[44579] in linux-announce channel archive
complex regional pain syndrome treatment
daemon@ATHENA.MIT.EDU (Numbness & Tingling Feet)
Sat Dec 30 12:01:21 2023
Date: Sat, 30 Dec 2023 18:01:07 +0100
From: "Numbness & Tingling Feet" <NumbnessTinglingFeet@funguselixirs.today>
Reply-To: "Neuropathy Relief" <NeuropathyPainRelief@funguselixirs.today>
To: <linuxch-announce.discuss@charon.mit.edu>
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complex regional pain syndrome treatment
http://funguselixirs.today/_OPD1lffsIRzzMHH3x6Xi3LP0I3GZjiVgDVFQlj_DJz9OqQKBw
http://funguselixirs.today/jZJlKmv-wxfBtJEvmCmwVRGJ6sqtjsVMFwRg4EG42f3GKT1n
With Madame Chrysanthème (1893), a four-act "lyric comedy" with no spoken dialogue, Messager reached a turning point in his development. The crux of the plot was the same as that later used by Puccini for Madama Butterfly (1904): a young Japanese geisha wooed and then abandoned by a foreign sailor. Messager's treatment of the story was praised for its sensitivity – reviewers in the Parisian press applauded him for raising opérette to the level of "comédie lyrique" – but he was a self-critical artist, and he felt he had strayed too far in the direction of opera and away from his chosen genre. Harding suggests that the unusual seriousness of the score may be connected with the recent illness and death of Edith Messager. Both Hughes and Harding comment that Messager's score is subtler than Puccini's,[n 16] but add that the almost total eclipse of Madame Chrysanthème by Madama Butterfly may be partly due to the relative effectiveness of their libretti.[n 17] After this, Messager consciously simplified his style, greatly reducing the harmonic subtleties that had been characteristic of his earlier works.
The works from the middle of the decade were unsuccessful financially and artistically. Le Chevalier d'Harmental (1896), classed by Hughes as Messager's first true opéra comique ("in a somewhat pretentious style") was a failure, and an unpretentious opérette in the same year, La Fiancée en loterie, fared no better. After these disappointments Messager finished the 1890s with two considerable successes. Traubner describes Les P'tites Michu (1897) as "a sensational hit", and Harding calls it the best of Messager's opérettes so far (classing Le Basoche as opéra comique, as did its composer). The plot was not strikingly original: critics commented that its story of babies switched at birth was already very familiar from Gilbert and Sullivan operas.[n 18] Traubner describes the piece as "one of those unusual works that begin well enough and gets better and better". Setting a scene in the market of Les Halles was not innovative, but Messager's chorus for the marchands and m
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<span style="color:#FFFFFF;font-size:5px;">With Madame Chrysanthème (1893), a four-act "lyric comedy" with no spoken dialogue, Messager reached a turning point in his development. The crux of the plot was the same as that later used by Puccini for Madama Butterfly (1904): a young Japanese geisha wooed and then abandoned by a foreign sailor. Messager's treatment of the story was praised for its sensitivity – reviewers in the Parisian press applauded him for raising opérette to the level of "comédie lyrique" – but he was a self-critical artist, and he felt he had strayed too far in the direction of opera and away from his chosen genre. Harding suggests that the unusual seriousness of the score may be connected with the recent illness and death of Edith Messager. Both Hughes and Harding comment that Messager's score is subtler than Puccini's,[n 16] but add that the almost total eclipse of Madame Chrysanthème by Madama Butterfly may be partly due to the relative effectiveness of their libretti.[n 17] After this, Messager consciously simplified his style, greatly reducing the harmonic subtleties that had been characteristic of his earlier works. The works from the middle of the decade were unsuccessful financially and artistically. Le Chevalier d'Harmental (1896), classed by Hughes as Messager's first true opéra comique ("in a somewhat pretentious style") was a failure, and an unpretentious opérette in the same year, La Fiancée en loterie, fared no better. After these disappointments Messager finished the 1890s with two considerable successes. Traubner describes Les P'tites Michu (1897) as "a sensational hit", and Harding calls it the best of Messager's opérettes so far (classing Le Basoche as opéra comique, as did its composer). The plot was not strikingly original: critics commented that its story of babies switched at birth was already very familiar from Gilbert and Sullivan operas.[n 18] Traubner describes the piece as "one of those unusual works that begin well enough and gets better and better". Setting a scene in the market of Les Halles was not innovative, but Messager's chorus for the marchands and m</span><br />
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