Podcasts about ballet rambert

We meet living LEGEND, the English sculptor, performance artist, jewellery-maker, portraitist and all-round cultural ICON... Andrew Logan!!!!! We learn about his friendships with Zandra Rhodes, Vivienne Westwood, Derek Jarman and his recent collaboration with Stella McCartney for her Paris catwalk show.Logan (b. 1945) belongs to a unique school of English eccentrics. One of Britain's principal sculptural artists, he challenges convention, mixes media and plays with our artistic values. Since its beginnings, Logan's work has depended on the inventive use of whatever was to hand. With flair and fantasy he transformed real objects into their new and different versions. His artistic world includes fauna, flora, planets and gods. His love of travel provides the bases for several series of work.Born in Oxford in 1945, he qualified in architecture in the late 1960s and has worked across the fields of sculpture, stage design, drama, opera, parades, festivals and interior design. To him, “Art can be discovered anywhere.”Logan crosses cultures and embodies artistic fantasy in a unique and unprecedented way. His work is the art of popular poetry and metropolitan glamour. From his early fame amongst London's fashionable crowd, he has become an influential artist of international stature, with exhibitions as far afield as Los Angeles (USA), Monterrey (Mexico) and St Petersburg (Russia).Versatile and enterprising designer and sculptor, born in Witney, Oxfordshire, who graduated with a diploma in architecture from Oxford School of Architecture, 1964–70. He “experienced Flower Power” in America in 1967. Did a hologram course at Goldsmiths' College, 1982. Logan was noted for projects carried out with a showbiz flair, who to some dressed weirdly, producing camp sculptures, costumes and jewellery out of mirror and lurid plastic, but who was undeniably dedicated and persistent. He said that his aim was “to bring joy and happiness to the world”.Logan was most famous as the inventor and impresario of The Alternative Miss World, which began in 1972, the series continuing periodically at various venues. The first showing of the film The Alternative Miss World was held at the Odeon, Leicester Square, 1979, followed by the Cannes Film Festival, 1980.Follow @AndrewLoganSculptor and his official website: https://www.andrewlogan.com/Logan had his first solo show at New Art Centre, 1973. Other events in his multi-faceted career included Egypt Revisited, sound and light spectacular in a tent on Clapham Common, 1978; decorations for Zandra Rhodes' fashion show, 1980; Snow Sculpture World Championships, Finland, 1982; piece in Holographic Show, York Arts Festival, 1984; debut as a theatre designer, Wolfy, Ballet Rambert, Big Top, Battersea, 1987; retrospective, Museum of Modern Art, Oxford, 1991, with tour; Jewels Fantasy Exhibition, Victoria & Albert Exhibition, 1992; a show at Cheltenham Art Gallery, 2000–1, and watercolours at A&D Gallery, 2002, in the same year there sharing an exhibition with Duggie Fields. In addition, Norwich Gallery held Logan's Alternative Miss World Filmshow 1972 to 2002. In 1991 the Andrew Logan Museum of Sculpture opened at Berriew, Powys. In 1993 the National Portrait Gallery bought two portraits. Was based at The Glasshouse, Melier Place, where he also held exhibitions. Hosted on Acast. See acast.com/privacy for more information.

