La favola。 La Favola

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Vincent d'Indy, who oversaw the first 20th-century revival of L'Orfeo in 1904 After years of neglect, Monteverdi's music began to attract the interest of pioneer music historians in the late 18th and early 19th centuries, and from the second quarter of the 19th century onwards he is discussed increasingly in scholarly works. When played on period wind instruments the sound can be startling to modern audiences; Redlich calls it "shattering". There are suggestions that in the years following the premiere, L'Orfeo may have been staged in Florence, Cremona, Milan and Turin, though firmer evidence suggests that the work attracted limited interest beyond the Mantuan court. Front cover of the score of L'Orfeo, published in in 1609 When Monteverdi composed L'Orfeo he had a thorough grounding in theatrical music. Together with Duke Vincent's two young sons, and , he was a member of Mantua's exclusive intellectual society, the [], which provided the chief outlet for the city's theatrical works. Orfeo, after venting his grief and incredulity "Thou art dead, my life, and I am breathing? Suddenly distracted by an off-stage commotion, Orfeo looks round; immediately, the image of Euridice begins to fade. We also have gluten-free pizza and pasta to make sure everyone can have a seat at our table. Striggio's main sources for his libretto were Books 10 and 11 of 's and Book Four of 's. and enter together with a chorus of nymphs and shepherds, who act in the manner of a , commenting on the action both as a group and as individuals. Harnoncourt indicates that in Monteverdi's day the numbers of players and singers together, and the small rooms in which performances were held, often meant that the audience barely numbered more than the performers. Later groups with similar aims are also loosely referred to as "Camerata". subscription required• The Mantuan court theologian and poet, Cherubino Ferrari wrote that: "Both poet and musician have depicted the inclinations of the heart so skilfully that it could not have been done better. Act 2 [ ] Orfeo returns with the main chorus, and sings with them of the beauties of nature. Among a flurry of revivals after 1945 was 's edition, a full period reconstruction of the work prepared in 1943, which was staged and recorded at the in 1954. In 2007, the quatercentenary of the premiere was celebrated by performances throughout the world. Musicologist writes similarly: "[The score] contains no element which was not based on precedent, but it reaches complete maturity in that recently developed form. It combines elements of the traditional style of the 16th century with those of the emerging Florentine mode, in particular the use of and singing as developed by the Camerata and their successors. Perhaps, he thinks, Plutone, driven by envy, has imposed the condition through spite? The other worker had on one glove touching his cell phone with the only glove he had o. The buoyant mood continues into act 2, with song and dance music influenced, according to Harnoncourt, by Monteverdi's experience of French music. The music remains in this vein until the act ends with La musica's ritornello, a hint that the "power of music" may yet bring about a triumph over death. A century before Duke Vincenzo's time the court had staged 's lyrical drama La favola di Orfeo, at least half of which was sung rather than spoken. The singers are required to do more than produce pleasant vocal sounds; they must represent their characters in depth and convey appropriate emotions. Carter's suggested role-doublings include La musica with Euridice, Ninfa with Proserpina and La messaggera with Speranza. Most of the editions that followed d'Indy up to the time of the Second World War were arrangements, usually heavily truncated, that provided a basis for performances in the modern opera idiom. Suddenly, in a cloud, Apollo descends from the heavens and chastises him: "Why dost thou give thyself up as prey to rage and grief? The work is not orchestrated as such; in the Renaissance tradition instrumentalists followed the composer's general instructions but were given considerable freedom to improvise. An instrumental English: "tucket", meaning a flourish on trumpets precedes the entrance of La musica, representing the "spirit of music", who sings a prologue of five stanzas of verse. 