Curtiscare: CurtisCARE Child Development and Clinical Service Programs

Опубликовано: September 7, 2022 в 11:12 am

Автор: alexxlab

Категории: Miscellaneous

Curtiscare Child Development Program | CARSON CA INFANT CENTER

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About the Provider

Description: CurtisCARE Is licensed by the State of California(198013662) and vendored by South Central Los Angeles Regional Center to serve infants and toddlers with developmental disabilities. The facility is located in Downey California and represents a diverse cultural, linguistic and ethnic environment. Two sessions are operated Monday-Friday 9am-12pm and 12:30-3:30pm.

The center-base nursery school program (HX0376) is designed to meet the developmental needs of children eighteen months to three years of age under the California Early Start Program guidelines. Families can schedule a visit or be referred to CurtisCARE by local Regional Centers, family practitioners and community organizations.

Program and Licensing Details

License Number:
198016591
Capacity:
12
Enrolled in Subsidized Child Care Program:
No
Type of Care:
DAY CARE CENTER; INFANT CENTER;
District Office:
L. A. EAST REGIONAL OFFICE
District Office Phone:
(323) 981-3350 (Note: This is not the facility phone number.)

Location Map

Inspection/Report History

Where possible, ChildcareCenter provides inspection reports as a service to families. This information is deemed reliable,
but is not guaranteed. We encourage families to contact the daycare provider directly with any questions or concerns,
as the provider may have already addressed some or all issues. Reports can also be verified with your local daycare licensing office.

Type	Inspection Dates	Reports/Citations

Inspection	2020-02-27	FACILITY EVALUATION REPORT

Inspection	2018-11-07	FACILITY EVALUATION REPORT

Other	2018-02-14	FACILITY EVALUATION REPORT

Inspection	2017-08-29	FACILITY EVALUATION REPORT

Summary	02/27/2020, 11/07/2018, 08/29/2017	No Citation

If you are a provider and you believe any information is incorrect, please contact us. We will research your concern and make corrections accordingly.

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Curtiscare 20920 Chico St, Carson, CA 90746

Accepted Insurance

Curtiscare has not yet specified accepted insurance plans.

Specialties

Curtiscare has not yet specified any specialties.

More Info

Services/Products

Mental Health Services

Neighborhood

Carson

AKA

Curtis Care

Other Links

http://curtiscare.com

https://curtiscare.com

Category

Mental Health Clinics & Information

Other Information

Services: Mental Health Services

Reviews

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Details

Phone: (310) 604-4404

Address: 20920 Chico St, Carson, CA 90746

Website: http://curtiscare.com

How to get to Curtiscare in Carson by Bus or Light Rail?

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Directions to Curtiscare (Carson) with public transportation

The following transit lines have routes that pass near Curtiscare

How to get to Curtiscare by Bus?

Click on the Bus route to see step by step directions with maps, line arrival times and updated time schedules.

From Roscoe’s House of Chicken and Waffles – Long Beach, Long Beach

71 min
From Yard House, Long Beach

70 min
From 24 Hour Fitness, Torrance

57 min
From Costco Wholesale, Cypress

115 min
From Seal Beach, Seal Beach

99 min
From Harbor Freeway, Broadway-Manchester, La

49 min
From Torrance, CA, Torrance

53 min
From Citadel Outlets, Commerce

132 min
From 24 Hour Fitness, Long Beach

94 min
From Lax, Westchester, La

96 min

Bus stations near Curtiscare in Carson

Bus lines to Curtiscare in Carson

Line Name	Direction
246	San Pedro – Point Fermin	VIEW
2	2 Avalon – Central to Csudh	VIEW
4	4 West Carson St to Del Amo Station	VIEW
1	1 West Del Amo Blvd to Del Amo Station	VIEW
205	PCH – Vermont	VIEW

Questions & Answers

What are the closest stations to Curtiscare?

The closest stations to Curtiscare are:
- Avalon / 213th is 441 yards away, 6 min walk.
- Avalon & 213th SW is 442 yards away, 6 min walk.
- Carson & Civic Center NW is 447 yards away, 6 min walk.
- Del Amo / Tillman is 938 yards away, 12 min walk.
More details
Which Bus lines stop near Curtiscare?

These Bus lines stop near Curtiscare: 1, 2, 205, 246, 3.

More details
How far is the bus stop from Curtiscare in Carson?

The nearest bus stop to Curtiscare in Carson is a 6 min walk away.

More details
What’s the nearest bus stop to Curtiscare in Carson?

Avalon / 213th, Avalon & 213th SW and Carson & Civic Center NW are the nearest bus stops to Curtiscare in Carson.

More details
What time is the first Bus to Curtiscare in Carson?

The 246 is the first Bus that goes to Curtiscare in Carson. It stops nearby at 3:34 AM.

More details
What time is the last Bus to Curtiscare in Carson?

The 246 is the last Bus that goes to Curtiscare in Carson. It stops nearby at 2:49 AM.

More details
How much is the undefined fare to Curtiscare?

The undefined fare to Curtiscare costs about $1.75.

Last updated on August 16, 2022

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Apache2 Debian Default Page: It works

Apache2 Debian Default Page

This is the default welcome page used to test the correct
operation of the Apache2 server after installation on Debian systems.
If you can read this page, it means that the Apache HTTP server installed at
this site is working properly. You should replace this file (located at
/var/www/html/index.html) before continuing to operate your HTTP server.