Episode 107 Crosscurrents in Early Electronic Music of Norway Playlist Arne Nordheim, “Epitaffio” (1963) for orchestra and tape from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. The electronic sound material on the tape are taken from the end of the performance, but played during the opening section. It fuses the acoustic instruments and voices with electronics, filtering and speed changes. This recording is 10:15 Alfred Janson, “Canon” (1964) for chamber orchestra and tape from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. In this piece, two tape recorders were used in performance. The first records for about four minutes and the, half a minute later, begins to play back what was recorded. The second tape recorder begins to record after the first tape machine ends, and then plays back what was recorded after another half minute, creating, in a sense, the structure of a canon. 12:27 Arne Nordheim, “Response I” (1966) for 2 percussion groups and tape from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. Two percussionists respond to electronic sounds such as filtered white noise, sine waves and the filtered sounds of organ and metallic clanging distributed throughout the score. 18:09 Björn Fongaard, “Homo Sapiens” (1966) for magnetic tape from Poul Rovsing Olsen • Thorkell Sigurbjörnsson • Arne Mellnäs • Björn Fongaard – Nordiska Musikdagar 1968 Nordic Music Days Vol.3 (1969 His Master's Voice). Realized at the Norsk Riksringkastings studio, Oslo. 9:20 Bjørn Fongaard, “Galaxy” for 3 electric guitars in quarter-tones from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. The electronic part makes use of audio filtering, changing tape speed, and editing to treat some unorthodoxed playing on the guitar. 12:05 Kåre Kolberg, “Keiserens Nye Slips - Electronic Music” from Kåre Kolberg – Contemporary Music From Norway (1980 Philips). A foray in computer composed music synthesis realized in the Electronic Music Studios in Stockholm using a PDP 15/40 computer; it was programmed in the EMS-1 computer language developed in the same studio. 9:54 Jan Bang, “Artificial Reeves” from from Narrative From The Subtropics (2013 Jazzland). Norwegian release of the Norweigian electronic musician and composer Jan Bang. Akai Sampler, MPC 3000 Sequencer, Dictaphone, Synthesizer, Jan Bang. 3:05 Jan Bang, “Funeral Voyage” from Narrative From The Subtropics (2013 Jazzland). Akai Sampler, MPC 3000 Sequencer, Dictaphone, Synthesizer, Jan Bang; Bass, Eivind Aarset; Guitar, Eivind Aarset; Synthesizer, Erik Honoré; Trumpet, Nils Petter Molvær. 5:26 Jan Bang, “Melee of Suitcases” from Narrative From The Subtropics (2013 Jazzland). Akai Sampler, MPC 3000 Sequencer, Dictaphone, Synthesizer, Jan Bang; Piano, Electronics, Dai Fujikura; Vocals, Sidsel Endresen. 4:03 Safariari, “Fetsild” from This Is The Cafe Superstar Beat Vol. 2 (2002 Café 2001 Records). Electronic music project of Jon Furuheim. 2:16 Remington Super 60, “RS60 And Milano In Space (Remix)” from This Is The Cafe Superstar Beat Vol. 2 (2002 Café 2001 Records). Electronic pop rock group, from Fredrikstad, Norway, founded late 1998. 6:07 Opening background music: Arne Nordheim, “Caliban's Warning” (excerpt) from The Tempest (Suite From The Ballet) (1980 Philips). An abrupt moment of electronic sound blended into the instrumentation. The electronic realization was done in the Studio Eksperymentalne, Warsaw, Poland. The Tempest was commissioned by the Schwetzinger Festival and first performed by Ballet Rambert at the Rokokotheater, Schwetzingen on 3. May 1979. 7:35 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

What happens when Peaky Blinders meets Ballet Rambert? This month Chris finds out about Jessica and Angus's trip to see Peaky Blinders: The Redemption of Thomas Shelby, otherwise known as Peaky Blinders: The Ballet. Along the way we discuss the narrative structure of ballet, the industrialisation of the body in wartime and whether we are still living in the era of the First World War. ReferencesCabaret (1966) Metropolis (1927/1984) Les Miserables (1985) Abel Gance, J'Accuse (1919) Paul Fussell, The Great War and Modern Memory (1975) Robert Gerwarth and John Horne (eds.), War in Peace: Paramilitarism in Europe after the Great War, 1917-1923 (2011) Rambert Dance in Peaky Blinders: The Redemption of Thomas Shelby Rehearsal Video New dance theatre version of Peaky Blinders by creator Steven Knight Peaky Blinders creator Steven Knight interview on Peaky Blinders: The Redemption of Thomas Shelby 'Peaky Blinders' writer Steven Knight on the cult of the show and season 6

