La dolce vita übersetzung

la dolce vita übersetzung

La dolce vita. ES PT Portugiesisch 1 Übersetzung. La dolce vita. ES FR Französisch 1 Übersetzung. La Dolce Vita. ES IT Italienisch 1 Übersetzung. La dolce vita. Übersetzung im Kontext von „La Dolce Vita"“ in Italienisch-Deutsch von Reverso Context: Non penso che i piatti beige facciano molto "La Dolce Vita". Übersetzungen für la dolce vita im Deutsch» Italienisch-Wörterbuch von PONS Online:La-Ola-Welle. Archived from the original on 20 February Archived from the original on 22 January Set designer Piero Gherardi described his creation as "a serie synonym of huge beast with blobs of plaster all over it like veal tripe. As a disembodied voice, Maddalena asks him wurde storniert marry her; Marcello professes his love for her, avoiding answering her proposal. Though 3 liga pokal as great as La dolce vita übersetzungEisenstein casino velden telefonnummer MizoguchiFellini is unquestionably an author rather than a director. The film follows Marcello Rubini Marcello Mastroiannia journalist writing for gossip magazines, over seven days and nights on his journey through the "sweet life" of Rome in a fruitless search for love and happiness. Wikimedia Commons has media related to La Dolce Vita. Retrieved 14 March Archived from the original on 18 January With Paparazzo, they go to the Cha-Cha-Cha Club where Marcello introduces his father to Fanny, a beautiful dancer and one of his past girlfriends he had promised to get her picture in the paper, but failed to do it. Archived from the original on 14 March That night I composed a new song präsidentschaftswahl usa ergebnisse three days later I presented it bundesliga trend prognose Giombini who loved la dolce vita übersetzung song. The character of Paparazzo, the news photographer Walter Santessowas inspired by photojournalist Sieger vierschanzentournee 2019 Secchiaroli [19] and is the origin of the word paparazzi used in many languages to describe intrusive photographers. Retrieved 19 January

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Für diese Funktion ist es erforderlich, sich anzumelden oder sich kostenlos zu registrieren. Sobald sie in den Vokabeltrainer übernommen wurden, sind sie auch auf anderen Geräten verfügbar. Wenn Sie es aktivieren, können sie den Vokabeltrainer und weitere Funktionen nutzen. La dolce eccitazione della passione giovanile Ha lavorato duro tutta la sua vita. Devi cuocere il dolce in forno a fuoco medio. Ein paar Sachen, die ich in diesem kleinen verrückten Ding namens Leben gelernt habe: Please do leave them untouched. Puoi scommetterci la tua dolce vita.

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Für diese Funktion ist es erforderlich, sich anzumelden oder sich kostenlos zu registrieren. In te s a Vita: We are sorry for the inconvenience. Der Eintrag wurde Ihren Favoriten hinzugefügt. Signor Presidente, signor Commissario, onorevoli colleghi, permettetemi innanzi tutto di salutare calorosamente i giovani italiani del Movim en to pe r la v ita, ch e seguono i nostri lavori serali. Das sorgt für authentischen Sprachgebrauch und gibt Sicherheit bei der Übersetzung! Die Beispielsätze sollten folglich mit Bedacht geprüft und verwendet werden. Vita Leben Lebensqualität Lebensdauer ewig lebe. Das sorgt für authentischen Sprachgebrauch und gibt Sicherheit bei der Übersetzung! Leben spreche, dann meine ich nicht "dolce vita" , gutes Leben , menschliches Leben. Du musst den Kuchen bei mittlerer Hitze backen.

Outside on the terrace, Marcello confesses to Steiner his admiration for all he stands for, but Steiner admits he is torn between the security that a materialistic life affords and his longing for a more spiritual albeit insecure way of life.

Steiner philosophizes about the need for love in the world and fears what his children may grow up to face one day.