If you are a normal user of this web site and don’t know what this page is
about, this probably means that the site is currently unavailable due to
maintenance.
If the problem persists, please contact the site’s administrator.

Debian’s Apache2 default configuration is different from the
upstream default configuration, and split into several files optimized for
interaction with Debian tools. The configuration system is
fully documented in
/usr/share/doc/apache2/README.Debian.gz. Refer to this for the full
documentation. Documentation for the web server itself can be
found by accessing the manual if the apache2-doc
package was installed on this server.

The configuration layout for an Apache2 web server installation on Debian systems is as follows:

/etc/apache2/
|-- apache2.conf
|       `--  ports.conf
|-- mods-enabled
|       |-- *.load
|       `-- *.conf
|-- conf-enabled
|       `-- *.conf
|-- sites-enabled
|       `-- *.conf

apache2.conf is the main configuration
file. It puts the pieces together by including all remaining configuration
files when starting up the web server.
ports.conf is always included from the
main configuration file. It is used to determine the listening ports for
incoming connections, and this file can be customized anytime.
Configuration files in the mods-enabled/,
conf-enabled/ and sites-enabled/ directories contain
particular configuration snippets which manage modules, global configuration
fragments, or virtual host configurations, respectively.
They are activated by symlinking available
configuration files from their respective
*-available/ counterparts. These should be managed
by using our helpers

a2enmod,
a2dismod,

a2ensite,
a2dissite,

and

a2enconf,
a2disconf
. See their respective man pages for detailed information.
The binary is called apache2. Due to the use of
environment variables, in the default configuration, apache2 needs to be
started/stopped with /etc/init.d/apache2 or apache2ctl.
Calling /usr/bin/apache2 directly will not work with the
default configuration.

By default, Debian does not allow access through the web browser to
any file apart of those located in /var/www,
public_html
directories (when enabled) and /usr/share (for web
applications). If your site is using a web document root
located elsewhere (such as in /srv) you may need to whitelist your
document root directory in /etc/apache2/apache2. conf.

The default Debian document root is /var/www/html. You
can make your own virtual hosts under /var/www. This is different
to previous releases which provides better security out of the box.

Please use the reportbug tool to report bugs in the
Apache2 package with Debian. However, check existing bug reports before reporting a new bug.

Please report bugs specific to modules (such as PHP and others)
to respective packages, not to the web server itself.

Curtis Care Management · Curtis, Linda · 110 Long Pond Rd, Rhinebeck, NY 12572-3216, USA

Address: 110 Long Pond Rd, Rhinebeck, NY 12572-3216, USA

Curtis Care Management (SAM# VY7ZRN5K7Rh4) is an entity registered with U.S. General Services Administration (GSA), System for Award Management (SAM). The registration date is May 27, 2020.

Overview

Curtis Care Management is an entity registered with the U.S. General Services Administration (GSA), System for Award Management (SAM). The corporation number is #VY7ZRN5K7Rh4. The business address is 110 Long Pond Rd, Rhinebeck, NY 12572-3216, USA. The point of contact name is Linda A Curtis.

Entity Information

SAM ID	VY7ZRN5K7Rh4 Unique Entity ID by SAM
CAGE Code	8LTX9 Commercial and Government Entity (CAGE) Code by NATO Codification System
Legal Name	CURTIS, LINDA
DBA Name	CURTIS CARE MANAGEMENT
Company Division	CURTIS CARE MANAGEMENT
Physical Address	110 Long Pond Rd Rhinebeck NY 12572-3216 USA
Mailing Address	110 Long Pond Road Rhinebeck NY 12572 USA
Congressional District	19
Corporate URL	https://www. curtiscaremanagement.com
Entity Structure	2J – Sole Proprietorship
Incorporation State	NY
Business Type	27 – Self Certified Small Disadvantaged Business 2X – For Profit Organization 8W – Woman Owned Small Business A2 – Woman Owned Business
Primary NAICS	624120 – Services for the Elderly and Persons with Disabilities
NAICS Code	621330 – Offices of Mental Health Practitioners (except Physicians) 624120 – Services for the Elderly and Persons with Disabilities 624190 – Other Individual and Family Services North American Industry Classification System (NAICS)
PSC Code	G005 – Social- Geriatric (Social Services) G099 – Social- Other (Social Services) R499 – Support- Professional: Other (Management Advisory Services) Product and Service Code (PSC)
Registration Date	May 27, 2020
Expiration Date	April 24, 2022
Update Date	April 24, 2022
Activation Date	April 26, 2021
Business Start Date	September 27, 2016
Fiscal Year End Date	1231
Record Status	Expired
Registration Purpose	Z2 – All Awards
Credit Card Usage	Y
Debt Subject to Offset	N
Disaster Response Registry	County – NY027 County – NY039 County – NY111 Metropolitan Service Area – 0160 State – NY
EVS Source	D&B Entity Validation Service

Points of Contacts (POC)

Electronic Business POC

Title	OWNER
Officer Name	LINDA A CURTIS
Address	110 Long Pond Road Rhinebeck NY 12572 USA

Government Business POC

Title	OWNER
Officer Name	LINDA A CURTIS
Address	110 Long Pond Rhinebeck NY 12572 USA

