders - but the soprano seemed to take a little while to settle in the items which lacked a distinct dramatic context. But, it was good to hear some unfamiliar repertoire. The libretto is characteristically excessive and improbable, and the opera has disappeared from the repertory.

But, Mascagni knew how to exploit the voice for emotive and dramatic effect. Seeing him dancing with another woman, she mistakenly believes that he has forgotten her and collapses in the snow. Overcome by delusions that Flammens is embracing her, she succumbs to frostbite and freezes to death. The Wigmore Hall audience loved it. Storchio had been the first Cio-Cio-San, creating the role at La Scala in , and it was the final role that she sang on stage, in Barcelona in Il le faut This recording, from performances at the Barbican Hall, London, captures the verve and spontaneity of live performance, further enhancing the vividness of expression.

Having established his reputation as a composer of music for solo piano, Schumann turned to works for voice and piano, influenced in no small part by his marriage to Clara. The glorious outpouring of his Liederjahre saw the creation of masterpieces like Dichterliebe, where individual songs form a larger work internally connected by theme and form. The andante picks up to vigorous allegro molto vivace, ending with emphatic affirmation.

The scherzo repeats the fanfare, this time more earthy, highlighting the charm of the two trios. Is Schumann 3 song in symphonic form? John Daverio, the most intuitive of Schumann scholars, felt that text was integral to the music far more deeply than in the sense of word-painting.

Schumann liked the shape of syntax, the rhythms of declamation. In this performance, Gardiner and the LSO illuminated the colours, evoking the magic of the worlds of Weber, Mendelssohn and Singspiel tradition. Lightness of touch, and freedom, are thus integral to interpretation. Gardiner and the LSO articulated the sparkling figures in the opening movement, so they flowed, like a river, sunny but with darker undercurrents hinted at in the strong chords in the second theme, and the quieter passages in its wake.

This coloured the second movement, suggesting the scherzo qualities behind the surface. Bassoons, horns and trumpets called forth, the movement, ending on an elusive note. The size of the cathedral, and the reverberations within it are suggested by the figures trombones, trumpets, bassoons which stretch out as if filling vast spaces. Whateverv the movement may or may not mean, the muffled horns and brass fanfares evoke a power that is very far from the insouciant quasi-folk tunes that have gone before.

Yet Schumann concludes not with gloom but with a reprise of the sunny Lebhaft, the emphatic chords even stronger than before, this time lit up by a glorious fanfare, the brass shining above the strings below. The very image of the Rhine surging past towering mountains. Mendelssohn, whom Schumann revered, had died in while still in his prime. The Overture begins with majestic upward chords, rising like mountains, quintessential Early Romantic symbols on many levels, undercut by plaintive woodwinds and strings.

Vick returned to stage this minimalist Parsifal. Minimalist does not mean minimal resources. Foremost was the immense empty stage of an historic grand opera theater, the massive cut stones of its back wall strengthened by the architectural principles of ancient Rome.

A huge and timeless space, the world and its humanity there to confront us when we entered the theater. The exposed lighting sources and the half curtain used to mark the changes of scene were additional quotes of typical trademarks of Brechtian Epic Theatre that we were to behold.

Catherine Hunold as Kundry with the seduction bed. His theater demands awesome numbers of human bodies to create these confrontations. Literally hundreds of bodies — a daunting demand fully met by the Teatro Massimo. Of note in the Vick staging of Parsifal was the use of the half curtain as a shadow curtain in a direct quote of the silhouette processions that puppeteer William Kentridge often creates. Gurnemanz among the children, Parsifal and Kundry. But for Mr.

Vick there there was no salvation of the savior — Amfortas had simply disappeared somewhere into the crowd. One presumes that the throngs of humanity that populated Mr. There were many electrifying moments to be sure, among them Amfortas digging out the buried grail a tin cup , his blood falling into it to be drunk by the knights as they too mortified themselves.