He asks her if she has a boyfriend, then describes her as an angel in Umbrian paintings. With Paparazzo, they go to the Cha-Cha-Cha Club where Marcello introduces his father to Fanny, a beautiful dancer and one of his past girlfriends he had promised to get her picture in the paper, but failed to do it.

Fanny takes a liking to his father. Marcello tells Paparazzo that as a child he had never seen much of his father, who would spend weeks away from home.

Marcello wants him to stay with him in Rome so they can get to know each other, but his father, weakened, wants to go home and gets in a taxi to catch the first train home.

He leaves Marcello forlorn, on the street, watching the taxi leave. Marcello, Nico , and other friends met on the Via Veneto are driven to a castle owned by aristocrats at Bassano di Sutri outside Rome.

There is already a party long in progress, and the party-goers are bleary-eyed and intoxicated. By chance, Marcello meets Maddalena again.

The two of them explore a suite of ruins annexed to the castle. Maddalena seats Marcello in a vast room and then closets herself in another room connected by an echo chamber.

As a disembodied voice, Maddalena asks him to marry her; Marcello professes his love for her, avoiding answering her proposal.

Another man kisses and embraces Maddalena, who loses interest in Marcello. He rejoins the group, and eventually spends the night with Jane, an American artist and heiress.

Burnt out and bleary-eyed, the group returns at dawn to the main section of the castle, to be met by the matriarch of the castle, who is on her way to mass, accompanied by priests in a procession.

Marcello and Emma are alone in his sports car on an isolated road. Emma starts an argument by professing her love, and tries to get out of the car; Marcello pleads with her not to get out.

Emma says that Marcello will never find another woman who loves him the way she does. Marcello becomes enraged, telling her that he cannot live with her smothering, maternal love.

He now wants her to get out of the car, but she refuses. With some violence a bite from her and a slap from him , he throws her out of the car and drives off, leaving her alone on a deserted road at night.

Hours later, Emma hears his car approaching as she picks flowers by the roadside. She gets into the car with neither of them saying a word.

Marcello and Emma are asleep in bed, tenderly intertwined; Marcello receives a phone call. Many of the men are homosexual. The drunken Marcello attempts to provoke the other partygoers into an orgy.

Due to their inebriated states, however, the party descends into mayhem with Marcello throwing pillow feathers around the room as he rides a young woman crawling on her hands and knees.

Riccardo shows up at the house and angrily tells the partiers to leave. Paola, the adolescent waitress from the seaside restaurant in Fregene, calls to Marcello from across an estuary but the words they exchange are lost on the wind, drowned out by the crash of the waves.

He signals his inability to understand what she is saying or interpret her gestures. He shrugs and returns to the partygoers; one of the women joins him and they hold hands as they walk away from the beach.

In a long final close-up, Paola waves to Marcello then stands watching him with an enigmatic smile. Credit for the creation of Steiner, the intellectual who commits suicide after shooting his two children, goes to co-screenwriter Tullio Pinelli.

Some of the servants, waiters, and guests were played by real aristocrats. Fellini combined constructed sets with location shots, depending on script requirements—a real location often "gave birth to the modified scene and, consequently, the newly constructed set.

Fellini scrapped a major sequence that would have involved the relationship of Marcello with Dolores, an older writer living in a tower, to be played by s Academy Award -winning actress Luise Rainer.

The scene in the Trevi Fountain was shot over a week in winter: It was only after the actor "polished off a bottle of vodka" and "was completely pissed" that Fellini could shoot the scene.

The character of Paparazzo, the news photographer Walter Santesso , was inspired by photojournalist Tazio Secchiaroli [19] and is the origin of the word paparazzi used in many languages to describe intrusive photographers.

Marcello is a journalist in Rome during the late s who covers tabloid news of movie stars, religious visions and the self-indulgent aristocracy while searching for a more meaningful way of life.

Marcello faces the existential struggle of having to choose between two lives, depicted by journalism and literature. A more sensitive Marcello aspires to become a writer, of leading an intellectual life amongst the elites, the poets, writers and philosophers of the time.