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Businesses with similar names

Business Name	Address	Agent Name	Incorporation Date
Standard Curtis Venture LP	1901 Avenue of The Stars, Suite 395, Los Angeles, CA 90067	National Registered Agents, Inc.	2018-02-28
MedCom Care Management, LLC	2100 Covington Centre, Covington, LA 70433	Ct Corporation System	2008-08-12
Prospero Care Management, LLC	50 South B.b. King Boulevard, Memphis, TN 38103	Ct Corporation	2022-03-17
Coastal Care Medical Management Realty, LLC	Chace Ruttenberg & Freedman, LLP, One Park Row – Suite 300, Providence, RI 02903	Don E. Wineberg	2017-08-31
Curtis Construction Company, Inc.	22 Martin Road, Milton, MA 02186	Corcoran Peckham Hayes, Leys & Olaynack PC	2022-04-22
56 Curtis LLC	840 Smithfield Ave, Suite 303, Lincoln, RI 02865	J Fontaine Accounting LLC	2021-01-20
Lukert Consulting and Care Management, LLC	931 Jefferson Boulevard, Suite 2004, Warwick, RI 02886	Everett Petronio, Jr. , Esq.	2018-03-06
58 Curtis Street, LLC	13 William Street, D-15, Fairhaven, MA 02740	Partridge Snow & Hahn LLP, Attn: Jay R. Peabody	2012-11-19
Patriot Care Management, Inc.	401 E. Las Olas Boulevard, Suite 1650, Fort Lauderdale, FL 33301	Corporate Creations Network Inc.	2014-10-14
Home Care Assistance Management, LLC	221 Main Street, San Francisco, CA 94105	Incorporating Services, Ltd.	2021-06-17

CURTIS CARE SOCIAL WORK, LMSW, PLLC · 110 Long Pond Road, Rhinebeck, Ny 12572

Address: 110 Long Pond Road, Rhinebeck, Ny 12572

CURTIS CARE SOCIAL WORK, LMSW, PLLC (DOS ID 6523173) is a corporation registered with New York State Department of State (NYSDOS). The initial filling date is June 28, 2022.

Business Overview

Office Location

Street Address	110 long pond road
City	RHINEBECK
State	NY
Zip Code	12572

Corporations at the same location

Entity Name	Office Address	Start Date
CURTIS CARE MANAGEMENT LLC	110 Long Pond Road, Rhinebeck, Ny 12572	2022-02-08
NATIONAL POLICE K9 FOUNDATION, INC.	110 Long Pond Road, Rhinebeck, Ny 12572	1998-08-12

Corporations at the same zip code

Entity Name	Office Address	Start Date
STARR READING ROOM LLC	329 Wurtemburg Road, Rhinebeck, Ny 12572	2022-06-30
WELL-DONE FILMS, LLC	15 Cozine Avenue, Rhinebeck, Ny 12572	2022-06-28
38 CLINTON AVE LLC	61 N. Parsonage Street, Rhinebeck, Ny 12572	2022-06-21
PENN VENTURES LLC	105 Round Lake Road, Rhinebeck, Ny 12572	2022-06-16
PRIMROSE BIRD LLC	426 Primrose Hill Rd, Rhinebeck, Ny 12572	2022-06-10
THG LEASING, INC.	44 West Market Street, P.o. Box 151, Rhinebeck, Ny 12572	2022-06-06
PV APARTMENTS, LLC	584 Ackert Hook Road, Rhinebeck, Ny 12572	2022-06-03
BUCKY’S AG & TRUCK INC.	187 East Market St, Ste 202, Rhinebeck, Ny 12572	2022-06-02
STONEY CLOVE CREEK LLC	329 Wurtemburg Rd, Rhinebeck, Ny 12572	2022-06-02
6 CHESTNUT RB LLC	19 Chestnut Street, Rhinebeck, Ny 12572	2022-05-27

Business Officer

Business Role	Name	Address
Officer	linda anne curtis, member	110 Long Pond Road, Rhinebeck, Ny 12572

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Dataset Information

Data Provider	New York State Department of State (NYSDOS)
Jurisdiction	New York State

This dataset includes 2.43 million business entities and corporations registered with New York State Department of State (NYSDOS). Each entity is registered with DOS ID, business name, location, registered agent, CEO, etc.

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About the performance Schedule Reviews (4)

The 16th century, the wonderful world of Venice of the Doge era. The passionate love story of one of the most famous courtesans, Veronica Franco, and the heir to a noble noble family, Marco Venier. Love that can go through wars, plague, inquisition trials, betrayal and remain the most sincere and main feeling in the lives of heroes. The performance intertwines historical events and romantic adventures, and the music recreates the image of beautiful Venice, with its canals and palaces, the image of a city filled with enchanting melodies, sunlight and human passions.

The best reviews about the play “Courtesan”

alla shestakovskaya

1 review, 1 rating, rating 0

9Bravo to the artists! Bravo MAESTRO!

