Apartment for Rent in Moscow
Hi. I live in MOSCOW (in the capital of RUSSIA). Our friends invited us to see the apartment they rented. The apartment is located in a new building on the outskirts of Moscow. This is an absolutely new neighborhood. Their house only recently was put into Maintenance. Metro station is relatively close. It will take you 15 minutes to get there by car. Their neighborhood is a completely new area. There are no schools, shops and kindergartens. Therefore, the rental price of this apartment is not high for Moscow. Our friends rented an apartment for 15,000 rubles per month It is about 200 $ and they also must pay for electricity, water and internet. So the final price for this flat will be approximately 20000 rubles per month. That is 270 $
It is unfurnished apartment, they need to bring their own furniture. They rented an apartment for one year with the right of prolongation. By the way, the owners did not repair the apartment. This apartment was sold already renovated.
It is a good business in Russia.You may buy an apartment and then lease it at a reasonable rate per month.
Eastern Front of WWII animated: 1941
In the summer of 1941 German army was the strongest in Europe and was preparing to use its superiority to defeat the Soviet Union in a three-month lightning campaign. The Soviets, on the other hand, were preparing for a long war and had built up a strong war economy, but the modernization and expansion of the Red Army was still underway and its methods and organization were not yet fully tested in battle. Can the Wehrmacht damage the Soviet Union enough to prevent a recovery or can the Soviets hold until their long-term advantages start to have a strong impact on the war?
Patreon:
Symbols:
Main sources for orders of battle and frontline positions:
80% of the divisional OOB and 95% of corps OOB shown in the video may be considered correct, (in places, where it is not simplified.)
Troop and POW numbers:
Map:
Terrain
Europe: Elevation map of Europe - European Environment Agency.
Outside Europe:
Infrastructure:
USSR: Europa 1: 2,500,000 Deutsche Heereskarte: Europaische Russland. 1943.
Other: British 1944 1:2000,000 maps of Europe.
Nerves Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0
License
Великая Война. 4 Серия. Битва за Москву. StarMedia. Babich-Design
Все серии:
Проект посвящен 65-й годовщине Великой Победы. Фильм рассказывает о главных событиях и сражениях Великой Отечественной войны. Уникальность проекта в широком использовании компьютерной графики в сочетании с кинохроникой военных лет. Благодаря новейшим технологиям зритель, даже неискушенный в вопросах истории, привычный к современному киноязыку, получает возможность, с одной стороны, разобраться в подробностях событий, с другой, - в полной мере ощутить масштабность и драматизм великой войны.
Серия 4. Битва за Москву:
С первых дней войны Москва готовилась к обороне. Были эвакуированы учреждения и заводы, посольства и министерства. Чтобы организовать оборону и остановить наступление фашистов на столицу, из Ленинграда был отозван маршал Жуков. По плану немецкой операции Тайфун вся мощь удара группы армий Центр была направлена на Москву. Немецкие части получали подкрепление, а, Жукову требовались резервы и время, которых у него не было. 17 октября Москва была переведена на осадное положение. Но 7 ноября мир узнал о том, что на Красной площади состоялся парад. Пройдя по брусчатке главной площади страны, части Красной Армии отправлялись прямо на фронт, на защиту столицы.
Формат: историческая реконструкция
Жанр: докудрама
Год производства: 2010
Количество серий: 18
Режиссер: Анна Граждан
Сценарий: Артем Драбкин, Алексей Исаев
Художник-постановщик: Валерий Бабич
Композитор: Борис Кукоба
Продюсеры: Валерий Бабич, Влад Ряшин, Сергей Титинков, Константин Эрнст
Смотреть онлайн бесплатно Великая Война
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Shostakovich's Opera: ORANGO
An extended documentary about the recently-discovered opera by Shostakovich, 'Orango'. It features interviews with Esa-Pekka Salonen, who premièred the work, Gerard McBurney, who orchestrated the work, and Irina Brown, who is directing the Philharmonia Orchestra's semi-staged production and European Premiere taking place at the Royal Festival Hall in London in May 2013.
As well as learning about how the work surfaced, and its orchestration, we also delve into some of the musical influences surrounding Shostakovich when he wrote the piece. Set against the historical context of the early 1930s, this film lifts the lid on a fascinating period in not only musical history, but the history of the Soviet Union.
For more information on the Philharmonia Orchestra's European Première of Orango, taking place on May 16th 2013, please visit philharmonia.co.uk/orango
Sponsored by the Meyer Foundation
The Halle - Beyond the Score®: Shostakovich Symphony No.4
THE PLACE RUSSIA, THE YEAR 1936…
The Soviet Union’s most famous composer, Dmitri Shostakovich had triumphed internationally with a wildly successful opera, Lady Macbeth of the Mtsensk District, running simultaneously in different theatres in Moscow and Leningrad, and creating scandals and excitement in Europe and America. The composer was determined to follow with a massive symphony, scored for enormous orchestra and designed to show the full power and scale of modern music.