And finally, astonishingly, as Parsifal baptized Kundry, a crowd of children were carried onto the stage holding huge building blocks the voices of innocence that flooded the auditorium from time to time throughout the evening. All this was a lot for maestro Amer Meir Wellber to hold together. But he succeeded in a reading that was absolutely straight forward, keeping to the tight timeline for each act that Richard Wagner had dictated other conductors have loved to flaunt much slower times , thereby laying a solid foundation on which Graham Vick production might lay out his broader, social resolution.

If the Italianate sound of the Teatro Massimo orchestra did not capture the philosophic raptures of the northern European spirit it did portray the enlivened spirit of the Mediterranean soul. The announced Parsifal of the production, Daniel Kirch, fell ill.

His understudy Julian Hubbard stepped in for all six performances. Hubbard fully embodied Mr. Vick and Mo. If his fine, young voice served him exceedingly well for the first two acts, it did not possess the power and color to fulfill the heroic vocal demands of Wagner's third act Parsifal. Chorus, childrens chorus, orchestra of the Teatro Comunale di Bologna.

Teatro Comunale, January 28, In another sense it is a simple fairy tale - a story about a boy who could not learn to fear intertwined with the mythological stories of his youth and birth. Siegfried is the only character who can really be said to make a journey through the opera and it takes a singer of some stature to convince us that happens. There is only so much slouching in chairs, hands in pockets, eyes screwing like pinballs, and flaying of arms one can take - at the level we got it here, it did little to convey the rowdiness of the early Siegfried.

Even in Act III where he should be moving into something more nuanced, Kerl seemed unwilling to deviate from his earlier youth. His misfortune, however, was to have a Mime in Adrian Thompson. His constant whinging that he cannot forge a new sword from the smashed fragments of Notung, his howls tempered with groans are all emphasised. The danger with Mime is that one risks us having sympathy for him and with Thompson it was difficult not to do this.

Here we had a tenor with clarion high notes and a solid bottom register - a remarkably complete performance of the role. The mystery of Siegfried is that its comedy masks a much darker side. Possessed by greed for the Ring, and his deceit of Siegfried whom he has plotted to poison after he has killed Fafner, it identifies him as a pantomime villain.

It is something which Adrian Thompson was able to beautifully master. Wotan, on the other hand, is disguised as the Wanderer but given a crooked hat and an eye-patch to add to his comedy, when this is largely unnatural for him. Evgeny Nikitin was imposing in the role, a bass of majestic sweep and tone. His renunciation in Act III had overtones of tragedy and in his scene with Erda, Nitikin managed to sway us into believing he was simply wiser.

One could see the comic side of this, but both Thompson and Nitikin layered it with effective skill. Fafner - literally, and somewhat appropriately as it happens given where this dragon rests - was sung cavernously by Brindley Sherratt. For some reason heaven knows why he was represented as a cobra. Only when Sherratt warned Siegfried of the treachery of Mime did it seem to rise above that.

The notes were there, almost in robust fashion, but when compared to the rather small birds flying on the screen behind her she seemed outsized. But it was a distraction. The notes are mostly there a high C astray once this is a voice that rides effortlessly above the orchestra. As she recalls Grane, her shield and her armour it is not so much a literal reading of the libretto but a transfiguration of a soprano who can bring meaning to them as we listen to her.

If this concert production really achieved a level of true greatness it was provided by the London Philharmonic Orchestra and Vladimir Jurowski. The playing of the orchestra was simply staggering. They opened the first act in complete darkness, then a single light shining on the woodwind. Almost the first thing one notices is that there are no risers except for the last desks of the violins - a masterful stroke because the sound we get from the orchestra is completely luminous, every phrase and detail crystal clear.

The sound that emerges from the double basses - arranged across the back of the orchestra - is as full as you could want, even when playing at pianissimo. The effect is loving, as if he is caressing the score, teasing music from it, allowing solos to emerge like voices.

