A Night At The Opera Marx Brothers Torrent

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REPARTO The Marx Brothers -spanish- Los Hermanos Marx-, Groucho Marx, Harpo Marx, Chico Marx, Zeppo Marx, Margaret Dumont, Louis Calhern, Raquel Torres, Edgar Kennedy. Dec 30, 2013 - 80 minStarring Groucho Marx, Chico Marx, Harpo Marx, Lucille Ball, and Ann Miller.

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A Night at the Opera is the fourth studio album by the British band, released on 21 November 1975. Co-produced by and Queen, it was the most expensive album ever recorded at the time of its release. The album takes its name from the, which the band watched one night at the studio complex when recording. The album was originally released by in the United Kingdom, where it topped the for four non-consecutive weeks, and in the United States, where it peaked at No. 4 on the and became the band's first Platinum selling album in the US.

The worldwide sales for the album are currently over 6 million copies. A Night at the Opera incorporates a wide range of styles, from and songs in a style, to tracks and influences. It also produced the band's most successful single in the UK, ', which became their first and one of the best-selling singles in both the UK and the world. Song information 'Death on Two Legs (Dedicated to.)' ' can be referred to as 's hate letter to Queen's first manager,, who for some years was reputed to have mistreated the band and abused his role as their manager from 1972 to 1975. Sheffield denied that in his autobiography entitled 'Life on Two Legs: Set The Record Straight', published in 2013, and referred to copies of the original 1972 management contracts between Sheffield and Queen, which were included in the book as proof of his defence. Though the song never makes direct reference to him, after listening to a playback of the song at during the time of album release, Sheffield was appalled, and sued the band and the record label for, which resulted in an, but also confirmed his connection to the song. During live performances, Mercury would usually rededicate the song to 'a real of a gentleman', although this line was censored on the version that appeared on their album in 1979.

Other than on the live album, he said it was dedicated to a 'motherfucker I used to know'. In the documentary about the making of A Night at the Opera, stated that the band was somewhat taken aback at first by the bitterness of Mercury's lyrics, and described by Mercury as being 'so vindictive that he [May] felt bad singing it'. After the song came together, it was agreed that the 'author should have his way', and the song was recorded as written. As with ', most of the guitar parts on this song were initially played on piano by Mercury, to demonstrate to May how they needed to be played on guitar. 'Death on Two Legs' remained on the setlist until, and well into, in 1980, and was then dropped.

However, the piano introduction was played during the Hot Space and Works tours. 'Lazing on a Sunday Afternoon' 'Lazing on a Sunday Afternoon' is another song by Mercury. He played piano and performed all of the vocals. The lead vocal was sung in the studio and reproduced through headphones in a tin bucket elsewhere in the studio. A microphone picked up the sound from the bucket, which gives it a hollow 'megaphone' sound.

The guitar solo is also reported to have been recorded on the vocal track, as there were no more tracks to record on, as explained by producer Roy Thomas Baker during the 'Classic Albums' documentary. The key change going into the guitar solo (Eb to A) is a tritone relationship, making it a jarring, but very effective, transition into the key of E minor for the next track, 'I'm in Love with My Car'. 'I'm in Love with My Car' ' is amongst 's most famous songs in the Queen catalogue. The song was initially taken as a joke by May, who thought that Taylor was not serious when he heard a demo recording. Taylor played the guitars in the original demo, but they were later re-recorded by May on his. The lead vocals were performed by Taylor on the studio version, and all released live versions. The revving sounds at the conclusion of the song were recorded by Taylor's then current car, an.

The lyrics were inspired by one of the band's, Johnathan Harris, whose was evidently the 'love of his life'. The song is dedicated to him, the album says: 'Dedicated to Johnathan Harris, boy racer to the end'.

When it came down to releasing the album's first single, Taylor was so fond of his song that he urged Mercury (author of the first single, 'Bohemian Rhapsody') to allow it to be the B-side and reportedly locked himself in a cupboard until Mercury agreed. This decision would later become the cause of much internal friction in the band, in that while it was only the B-side, it generated an equal amount of publishing royalties for Taylor as the main single did for Mercury. The song was often played live during the 1977–81 period. Taylor sang it from the drums while Mercury played piano and provided backing vocals. It was played in the in 2005 and the in 2008. Taylor would again play the song for his concerts with and solo tours, where instead of drums he played rhythm guitar. 'You're My Best Friend' 'You're My Best Friend' was Queen's first single written.