And then he fell from grace. At the beginning of the year, two unsigned articles appear in the national newspaper Pravda, condemning his work as ‘coarse, primitive and vulgar’, ‘musical chaos’, an example of the evil and anti-Soviet influence of Western ‘formalism’ and bourgeois values. The opera was taken off, the new symphony abruptly cancelled, and the composer plunged into public peril.
This was at the very moment when Stalin initiated the bloodthirsty Terror, in which hundreds of thousands died and millions were arrested and imprisoned.
25 years later, when the symphony was finally allowed to be performed, the composer told a friend: ‘In many ways, it seems to me the Fourth is better than the symphonies that came after…’
Beyond the Score ® dramatises this dark and shocking story, setting the violence and pathos of the music alongside political and personal events in a multimedia performance using diaries, letters, prose and poetry, documentary films and posters of the time. We hear a complete performance of the symphony after the interval.
Please note that this performance begins at 7pm
First half - Beyond the Score ® dramatisation
Second half - Full orchestral performance
Conductor
Sir Mark Elder
Featuring
Gerard McBurney, Creative Director, Beyond the Score ®
Samuel West, Actor
Tamzin Griffin, Actor
Robert Pickavance, Actor
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SIFF 2017 Trailer: Lady Macbeth
Screening at the Seattle International Film Festival 2017. Tickets available now:
United Kingdom | 2016 | 89 minutes | William Oldroyd
Based not on Shakespeare but on a classic Russian novel, this Gothic tale from up-and-coming director William Oldroyd takes place in rural England, where a young woman (Florence Pugh) is stifled by her loveless marriage to a bitter older man.
Bundled with a sale of land, young Katherine is sold by her father to an elderly aristocrat who in turn, forces her to marry his boorish, middle-aged son, Alexander. When they meet he offers no kindness and cannot even consummate the nuptials, leaving Katherine with an overwhelming sense of despair. Ordered to stay within the walls of their crumbling family mansion while her new husband and father-in-law are away on business, Katherine meets a rebellious servant named Sebastian (played with delicious moodiness by musician-turned-actor Cosmo Jarvis), who opens her eyes and hands her the key to emotional—and sexual—freedom. Their affair intensifies and cannot be kept secret for long. When her husband returns Katherine decides to defend her newfound fulfillment at any cost, no matter how much blood is shed. Based on Russian writer Nikolai Leskov's 1865 novella Lady Macbeth of the Mtsensk and led by relative newcomer Florence Pugh (The Falling) in a mesmerizingly self-assured performance, this Victorian melodrama is not only a tragic story of forbidden romance, but, perhaps more important, an explosive feminist tale of vengeance.
Юность Максима 1934 / The Youth of Maxim (Maxim Trilogy, Part 1)
Максима / The Youth of Maxim (Maxim Trilogy, Part 1)
Режиссер - Григорий Козинцев, Леонид Трауберг
Премьера - 27 января 1935
Жанр - Драма, исторический
Автор сценария - Григорий Козинцев, Леонид Трауберг
Оператор - Андрей Москвин
Художник-постановщик - Евгений Еней
Композитор - Дмитрий Шостакович
В главных ролях - Борис Чирков, Степан Каюков, Валентина Кибардина, Михаил Тарханов, Александр Кулаков, Борис Блинов, Павел Волков, Ирина Гошева, Леонид Любашевский, Владимир Сладкопевцев, Владимир Таскин, С. Леонтьев, М. Шелковский
Производство - Ленфильм
Юность Максима (1934) - советский художественный фильм, поставленный режиссёрами Григорием Козинцевым и Леонидом Траубергом. Первый фильм историко-революционной трилогии о Максиме. Продолжение: «Возвращение Максима» и «Выборгская сторона».
