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Quote by Noha Alaa El-Din

“I have the urge to fly, to celebrate, to dance, to sing! My happiness can’t be told or expressed, it can’t be described, and it’s impossible to confine it.”

Quote by Noha Alaa El-Din

Book:Norina Luciano
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Norina Luciano

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Noha Alaa El-Din

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“We rich nations, for that is what we are, have an obligation not only to the poor nations, but to all the grandchildren of the world, rich and poor. We have not inherited this earth from our parents to do with it what we will. We have borrowed it from our children and we must be careful to use it in their interests as well as our own. Anyone who fails to recognise the basic validity of the proposition put in different ways by increasing numbers of writers, from Malthus to The Club of Rome, is either ignorant, a fool, or evil.”

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Author:Moss Cass
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“Young dancers have a beautiful, strong, flexible, and resilient body. And they have the fire of hope in their heart. However, the fire can be a bit feral like a young alley cat. It can go everywhere, in all directions, willy-nilly. It can turn all claws and spitting or it can get nervous and run away. It pretends things that aren’t true and is afraid of showing what is true. The older cat bides his time. He has patience. He pulls the fire inside and lets it smoulder. He doesn’t waste his energy on fights not worth the battle or where the casualties would be greater than the goal. He owns his failures like scars that say it would be wise to take him seriously. He is not ashamed of his loves. He values his spirit and lets it grow. It’s in the eyes. The body may move less but it has presence and a power of a different sort. It is authentic.”

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Book:Love's Longing
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“It was music first of all that brought us together. Without being professionals or virtuosos, we were all passionate lovers of music; but Serge dreamed of devoting himself entirely to the art. All the time he was studying law along with us, he took singing lessons with Cotogni, the famous baritone of the Italian Opera; while for musical theory, which he wanted to master completely so as to rival Moussorgsky and Tchaikovsky, he went to the very source and studied with Rimsky-Korsakov. However, our musical tastes were not always the same. The quality our group valued most was what the Germans call Stimmung, and besides this, the power of suggestion and dramatic force. The Bach of the Passions, Gluck, Schubert, Wagner and the Russian composers – Borodin in ‘Prince Igor’, Rimsky and, above all, Tchaikovsky, were our gods. Tchaikovsky’s ‘Queen of Spades’ had just been performed for the first time at the Opera of St Petersburg, and we were ecstatic about its Hoffmannesque element, notably the scene in the old Countess’s bedroom. We liked the composer’s famous Romances much less, finding them insipid and sometimes trivial. These Romances, however, were just what Diaghilev liked. What he valued most was broad melody, and in particular whatever gave a singer the chance to display the sensuous qualities of his voice. During the years of his apprenticeship he bore our criticisms and jokes with resignation, but as he learned more about music – and about the history of art in general – he gained in self-confidence and found reasons to justify his predilections. There came a time when not only did he dare to withstand our attacks but went on to refute our arguments fiercely.”

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Book:Nijinsky: A Life of Genius and Madness
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“One thing was clear. I knew I wanted a relationship where there was no push-pull energy, the power struggles, the yanking back and forth. I wanted a relationship where the two energies, the two souls, simply danced, a beautiful dance… and loved.”

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Book:A Butterfly Life: 4 Keys to More Happiness, Better Health & Letting Your True Self Shine
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