He composed while he was learning to play piano. He played the (which Mercury called a 'horrible' instrument in an interview) on the recording and overdubbed the bass later on. The song was written for his wife, Veronica Tetzlaff. The song was a top 10 hit. '39' '39' was May's attempt to do ' '.

'39' relates the tale of a group of space explorers who embark on what is, from their perspective, a year-long voyage. Upon their return, however, they realise that a hundred years have passed, because of the effect in 's, and the loved ones they left behind are now all dead or aged. May sings the song on the album, with backing vocals by Mercury and Taylor. During live performances, Mercury sang the lead vocal.

May had asked bassist to play as a joke but a couple of days later he found Deacon in the studio with the instrument, and he had already learned to play it. Since Queen had named their albums A Night at the Opera and after two of the ' most popular films, surviving brother invited Queen to visit him at his Los Angeles home in March 1977 (five months before he died). The band thanked him, and performed '39' a cappella. Performed '39' at the in April 1992. Michael cited this song as his favourite Queen song, claiming he used to it on the. Recently, Queen have included the song on the setlists of their recent tours with and before Adam with; for all these tours since 2005 it is sung as it is on the album by May.

'Sweet Lady' 'Sweet Lady' is a distortion-driven fast rocker written by May. The song is an unusual rock style in 3/4-meter (which gives way to 4/4 at the bridge). Taylor remembers it as the most difficult drumming part he ever recorded. The backing track was probably recorded live, as one can hear the snare wires on the snare drum of Taylor's kit vibrating along with Deacon's bass guitar riff.

'Seaside Rendezvous' 'Seaside Rendezvous', written by Mercury, is notable for the mock-instrumental bridge section which begins at around 0:51 into the song. The section is performed entirely by Mercury and Taylor using their voices alone.

Mercury imitates woodwind instruments including a and Taylor mostly brass instruments, including and trumpets, and even a; during this section Taylor hits the highest note on the album,. The 'tap dance' segment is performed by Mercury and Taylor on the mixing desk with on their fingers. Mercury plays both and jangle honky-tonk. 'The Prophet's Song' The Prophet's Song was composed by May (working title 'People of the Earth'). On the show, which spotlighted A Night at the Opera, May explained that he wrote the song after a dream he'd had about a great flood while he was recovering from being ill while recording the album, and is the source of some of the lyrics. He spent several days putting it together, and it includes a vocal sung by Mercury. The vocal, and later instrumental canon was produced by early devices.

It is a heavy and dark number with a strong influence and challenging lead vocals. At over eight minutes in length, it's also Queen's longest studio song (not counting the on '). As detailed by May in a documentary about the album, the speed-up effect that happens in the middle of the guitar solo was achieved by starting a reel-to-reel player with the tape on it, as the original tape player was stopped.

The dream May had was about, and lyrics have references from the Bible and the account. 'Love of My Life' 'Love of My Life' was written for Mercury's girlfriend at the time, Mary Austin, and is one of his most covered songs (there have been versions by many acts like featuring May, and ). Mercury played piano (including a classical solo) and did all of the vocals with startling precision. May played (doing it chord by chord and pasting the takes to form the entire part), (which he'd bought in Japan) and his Red Special. Brian May eventually arranged the song so it could be played on an acoustic 12 string for live performances.

'Love of My Life' was such a concert favourite that Mercury frequently stopped singing and allowed the audience to take over. It was especially well received during concerts in South America, and the band released the song as a single there. When Queen and performed the song (specifically Brian solo) he sang almost none of the words and let the audience sing it all, continuing the tradition. 'Good Company' 'Good Company' was written and sung by May, who provides all vocals and plays a 'Genuine Aloha' ukulele. The recording is remarkable for featuring an elaborate recreation of a -style jazz band, produced by way of May's guitar and Deacy Amp. Brian May composed the song on a, but recorded the song with a regular ukulele instead.