Советские фильмы 1926 - 1935 -
Революционные фильмы -
Возвращение Максима 1937 / The Return of Maxim (Maxim Trilogy, Part 2) -
Выборгская сторона 1938 / The Vyborg Side (Maxim Trilogy, Part 3) -
Наша группа ВКонтакте / VK -
Действие фильма начинается в 1910 году. Весёлый петербургский рабочий паренёк Максим лихо побеждает врагов под куплеты получившей необыкновенную популярность народной песенки «Крутится, вертится шар голубой». После того, как его заводской товарищ Андрей погибает по вине мастера, Максим связывается с подпольщиками через учительницу Наташу, начинает ей помогать в революционной деятельности, вместе со своим вторым другом Дёмой попадает в тюрьму, после расстрела Дёмы становится профессиональным революционером и переходит на нелегальное положение…
Критика:
В первые две недели только в Ленинграде фильм посмотрели более полумиллиона зрителей. Успех в других городах нарастал лавинообразно. Лента получила тысячи хвалебных рецензий и превосходных эпитетов и практически сразу стала классикой советского кинематографа. Всеволод Пудовкин: «Картина начинается взрывом новогоднего веселья в царском Петербурге. Изумительная «москвинская» фотография (оператор Москвин), музыка Шостаковича, блестящий монтаж создают образец формального мастерства».
Рецензия:
«Не огромное полотно, не памятник, не историю партии, не хронику - мы хотели дать движение эпохи в будто бы «частной» жизни человека без звонкого имени». «Юность Максима» вышла на экраны почти одновременно с «Чапаевым». Эти два фильма сыграли подлинно этапную роль в развитии советской кинематографии тридцатых годов.
Героем стал Максим, а воплотил его на экране актёр Борис Чирков. Он сыграл множество ролей, в том числе и выдающихся, но в памяти зрителей навсегда остался как парень с Нарвской заставы (так же, как Борис Бабочкин остался Чапаевым). В образе Максима удалось слить воедино характер, тип, историю. Этот герой стал символом, но именно потому, что был наделён неповторимой человеческой индивидуальностью.
Подробнее -
The Youth of Maxim (Maxim Trilogy, Part 1) (1934)
Director - Grigori Kozintsev, Leonid Trauberg
Writer - Grigori Kozintsev, Leonid Trauberg
Cinematography - Andrey Moskvin
Art Director - Yevgeni Yenej
Music - Dmitri Shostakovich
Cast - Boris Chirkov, Stepan Kayukov, Valentina Kibardina, Mikhail Tarkhanov, Aleksandr Kulakov, Boris Blinov, Pavel Volkov, Irina Gosheva, Leonid Lyubashevsky, Vladimir Sladkopevtsev, S. Leontyev, M. Shelkovsky
Production Co - Lenfilm
The Youth of Maxim (Maxim Trilogy, Part 1) (1934) - is a 1935 Soviet historical drama film directed by Grigori Kozintsev and Leonid Trauberg, the first part of trilogy about the life of a young factory worker named Maxim.
In 1910, a revolutionary underground group spreads leaflets featuring anti-tsarist slogans. Maksim, a young, happy-go-lucky worker and his comrades help the teacher Natasha, who is engaged in illegal activities in the factory, hide from the police. Maksim's friend Andrey and another worker lose their lives. Their funeral turns into a huge demonstration which is suppressed by the police. Numerous people are arrested, among them Maksim, who subsequently becomes a Social Democratic activist.
A little like «Battleship Potemkin», but almost a musical, with touches of romance. A relatively early soviet sound film (it still shows traces of techniques reminiscent of silent films, but also revels in the ability to use sound) -- it tells the story of Maxim, a young factory worker who gets involved in «labor problems» and then is branded a revolutionary trouble-maker.
Written by Michael Kerpan (kerpan) (New England) -
Read more -
The BSO and Andris Nelsons announce a new partnrship with Deutsche Grammophon
For more information, please visit:
The Boston Symphony Orchestra and Deutsche Grammophon have announced a new partnership that will feature a series of live recordings under the direction of BSO Music Director Andris Nelsons. This new recording initiative will launch with a project entitled Shostakovich Under Stalin's Shadow, focusing on works composed during the period of Shostakovich's difficult relationship with Stalin and the Soviet regime-starting with his fall from favor in the mid-1930s and the composition and highly acclaimed premiere of his Fifth Symphony, and through the premiere of the composer's Tenth Symphony, one of the composer's finest, most characteristic orchestral works, purportedly written as a response to Stalin's death in 1953.In addition to Symphonies 5-10, the project will also include performances and recordings of the incidental music from King Lear and Hamlet and the Passacaglia from Lady Macbeth of Mtsensk. The recordings of these works will take place at Symphony Hall-one of the world's most renowned halls for acoustical excellence-during performances scheduled in the BSO's 2014-15, 2015-16, and 2016-17 seasons, all under the direction of BSO Music Director Andris Nelsons. This announcement about a new relationship and recording project between the Boston Symphony Orchestra, Andris Nelsons, and Deutsche Grammophon is being released in conjunction with the 2015-16 Boston Symphony Orchestra season announcement.