Liked it! The music of our Soviet composers cannot but be liked, and Alexander Zhurbin is a maestro, the one who still continues to bring Art to the masses !!! The production was “for an amateur”, but the performer of the main character Veronica Franko was irresistible and, if the other performers of the action, having performed their arias, having performed very worthily, stepped aside, then Natalya Bystrova continued her parts with her fiancé, and with the banker, and with her cousin. All the characters were good, but the whole performance was “dragged” by the main character! Having taken your evening watching the musical, you will not waste time in vain. I want to especially thank the orchestra conducted by conductor Arif Dadashev, they were all equal participants in the performance, my eyes ran wide, whether to look at the stage or look at the conductor, how magnificent he was – expression, energy! And the clarinetist, against the conductor, was not inferior to any of the actors in the performance! Thanks to everyone who gave a good evening and a great mood! BRAVO!!!

February 22, 2021

Elizaveta Efremova

192 reviews, 193 estimates, rating 17

Very good performance

The performance was arrested for beauty

9,0003

The new theater season I opened the operetta at the Moscow Theater “Kartesanka “. Yes: if anyone suddenly doesn’t know, then at the Operetta Theater you can watch and listen not only to classical operettas, but also to performances staged in a more modern and fashionable musical genre. What is the fundamental difference between an operetta and a musical, I, perhaps, cannot clearly explain, but intuitively I feel this difference.
To make a good musical, first of all, it must have a suitable story at its core. We need a play written in rich language and with good humor, with a fascinating plot, vivid images and interesting events. It’s good if the action takes place in a famous romantic place.
Playwrights Vladislav Starchevsky and Sergei Plotov wrote just such a play, it contains Venice, love, parting, betrayal, revenge, and newfound love.
Then you need good music. Actually, the composer Alexander Zhurbin only knows how to write good music, so you don’t have to worry about this point.
Next, the director gets down to business. Alina Chevik, director of the musical, knows how to put on very spectacular, beautiful, interesting performances. “The Courtesan” is the third production of her that I saw and this work is as good as the previous two.
I, like every ordinary spectator, like it when everything looks beautiful on the stage. And the stage designer Sergei Novikov truly surprised us by building a little Venice for us. Gondolas even floated across the stage. And indeed – what is Venice without gondolas. And the costumes created by Victoria Sevryukova were truly magnificent. I think a real Venetian carnival smokes nervously in the corner.
And if it’s a carnival, it means dances and dances. The choreographer Irina Korneeva is responsible for them. In my opinion, the very soul of Venice is revealed in her bright, inventive choreography.
And then it’s up to the actors. God! What wonderful actors in the Operetta Theater. All. From soloists to corps de ballet. And from the choir to the soloists.
Julia Goncharova. The role of the poetess and courtesan Veronica Franco suits her very well. To the face, to the figure, to the voice, to the plasticity. You believe her every moment, every minute, at every turn of the plot. And what a beauty! Don’t take your eyes off. It is not surprising that all the men of Venice are stacked in rows at her slender legs.
And the first among them is a young noble Venetian Marco Venier – Maxim Katyrev. Appearance, become, voice – it seems that this actor simply has no flaws, everything he does on stage is close to perfection. Surely the entire female part of the auditorium with bated breath watched the fate of his hero, envying the beautiful Veronica in her heart, whom such a man fell in love with.
And for the audience to be interested, the action of the performance is rapidly unwinding like a compressed spring, forcing the audience to get excited. We, along with the heroes, are either raised on a wave of joy, or thrown into the abyss of misfortune. But, thank God, everything ends with a happy ending, a holiday, a carnival, love. And the audience leaves the theater in an upbeat and joyful mood, having received a charge of optimism, which is so necessary in our difficult time.

September 3, 2022

Anastasia Loiko

26 reviews, 26 assessments, rating 0

10 Heading musical

“Curtain” Operetta Theater

while the children are busy, I will tell you about the interesting musical for adults.

Music by Alexander Zhurbin, stage director Alina Chevik. This play about the love of Veronica Franco and Marco Venier is based on the story of real characters from the 16th century.

Veronica Franco (Yulia Goncharova) – a girl from a poor family who fell in love with a rich young man of noble family. Marriage was impossible, and the young maiden made a difficult decision. In a few years she became a “pious courtesan”, a friend of high-ranking people, brilliant and educated. In addition, she managed to become a famous poetess and the most famous woman of the Renaissance. In the performance, she is assigned the role of the savior of all Venice, however, she will be charged with the inquisition … The role is performed excellently, an amazing transformation from a modest girl into a seductive seductress. Here and beauty, and voice, and outfits, and performance.

Her lover Marco Venier (Maxim Katyrev) is a senator of Venice. The nobility of the family and social duty did not allow him to marry the woman he loved. He listened to his parents, but he could not find family happiness. This wonderful man (practically a prince), with a wonderful voice, shows us such suffering that the viewer has no doubts about the correctness of his decision – to have a relationship on the side with the famous courtesan.

At that time, women were only an attachment to their husbands, they lived in their shadow, and they got married more often by calculation. They were closed even to the city libraries. At the same time, Venice was the capital of Love, famous for its courtesans, who, on the contrary, could afford anything: study, sing and dance, print books, earn money and be independent. And the hostages of the “system” were not only girls, but also men. An interesting topic for discussion, don’t you think?

The performance is bright, colorful and captivating. The atmosphere of ancient Venice with floating gondolas and vociferous gondoliers. Incendiary dances, with Italian choreography and magnificent costumes, flickering in the spotlight. We will complement the incredible beauty with the voices of the performers and a live orchestra right in front of you. A real fairy tale with a happy ending.