Dame Alicia Markova was born Lilian Alice Marks in December 1910, in a two-bedroom flat in Finsbury Park, London. She began ballet classes because she was flat footed and knock kneed. Her natural talent, when she was ten, was spotted by Diaghilev, the Russian artistic impresario who founded the Ballets Russes and brought the contemporary arts of Russia to Europe. Dame Alicia joined Diaghilev's company, which was based in Monte Carlo, in 1925, a month after her 14th birthday. Diaghilev changed her name to Alicia Markova and cast her in the title role of Nightingale in Le Rossignol, a ballet scored by Stravinsky, choreographed by Balanchine and with costumes designed by Matisse. It premiered in Paris in June 1925. After Diaghilev's death in 1929 she returned to England and became a leading figure of the emerging English ballet scene, dancing with the Ballet Rambert and Vic Wells Ballet, as well as at Sadlers Wells. Dame Alicia danced the leading roles in Swan Lake, The Nutcracker and Giselle, which became her trademark, illustrating her unique style of fragility and strength. In 1950, together with her dancing partner Anton Dolin, Dame Alicia founded The London Festival Ballet which eventually became the English National Ballet. She was still dancing Giselle at the age of 48 and had her last dance on stage in the early 1960s. Subsequently she has worked as director, patron and teacher and was awarded the CBE for services to dance in 1958. Her memory for dance steps has proved invaluable for dance historians, pupils and teachers alike. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Softly Awakes my Heart from Samson and Delilah by Camille Saint-Saëns Book: Speaking of Diaghilev by John Drummond Luxury: The perfume Knowing by Estee Lauder

Guests Tracy Li | Former Cape Town City Ballet principal dancer  Ayabona Mani from Somerset West has been offered a place at London's Ballet Rambert as well as New York's Circle in the Square Theatre   Amorhelang Rooiland from Gugulethu has also been offered a place at the same school in London See omnystudio.com/listener for privacy information.

In this episode I meet Amanda Britton, the inspirational Chief Executive, Principal and Artistic Director of the world-renowned Rambert School of Ballet and Contemporary Dance. Her powerful story, from leaving home at the age of 12 to pursue her passion for dance, through being one of the youngest new hires at Ballet Rambert and eventually taking on leadership of the iconic Rambert School, reflects her deep personal connection with dance and the legacy of Marie Rambert, but also her incredible vision for the future of a School that just celebrated its centenary. She talks in depth about how the team pivoted an elite dance training institution to fully online learning within 3 weeks of the start of the COVID pandemic and discusses what managing the School and its family of students through the crisis taught her about leadership, culture and values. Essential listening for senior executives, especially those leading brands with a significant legacy to protect.  Enjoy this episode - Amanda demonstrates how the best leadership comes straight from the heart.Rambert School of Ballet and Contemporary Dance: https://www.rambertschool.org.uk/Instagram: https://www.instagram.com/rambertschool/"Away As One" - a film by Rambert School student Blair Moore. The incredible story of how Rambert School managed to shift world-class dance training on to Zoom: https://www.youtube.com/watch?v=3eIdi65DmWgArchive interview with Marie Rambert, founder of Rambert School: https://www.youtube.com/watch?v=Gng5b2_a_Ko

