Tara S Fortune

A gorgeous, all-consuming saga from a rising star in women's fiction Tara Flynn has come a long way since she was a little girl growing up in the village of Ballygrace. Now mistress of Ballygrace House, the beautiful mansion overlooking the Tullamore countryside, Tara has everything she's always wanted - security, a beautiful home, and the love of a good man. But the Irish have an expression - 'the two days', meaning good and bad fortune. Tara may have everything she's ever dreamed of, but can she hold on to it? In Stockport, Tara's dear friend Biddy has problems of her own. She too has escaped a troubled past and built a new life. But when her husband is seriously injured, Biddy must once again begin taking care of herself. As Tara's half-sister arrives at her boarding-house, Biddy realises she'll need eyes in the back of her head if she's to keep both Angela and herself out of trouble . . .

“So you want to marry me?” “Okay.” Asa Fortune’s tantalizingly close to owning the ranch of his dreams. There’s only one problem: the seller’s demand that to buy her beloved family homestead, Asa must have a wife! Enter Lily Perry, who will do anything for her best friend—even temporarily become his bride. An orphan who grew up in foster care, Lily’s used to being on her own. But as the pair makes the ranch a true home, can they admit that they’ve found their oasis…in one another? From Harlequin Fortunes of Texas: Book 1: Fortune's Baby Claim by Michelle Major Book 2: Fortune in Name Only by Tara Taylor Quinn Book 3: Expecting a Fortune by Nina Crespo Book 4: Fortune's Lone Star Twins by Teri Wilson Book 5: Worth a Fortune by Nancy Robards Thompson Book 6: Fortune's Convenient Cinderella by Makenna Lee

Katie O'Dwyer flees the constraints of her rural Irish upbringing for the excitement of London. Here she meets and falls in love with William Melville: the imposing head of the Melville fashion dynasty. Elusive, charismatic; married. Their affair is brief but passionate. Katie conceives a child. Fifteen years later she succumbs to cancer; and her beautiful daughter Caitlin finds that she must go to live in England, with the father she has never met. Her half-sisters - cold, high-achieving Elizabeth, and spoilt princess Amber - react to her with hostility; while their elegant mother is too high on valium to notice what goes on. Reeling from her mother's death, unable to fit into this alien world, Caitlin is sent away to boarding school. It is here that something happens which is so awful, so brutalizing, it will change Caitlin forever . . . Over the next fifteen years the sisters' lives will take them in very different directions. Golden girl Elizabeth will enter the family business, hoping to fulfil her destiny of taking the helm; longing above all for her father's approval. But Caitlin remains William's favourite; even though she has rejected his love and his money. In fact, Caitlin's success as a high-fashion designer has been achieved entirely on her own terms. Amber, meanwhile, is too beautiful for her own good. Spoilt but unloved, she craves attention: this makes her easy pickings for predatory men. But the sisters' paths will continue to cross. Because the simple truth is that, no matter how far you go, you cannot escape the claims of family.

Selected works of Nikolai Gogol from the series "Best of the Best" is the book that everyone should read to understand themselves and each other. The authors and works for this book series were selected, as a result of numerous studies, analysis of the texts over the past 100 years and the demand for readers. It must be read in order to understand the world around us, its history, to recognize the heroes, to understand the winged expressions and jokes that come from these literary works. Reading these books will mean the discovery of a world of self-development and self-expression for each person. These books have been around for decades, and sometimes centuries, for the time they recreate, the values they teach, the point of view, or simply the beauty of words. This volume of the Best of the Best series includes famous works • DEAD SOULS • THE MANTLE AND OTHER STORIES • TARAS BULBA AND OTHER TALES • THE INSPECTOR-GENERAL