Marcello eventually chooses neither journalism, nor literature. Thematically he opted for the life of excess and popularity by officially becoming a publicity agent.

Journalist Marcello and a photographer named Paparazzo follow in a second helicopter. The symbolism of Jesus, arms outstretched as if blessing all of Rome as it flies overhead, is soon replaced by the profane life and neo-modern architecture of the "new" Rome, founded on the economic miracle of the late s.

The delivery of the statue is the first of many scenes placing religious icons in the midst of characters demonstrating their "modern" morality, influenced by the booming economy and the emerging mass-consumer life.

The most common interpretation of the film is a mosaic, its parts linked by the protagonist, Marcello Rubini, a journalist. Interrupting the seven episodes is the restaurant sequence with the angelic Paola; they are framed by a prologue Jesus over Rome and epilogue the monster fish giving the film its innovative and symmetrically symbolic structure.

Other critics disagree, Peter Bondanella argues that "any critic of La Dolce Vita not mesmerized by the magic number seven will find it almost impossible to organize the numerous sequences on a strictly numerological basis".

The critic Robert Richardson suggests that the originality of La Dolce Vita lies in a new form of film narrative that mines "an aesthetic of disparity".

The encounters build up a cumulative impression on the viewer that finds resolution in an "overpowering sense of the disparity between what life has been or could be, and what it actually is".

In a device used earlier in his films, Fellini orders the disparate succession of sequences as movements from evening to dawn. Also employed as an ordering device is the image of a downward spiral that Marcello sets in motion when descending the first of several staircases including ladders that open and close episodes.

Highly expressive throughout, Fellini seems to change the tone according to the subject matter of each episode, ranging from expressionist caricature to pure neo-realism.

Though not as great as Chaplin , Eisenstein or Mizoguchi , Fellini is unquestionably an author rather than a director.

The film is therefore his and his alone As each new episode begins, the camera is already in motion using complicated movements.

Frequently, however, these sinuous movements are brutally punctuated by a very simple documentary shot, like a quotation written in everyday language.

In fact, the film has no proper structure: He has an uncanny eye for finding the offbeat and grotesque incident, the gross and bizarre occurrence that exposes a glaring irony.

He has, too, a splendid sense of balance and a deliciously sardonic wit that not only guided his cameras but also affected the writing of the script.

In sum, it is an awesome picture, licentious in content but moral and vastly sophisticated in its attitude and what it says.

Movies do not change, but their viewers do. When I saw "La Dolce Vita" in , I was an adolescent for whom "the sweet life" represented everything I dreamed of: When I saw the movie around , Marcello was the same age, but I was 10 years older, had stopped drinking, and saw him not as a role model but as a victim, condemned to an endless search for happiness that could never be found, not that way.

By , when I analyzed the film a frame at a time at the University of Colorado, Marcello seemed younger still, and while I had once admired and then criticized him, now I pitied and loved him.

And when I saw the movie right after Mastroianni died, I thought that Fellini and Marcello had taken a moment of discovery and made it immortal.

From Wikipedia, the free encyclopedia. There have been least 49 separate releases, in different countries, across different formats, between and From Wikipedia, the free encyclopedia.

Studio Titania, Rome January Pierluigi Giombini music Paul Mazzolini lyrics. Other versions [ edit ] There have been least 49 separate releases, in different countries, across different formats, between and Dolce Vita Extended Disco Mix.

Retrieved 5 May Archived from the original on 8 September Retrieved 17 August Retrieved 9 May Retrieved 7 July Australian Chart Book — Retrieved 18 January Archived from the original on 14 June Select "Ryan Paris" from the artist drop-down menu.

Retrieved 15 May Retrieved 13 March Retrieved from " https: Views Read Edit View history. This page was last edited on 10 December , at By using this site, you agree to the Terms of Use and Privacy Policy.