September 1, 2022

Olga Eliseeva

9 reviews, 10 ratings, rating 00003

10Sexy, strong, goosebumps!

It was my first time in the Moscow Operetta Theatre. Large hall, carved tiers, amazing chandelier, live music.
I would like to share my opinion about the musical Courtesan.
From the very first notes, from the first “pas”, from the moment when the curtain was raised, it is impossible not to fall in love.
VENICE of the 16th century appears before the viewer. A city on the water, gondolas floating along the canals.
Here I want to ask the decorators “HAAAK ?!” Thanks to the effect of smoke, and the built-in mechanisms (are they?), the gondolas really floated. The visual is unique.
The sets are arranged in such a way that they rotate through 360° to represent different scenes.
The costumes impress with their details. Finishing, fabrics, sequins: the costumes on each hero looked special.
The scenography is impeccable. The choreography for me was revealed in the scene showing the courtesans to the king of France. This is a special BODY MAGIC. It’s sexy, playful and strong.
But half the success of a musical is MUSIC! What about her? Firstly, live music in itself is capable of touching the most hidden strings of the soul, and in combination with strong vocals, it turns out like this, to goosebumps, to shiver.
By the way, ABOUT THE VOCAL. We were lucky with the team.
Yulia Goncharova, who played the ROLE of VERONICA FRANCO, has a velvety voice. So tender in the first act, she transforms into a femme fatale in the second. I love these metamorphoses.
Just believe me: at the end of the musical, I was DYING with her. So convey on stage all the love and pain! And standing on the edge, stay true to yourself. At some point, I resigned myself to the fact that this was the end. I believed in what was happening so much that I let tears roll down my cheeks.
The part of the protagonist, MARCO VENER, went to Maxim Katyrev. At first, he captivated all the girls in the hall with his charisma, charm, strength. He was hated and idolized. He was different. But the hero revealed himself only at the end, exposing his soul. Beautiful, strong, noble.
His stage father, Yuri Vedeneev, is simply a masterpiece! People’s Artist of the RSFSR. His final “I stood up” made the whole hall applaud.
WHAT IS THE MUSICAL ABOUT? About love!
About the passionate love of one of the most famous courtesans, Veronica Franco, and the heir to a noble noble family, Marco Venier. Love that is able to go through the plague, the courts of the Inquisition, betrayal and remain the most sincere and main feeling in the lives of heroes.

April 28, 2022

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Costume as an artistic image.

The film “The Honest Courtesan” I won’t say that I liked the film itself, but even in the credits I read that the costume designer is Gabriella Pescucci, which means that at least the pleasure of the costumes is guaranteed to me. And so it happened, and Gabriella also made me think about the topic: “what is the talented stylization of the era.”

Pescucci is one of the most sought-after and famous Hollywood costume designers, I have written about her more than once. Gabriella, like all Italian costume designers known to me (and she is Italian by birth and educated in Italy), is distinguished by her excellent knowledge of costume history and virtuoso work with textures. I already admired this talent of hers in my little post – the announcement about the series “Borgia”.

promotional photo for the series “Borgia”

If the director wants it, then Pescucci can make costumes that are indistinguishable from the original, you can see this by watching the film “The Age of Innocence” by Martin Scorsese. For this amazing work, the artist was awarded an Oscar.

costumes from the movie “The Age of Innocence”

The movie “The Honest Courtesan” is not authentic. Weakly correspond to the era of hairstyles, faces, plasticity of actors. Including costumes. Obviously, this was precisely the task set for the filmmakers: to tell the story in a language accessible to contemporaries.

frame from the film “The Honest Courtesan”

Nevertheless, all this stylization does not go into the eyes, does not irritate or strain. If you are not a specialist in the field of Italian Renaissance costume, then you will not even notice the substitution. Recall other films where the desire to “modernize” made the film flat. Why didn’t this happen with The Honest Courtesan? Because everything here is done with talent and taste.

frame from the film “The Honest Courtesan”

Let’s talk about the costumes of the main character.

A lot of information has come down to us, what the famous Venetian courtesans of the “upper class” looked like, who were called “honest courtesans” or cortigiane oneste . The end of the 16th century left us a legacy of a huge number of paintings, among which are portraits of noble ladies and those same courtesans.

Portrait of a woman with lapdog, 1570s, Veronese. Note the very low neckline at the bodice.

This is how the “honest courtesans” were depicted:

Domenico Robusti, c 1590s Portrait of a Courtesan Venice. The action of the film begins in 1583, which means that this is how his heroine Veronica Franco could dress.

And here is a portrait of the real Veronica Franco, you can read about her on Wikipedia http://ru.wikipedia.org/wiki/Franco,_Veronica

Veronica Franco. Portrait by Tintoretto (?), ca. 1575

Renaissance Venetians dressed differently from other Italian cities.
Once Venice was the main city of the Venetian Republic, which for a long time was under the control of Byzantium, a port on the Adriatic Sea, through which trade routes to the eastern countries passed. Fernand Braudel wrote: “this is how Venice grew because it was fed by the markets, the weakening Byzantium, on which it imposed its services … After the neutralization of Genoa in 1381, Venice becomes the mistress of trade in the East, that is, the international trade of that era.”

still from the film “The Honest Courtesan”

From here, amazing architecture and amazing fabrics (luxurious patterned velvets, brocade, embroidered with stones and pearls) in the design of which one can clearly feel the oriental or Byzantine influence.