'Bohemian Rhapsody' 'Bohemian Rhapsody' was written by Mercury with the first guitar solo composed by May. All piano, bass and drum parts, as well as the vocal arrangements, were thought up by Mercury on a daily basis and written down 'in blocks' (using note names instead of sheets) on a phonebook. The other members recorded their respective instruments with no concept of how their tracks would be utilised in the final mix. The famous operatic section was originally intended to be only a short interlude of 'Galileos' that connected the ballad and hard rock portions of the song. During the recording, the song became affectionately known as 'Fred's Thing' to the band, and the title only emerged during the final sessions. Despite being twice as long as the average single in 1975 and garnering mixed critical reviews initially, the song became immensely popular, topping charts worldwide (where it remained for an unprecedented nine weeks in the UK) and is widely regarded as one of the most significant rock songs in history. After Freddie Mercury's death, the song was rereleased as a double A-side to ' on 9 December 1991 in the UK and September 5, 1991 in US.

'God Save the Queen' May recorded a cover version of God Save the Queen, the British national anthem, in 1974 before their Sheer Heart Attack tour. He played a guide piano which was edited out later and added several layers of guitars. After the song was completed it was played as an outro at virtually every Queen concert. When recording the track May played a rough version on piano for Roy Thomas Baker. He called his own skills on the piano sub-par at the time. He performed the song live on the roof of for the Queen's in 2002. May has stated that he performed the song on the roof of Buckingham Palace as a to 's version of '.

Guitar layering is one of May's distinctive techniques as a rock guitarist. He has said that the technique was developed whilst looking for a violin sound. For tracks like this, he stated he can use 'up to 30' layers, using a small amplifier named the ' built by Deacon, and later released commercially like the 'Brian May' amplifier by Vox. 'God Save the Queen' is the only song ever recorded by Queen that was not written by any of the band members, but May is credited as its arranger. Reception and legacy At the time of its release, A Night at the Opera was the most expensive album ever recorded.

Upon release, the album was a commercial success, debuting at No. 1 in the UK and topping the charts for four non-consecutive weeks. In the US, it reached No. 4, the band's strongest showing at that time. In 1977 ' received two nominations for and.

In a contemporary review, Kris Nicholson of Magazine said that, although they share other heavy metal groups' penchant for 'manipulating dynamics,' Queen are an elite act in the genre and set themselves apart by incorporating 'unlikely effects: acoustic piano, harp, acapella vocals, no synthesisers. Coupled with good songs.' Called the album a 'must-have', encouraging listeners to 'turn it up loud and enjoy', while the wrote: 'The group's potential is practically limitless, indicating that Queen is destined to finally take its place among the small handful of truly major acts working in rock today.' , writing in, felt that the album 'doesn't actually botch any of a half-dozen arty-to-heavy 'eclectic' modes. And achieves a parodic tone often enough to suggest more than meets the ear.' However, he questioned the record's consistency and what 'that more is'.

In a retrospective review for, called the album 'a self-consciously ridiculous and overblown hard rock masterpiece' and ' with a sense of humour as well as dynamics'. Erlewine felt that Queen 'never bettered their approach anywhere else'. Progressive rock historian Stephen Lambe has disputed that the album itself is progressive rock in his book Citizens of Hope and Glory: The Story of Progressive Rock.

He wrote: 'While far from progressive rock, it was the band's most grandiose and ambitious album yet, full of great songwriting and prog influences.' He said the album was 'a neat symbol of the furthest reach of the progressive rock movement'. The Dutch Progressive Rock Page concluded that A Night at the Opera 'crosses musical boundaries and combines many musical styles, which makes it a real progressive album'.

In a 2006 review, Q also felt that they never topped the album, which the magazine said 'remains glorious, monumental' as British rock music's 'greatest extravagance'. Noted 'the extent of the band's barmy diversity'. Mojo called the album 'an imperial extravaganza, a cornucopia', and Queen 'a band of hungrily competitive individualists on a big roll of friendship and delight'. 's Dominique Leone said that the band topped their contemporaries on the album without limiting themselves or sparing any effort. According to 's Mike McGuirk, A Night at the Opera is often viewed as one of the greatest rock albums of all time. McGuirk felt that the album's combination of heavy metal, recording effects, theatrical sophistication, and British grandeur still make for an engaging listen. The BBC said of the record: 'Christmas 1975 was to be forever remembered as Queen’s. And A Night at the Opera remains their finest hour.' Re-releases The album was first re-released in the US on Hollywood Records on 3 September 1991 with two bonus remixes, as part of a complete re-release of all Queen albums.