1600, Peri• A page from the 1609 score of L'Orfeo L'Orfeo is, in Redlich's analysis, the product of two musical epochs. The three Scala performances resulted in a financial disaster, and the opera was not seen again in Britain for 35 years. We are offering customised menus for groups of 15people or more. She sings a further paean to the power of music, before introducing the drama's main protagonist, Orfeo, who "held the wild beasts spellbound with his song". The Monteverdi scholar speculates that two prominent Mantuan tenors, Pandolfo Grande and Francesco Campagnola may have sung minor roles in the premiere. The musicologist and historian mistakenly allocates Magli to the role of Orfeo. If you haven't decided where to celebrate Christmas yet, book your Christmas Party with us anytime in December and January - we are here to serve you! Provvista di un parcheggio privato gratuito, la villa La Favola Sirmione sorge a Colombare Di Sirmione, a 5 minuti d'auto dalle rive del Lago di Garda, a 6 km da Sirmione e a 2,3 km dalle Terme Sirmione-Virgilio. Come by, pull up a seat at our open-kitchen pizza bar and see what happens when delicious meals and great people come together. In 1881 a truncated version of the L'Orfeo score, intended for study rather than performance, was published in Berlin by. , p. , , Metamorphoses XI 1-66• Orfeo leaves the scene and his destiny is left uncertain, as the Bacchantes devote themselves for the rest of the opera to wild singing and dancing in praise of Bacchus. Within this general ordering, specific instruments or combinations are used to accompany some of the main characters—Orpheus by harp and organ, shepherds by harpsichord and chitarrone, the Underworld gods by trombones and regal. She sings, despairingly: "Losest thou me through too much love? It is not clear at what point Striggio began his libretto for L'Orfeo, but work was evidently under way in January 1607. An off-stage echo repeats his final phrases. The 1969 recording by Nikolaus Harnoncourt and the Vienna Concentus Musicus, using Harnoncourt's edition based on period instruments, was praised for "making Monteverdi's music sound something like the way he imagined". In …it was his first opera, Orfeo, performed in 1607, that finally established him as a composer of large-scale music rather than of exquisite miniature works. The brass group contains four or five trombones , three trumpets and two. 1925, Malipiero• Orfeo replies that it would be unworthy not to follow the counsel of such a wise father, and together they ascend. Moved by her pleas, Plutone agrees on the condition that, as he leads Euridice towards the world, Orfeo must not look back. 1986, Birtwistle• A shepherd announces that this is the couple's wedding day; the chorus responds, first in a stately invocation "Come, , O come" and then in a joyful dance "Leave the mountains, leave the fountains". Despite the five-act structure, with two sets of scene changes, it is likely that L'Orfeo conformed to the standard practice for court entertainments of that time and was played as a continuous entity, without intervals or curtain descents between acts. The early music authority believes that the two endings are not incompatible; Orfeo might evade the fury of the Bacchantes and be rescued by Apollo. During the period 2008—10, the French-based , under its director , presented the Monteverdi trilogy of operas L'Orfeo, and in a series of performances at the in. It is likely that his principal musicians, including Monteverdi, were also present at this performance. The first staged New York performance, by the under on 29 September 1960, saw the American operatic debut of , one of several baritones who have sung the role of Orfeo. In 1904 the composer produced an edition in French, which comprised only act 2, a shortened act 3 and act 4. In L'Orfeo, Monteverdi extends the rules, beyond the conventions which polyphonic composers, faithful to Palestrina, had previously considered as sacrosanct. Francesco may have mounted a production in , where he was governor, for the 1609—10 Carnival, and there are indications that the work was performed on several occasions in between 1614 and 1619, under the direction of Francesco Rasi. After the war, Hindemith's attempted period reconstruction of the work was followed in 1955 by an edition from that remained in use for many years. The Bacchantes scene was a substitution; Monteverdi's intentions were restored when this constraint was removed. In particular, Monteverdi made daring innovations in the use of , of which had been the principal exponent. Instrumentally, the two worlds represented within the opera are distinctively portrayed. The musicologist argues that the Apollo ending was part of the original plan for the work, but was not staged at the premiere because the small room which hosted the event could not contain the theatrical machinery that this ending required. The first British staged performance, with only small cuts, was given by the Oxford University Operatic Society on 7 December 1925, using an edition prepared for the event by. I was hung up on twice and the many call backs rang and rang. Tutte le camere dispongono di bagno interno. 