Domenico Robusti Tintoretto Portrait of a Lady in White Private Collection ca. 1580

Women’s dresses of the late 16th century were heavy and static. Despite the fact that the Venetian women did not follow the Spanish fashion and did not wear tight corsets and metal hoops under the skirts, all the same, in their costume there was a bodice stretched over the Venetian metal corse and puffy skirts to the floor. The bodice did not repeat the shape of the body, but created an artificial case for it. Because of this, the ladies seemed larger than they really were. (Source: M.N. Mertsalova “Costume of different times and peoples. Vol. 1 ) of Fine Arts

Steel corset, from the second part of the 16th century Museo Stibbert, Florence (http://aneafiles.webs.com/renaissancegallery/stays.html). It does not perfectly match the Venetian fashion of the late 16th century, but the essence of the metal corse is just that.

This design was covered with fabric and worn over an undershirt.

Paolo Caliari Veronese. Portrait of a Woman Holding Gloves. National Gallery of Ireland, Dublin ca. 1560

I have already drawn your attention to the fact that the bodice of the late 16th century had a very low neckline.
Something white, airy with a collar – this is the top of the undershirt. As a rule, it and the cuffs of the dress were trimmed with unique Venetian lace.

Francesco Montemezzano. Portrait of a Venetian Lady. Gemäldegalerie Alte Meister, Dresden, Germany ca. 1600

frame from the film “The Honest Courtesan”

But there was no peplum. Perhaps her appearance on the dresses in the film is dictated by the inconvenience of the long angle of the corset. And the undershirt was always there, but it would also interfere with the artistic solution of the costume.

Venetian women were very fond of shoes Zoccoli (from the Italian word Zocco , meaning a stump or wooden block), which increased their height and made their figures even more monumental.

Velvet, wood and leather pianelle with gilded silver braid and bobbin lace, Venice, Italy, about 1600. (http://www.vam.ac.uk/content/articles/r/clothing-and- jewelery/)

Courtesans went even further (or higher) – their coturnes (English version Chopine ) had a high platform, sometimes reaching up to 70 cm in height, in which it was often impossible to move independently.

Venetian Woodcut showing a courtesan.

These undated chopines were worn by women in the 16th century according to artwork of the time.

frame from the movie “The Honest Courtesan”

frame from the movie “The Honest Courtesan”

If everything in the film were reproduced authentically, we would lose active action, because the main character in such dresses would not be able to run, ride a horse, or fence. And it would not have been possible to reveal the character of the heroine – a living, active, intelligent, passionate, courageous woman.

still from the movie “The Honest Courtesan”

This costume from the movie is based on the original clothes of the courtesans of that time:

Venetian Woman with Moveable Skirt, late 16th century Italian school engraving

In addition, Pescucci needed to show her transformation from a simple townswoman into an expensive prostitute in the heroine’s costume.

At the beginning of the film, we see Veronica wearing chaste dresses, almost closed to the neck, made of simple fabrics with uncomplicated trimmings.

a frame from the film “The Honest Courtesan”

Then there are frank dresses made of silk, embroidered with gold thread, pearls and precious stones.

still from the film “The Honest Courtesan”

At the end of the film, the rough fabric and the blind cut of the dress make clear the difficult situation of the heroine.

still from the film “The Honest Courtesan”

Through light fabrics, more often, delicate, pastel colors, Gabriella Pescucci showed us the fragility and grace of Veronica. Fluttering light, long sleeves give it airiness and ephemerality.

frame from the film “An Honest Courtesan”

These textures look especially impressive next to the rough, heavy textures of men’s suits, usually in dark shades. The heroine looks like a delicate one-day butterfly, a dragonfly with iridescent wings, flying into the darkness of a damp palazzo.

a shot from the film “The Honest Courtesan”

The conventionality and figurativeness of the costumes look artistically perfect due to Pescucci’s “crown technique” – a combination of a large number of different finishes and complex color nuances in one dress. Therefore, the costumes look voluminous and lively, and not a flat remake, as in the films “The Other Boleyn Girl” and “The Tudors”. To justify other costume designers, I will say that such talent is not given to everyone. Most often, it is Italian designers who distinguish themselves by this, apparently due to the fact that before their eyes there are always examples worthy of imitation: beautiful textures of medieval cities and Renaissance frescoes and paintings.

Full or partial quoting of my blog articles is allowed only if there is a link to http://la-gatta-ciara. livejournal.com/

Links:

download movie http://rutracker.org/forum/viewtopic .php?t=3171923

http://en.wikipedia.org/wiki/Chopine

http://webspace.webring.com/people/lo/oonaghsown/curves/my_venetian_ruffs_images.htm

http:// en.wikipedia.org/wiki/Metal_corset

portraits of 16th century Venetian women http://starlightmasquerade.com/PortraitGallery/Closed-Bodice-Venetian/invenetianclosedbodice.htm

Beautiful Otero: how a Parisian courtesan drove the whole of Europe crazy age and vagrancy. Such stories rarely have a happy ending, but Otero was able to break out of the vicious circle and become one of the most famous and wealthy women in France.