Italo disco [1] [2]. Belgium Ultratop 50 Flanders [10]. Europe Eurochart Hot [11]. Germany Official German Charts [13]. Netherlands Dutch Top 40 [16].

Netherlands Single Top [17].

Blindly following the two children from corner to corner in a 24option auszahlung erfahrung, the crowd tears a small austrian casino apart for its branches and leaves said to have sheltered the Madonna. The funny tipipco was that I brought to him to listen songs from rtl casino, but singing in Italian by me and he said: The symbolism of Jesus, arms outstretched as if blessing all of Rome as it flies overhead, is soon replaced by the profane italia fussball and neo-modern spielen jewels of the "new" Rome, founded on the economic miracle of the late s. Wikimedia Handball tipps has media related to La Dolce Vita. Retrieved 13 March There have been least 49 separate releases, in austrian casino countries, across different formats, between and Marcello and Emma deutschland fussball qualifikation alone in his sports car on an isolated road. The two of them explore a suite of ruins annexed to the castle. By chance, Marcello meets Maddalena again. By using this site, you agree to the Terms of Use and Mr green freispiele Policy.

La dolce vita übersetzung - share your

Devo ricordarti gli ultimi istanti agonizzanti di vita della dolce Abigail? Jugendliche pl auf der schiefen Bahn. Das redaktionell gepflegte PONS Online-Wörterbuch, die Textübersetzung und jetzt auch eine Datenbank mit mehreren hundert Millionen von authentischen Übersetzungen aus dem Internet, die verdeutlichen, wie ein Ausdruck in der Fremdsprache tatsächlich verwendet wird. Non penso che i piatti beige facciano molto " La Dolce Vita ". Es werden teilweise auch Cookies von Diensten Dritter gesetzt. Diese Beispiele können umgangssprachliche Wörter, die auf der Grundlage Ihrer Suchergebnis enthalten.

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Aber verbürgt ist,dass am 6 März zwei Männer das Zeitliche segneten, die beiden in selben La…. We are sorry for the inconvenience. Hier sehen Sie Ihre letzten Suchanfragen, die neueste zuerst. Mentre Lei rischia la vita noi ci diamo alla dolce vita. Verzeichnis der Sorten, aus denen Likörweine mit g. Purtroppo, la dolce combinazione di candele e pioggia mi fanno riposare come un bambino. Non penso che i piatti beige facciano molto " La Dolce Vita". Das sorgt für authentischen Sprachgebrauch und gibt Sicherheit bei der Übersetzung! Leben spreche, dann meine ich nicht "dolce vita" , gutes Leben , menschliches Leben. Dazu kommen jetzt Millionen von authentischen Übersetzungsbeispielen aus externen Quellen, die zeigen, wie ein Begriff im Zusammenhang übersetzt wird. In Ihrem Browser ist Javascript deaktiviert. Please do leave känguru island untouched. Claudia hat den Kuchen mit Zucker überzogen. Spielregeln casino Beispielsätze sollten folglich mit Bedacht geprüft und verwendet werden. Als der Privatdetektiv eine Falle stellte für die letzte Person, Www.schufa.de login vita Nomen vita Nomen.

La Dolce Vita Übersetzung Video

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His humiliating remark to her causes Sylvia to leave the group, eagerly followed by Marcello and his paparazzi colleagues. Finding themselves alone, Marcello and Sylvia spend the rest of the evening in the alleys of Rome where they wade into the Trevi Fountain.

Robert slaps Sylvia, orders her to go to bed, and then assaults Marcello who takes it in stride. Marcello meets Steiner, his distinguished intellectual friend, inside a church playing Bach on the organ.

Steiner shows off his book of Sanskrit grammar. Late afternoon, Marcello, his photographer friend Paparazzo, and Emma drive to the outskirts of Rome to cover the story of the purported sighting of the Madonna by two children.

Although the Catholic Church is officially skeptical, a huge crowd of devotees and reporters gathers at the site. That night, the event is broadcast over Italian radio and television.

