Master Trainers Drs. Tad & Adriana James take you on an exciting tour of the most powerful techniques at the Master level in the Time Line Therapy training.A recording of the Time Line Therapy section as taught in our Master Practitioner training, with master trainers Drs. Tad James and Adriana James.The natural sequel of our FasTrak NLP Practitioner DVD Collection with the same Drs. Tad James & Adriana James.A great reference material - not to be missed!!!
Starring Angela Gheorghiu as the celebrated French actress Adriana Lecouvreur and Jonas Kaufmann as her lover Maurizio, Count of Saxony, Cilea’s verismo drama explores celebrity, romance, jealousy, and death. The trio of sublime voices is completed by Russian mezzo-soprano Olga Borodina as Adriana’s jealous rival, the Princess de Bouillon. David McVicar’s hit production – the first performance of the opera at the Royal Opera House, Covent Garden for more than a century – presents the life of the French actress as a blurring of the distinction between fantasy and reality.
For years we've been searching for ways to allow more people to see demonstrations of the NLP techniques, up close and personal.Well, we finally found a way and in this new DVD set Drs. Tad James and Adriana James demonstrate every single pattern of NLP Practitioner including some you may never have seen before.Unlike other DVD sets you may find, this one INCLUDES Time Line Therapy® and Hypnosis. Just like the live training. A MUST have!
The singer Beatriz Adriana Lichinchi (Argentina, 1952), alias 'Adriana Varela', is one of the most important current female voices singing tango in her country. This CD is the seventh of his recordings. Adriana shared production and collaboration with the Uruguayan singer Jaime Roos, forming a duo on the topic 'Pa'l abrojal'. Varela joined Uruguayan and Argentina popular music, resorting to 'murgueras' songs and styles like 'candombe' or 'chamara', besides the usual tangos and milongas of her repertoire.
There is no point in getting snooty about Adriana Lecouvreur, it may be implausible melodrama, but has held the stage for just over one hundred years providing meaty fodder for monstres sacrés of all voice types. Classed as a verismo (realist) opera, which is a dubious appellation for an experience that includes dodgy rococo wigs and death by violets; it is an operatic equivalent of the sort of well made play that migrated from the boards, via opera to celluloid in Hollywood’s golden age. Histrionics aside, it is a fluent, lyrical score that contains numerous plums. It is above all, a diva vehicle… JULIAN GRANT