Day fifty nine. Life behind the police lines in Lockdown Spain for a British couple and their three good legs cat. Today Bosoms and Birthdays Find out more at: https://www.thesecretspain.com Day 59 bosoms and birthdays   It is Day 59 of our Spanish Lockdown, Wednesday, there is a rumour that Mercadona has masks for sale in its stores, and if so we will buy some.   I notice that the UK Government is encouraging people to make their own out of sticky back plastic and a pair of Val’s old knickers, since the episode with the Blue Peter Advent Calendar where my poor construction of the thing allowed family retainer Reg to be scalded with boiling wax.. I would rather leave surgical mask making to, .. surgical mask makers.   The day is dry and there is some sunshine, enough to clear up the mess of dirty rain that fell last night covering every surface in Sahara sand, three good legs cat is having a bad day, he has had several of his ‘fits’ and horrifying sight where his right back leg comes unjointed and clearly gives him sharp pain that makes him spin around on the floor hissing in agony.   Although the medicine we give him helps with the inflammation, it doesn’t stop the pain. When we enter Phase 1 we will take him to the vet, if he does need an operation at least from Phase 1 there will be staff to look after him, and routine or non-emergency operations should resume then.   Day 59 and our friend Carmen’s birthday in lockdown, but she has treated herself to a new red phone, I think it might by an iPhone, she really wanted a red car, but that will also have to wait.   I messaged Juan the builder, not the gardener or the estate agent.  He says that a plumber will call tomorrow at 4 to 5pm in the evening. The drip drip drip leak in the pool room might finally stop.   I caught a video of Sandi today called cleverly, of course Vox Tox, she was talking about the history of May Day.. social history is one of Sandi Toksvig’s favourite things, when she came to LBC it was my job to find and research at least a couple of ‘facts of the day’ for her.   No mean feat as the internet was really still in its infancy, so a mixture of slogging through Google and her mini book library of information allowed me to piece together the information for her the previous afternoon ready for her to arrive in the morning and turn it into sparkling, funny and interesting radio.   She is an amazing woman, I once brought in a very old Electrical Guide I had found in the loft of our house.  It dated from 1920 and was full of frightening illustrations of gentlemen leaning over a full sink of water to fit an electric razor to the light fitting.  She turned the booklet into twenty minutes of hilarious comedy.. genius.   I never made it to University, but my job at LBC was like being in the middle of a living University with so many guests that came in who were as clever as Sandi.    My first encounter with the Arts show I remember had an eclectic mix of guests there was their regular ballet correspondent and slightly built American lady who was forever going on about the Ballet Rambert, then a drunk comedic actor Terry Scott who arrived flustered and beetroot faced, reeking of Brandy who was probably appearing in a local pantomime, I think by then his TV career had ended except for his role as a voice on Dangermouse.   Then the final hour was the film Director Derek Jarman who had just made a film about the painter Caravaggio, that had a lot of male nudity in it.. one of those films that Channel Four used to show with a little triangle in the corner of the screen.    Indeed we would often sit around in the engineering department watching those films in the hope, for most of the engineers, that they might spot a naked breast.. or worse.   I remember we were casually watching one arts film and a lady with enormous exposed bosoms walked into shot, and we all gasped it was Angela, the Producer of the Arts Show that happened to be on the air down the corridor.    My Shift Leader Tony went galloping down to the studio, swinging the door open he announced to her “Hey Angela we’ve just seen your tits on Channel Four.”  She turned toward him with disinterest “Oh that, I did that film in my modelling days, so what.”  She said.   Just another evening working for LBC.   Day 59 and Chris has once again gone out for the weekly shop, he has returned with gin and cake, but no masks yet.    With the Spanish Government now considering the wearing of masks obligatory, we will probably have to wear one, if it gets us to Phase 1 and onward, then bring it on.              

Ballet Rambert gehört zu den renommiertesten Tanzkompanien Großbritanniens. Nach 17 Jahren ist sie wieder in Berlin zu Gast. Im Haus der Berliner Festspiele präsentieren die Tänzer Lloyd Newsons Neubearbeitung von "Enter Achilles" - einem Stück über Männlichkeit aus dem Jahr 1995. Unser Tanzkritiker Frank Schmid hat es gesehen.