The first of the BSO's five live recorded albums-to be released by Deutsche Grammophon in three installments between summer 2015 and summer 2017-will feature the Passacaglia from Lady Macbeth of Mtsensk, the opera that appalled Stalin and propelled Shostakovich out of the dictator's favor, and Symphony No. 10. The album will be recorded during the BSO's upcoming concerts at Symphony Hall, April 2, 3 & 4, under the direction of Mr. Nelsons.
Andris Nelsons-born in Riga, Latvia in 1978, when it was still a part of the Soviet Union-is certain to bring a unique perspective to the performances and recordings of Shostakovich's music. One of the last conductors trained under the Soviet music tradition, and having studied extensively in St. Petersburg, Andris Nelsons now represents the last of a distinct musical voice that is influenced heavily by both those great Russian masters and later by Western European masters of the core Germanic repertoire.
Opera: 400 years of passion
Since its invention in the late 16th century in Italy, opera has continuously evolved, becoming the universal art form known today. Drama, poetry, visual arts and sometimes dance interact with music to create a unique alchemy that changes show after show, production after production.
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Crimean–Nogai raids into East Slavic lands | Wikipedia audio article
This is an audio version of the Wikipedia Article:
Crimean–Nogai raids into East Slavic lands
00:02:38 1 Causes
00:02:47 1.1 Economic factors
00:03:55 1.2 Political factors
00:04:41 2 Military
00:04:49 2.1 The theater of war
00:08:12 2.2 Tactics
00:10:08 3 The fate of the captives
00:10:17 3.1 On the steppe
00:12:06 3.2 In Crimea and Turkey
00:15:41 4 Resistance to the raids
00:15:51 4.1 Russia
00:16:18 4.2 Poland–Lithuania
00:17:06 5 In folk culture
00:17:49 6 Historians on the Tatar raids
00:18:34 7 List of raids
00:18:43 7.1 Outline
00:20:37 7.2 1480–1506
00:34:18 7.3 1507–1570
00:59:11 7.4 1571–1599
01:15:51 7.5 1600–1648
01:48:24 7.6 Wars 1648-1709
01:50:13 7.7 1648-1655: Khmelnitsky Uprising
02:03:20 8 1657-1663 Vyhovsky and the Poles
02:10:13 8.1 1665–1678
02:48:46 8.2 1677–1699
03:03:13 8.3 1700–1769
03:13:00 9 See also
03:13:17 10 Sources
03:13:57 11 Notes
03:14:05 12 External links
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The only true wisdom is in knowing you know nothing.
- Socrates
SUMMARY
=======
The Crimean-Nogai raids were slave raids carried out by the Khanate of Crimea and by the Nogai Horde into the region of Rus' then controlled by the Grand Duchy of Moscow (until 1547), by the Tsardom of Russia (1547-1721), by the Russian Empire (1721 onwards) and by the Grand Duchy of Lithuania (part of the Polish–Lithuanian Commonwealth from 1569). These raids began after Crimea became independent about 1441 and lasted until the peninsula came under Russian control in 1774.Their main purpose was the capture of slaves, most of whom were exported to the Ottoman slave markets in Constantinople or elsewhere in the Middle East. The raids were an important drain of the human and economic resources of eastern Europe. They largely inhabited the settlement of the Wild Fields – the steppe and forest-steppe land which extends from a hundred or so miles south of Moscow to the Black Sea and which now contains most of the Russian and Ukrainian population. The raids also played an important role in the development of the Cossacks.Estimates of the number of people involved vary: according to Alan W. Fisher the number of people deported from the Slavic lands on both sides of the border during the 14th to 17th centuries was about 3 million. Michael Khodarkhovsky estimates that 150,000 to 200,000 people were abducted from Russia in the first 50 years of the 17th century.The first major Tatar raid for slaves occurred in 1468 and was directed into Galicia. Crimean Khan Devlet I Giray even managed to burn down Moscow during the 1571 campaign. The last raid into Hungary by the Crimean Tatars took place in 1717. In 1769 a last major Tatar raid, which took place during the Russo-Turkish War, saw the capture of 20,000 slaves.
What made the wild field so forbidding were the Tatars. Year after year, their swift raiding parties swept down on the towns and villages to pillage, kill the old and frail, and drive away thousands of captives to be sold as slaves in the Crimean port of Kaffa, a city often referred to by Russians as the vampire that drinks the blood of Rus'...For example, from 1450 to 1586, eighty-six raids were recorded, and from 1600 to 1647, seventy. Although estimates of the number of captives taken in a single raid reached as high as 30,000, the average figure was closer to 3000...In Podilia alone, about one-third of all the villages were devastated or abandoned between 1578 and 1583.