On 30 April 2002 the album was again re-released on with a 5.1-channel mix in and. It also includes the original 1975 video of Bohemian Rhapsody. On 21 November 2005 it was once more re-released by Hollywood Records Catalogue Number 2061-62572-2 to celebrate the 30th anniversary of the album and its first single, '.

This release is accompanied by a DVD-Video disc with the same track listing featuring the original videos, old and new concert footage (including '39' from the tour and on the roof of playing 'God Save the Queen') and audio commentary by all four bandmembers. On 8 November 2010, record company announced a remastered and expanded reissue of the album set for release in May 2011. This as part of a new record deal between Queen and Universal Music, which meant Queen's association with EMI Records would come to an end after almost 40 years. According to Universal Music, all Queen albums were to be remastered and reissued in 2011. By September 2012 the reissue program will actually be complete. Along with this came a 5.1 channel release of the album on Blu-ray Audio. A Night at the Opera by Released 21 November 1975 Recorded August – November 1975 Studio, Roadhouse,, Scorpio and Lansdowne, and.

Running time 93 minutes Country United States Language English Budget $1,057,000 Box office $1,815,000 A Night at the Opera is a 1935 American comedy film starring the, and featuring,,,, and. It was the first film the Marx Brothers made for after their departure from, and the first after left the act. The film was adapted by,, and (uncredited) from a story. It was directed. A smash hit at the box office, A Night at the Opera was selected in 1993 for preservation in the by the as being 'culturally, historically, or aesthetically significant'. It is also included in the 2007 update of, at number 85; and previously in 2000 showing, at number 12.

Contents • • • • • • • • • • • • • • • • • • • Plot [ ] Otis B. Driftwood (Groucho), for wealthy dowager Mrs. Claypool (), has stood her up and is having dinner with another woman in the very same restaurant. When she discovers him seated directly behind her, Driftwood joins Mrs.

Claypool, and introduces her to Herman Gottlieb (), director of the New York Opera Company, also dining at the restaurant. Driftwood has arranged for Mrs.

Claypool to invest $200,000 in the opera company, allowing Gottlieb to engage Rodolfo Lassparri (), the 'greatest tenor since '. Backstage at the opera house, chorister Ricardo Baroni () hires his best friend Fiorello (Chico) to be his manager. Ricardo is in love with the soprano, Rosa Castaldi (), who is also being courted by Lassparri. Driftwood arrives and finds Lassparri attacking Tomasso, his dresser (Harpo), who knocks Lassparri unconscious by hitting him over the head with a mallet. Fiorello appears and identifies himself as the manager of the 'greatest tenor in the world'. Driftwood, mistakenly thinking Fiorello is referring to Lassparri, signs Baroni to a contract.

After bidding farewell to Rosa at the pier, Ricardo, Fiorello and Tomasso stowaway on board the ocean liner to New York inside Driftwood's travel trunk. After Driftwood discovers them, he tries to get the three of them to leave, as he is expecting a rendezvous with Mrs. They refuse to go until they've eaten and eventually, Driftwood's extremely small stateroom is crowded with an assortment of people.

(see below) Lassparri later spots the stowaways among the immigrants on the ship and they are caught and thrown into the brig. They escape with help from Driftwood and are able to sneak into the country by assuming the identities of three famous bearded aviators, who are traveling aboard the ship. After a welcoming reception in New York the stowaways true identities are discovered and they hide out in Driftwood's hotel room, pursued by police sergeant Henderson (). Meanwhile, Ricardo is reunited with Rosa after climbing in the window of her hotel room. Ricardo has an altercation with Lassparri, which results in both Rosa and Driftwood being fired from the opera company by Gottlieb. The boys decide to seek revenge by sabotaging the opening night performance of ending with the abduction of Lassparri, forcing Gottlieb to substitute Ricardo and Rosa in his place. The audience clearly prefers Baroni over Lassparri and the latter is booed and pelted with fruit after he attempts to return to the stage.

The film ends with Driftwood and Fiorello attempting to negotiate another contract, as Rosa and Ricardo sing an encore. Delphi Xe5 Serial Communication Ppt. Selected scenes [ ] Stateroom scene [ ] This scene, one of the most famous and funniest comedy scenes of all time, was developed with participation of silent comedy great, who took inspiration from his own film,. Driftwood plans a rendezvous with Mrs. Claypool in his stateroom. Then he finds out how small it is (a third class cabin, about the size of a janitor's closet), and that he, his, and the bed barely fit in it. Driftwood discovers that Fiorello, Tomasso, and Ricardo have stowed away in his steamer trunk and discarded his clothes. Fiorello insists on eating ('We getta food or we don't go').