The opening of Act III might have felt slightly weightier, less visceral than in some performances I have heard, but it swirled majestically - to an accompanying Blitzkrieg on the screen behind the orchestra. Those magnificent tubas could be grotesque, or they could be magnetically dramatic, plunging us into orchestral bleakness. The Forest Bird music transitioned into literal shapes rather than sounds; the heft of the brass and strings during the Fafner motif was exhilarating.

A slightly underpowered hero aside, this was a magnificent Siegfried and bodes well for the complete cycle to be performed next year. Two complete concert stagings of Der Ring des Niebelungen will take place at the Royal Festival Hall between 25 th st January and 5 th th February The harp sang in splendid duet with Giulietta, the clarinet sang gloriously all on its own in an extended bel canto aria without words.

Conductor Gatti and his orchestra were much more than accompaniment to the desperately beautiful outpourings of the protagonists, the orchestra penetrating the depths of their feelings in the musical delicacy of pristine Romanticism. Juliet of the Capuleti family falls in love with Romeo of the opposing Montecchi family.

The resolution is in a most beautiful love duet. Finally Romeo believes Juliet dead, then Juliet knows that Romeo is dead. The resolutions are most beautiful arias. Meanwhile all attempts at reconciliation of the factions are fruitless in some fine choruses. Poison was the usual Renaissance solution to many problems, and here its effect is far more than Juliet's death-like sleep.

No bloodshed here, the resolution is a most beautiful duet. Bel canto is by nature virtuoso singing, since that is what bel canto operas are about. Thus bel canto operas on major stages are most often about famous singers. Rome Opera chose instead to use young singers in the early stages of their careers. It was a daring idea, pulled off by very accomplished, surprisingly accomplished young artists, and with the complicity of conductor Gatti.

Conductor Gatti is known for the major repertory — Parsifal at Bayreuth, Elektra at the Met, Don Carlo at La Scala as examples, yet he found the ephemeral delicacy of this minor Bellini opera, and paternally supported the innocence of his young protagonists in their initiation into bel canto. These were not virtuoso displays of singing, rather there was the sense of these young artists discovering their musical feelings in voices as yet unmarked by established style and personality.

Here there were no uncertainties whatsoever, the high notes still remarkable, more remarkable were the beautiful, extended pianissimos she exploited in her upper voice. Though to this point she has sung the standard light lyric roles there is now no doubt that bel canto is her inevitable destiny. She is a fully finished artist having survived the young artist programs at the Bolshoi, Aix-en-Provence and Pesaro.

She possesses the necessary warmth of tone and agility of voice to portray the youthful Rossini roles to perfection, promising with maturity to reach for the heroic mezzo roles. The Capuleti faction with rifles.

He has trained in Italy since and is in the first moments of his career. Of particular note is the evenness of his tone throughout the light lyric tenor register, and the ease with which he reaches and holds his high notes. As well the young tenor brings charming ingenue energy onto the stage.

Italian baritone Nicola Ulivieri sang Lorenzo, the family physician who imagined the machinations that resulted in the tragic deaths of the young lovers. Ulivieri has an established career on major stages and brought accomplished singing to this compassionate personage. His setting was highly abstracted shapes that moved efficiently, costumes were contemporary street dress.

His lighting was of some sophistication resulting at times in effective stage pictures, notably the exquisite death tableau. What I found missing was a real context for the sophisticated conducting and the brilliant, youthful singing of this rarely performed opera. Rouvali conducts with panache, his arms drawing graceful curves in the air, as he punctuates the music cleanly with small flourishes of his baton.

Rouvali kept the details crisp and the tone brilliant even at the swiftest of prestos. He applied the same care in the phrasing of Ariadne , the last composition by Theo Verbey, who died unexpectedly last October, conceived as a companion piece to the Stravinsky.

Starting out with fragile flute figures, it swells to include the full complement of strings. When the whole range of the brass comes in with a driving motif, there is sinister menace. The piece constantly changes colour and texture, making use of the whole orchestra. Before all the sections unite for a final restrained crescendo, an ethereal violin solo rises, haloed by a harp.