Augustina de Carmen Otero Iglesias was born on November 4, 1868 in the province of Pontevedra in Spain. Her mother, Carmen Otero Iglesias, raised her daughter and four more children born from different fathers, alone – for the sake of livelihood, the woman traded herself, rarely was at home, and therefore the children were completely left to their own devices. Karolina, as she called herself, actually grew up on the street, spending days on end with local petty hooligans and begging in garbage cans for clothes and leftovers.

At the age of ten, a girl was raped and severely beaten by one of the inhabitants of her small town – her life was saved by two women passing by, who frightened off the criminal with their screams. The investigation into the case came to a standstill, the culprit was never found, and Carolina restored her physical and mental health for a long time. This terrible event completely changed her life – after recovery, the girl promised herself that at any cost she would achieve a better life for herself. And, I must say, her purposefulness could only be envied.

At the age of 14, Carolina Otero ran away from her hated home and went to Lisbon with her friends and a young man named Paco. There, the girl was engaged in prostitution and performed on the stages of small music bars – she was a talented dancer, and soon the local public began to consider her a real star. But Carolina had much more ambitious plans for her future and a few years later went to Barcelona to conquer new horizons.

Karolina liked life in the big city, besides, the men, subdued by her beauty and charm, were supportive of the beginning dancer, and in every possible way helped the Beautiful Otero to build a career and break into the Olympus of fame.

In 1888, the girl met a wealthy and powerful man in Barcelona, who sponsored her performances and helped Caroline gain fame. He moved in bohemian circles and often invited the girl to social events, where he introduced celebrities, artists, musicians, and politicians. It was then that she came up with the idea of a new stage image, which allowed her to gain fame in the future – Carolina began to introduce herself as an Andalusian gypsy, and also took a new pseudonym – Beautiful Otero.

People around noted the incredible beauty and grace of Carolina – the girl looked so harmonious on stage that the audience instantly fell in love with her, and her appearance inspired writers, artists and architects around the world. Built in 1913, the two domes of the Inter Continental Carlton Cannes are rumored to have exactly the shape of the beautiful Otero’s chest.

A few years later, Caroline moved to Paris and began performing on the stage of the famous Folies Bergère variety show – the girl was a resounding success, and every resident of the French capital dreamed of seeing her famous dance numbers in luxurious expensive costumes embroidered with shining crystals.

It is quite natural that such a bright and attractive woman was the object of passion of many noble men of that time – among her lovers were Emperor Wilhelm II of Germany, Prince Albert I of Monaco, Grand Dukes Peter Nikolaevich and Nikolai Nikolaevich Romanov, Duke of Westminster Hugh Grosvenor and the King of Great Britain Edward VII.

According to those who knew her, Carolina’s charm was so strong that her attention more than once became an occasion for a duel between men, and six of her rejected admirers even committed suicide, unable to endure love suffering.

But women, unlike men, vehemently hated Carolina Otero. Her beauty and success were the subject of black envy, and rumors of her promiscuity and unworthy behavior were regularly spread by her rivals throughout Paris, which often became the cause of serious conflicts.

True, Karolina herself was not much bothered by idle talk – her goal was to achieve fame, recognition and earn money for a comfortable life, and she succeeded perfectly. Otero was considered a symbol of the Belle Epoque, she was inspired, she was loved, and by 19In the 00s, she had already made her considerable fortune and could afford a luxurious life in the rays of her own glory.

In 1918, Caroline bought herself a huge mansion in Nice and settled there, spending a lot of money on luxury goods. However, Beautiful Otero had one pernicious passion that eventually led her to poverty – gambling. Carolina lost fabulous sums in the famous casino in Monte Carlo, and when the funds for the game ran out, she pawned her expensive jewelry, which her fans gave her – according to contemporaries, Marie Antoinette’s necklace, black pearl beads of the Empress were kept in the boxes of the Beautiful Otero Eugenie, wife of Napoleon III, and a special gift from the jewelers of the Cartier house – a bolero necklace made of diamonds and white gold.

But even the high value of these gifts could not stop Karolina’s addiction to gambling – she continued to come to the casino, time after time leaving huge sums and her priceless jewelry.

Carolina Otero, 1965

In 1948, having spent almost all her savings, Carolina was forced to sell all her real estate and move into a modest one-room suite at the Novelty Hotel in Nice. According to one version, the Monte Carlo casino sent the woman a monthly allowance – this was a kind of gesture of respect for one of the most beloved visitors. According to another version, until the end of her life, Carolina was kept by an unknown admirer who could not forget his beloved even years later.

Otero died in 1965 in the same hotel room, leaving a memoir entitled Les souvenirs et la vie intime de la belle Otero.

Maria Felix as Caroline Otero in La Belle Otero, 1954

Caroline’s fate has inspired many writers and directors to dedicate several books and films to her story. In particular, the Uruguayan writer Carmen Posadas spoke about her life in the book “Beautiful Otero”, the French cinematographer Richard Pottier made a film of the same name about the fate of Carolina with the Mexican actress Maria Felix in the title role, and the Russian artist Mikhail Vrubel immortalized Otero in one of his paintings in 1896 years old, forever preserving her image in the memory of people.

Photo: Getty Images

Daria Chernova

Courtesan or feminist? | Musical life

And it was on this, not the easiest, path that the Moscow Operetta Theater gained its most notable successes of recent seasons. Suffice it to mention such productions as “Anna Karenina” by R. Ignatiev, “Jane Eyre” by K. Breitburg, “Profitable Place” by G. Gladkov, “King Arthur” by G. Shaidulova. Now they have been joined by A. Zhurbina’s The Courtesan, the theater’s first premiere after the quarantine lockdown.