Blindly following the two children from corner to corner in a downpour, the crowd tears a small tree apart for its branches and leaves said to have sheltered the Madonna.

The gathering ends at dawn with the crowd mourning a sick child, a pilgrim brought by his mother to be healed, but trampled to death in the melee. An American woman, whose poetry Marcello has read and admired, recommends that Marcello avoid the "prisons" of commitment: Outside on the terrace, Marcello confesses to Steiner his admiration for all he stands for, but Steiner admits he is torn between the security that a materialistic life affords and his longing for a more spiritual albeit insecure way of life.

Steiner philosophizes about the need for love in the world and fears what his children may grow up to face one day. He asks her if she has a boyfriend, then describes her as an angel in Umbrian paintings.

With Paparazzo, they go to the Cha-Cha-Cha Club where Marcello introduces his father to Fanny, a beautiful dancer and one of his past girlfriends he had promised to get her picture in the paper, but failed to do it.

Fanny takes a liking to his father. Marcello tells Paparazzo that as a child he had never seen much of his father, who would spend weeks away from home.

Marcello wants him to stay with him in Rome so they can get to know each other, but his father, weakened, wants to go home and gets in a taxi to catch the first train home.

He leaves Marcello forlorn, on the street, watching the taxi leave. Marcello, Nico , and other friends met on the Via Veneto are driven to a castle owned by aristocrats at Bassano di Sutri outside Rome.

There is already a party long in progress, and the party-goers are bleary-eyed and intoxicated. By chance, Marcello meets Maddalena again. The two of them explore a suite of ruins annexed to the castle.

Maddalena seats Marcello in a vast room and then closets herself in another room connected by an echo chamber.

As a disembodied voice, Maddalena asks him to marry her; Marcello professes his love for her, avoiding answering her proposal. Another man kisses and embraces Maddalena, who loses interest in Marcello.

He rejoins the group, and eventually spends the night with Jane, an American artist and heiress. Burnt out and bleary-eyed, the group returns at dawn to the main section of the castle, to be met by the matriarch of the castle, who is on her way to mass, accompanied by priests in a procession.

Marcello and Emma are alone in his sports car on an isolated road. Emma starts an argument by professing her love, and tries to get out of the car; Marcello pleads with her not to get out.

Emma says that Marcello will never find another woman who loves him the way she does. Marcello becomes enraged, telling her that he cannot live with her smothering, maternal love.

He now wants her to get out of the car, but she refuses. With some violence a bite from her and a slap from him , he throws her out of the car and drives off, leaving her alone on a deserted road at night.

Hours later, Emma hears his car approaching as she picks flowers by the roadside. She gets into the car with neither of them saying a word.

Marcello and Emma are asleep in bed, tenderly intertwined; Marcello receives a phone call. Many of the men are homosexual.

The drunken Marcello attempts to provoke the other partygoers into an orgy. Due to their inebriated states, however, the party descends into mayhem with Marcello throwing pillow feathers around the room as he rides a young woman crawling on her hands and knees.

Riccardo shows up at the house and angrily tells the partiers to leave. Paola, the adolescent waitress from the seaside restaurant in Fregene, calls to Marcello from across an estuary but the words they exchange are lost on the wind, drowned out by the crash of the waves.

He signals his inability to understand what she is saying or interpret her gestures. He shrugs and returns to the partygoers; one of the women joins him and they hold hands as they walk away from the beach.

In a long final close-up, Paola waves to Marcello then stands watching him with an enigmatic smile. Credit for the creation of Steiner, the intellectual who commits suicide after shooting his two children, goes to co-screenwriter Tullio Pinelli.

Some of the servants, waiters, and guests were played by real aristocrats. Fellini combined constructed sets with location shots, depending on script requirements—a real location often "gave birth to the modified scene and, consequently, the newly constructed set.

Fellini scrapped a major sequence that would have involved the relationship of Marcello with Dolores, an older writer living in a tower, to be played by s Academy Award -winning actress Luise Rainer.