Meet Suzanne:As a little girl Suzanne had a dream to become a ballet dancer, when she was young she put on dancing shows for her local community. Everyone knew she wanted to be a ballerina. One day a neighbour, put a letter in her letterbox announcing AUDITIONS in Lon- don for young dancers wanted. Suzanne was excited, but her parents were against her dancing and told her. " Lets take her to London, to show her that she is NO GOOD. Suzanne was 9 at the time. She went to the auditions, and won a scholarship with the world famous Ballet Rambert. Suzanne left home at 10 years of age. At the age of 15 she was hand picked by the famous contemporary dancer to join her company in London. After her career ended she hung up her ballet shoes and became a Master Pilates practitioner and Nautilus trainer. She opened a health studio in the Kings Rd with James Hunt the Formula 1 racing driver and whilst there taught many famous athletes, celebrities and aristocrats. Including the late Princess Diana. She then set up her own studios in London, Italy, South Africa and Australia. She also set up the first BENETTON store in London and had her own range of active wear. Suzanne has lived and worked in 18 countries. She has had a life of Huge Highs and equally huge Lows. She has lost everything 3 times. She is a great believer in and the power of Goal setting and taking MASSIVE ACTION. Every day she practices gratitude and non judgement and at least 3 anonymous acts of kindness every week. Everything she does now is to help and mentor other women, to achieve their dreams in HEALTH and WEALTH. Now mentors women all around Australia to become entrepreneurs. She is passionate about her children, and her new grand-daughter Savannah. She is a gypsy at heart. Loves travel, languages and learning about other cultures. She has always believed in living a life of contribution and is an Ambassador for MAKE A WISH FOUNDATION, on the board of the GOLDEN OCTUPUS FOUNDATION and a Supporter of Jodie OSHEA orphanage in Bali. For the last 15 years she has supported a young Tibetan girl that she connected with whilst volunteering in Dharmasala. She has helped her through her schooling and then her studies at medical college. Suzanne calls this stage of her life her"3rd act" and that everything she has ever done has led her to this time when she can teach, mentor and pour love into others. Contact Suzanne:Website: www.inspiredliferevolution.comFacebook: https://www.facebook.com/suzanne.skillenGo to http://www.bit.ly/thenatandsarahshow to catch this week’s livestream!

Katie Derham explores the life and legacy of Marie Rambert, one of the pioneers of modern British ballet, and talks to choreographer Wayne Eagling about his new ballet based on her life. Born in Poland, Marie 'Mim' Rambert's career began in Paris, helping Diaghilev train his cast to dance the Rite of Spring. At the outbreak of WW1 she came to London and formed her own dance school, which developed into the Ballet Rambert, the oldest English ballet company still performing today. Her teaching inspired the next generations of dancers and choreographers, including Wayne Eagling whose new ballet 'Remembrance' is based on her life, and the separation from her husband when he was called away to war. Katie talks to Wayne about the concept of his new ballet, and Marie Rambert's continuing importance to the ballet world. Producer - Ellie Mant

Lucy Balfour is a leading dancer at the world renowned contemporary dance company Ballet Rambert. Lucy trained at the International Ballet Academy in Christchurch, then spent ten years with the Royal New Zealand Ballet, before joining Rambert. In this episode, Lucy talks about the competitiveness of becoming a ballerina, the singular focus on realising her dream, with no back up plan. She talks about the pressure of selection and performing, maintaining self-identity throughout balanced by the privilege of being a dancer. Lucy is pregnant and gives an insight how Rambert have been supporting her to continue to rehearse and perform (Lucy performed on stage with Rambert up to 5 months pregnant) and now looks ahead with the question of whether she'll return to dance once she becomes a mum.   Show notes Lucy's journey into dance Decision ballet school or high school? First ballet contract with The Royal New Zealand ballet company Focus, rejection, perseverance and belief: developing resilience No plan B Dealing with rejection Advice for the 16 year old Lucy Balfour The day in a life for a dancer at the Rambert Dance Company Coping with the ups and downs of the selection/audition process Stay alert use rejection as a learning opportunity, learning from your peers without the pressure! Staying aware of your behaviour Getting in the right place for a new performance: preparing physically and mentally, writing down corrections in a training diary and not being afraid to ask lots of questions Late specialisation Pregnancy and performance Life after the birth Dancing whilst pregnant Facing the prospect of being a dancer and a mum Viewing ballet through a different set of eyes which will help in the future, learning more about the craft of ballet The length of a ballet career - it's not about age, it's about desire and physicality Dancer's Career Development - thinking ahead Wanting to inspire others, an ambassador for dance mamas and helping others to realise their potential at an earlier age Top tips for a career in the performing arts   Supporting Champions on Twitter www.twitter.com/support_champs Steve Ingham on Twitter www.twitter.com/ingham_steve Supporting Champions on Linkedin, www.linkedin.com/company/supporting-champions Instagram https://www.instagram.com/supportingchampions/ A reminder if you're keen to pre-register for the next wave of Graduate Membership enrolments then you can do so at https://supportingchampions.co.uk/membership/ If you're looking for some coaching support or some virtual team development help to support you to get to the next level in work, life or sport then take a look at https://supportingchampions.co.uk/coaching-mentoring/ or drop us a note at enquiries@supportingchampions.co.uk then you can sign up for a free consultation to explore which package is right for you.