43;border:1px solid d8d9db;padding:calc. The sudden entrance of La messaggera with the doleful news of Euridice's death, and the confusion and grief which follow, are musically reflected by harsh dissonances and the juxtaposition of keys. opera• Fortune, Nigel; Whenham, John 1986. The pastoral world of the fields of is represented by the strings, harpsichords, harp, organs, recorders and chitarroni. Cambridge, England: Cambridge University Press. After the Second World War many recordings were issued, and the opera was increasingly staged in opera houses, although some leading venues resisted it. In his published score Monteverdi lists around 41 instruments to be deployed, with distinct groups of instruments used to depict particular scenes and characters. The chorus of spirits sings that Orfeo, having overcome Hades, was in turn overcome by his passions. Original libretto ending [ ] In Striggio's 1607 libretto, Orfeo's act 5 soliloquy is interrupted, not by Apollo's appearance but by a chorus of or Bacchantes—wild, drunken women—who sing of the "divine fury" of their master, the god. Many of these were the work of composers, including 1923 and 1939 and in 1935. The was a string instrument that is similar to a modern-day harp. Another practice of the time was to allow singers to embellish their arias. These could differ sharply from place to place. Composed at the point of , L'Orfeo employs all the resources then known within the art of music, with particularly daring use of. 1672, Sartorio• Westrup's edition was revived in London at the in December 1929, the same year in which the opera received its first US staged performance, at , Northampton, Massachusetts. Despite the reluctance of some major opera houses to stage L'Orfeo, it is a popular work with the leading Baroque ensembles. For the first time, a composer, in order to heighten certain dramatic moments, specified exactly which instruments were to be used. L'Almanacco di Gherardo Casaglia in Italian. 1791, Haydn• Bambini e letti supplementari Gratis! Years later, during the first flourish of Venetian opera in 1637—43, Monteverdi chose to revive his second opera, there, but not L'Orfeo. The Gonzaga court had a long history of promoting dramatic entertainment. 25rem - 1px ;padding-bottom:calc 0. 875rem;color: 2d333f;font-weight:500;line-height:1. Having pointed out the words inscribed on the gate "Abandon hope, all ye who enter here" , Speranza leaves. The Saturday Review of Politics, Literature, Science and Art 140 : 735. subscription required• " "Modern editions and performances "". This edition was the basis of the opera's United States debut, another concert performance at the in April 1912. Two choruses, one solemn and one jovial are repeated in reverse order around the central love-song "Rosa del ciel" "Rose of the heavens" , followed by the shepherds' songs of praise. Otherwise, he says, "I shall remain with thee in the company of death". Magli sang the prologue, Proserpina and possibly one other role, either La messaggera or Speranza. Since at no time are all the instruments played together, the number of players needed is less than the number of instruments. "The Mantuan Orfeo" in Whenham, John ed. More recently, in 1598 Monteverdi had helped the court's musical establishment produce 's play , described by theatre historian as a "watershed theatrical work" which inspired the Italian craze for pastoral drama. 77V17h2a2 2 0 0 0 2-2V6a2 2 0 0 0-2-2zm0 11h-4v2. Here are words as directly expressed in music as [the pioneers of opera] wanted them expressed; here is music expressing them. These provided him with the basic material, but not the structure for a staged drama; the events of acts 1 and 2 of the libretto are covered by a mere 13 lines in the Metamorphoses. However, this alternative ending in any case nearer to original classic myth, where the Bacchantes also appear, but it is made explicit that they torture him to his death, followed by reunion as a shade with Euridice but no apotheosis nor any interaction with Apollo. Goldberg: Early Music Magazine 45 : 44—57. Among various celebrations marking the opera's 400th anniversary in 2007 were a semi-staged performance at the in , a full-scale production by the English Bach Festival EBF at the Whitehall Banqueting House in London on 7 February, and an unconventional production by in , conducted by Antony Walker and directed by. At that time it was usual to allow each interpreter of the work freedom to make local decisions, based on the orchestral forces at their disposal. He had been employed at the Gonzaga court for 16 years, much of it as a performer or arranger of stage music, and in 1604 he had written the Gli amori di Diane ed Endimone for the 1604—05 Mantua Carnival. The , led by , was a group of scholars and musicians dedicated to the revival of Ancient Greek-style theatre, mainly active in the 1570s and 1580s. This work combined elements of singing and with dancing and instrumental