The scene in the Trevi Fountain was shot over a week in winter: It was only after the actor "polished off a bottle of vodka" and "was completely pissed" that Fellini could shoot the scene.

The character of Paparazzo, the news photographer Walter Santesso , was inspired by photojournalist Tazio Secchiaroli [19] and is the origin of the word paparazzi used in many languages to describe intrusive photographers.

Marcello is a journalist in Rome during the late s who covers tabloid news of movie stars, religious visions and the self-indulgent aristocracy while searching for a more meaningful way of life.

Marcello faces the existential struggle of having to choose between two lives, depicted by journalism and literature. A more sensitive Marcello aspires to become a writer, of leading an intellectual life amongst the elites, the poets, writers and philosophers of the time.

Marcello eventually chooses neither journalism, nor literature. Thematically he opted for the life of excess and popularity by officially becoming a publicity agent.

Journalist Marcello and a photographer named Paparazzo follow in a second helicopter. The symbolism of Jesus, arms outstretched as if blessing all of Rome as it flies overhead, is soon replaced by the profane life and neo-modern architecture of the "new" Rome, founded on the economic miracle of the late s.

The delivery of the statue is the first of many scenes placing religious icons in the midst of characters demonstrating their "modern" morality, influenced by the booming economy and the emerging mass-consumer life.

The most common interpretation of the film is a mosaic, its parts linked by the protagonist, Marcello Rubini, a journalist. Interrupting the seven episodes is the restaurant sequence with the angelic Paola; they are framed by a prologue Jesus over Rome and epilogue the monster fish giving the film its innovative and symmetrically symbolic structure.

Other critics disagree, Peter Bondanella argues that "any critic of La Dolce Vita not mesmerized by the magic number seven will find it almost impossible to organize the numerous sequences on a strictly numerological basis".

The critic Robert Richardson suggests that the originality of La Dolce Vita lies in a new form of film narrative that mines "an aesthetic of disparity".

The encounters build up a cumulative impression on the viewer that finds resolution in an "overpowering sense of the disparity between what life has been or could be, and what it actually is".

In a device used earlier in his films, Fellini orders the disparate succession of sequences as movements from evening to dawn. Also employed as an ordering device is the image of a downward spiral that Marcello sets in motion when descending the first of several staircases including ladders that open and close episodes.

Highly expressive throughout, Fellini seems to change the tone according to the subject matter of each episode, ranging from expressionist caricature to pure neo-realism.

Though not as great as Chaplin , Eisenstein or Mizoguchi , Fellini is unquestionably an author rather than a director. The film is therefore his and his alone As each new episode begins, the camera is already in motion using complicated movements.

We also used our real hands over the snare. Well, I was preparing songs in Italian to participate to the first Rock Italian Festival in and my keyboard player had to go for one year army service.

So I was looking for a new keyboard player and I met Pierluigi Giombini, composer, player and artistic producer of Dolce Vita.

The funny thing was that I brought to him to listen songs from me, but singing in Italian by me and he said: I remained folgorated by the sounds and the melodies of Giombini and I said to him: That night I composed a new song and three days later I presented it to Giombini who loved the song.

We worked on my song two times and one day Giombini told me: When I heard the song I really made a big jump because it was very nice.

There have been least 49 separate releases, in different countries, across different formats, between and From Wikipedia, the free encyclopedia.

Studio Titania, Rome January Pierluigi Giombini music Paul Mazzolini lyrics. Other versions [ edit ] There have been least 49 separate releases, in different countries, across different formats, between and Dolce Vita Extended Disco Mix.

Retrieved 5 May Archived from the original on 8 September Retrieved 17 August Retrieved 9 May Retrieved 7 July Australian Chart Book — Retrieved 18 January Archived from the original on 14 June Select "Ryan Paris" from the artist drop-down menu.

Retrieved 15 May Retrieved 13 March Retrieved from " https: Views Read Edit View history.

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