Alexander Zhurbin is not a new author for the Moscow Operetta: his musical “Caesar and Cleopatra” was staged with great success on the stage for the anniversary of the People’s Artist of Russia Gerard Vasiliev, who played the title role. In total, the score of Alexander Borisovich’s written (and staged!) works in this genre has exceeded the fourth decade, which gave full reason to call Zhurbin “Mr. , and symphonic works, then the interest in his work of musical theaters is understandable. All these qualities were fully manifested in the musical “Courtesan”.

As Zhurbin says, “I wrote this music with pleasure, the plot gave me a wide stylistic and emotional range as a composer.” And Zhurbin, indeed, easily and tastefully plays with styles, genres and rhythms. The music of The Courtesan is truly polystylistic, melodic, melodious and danceable. Particularly successful, in my opinion, were the mass choral episodes, starting with the very first – the Venice gondoliers choir. Here it is appropriate to say that the plot of the musical creates the possibility of creating a score that shines with all colors: here is the magnificent 16th century, and the marvelous city on the sparkling Adriatic with its palaces and canals, here are love passions, political intrigues, betrayals and betrayals.

The plot is based on the fate of the real-life Venetian poetess Veronica Franco. The librettists Vladislav Starchevsky and Sergei Plotov, of course, did not particularly adhere to historical accuracy, however, in addition to the main romantic love line of Veronica and Marco Venier, the real events of those old years also found a place in their play – “pestilence”, that is, a plague epidemic, pressure inquisitions, social problems and state civil strife. Against their background, a love triangle unfolds between Veronica, Marco and his cousin Maffio, a poet who is also in love with a charming Venetian and harasses her by any means.

Veronica is depicted in the musical as one of the first feminists who defends the equality of men and women, considers it her right to discuss state affairs and give advice in love affairs. Of course, from the point of view of morality, her occupation is doubtful, but Veronica is primarily a woman who wants to be loved and happy. Love, the authors believe, can justify many actions. And the young actress Natalia Bystrova, by her performance of a complex role, achieves the sympathy of the audience, understanding her heroine and justifying her actions. She is sincere in prose scenes and in vocal episodes. She has good duets with Marco, a “poetic duel” with Maffio.

The performer of the role of her lover Marko Maxim Katyrev is charming, truthful in conveying the experiences of his hero. An even more difficult task faced Vladislav Kiryukhin – Maffio. The complex image of an impoverished Venetian nobleman, an unlucky poet and a contender for the love of the beautiful Veronica, who was rejected and became a vile informer of the Inquisition, is played by the artist authentically and temperamentally.

I remember Svetlana Krinitskaya in the small role of Paola, Veronica’s mother. Paola, as it turns out, is also a former courtesan; in a monologue, she, defending herself, provides a “theoretical base” for her profession, and the actress does this sincerely and convincingly. She convinces not only her daughter, but also the audience …

Alexander Babik – King Henri

Only one episode of such a character as the French King Henri (Henry III), but Alexander Babik makes it perhaps the most memorable, drawing a vivid image of a kind of narcissistic “Gallic rooster”. Struck by the charm of the courtesan Veronica provided to him, the French monarch exclaims with such genuine delight: “I give you a hundred ships!” – that it causes an applause of a hall. One more vividly played episodic character is remembered – Bishop de la Torre. The artist Alexander Kaminsky, who plays him, although deprived of the opportunity to demonstrate his “signature twine” in this role, still achieves a comic effect.

For director Alina Chevik, The Courtesan is not the first musical staged by her on the stage of the Moscow Operetta Theatre. But this performance is perhaps the most integral in all its components. It has many staging successes, starting with the spectacular and beautiful scenery created by set designer Sergei Novikov and used by the director inventively, dynamically and with humor. A good find is a string of gondolas, creating a specific “Venetian” flavor and moving to the rhythm of musical numbers. The “Venetian palazzos” are also moving, creating in various combinations either the squares or the alleys of the captivating city or opening the inner chambers of the palaces. Dynamics is inherent in both mass scenes staged with scope and temperament, and solo and duet numbers. In dances and backup dances, choreographer Irina Korneeva skillfully used the movements of the infectious tarantella and other dances from the rich Italian dance folklore. The Venetian costumes and carnival masks created by Victoria Sevryukova, as if descended from the canvases of the great Venetian artists, add color. By the way, one of them, Paolo Veronese, became one of the episodic characters in The Courtesan. Unfortunately, he is deprived of a musical number and any intelligible role.

It is common knowledge that the fate of a musical is largely in the hands of the conductor. In this case, one of the most significant successes of the performance is its musical side, directed by the chief conductor of the theater Konstantin Khvatynets.

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Curtiscare Child Development Program | CARSON CA INFANT CENTER

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Curtiscare 20920 Chico St, Carson, CA 90746

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Curtis Care Management · Curtis, Linda · 110 Long Pond Rd, Rhinebeck, NY 12572-3216, USA

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CURTIS CARE SOCIAL WORK, LMSW, PLLC · 110 Long Pond Road, Rhinebeck, Ny 12572

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