Aloysius Ludwig Minkus (1826–1917), famous for his ballets Don Quixote (1869) and La Bayadère (1877), was born in Bohemia, and grew up in the dance capital Vienna. He hoped to establish a reputation as a violinist and composer, and by 1853 had emigrated to St Petersburg where he became the conductor and solo violinist of the private orchestra of Prince Nikolai Yusupov. In 1861 he was appointed violin soloist and, a year later, conductor of the Moscow Bolshoi Orchestra. He began a happy collaboration with the great French choreographer Arthur Saint-Léon (1821–1870), who was a real friend and inspiration to Minkus, and more than anyone else, helped to launch his career as a theatrical composer, producing five works in association with him in St Petersburg and Paris. Minkus’s first ballet, the three-act Plamya lyubvi, ili Salamandra (The Flame of Love, or the Salamander, also called Fiammetta), was given its premiere on 13 February 1864 at the Bolshoi Kamenny Theater in St Petersburg (with Marfa Muravyeva in the leading role). The scenario and the choreography were by Saint-Léon, the most important dance master of the day in both Paris and Russia. Saint-Léon’s influence secured this work production in the French capital, and it was perhaps for this occasion that Minkus accompanied Saint-Léon to Paris to mount the work at the Académie Royale de Musique. Reduced to two acts, and re-christened Néméa, ou l’Amour vengé (with a scenario adapted by Henri Meilhac & Ludovic Halévy), the ballet was performed at the Paris Opéra on 11 July 1864, with considerable success (again with Marfa Muravyeva, and with Eugénie Fiocre as Cupid). It remained in the repertoire for seven years, attaining 53 performances by 1871. Théophile Gautier remarked on the atmospheric quality of Minkus’s music, its “haunting, dreamy quality.” Roqueplan singled out Saint-Léon's choreography for its “imagination and originality, his ability to handle masses.” Some of the Airs de Ballet were almost immediately published by Henri Hegel (1865), and are reproduced here. By now Minkus was becoming known internationally. So when five years later the Paris Opéra ordered a new grand ballet from Saint-Léon to a libretto by Charles Nuitter, Saint-Léon involved Minkus in the project, securing for him a hand in the composition of the first and fourth scenes of this new work, La Source. The other two scenes were entrusted to the young Léo Delibes, thirty at the time, who had drawn favourable attention to himself in the preparation of the ballet music for the première of Meyerbeer’s posthumous L’Africaine in 1865. The first performance of La Source on 12 November 1866 was great success for Delibes, whose bold and colourful composition was praised at the expense of Minkus’s subtler contribution. Saint-Léon immediately began planning another work with Nuitter and Delibes, and one which would crown the young French’s composer’s success with triumph, Coppélia. Saint-Léon nevertheless continued to work with Minkus, despite his busy engagements in Paris. The choreographer’s greatest ballet for Russia was his work with Cesare Pugni, Koniok-Gorbunok (The Little Humpbacked Horse) (1864), based on a Russian fairytale. He now tapped into the same folk material in a new work with Minkus, Zolotaya rybka (The Golden Fish), based on Alexander Pushkin’s Legend of the fisher and the little fish. On 20 November 1866, for the celebration of the Tsarevitch’s wedding, Saint-Léon oversaw the production of a one-act version of this new ballet, Le Poisson doré, at the Bolshoi Kamenny Theater in St Petersburg. The work was then developed as a three-act ballet for the same theater a year later (8 October 1867). Minkus’s music was very well received. As with La Source, it was carefully adapted in form and mood to the scenario, remarkable for its panache and beautiful writing for solo instruments (violin, flute, cello, cornet), and for reflecting the nature of the fairytale scenario in the appropriation of national folk styles (Polish, Kazak, Cossack). The score was considered worthy of full publication in piano reduction by the St Petersburg house of Stellowsky (c. 1870), and is reproduced here. The last collaboration between Minkus and Saint-Léon followed two years after that, a partial arrangement of La Source, given in St Petersburg as Liliya (Le Lys) in 1869.

Kobzar (Ukrainian: Кобзар, “The bard”), is a book of poems by Ukrainian poet and painter Taras Shevchenko. Taras Shevchenko was nicknamed The Kobzar after the publishing of this book. From that time on this title has been applied to Shevchenko's poetry in general and acquired a symbolic meaning of the Ukrainian national and literary revival. A complete collection of Ukrainian poems by Taras Shevchenko is called Kobzar too, after the title of Shevchenko's first book.

The composer Ludwig Minkus represents one of music’s biggest mysteries. Who was he? Hardly anything is known about him, and yet he occupied an influential position in the theatres of the Imperial ballet in late nineteenth-century Russia. He has been recognised as a predecessor of Tchaikovsky, but as a musician is commonly held to have been so feeble as to be beneath contempt. Yet despite the scorn heaped on him, and his consequent obscurity, Minkus is far from being forgotten. Since the early 1960s his name has slowly begun to re-surface. Two works, Don Quixote (1869) and La Bayadère (1877), have been presented in their entirety for the first time to new audiences all over the world. The musical and dramatic power of both ballets has taken people by surprise. The stories have a very real human appeal, the choreography attracts the admiration of balletomanes, and the music, with its rhythm, verve, and beauty of melody, holds attention and engages the heart wherever it is heard. This introduction seeks to discover something more behind the blank façade of Minkus’s life and work. What do we actually know about him as a man and as an artist? Are we able to apprehend his oeuvre as a whole, and how much can we establish from the available material? What is the nature of the music he created for those few works that have survived the years, and that have come to the fore again recently to delight those who have ears to hear? This study includes iconography from the life and times of the composer, many musical examples from his works, and a comprehensive bibliography and discography.

This book addresses rock engravings on the wonderstone hills just outside Ottosdal, South Africa. Much of the rock art has been destroyed due to mining activities, with very few records and the largest remaining outcrop is still threatened. The study hopes to bring this situation to the attention of the public and the heritage authorities.