Nicky Clayton is a Fellow of the Royal Society and Professor of Comparative Cognition at Cambridge, and she's done more than any other scientist to transform the way we think about animal intelligence, and particularly the intelligence of birds. She's spent her career observing rooks and jays and other members of the corvid family, watching them as they play tricks on each other, and sing and dance together. Her work has challenged the assumption that only humans have the intelligence to plan for the future and reminisce about the past, that only humans can understand the minds of others. She says that she's spent most of her life wondering what it would be like to be a bird: 'to fly, to see colours in the ultraviolet, and to sing as beautifully as they do'. Alongside her scientific research, Nicky Clayton has a passion for tango, and has collaborated with Ballet Rambert as a scientist in residence. In Private Passions she talks to Michael Berkeley about the creative inspiration she finds in music. Her musical choices include Ravel, Janacek and Bruckner, and Astor Piazzolla's Tango for an Angel; as well as Messiaen's Catalogue of the Birds, and the call of a reed warbler. Produced by Elizabeth Burke A Loftus production for BBC Radio 3.

Dame Alicia Markova was born Lilian Alice Marks in December 1910, in a two-bedroom flat in Finsbury Park, London. She began ballet classes because she was flat footed and knock kneed. Her natural talent, when she was ten, was spotted by Diaghilev, the Russian artistic impresario who founded the Ballets Russes and brought the contemporary arts of Russia to Europe. Dame Alicia joined Diaghilev's company, which was based in Monte Carlo, in 1925, a month after her 14th birthday. Diaghilev changed her name to Alicia Markova and cast her in the title role of Nightingale in Le Rossignol, a ballet scored by Stravinsky, choreographed by Balanchine and with costumes designed by Matisse. It premiered in Paris in June 1925. After Diaghilev's death in 1929 she returned to England and became a leading figure of the emerging English ballet scene, dancing with the Ballet Rambert and Vic Wells Ballet, as well as at Sadlers Wells. Dame Alicia danced the leading roles in Swan Lake, The Nutcracker and Giselle, which became her trademark, illustrating her unique style of fragility and strength. In 1950, together with her dancing partner Anton Dolin, Dame Alicia founded The London Festival Ballet which eventually became the English National Ballet. She was still dancing Giselle at the age of 48 and had her last dance on stage in the early 1960s. Subsequently she has worked as director, patron and teacher and was awarded the CBE for services to dance in 1958. Her memory for dance steps has proved invaluable for dance historians, pupils and teachers alike. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Softly Awakes my Heart from Samson & Deliah by Camille Saint-Saëns Book: Speaking of Diaghilev by John Drummond Luxury: The perfume Knowing by Estee Lauder

Sue Lawley's guest this week is the artistic director of the Rambert Dance Company Christopher Bruce. As a child he was sent to dance lessons to strengthen his legs after polio had left them severely weakened. Ten years later he was the star of Ballet Rambert. Not content with being dubbed 'the Nureyev of contemporary dance' he went on to become one of the great choreographers, working all over the world before returning to the company as Director in 1994. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Piano Concerto No.2 by Sergei Rachmaninov Book: Teach yourself French Luxury: Suncream

Sue Lawley's guest this week is the artistic director of the Rambert Dance Company Christopher Bruce. As a child he was sent to dance lessons to strengthen his legs after polio had left them severely weakened. Ten years later he was the star of Ballet Rambert. Not content with being dubbed 'the Nureyev of contemporary dance' he went on to become one of the great choreographers, working all over the world before returning to the company as Director in 1994.[Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Piano Concerto No.2 by Sergei Rachmaninov Book: Teach yourself French Luxury: Suncream