Ariadne is a highly gratifying swansong and the RCO gave it a lustrous world premiere. They carried over that burnished sound to Oedipus Rex , with its starring roles for the sinuous clarinet solo, bulldozing brass and its main motor, the pummelling percussion. The choir in Oedipus Rex is a dominating presence and acts as a Greek chorus.

The men of the Latvian State Choir were not only technically impeccable, but got every mood and nuance right—the magnificent bombast of the royal ovations, the gossipy whispers and the terrible deluge with which they pronounce Oedipus the foulest of monsters before they send him away with a tender farewell. The work reached its dramatic peak in their scene with the Messenger and the Shepherd, sterlingly sung by bass-baritone Christian Van Horn and tenor Attilio Glaser.

Van Horn was also a vocally imposing, dangerous-sounding Creon. Bass-baritone Shenyang emitted gravitas as the prophet Tiresias, spitting out ominous consonants when Oedipus enrages him into disclosure. In the spirit of the formalistic nature of the work, director Gijs de Lange had the soloists, whose faces were painted with white masks, standing stiff, moving only their arms in stylized gestures. This worked for Van Horn, Glaser and Shenyang, who all benefited from singing downstage.

Tenor Lance Ryan, however, was not helped by being sent behind the orchestra when his curiously expressionless Oedipus starts to piece the horrific revelations together. The same applied to a certain extent to soprano Anna Caterina Antonacci, who, after a vocally unstable start, sang a warm and textually focused Jocasta. Pity about her physical remoteness behind the double basses. The decision not to subtitle the Latin text was a mistake. Paradoxically, actor Pierre Bokma, unlike most of his predecessors, stayed away from stagey declamation and chose to deliver the Dutch narration naturalistically, as if talking to a camera.

Whether or not this was a conscious choice, it was the most alienating effect of all. Gijs de Lange, Mise-en-espace. Santtu-Matias Rouvali, Conductor. Latvian State Choir. Royal Concertgebouw Orchestra. Heard at the Concertgebouw, Amsterdam, on Thursday, the 30th of January, Verdi did attend one of the performances of Lohengrin , and later wrote to his publisher that it made him want to throw up. Tannhauser was programmed in Bologna the following year, the year Wagner accepted honorary citizenship of Bologna!

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Bettinger eric notaire levie The show ends. Lithe and handsome Mr. Taken at a beautifully slow pace, the lines opened up with impeccable ease, the control in the breath almost completely singular from bar to bar. In the spirit of the formalistic nature of the work, director Gijs de Lange had the soloists, whose faces were painted with white masks, standing stiff, moving only their arms in stylized gestures. It is not often that you will encounter this opening scene invested with such artistry and dramatic interest. One presumes that the throngs of humanity that populated Mr.
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Make money sports betting Christine Rice. When the whole range of the brass comes in with a driving motif, there is sinister menace. Dimitri Pittas and Roderick Williams. Barbican Hall, London; Monday 10 th February The danger with Mime is that one risks us having sympathy for him and with Thompson it was difficult not to do this.
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Bettinger eric notaire levie Details will sharpen up in time, but this opening night held considerable promise bettinger eric notaire levie forthcoming performances. This recording, from performances at the Sportpesa betting teams Hall, London, captures the verve and spontaneity of live performance, further enhancing the vividness of expression. This was absolutely not the case for the Lise Davidsen. Certainly, it has not been seen much on the London stage; there was a rather old-fashioned Filippo Sanjust production at Covent Garden in which received its final revival inand then a modish Olivier Tambosi production there in which was never revived. Election of Director: Gregory B. Consideration of the designation of regular and alternate directors with a mandate for 3 fiscal years.

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Do you think that notaries shouldn't have a fixed number in the EU? Andre Farrugia The notary office of Dr. Yes, definetly, the notary profession should be fully liberalised.


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Eric Dozier and Homa Tavangar, Co-Founders at OnenessLab, discuss the 5 Pillars of Real Relations

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