passages to form a dramatic whole. Smaller groups or just a reservation for 2 are also welcome. Act 5 [ ] Back in the fields of Thrace, Orfeo has a long in which he laments his loss, praises Euridice's beauty and resolves that his heart will never again be pierced by Cupid's arrow. Music and Culture in Italy from the Middle Ages to the Baroque. It is based on the of , and tells the story of his descent to and his fruitless attempt to bring his dead bride back to the living world. Although according to Carter the work was still admired across Italy in the 1650s, it was subsequently forgotten, as largely was Monteverdi, until the revival of interest in his works in the late 19th century. In 1981 Siegfried Heinrich, with the Early Music Studio of the Hesse Chamber Orchestra, recorded a version which re-created the original Striggio libretto ending, adding music from Monteverdi's 1616 ballet Tirsi e Clori for the Bacchante scenes. Of all the instruments used in the original performance of L'Orfeo three instruments are no longer used in modern society: The double harp, The cornetto, and the regal. This edition was the basis of the first public performance of the work in two-and-a-half centuries, a concert performance at d'Indy's on 25 February 1904. Monteverdi instructs his players generally to "[play] the work as simply and correctly as possible, and not with many florid passages or runs". " Monteverdi states the orchestral requirements at the beginning of his published score, but in accordance with the practice of the day he does not specify their exact usage. Facsimiles of these editions were printed in 1927 and 1972 respectively. Those left on stage sing a brief chorus, commenting on how Orfeo used to be one "for whom sighs were food and weeping was drink" before love brought him to a state of sublime happiness. Notes and references [ ] Notes [ ]• He departs, and the chorus resumes its lament. 1609 score: Monteverdi's listing of instruments is shown on the right. Such flourishes were the standard signal for the commencement of performances at the Mantuan court; the opening chorus of Monteverdi's , also composed for Gonzaga's court, employs the same fanfare. " He invites Orfeo to leave the world and join him in the heavens, where he will recognise Euridice's likeness in the stars. Fernandina Beach, FL Food was great every thing was delicious. "Correspondence relating to the early Mantuan performances" in Whenham, John ed. Role Voice type Appearances Notes La Musica Music Prologue Orfeo Orpheus or Act 1, 2, 3, 4, 5 Euridice Eurydice castrato en travesti Act 1, 4 La messaggera The Messenger mezzo-soprano castrato en travesti Act 2 Named in the libretto as "Silvia" La Speranza Hope mezzo-soprano castrato en travesti Act 3 Caronte Charon Act 3 Proserpina Proserpine mezzo-soprano castrato en travesti Act 4 Plutone Pluto bass Act 4 Apollo tenor Act 5 Ninfa Nymph mezzo-soprano castrato en travesti Act 1 Eco Echo tenor Act 5 Ninfe e pastori Nymphs and shepherds mezzo-soprano castratos en travesti , castratos en travesti , tenors, basses Act 1, 2, 5 Soloists: alto castrato en travesti , two tenors Spiriti infernali Infernal spirits tenors, basses Act 3, 4 Soloists: two tenors, one bass Synopsis [ ] The action takes place in two contrasting locations: the fields of acts 1, 2 and 5 and the Underworld acts 3 and 4. In 1949, for the recording of the complete opera by the Berlin Radio Orchestra under , the new medium of LPs was used. At La Favola, we are committed to authentic handcrafted Italian cooking using fresh, high-quality ingredients. After training in singing, string playing and composition, Monteverdi worked as a musician in Verona and Milan until, in 1590 or 1591, he secured a post as suonatore di vivuola viola player at 's court at. Pettit, Stephen 22 March 2007. Its score was published by Monteverdi in 1609 and again in 1615. He chose, in fact, to write a somewhat muted version of this bloody finale, in which the Bacchantes threaten Orfeo's destruction but his actual fate is left in doubt. 25rem;font-weight:500;line-height:1. We source locally where possible and to perfect our pizzas we even fly in a special flour and San Marzano tomatoes from Italy. This dance, says Ringer, recalls the jigs danced at the end of 's tragedies, and provides a means of bringing the audience back to their everyday world, "just as the toccata had led them into another realm some two hours before. Top off a delicious meal with a glass of wine, beer or even a refreshing specialty cocktail. The first recording of L'Orfeo was issued in 1939, a freely adapted version of Monteverdi's music by , given by the orchestra of Milan conducted by. Orff's 1923 score, using a German text, included some period instrumentation, an experiment he abandoned when producing his later version. By the early 17th century the traditional —a musical sequence between the acts of a straight play—was evolving into the form of a complete musical drama or "opera". Outside of these groupings are two recorders flautini alla vigesima secunda , and possibly one or more —unlisted by Monteverdi, but included in instructions relating to the end of act 4. Monteverdi's 1609 score does not specify voice parts, but indicates the required ranges by clef. Cambridge, Massachusetts: Harvard University Press. On 6 October 1600, while visiting Florence for the wedding of to , Duke Vincenzo attended the premiere of Peri's Euridice. Seizing his chance, Orfeo steals the ferryman's boat and crosses the river, entering the Underworld while a chorus of spirits reflects that nature cannot defend herself against man: "He has tamed the sea with fragile wood, and disdained the rage of the winds. The involvement in the premiere of a Florentine castrato, , is confirmed by correspondence between the Gonzaga princes. Orfeo then muses on his former unhappiness, but proclaims: "After grief one is more content, after pain one is happier". Rinuccini, whose work had been written for the festivities accompanying a wedding, was obliged to alter the myth to provide a "happy ending" suitable for the occasion. 3—5• The room of the premiere cannot be identified with certainty; according to Ringer, it may have been the Galleria dei Fiumi, which has the dimensions to accommodate a stage and orchestra with space for a small audience. For the purpose of analysis the music scholar has divided Monteverdi's list of instruments into three main groups: strings, brass and , with a few further items not easily classifiable. Monteverdi was not in the generally understood sense an orchestrator; Ringer finds that it is the element of instrumental improvisation that makes each performance of a Monteverdi opera a "unique experience, and separates his work from the later operatic canon". For help in creating a dramatic form, Striggio drew on other sources—Poliziano's 1480 play, Guarini's Il pastor fido, and 's libretto for Peri's Euridice. In a letter written on 5 January, Francesco Gonzago asks his brother, then attached to the Florentine court, to obtain the services of a high quality from the Grand Duke's establishment, for a "play in music" being prepared for the Mantuan Carnival. The remaining instruments, mainly brass, are associated with the Underworld, though there is not an absolute distinction; strings appear on several occasions in the scenes. Particularly the regal was used in many scenes depicting to symbolize death and mirroring the music of a modern-day funeral procession. New Haven, Connecticut: Yale University Press. A shepherds' chorus concludes that "he who sows in suffering shall reap the fruit of every grace", before the opera ends with a vigorous. 5rem;align-self:flex-start;margin-right:0. Orfeo is now confronted with the ferryman , who addresses Orfeo harshly and refuses to take him across the river. In the first, Francesco Gonzaga informs his brother that the "musical play" will be performed tomorrow; it is clear from earlier correspondence that this refers to L'Orfeo. It was written in 1607 for a court performance during the annual at. "The Orpheus myth and the libretto of Orfeo". There is no detailed account of the premiere, although Francesco wrote on 1 March that the work had "been to the great satisfaction of all who heard it", and had particularly pleased the Duke. In …Monteverdi had composed his masterpiece, Orfeo, which placed the emphasis squarely on music and established the basic form that European opera was to take for the next 300 years. " "The rediscovery of Orfeo "". Only the composers 1967 , 1967 and 1984 produced editions based on the convention of a large modern orchestra. Monteverdi's L'Orfeo moved this process out of its experimental era and provided the first fully developed example of the new genre. " "Monteverdi and the Opera Orchestra of his Time "". 125rem;display:flex;box-sizing:border-box;border:1px solid d8d9db;background:none;margin-right:1rem;margin-top:1rem;padding:0. The toccata and the moresca unite courtly reality with operatic illusion. Monteverdi wrote plain and embellished versions of some arias, such as Orfeo's "", but according to Harnoncourt "it is obvious that where he did not write any embellishments he did not want any sung". Schonberg wrote: "Even the biggest aria in the opera, 'Possente spirito', has a good-sized slash in the middle. It is temporally structured as a palindrome and its form of strophic variations allows Monteverdi to carefully shape musical time for expressive and structural purposes in the context of seconda prattica. Newark, New Jersey: Amadeus Press. Through ability and hard work Monteverdi rose to become Gonzaga's maestro della musica master of music in 1601. The importance of L'Orfeo is not