domingo, 21 de febrero de 2016

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2 Times Of The Month When
Women Become DESPERATE For Dick

Hey guys,

Women's bodies are not like ours, as they tend to fluctuate every month.

While her "time of the month" won't exactly make YOU horny, there are 2 specific times of the month when SHE is EXTREMELY horny.

No, it's not the 1st and 15th, although I'm sure payday makes her happy.

It's 2 other times which make her uncontrollably wet.

What can knowing these 2 times do for you?

Make it ridiculously EASY to get laid.

Of course, just going up to women during these 2 times of the month won't ensure you get in between their legs. Because you'll still have to seduce them just a bit.

Well no worries. Because with this 3 step method, you'll be able to do just that.

With all of that being said, I guess I'll let you go now.

You have some "discoveries" to make:

See when and how to turn anyone into a nympho

P.S. Do you know the 3 signals a woman uses to signal she wants sex?

★ They Are Explained In THIS Video ★

� SEE MORE �




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L'Arianna (English: Ariadne) (SV 291), composed in 1607�08, was the second opera by the Italian composer Claudio Monteverdi. One of the earliest operas, it was first performed on 28 May 1608, as part of the musical festivities for a royal wedding at the court of Duke Vincenzo Gonzaga in Mantua. All the music is lost apart from the extended recitative known as "Lamento d'Arianna" ("Ariadne's Lament"). The libretto, which survives complete, was written in eight scenes by Ottavio Rinuccini, who used Ovid's Heroides and other classical sources to relate the story of Ariadne's abandonment by Theseus on the island of Naxos and her subsequent elevation as bride to the god Bacchus. The opera was composed under severe pressure of time; the composer later said that the effort of creating it almost killed him. The initial performance, produced with lavish and innovative special effects, was highly praised, and the work was equally well received in Venice when it was revived under the composer's direction in 1640 as the inaugural work for the Teatro San Mois�. Rinuccini's libretto is available in a number of editions. The music of the "Lamento" survives because it was published by Monteverdi, in several different versions, independently from the opera. This fragment became a highly influential musical work and was widely imitated; the "expressive lament" became an integral feature of Italian opera for much of the 17th century. In recent years the "Lamento" has become popular as a concert and recital piece and has been frequently recorded. A new completion of the "Lamento", which includes a setting of the surviving texts of the choruses to new music by Scottish composer Gareth Wilson (b.1976), was performed at King's College, London University, on the 29th of November, 2013, the 370th anniversary of Monteverdi's death. In about 1590 Claudio Monteverdi, born in Cremona in 1567, secured a position as a viol player at the Mantuan court of Duke Vincenzo Gonzaga.[1] Over the following ten years he advanced to become the duke's maestro della musica.[2][3] During that time, significant developments were taking place in the world of musical theatre; in 1598 the work generally recognised as the first in the new genre of "opera"�Jacopo Peri's Dafne�was performed in Florence.[4] The duke was quick to recognise the potential of this new musical form, and its scope for bringing prestige to those willing to sponsor it.[5] As part of his duties to the Gonzaga court, Monteverdi was often required to compose or arrange music for staged performances. These works included a fully-fledged opera, L'Orfeo, written to a libretto by Alessandro Striggio the Younger and presented before the court on 24 February 1607. This performance pleased the duke, who ordered a repeat showing for 1 March.[6] A contemporary account records that the piece "could not have been done better ... The music, observing due propriety, serves the poetry so well that nothing more beautiful is to be heard anywhere".[7] Monteverdi was then required to write several pieces for performance at the wedding of the duke's son and heir Francesco, planned for early May 1608.[8] These included a musical prologue for Battista Guarini's play L'idropica and a setting of the dramatic ballet Il ballo delle ingrate ("Dance of the Ungrateful Ladies"), with a text by Ottavio Rinuccini. There was also to be an opera, though it was not initially certain that Monteverdi would provide this. Other works under consideration were Peri's Le nozze di Peleo e Titede ("The marriage of Peleus and Thetis") with a libretto by Francesco Cini, and a new setting of Dafne by Marco da Gagliano. In the event, the former was rejected and the latter designated for performance at the 1607�08 Carnival. The duke decreed that the wedding opera should be based on the myth of Arianna (Ariadne), and that Rinuccini should write the text. Monteverdi was instructed to provide the music
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