Driftwood calls a steward ('I say, Stew') and orders dinner. Production still photo of The Stateroom scene. Driftwood (Groucho) says: 'Is it my imagination, or is it getting crowded in here?' This continues until Fiorello and Tomasso each have ordered about a dozen hard-boiled eggs and Driftwood has ordered about everything else—including coffee to sober up some stewed prunes. This is just a set-up for the famous 'Stateroom Scene', in which a total of 15 people crowd into Driftwood's tiny cabin.

Fiorello and Tomasso have to hide out in the room while a parade of people walk in, asking to either use the cabin, or to perform their regular duties. Crammed into this little space at the end of the scene are Driftwood, Fiorello, Tomasso, Baroni, two cleaning ladies who make up the bed, a manicurist, a ship's engineer and his fat assistant, a girl passenger looking for her aunt, a maid (Maid: 'I come to mop up.' Driftwood: 'You'll have to start on the ceiling.' ) and four waiters with trays of food (prompting Driftwood's classic line: 'Is it my imagination, or is it getting crowded in here?'

All of the foregoing tumble out into the hallway when Mrs. Claypool opens the door. Contract scene [ ] The scene between Driftwood and Fiorello ('the party of the first part.' Fiorello: Hey, wait, wait. What does this say here, this thing here? Driftwood: Oh, that? Oh, that's the usual clause that's in every contract.

That just says, uh, it says, uh, if any of the parties participating in this contract are shown not to be in their right mind, the entire agreement is automatically nullified. Fiorello: Well, I don't know.

Driftwood: It's all right. That's, that's in every contract. That's, that's what they call a sanity clause. Fiorello: Ha-ha-ha-ha-ha! You can't fool me. There ain't no! The contract scene between and In an interview with Richard J.

Anobile in The Marx Brothers Scrapbook, Groucho said he was so appalled by an early draft of the script—which was reportedly written by and —that he screamed, 'Why fuck around with second-rate talent, get Kaufman and Ryskind [to write the screenplay]!' At the suggestion of producer, the film marked a change of direction in the brothers' career. In their Paramount films, the brothers' characters were much more: they attacked anybody who was so unfortunate to cross their paths whether they deserved it or not, albeit comically. Thalberg, however, felt that this made the brothers unsympathetic, particularly to female filmgoers. So in the MGM films, the brothers were recast as more helpful characters, saving their comic attacks for the villains.

Though some Marx Brothers fans were appalled at these changes, Thalberg was vindicated when the film became a solid hit. It helped that the film contained some of what fans consider to be the brothers' funniest routines. These routines were honed on, as the brothers performed the new material on the road before filming began. However, according to, the first preview was a 'disaster', with 'hardly a laugh' as was the second. Thalberg and spent days in the editing room, adjusting the timing to match the rhythm of a stage performance. About nine minutes was cut from the running time, and the result was a hit.

Box office [ ] The film grossed a total (domestic and foreign) of $1,815,000: $1,164,000 from the US and Canada and $651,000 elsewhere. It made a profit of $90,000. Opera [ ] True to its title, the film actually includes adaptations of some real scenes from and, featuring the Miserere duet sung by and. The opera setting also allowed MGM to add big production song numbers (which were one of this studio's specialties), such as the song, with the departure of the steamship, and the song Cosi Cosa with the and dancing. And, who were both trained in operatic singing, provided their own singing voices in the film. Was a trained but he portrayed a in the film.

His singing was dubbed by tenor Tandy MacKenzie. Subsequent re-editing [ ] The film originally was to have begun with each of the Marx Brothers taking turns roaring instead of (MGM's iconic mascot); Harpo was to have honked his horn.

This unique opening was created, but not used in the released film because MGM studio head felt the parody would cheapen the famous trademark. It would turn up years later, however, in a re-release trailer for the film.