that it was the first work of its kind, but that it was the first attempt to apply the full resources of the art of music, as then evolved, to the nascent genre of opera. Instrumental colour is provided by a , a pipe-organ, two violins, two cornetts and a double-harp. The viole da brazzo are in two five-part ensembles, each comprising two violins, two violas and a cello. The critic writes that Striggio's verses are less subtle than those of Rinuccini, although the structure of Striggio's libretto is more interesting. Led by , these successors to the renowned were responsible for the first work generally recognised as belonging to the genre of opera: , composed by Corsi and and performed in Florence in 1598. " , declares his intention to descend into the Underworld and persuade its ruler to allow Euridice to return to life. However, when Orfeo takes up his lyre and plays, Caronte is soothed into sleep. with the full inspiration of genius. Since Eitner's first "modern" edition of L'Orfeo in 1884, and d'Indy's performing edition 20 years later—both of which were abridged and adapted versions of the 1609 score—there have been many attempts to edit and present the work, not all of them published. "Five acts, one action" in Claudio Monteverdi: Orfeo. 1762, Gluck• Modern productions have generally allocated the parts to soprano, alto, tenor and bass singers. The mood of contentment is abruptly ended when La messaggera enters, bringing the news that, while gathering flowers, Euridice has received a fatal snakebite. In the post-war period, editions have moved increasingly to reflect the performance conventions of Monteverdi's day. Among more recent recordings, that of in 2004 has been praised for its dramatic effect. In Arnold, Denis; Fortune, Nigel eds. Carter calculates that through the doubling of roles that the text allows, a total of ten singers—three sopranos, two altos, three tenors and two basses—is required for a performance, with the soloists except Orfeo also forming the chorus. 2009, Birtwistle• There are solo parts for four shepherds and three spirits. There is some evidence of performances shortly after Monteverdi's death: in Geneva in 1643, and in Paris, at the , in 1647. Only fragments of its music still exist, but several other Florentine works of the same period— by , Peri's and 's identically titled —survive complete. The Illustrated Encyclopedia of Opera. On 6 May 2010 the broadcast a performance of the opera from , Milan. London: Oxford University Press. These instruments were used almost as characters in the play. 1686, Charpentier• "Claudio Monteverdi's L'Orfeo: An Introduction" in notes accompanying TELDEC recording 8. Little information is available about who sang the various roles in the first performance. Archived from on 1 June 2013. It was the contemporary custom for scene shifts to take place in sight of the audience, these changes being reflected musically by changes in instrumentation, key and style. The toccata acted as a salute to the Duke; according to Donington, if it had not been written, precedent would have required it to be improvised. 1726, Telemann• After the prologue, act 1 follows in the form of a pastoral idyll. Sarah gave us exceptional service. Orfeo attempts to follow her but is drawn away by an unseen force. subscription required• However, Monteverdi's score published in Venice in 1609 by shows an entirely different resolution, with Orpheus transported to the heavens through the intervention of Apollo. While 's is generally recognised as the first work in the opera genre, and the earliest surviving opera is Peri's , L'Orfeo is the earliest that is still regularly performed. Its function within the opera as a whole is to represent the "power of music"; as such it is heard at the end of act 2, and again at the beginning of act 5, one of the earliest examples of an operatic. The theatre was criticised by New York Times critic because, to accommodate a performance of 's contemporary opera , about a third of L'Orfeo was cut. 419 11H5a1 1 0 0 0-1 1v7a1 1 0 0 0 1 1h12. Please note we will be closed on Christmas Day only. In act 4 the impersonal coldness of the Underworld is broken by the warmth of Proserpina's singing on behalf of Orfeo, a warmth that is retained until the dramatic moment at which Orfeo "looks back". If he does, "a single glance will condemn him to eternal loss".。 。 。 。 。 。

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La favola d’Orfeo

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La favola d’Orfeo

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La favola d’Orfeo

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Online Menu of La Favola, Fernandina Beach, FL

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Online Menu of La Favola, Fernandina Beach, FL

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