This article needs additional citations for. Unsourced material may be challenged and removed. (May 2017) () Stateroom scene • The Belgian singer was inspired by the famous stateroom gag in the film when he wrote his song 'Le Gaz' (1967) which depicts several men all crowding together in one room to meet a 'for the gas.' • The 1st season, 23rd episode of titled 'Bum Voyage' features an homage to the stateroom scene where Bob and a dozen cast members are crammed into Bob and Emily's stateroom with Howard Borden announcing that 'The first one that makes a joke gets it!' • featured a similar overcrowded stateroom gag in her music video for the song '. • also recreated the overcrowded stateroom gag in his music video for the 1991 song '. • The Warner Bros.

Animated show also paid homage to the stateroom gag in the short 'Hercule Yakko'. • Though not one room, also paid an homage to the stateroom gag in its finale. • In the Disney Channel series, a scene almost identical to the stateroom scene occurs in the Martins' closet.

• An 8th season episode of titled ' features a homage to the stateroom scene in which the four main characters all cram into a small janitor's closet that Elaine is using to get Chinese food delivered; they all end up spilling out after Kramer spills ammonia. • Mystery writer Jeffrey Cohen paid tribute to the stateroom scene in his novel A Night at the Operation (2009). The book's title also parodies the name of the movie. Sanity clause • The British punk band used Chico's quote ('There ain't no sanity clause') as a title for. • #826 pays homage to the film. In it the captures, the third, and takes him on a mad spree in a car, running over anyone they encounter over the Christmas season. When the Joker plans to kill a street, Robin distracts him by saying 'You can't fool me.

There ain't no Sanity Claus.' The Joker laughs and the two get in an argument over which film the gag is from, with Robin claiming it is from. The Joker is distracted long enough for Robin to punch him out and escape. The Joker himself uses the line in. General • The British rock group paid homage to this film by naming after it. • The film's script is credited as the basis for the 1992 film, produced by and of and fame.

• At the end of the 1990 film, Rodolfo Lassparri is the alias used on 's. • The German power metal band paid homage to this film by naming after it. See also [ ] • • 'Cosi cosa' composers: and Notes [ ] Footnotes. • Brown, Gene (1995). Movie Time: A Chronology of Hollywood and the Movie Industry from its Beginnings to the Present.

New York: MacMillan. The film opened at New York's famed. • ^ The Eddie Mannix Ledger, Los Angeles: Margaret Herrick Library, Center for Motion Picture Study.

• October 12, 2007, at the. Retrieved 2013-12-25.

• Gill, David, Brownlow, Kevin (1987). Buster Keaton: A Hard Act to Follow. Thames Television. Pp. Episode three.

Retrieved 2013-12-25. • Oscar Levant,, Pocket Books 1969 (reprint of G.P. Putnam 1968), p. • ^ • ^ Monkey Business: The Lives and Legends of the Marx Brothers (Hardcover) by Simon Louvish.

Thomas Dunne Books; 1st U.S. Edition (2000),.

• Groucho, Harpo, Chico and Sometimes Zeppo: A History of the Marx Brothers and a Satire on the Rest of the World, Joe Adamson. Simon & Schuster, Paperback (1983),. • Mitchell, Glenn (1996).. London, England: BT. Batsford Ltd.

• Groucho and Me by Groucho Marx. Harpo Speaks! Geis Associates; New York: Limelight Editions, 1985,.

Retrieved 2013-12-25. • ^ Stables, Kate (1992).

The Marx Bros., New Jersey: Chartwell Books, Inc.. Retrieved 2013-12-25. • Sennwald, Andre (December 7, 1935)... Retrieved July 23, 2015. Descargar Drivers Npg Digital Dvtv Studio.

• 'A Night at the Opera'.. December 11, 1935. • 'Reviews of the New Films'.. October 17, 1935. • (December 14, 1935). 'The Current Cinema'..

From the original on 19 September 2008. Retrieved 2008-10-18. • Ebert, Chaz (2000-07-09).. Retrieved 2013-12-25. Retrieved 2013-12-25. Retrieved 2016-07-17.

Retrieved 2016-07-17. Retrieved 2016-07-17. Retrieved 2016-07-17.

Retrieved 2016-07-17. • Todd, Oliver Jacques Brel: Une Vie References [ ] • Elisabeth Buxbaum: Veronika, der Lenz ist da. Walter Jurmann – Ein Musiker zwischen den Welten und Zeiten. Mit einem Werkverzeichnis von Alexander Sieghardt. Edition Steinbauer, Wien 2006, External links [ ] Wikiquote has quotations related to: Wikimedia Commons has media related to.

• at the • • • on • at the • at •.