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【Tags 40meterP Miku tL tT T】 Original Music title トリノコシティ English music title Left Behind City Romaji Music title Torinoko City Music Lyrics written, Voice edited by 40㍍P (40meter-P) Music arranged by 40㍍P (40meter-P) Singer 初音ミク (Hatsune Miku) Click here for the original Japanese Lyrics English Lyrics (translated by Kanannon): A point where 0 and 1 intersects A communication full of mistakes What is your name? Answer within a 10 word limit A point where the past and future intersects Losing my destination in my present location Why are you living? Answer within a 100 word limit The day breaks at a maximum speed never seen before Unable to keep my balance I am somehow left behind I was left alone somewhere A soundless world An artificial world If you re just going to throw away that rotten fruit You don t need two people, one s just enough A point where afternoon and night intersects Yearning to meet someone but unable to What is my name? Tell me within a 10 word limit A point where lies and truths intersects This feeling of entrapment that that s hinders my breathing Why am I living? Tell me within a 100 word limit I like you. I hate you. I like you. I hate you. Was repeated over and over This tiresome love... I don t want it Time is the only thing that keeps on passing by Crumbling this world in a matter of seconds Coating over this twisted scenery I don t want the truth, a lie is just fine I was somehow left alone A colorless world A world I ve dreamed about Even throwing away this rotten fruit I can t do it alone I want you by my side so much Singable English Lyrics (by kran117): 0 and 1, their point of intersection is calculation that is of miscommunication I want to ask you a question - what is your name? Within 10 words or less tell it to me The past and the future, their point of intersection - A location where I have lost my destination What is your hypothesis on why you live? Within 100 words tell it to me I watch the break of day pass faster than ever before I try to keep my balance straight but I just fall again It seems like I ve been left behind once again by myself In a world where there s no sound In a world where nothing is real Disposing worthless garbage is really not that hard, you know It doesn t need two people, a single person for that s enough Noon and the night, their point of intersection is like wanting to meet someone you can t catch up to I want to ask you a question - what is my name? Within 10 words or less please answer me The truth and the lies, their point of intersection - I m trapped in this place and I feel my breath will stop soon What is my hypothesis on why I live? Within 100 words please answer me I love, I hate, I love, I hate - the pattern keeps repeating This tiring love, I want to get it over with Time will keep running, never stopping to wait for anyone With every second, this world is slowly crumbling under me It gently coats the scenery of this twisted world we re in I do not need your honesty, lying will just be fine to me It seems like I ve been left behind once again by myself In a world with no color In a world that I ve dreamed about Disposing worthless garbage is really not that easy I cannot do it myself; I need you to be always with me Romaji lyrics (transliterated by Terme): zero to ichi ga kousasuru chiten machigai darake no komyunikeeshon anata no namae wa nan desu ka? juu moji inai de kotae yo kako to mirai ga kousasuru chiten iku ate o ushinatta genzaichi anata wa doushi te iki te iru no? hyaku moji inai de kotae yo kako saikousoku no yoru ga akeru baransu toru koto mo deki nai mama jibun dake dokoka torinoko sare ta oto no nai sekai tsukurare ta sekai itanda kajitsu o suteru dake nara futari mo ira nai hitori de dekiru kara hiru to yoru ga kousasuru chiten dareka ni aitaku te ae naku te watashi no namae wa nan desu ka? juu moji inai de oshie te uso to hontou ga kousasuru chiten kokyuu ga tomari sou na heisokukan watashi wa doushi te iki te iru no? hyaku moji inai de oshie te suki kirai suki kirai no kurikaeshi de tsukarekitta ai wa mou ira nai jikan dake itsumo toori sugi te iku ichi byou goto ni kuzure te iku sekai yuganda keshiki ni nuritsubu sare ta kotae wa ira nai itsuwari de ii no jibun dake dokoka torinokosare ta iro no nai sekai yume ni mi ta sekai itanda kajitsu o suteru koto sura hitori ja deki nai soba ni i te hoshiku te [40m-P, 40mP, 40meter-P, K, 40meterP]
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【Tags E Miku Sheshe-P tE】 Original Music title 永遠花火 English music title Eternal Fireworks Romaji music title Eien Hanabi Music Lyrics written, Voice edited by 謝謝P(Sheshe-P) Music arranged by 謝謝P(Sheshe-P) Singer(s) 初音ミク (Hatsune Miku) Click here for the original Japanese Lyrics English Lyrics (translated by blacksaingrain): As I groped for a braille writer I happened to touch your white uniform I ran away to the roof terrace and love made my heart pain I heard the sound of aerial fireworks from far away Mother says strictly that I should not fall in love with her If I can forget her easily, I m not crying now When trains passed by, I said "I love you" to you That will be fine. You don t need to hear it As I was in one-sided love and my voice would quiver I asked you to a fireworks show by a label in braille You typed "WHAT TIME SHALL WE MEET?" I couldn t believe my fingers that traced that I was led by shouting Braille and went Toshimaen I can t see you but I m gazing at you more than anyone else When fireworks were set off, I said "I love you" to you The voice won t reach you. I have to tell it to you today Every time fireworks were set off, I said "I love you" to you I kept on shouting in a loud voice and you began to cry The eternal fireworks are in the sky Someone threw one s arms around me Is that you? yeah... On the day I introduced you, Mother was crying all through the night I m groping for your lips with my hands Do you mind my awkward kiss like this? When two sparkling fireworks get together, we kiss lip-to-lip I wanna be in love with you as long as time allows (When trains passed by) I wonder if you are satisfied with being with me? (What I said on that day) I can t even see your face, back or hair but I won t care about that ("To tell the truth, I could hear it") Cause I can see your heart (You said so and laughed) Even 10 years later (Red, blue, yellow, green) They will shine the two of us (I can see the eternal fireworks) The eternal fireworks, they are (I wanna be with you even without reasons) The hearts that truly love someone (Maybe that s love) Our eternal fireworks are deeper than blue and deeper than red Romaji lyrics (transliterated by blacksaingrain): tesaguri de sagasu tenji raitaa fureteshimatta anata no hakui okujou e nigete koi ga itamu harukani kiku uchiagehanabi haha ga shikaru anata wo sukini naccha dame to tayasuku wasurerareru nara koko de naitari wa shite inai densha ga toorisugiru toki anata ni suki to itta kore de ii anata niwa kikoenakute iinda kataomoi no koe wa furuechau kara tenji de sasou hanabitaikai anata ga taipushita "nanji ni au?" tadotta yubi ga shinjirarenai hoeru buraiyu ni hikarete toshimaen boku ni anata wa mienakutemo dare yori anata wo mitsumeteru hanabi ga uchiagaru toki anata ni suki to itta sono koe wa todokanai kyou wa tsutaenakya hanabi ga uchiagaru tabi anata ni suki to itta oogoe de sakebitsuzukeru anata wa nakidashita eienhanabi ga uchiagatteru dakitsuita no wa anata desuka? yeah... anata wo shoukaishita hi haha wa hitobanjuu naiteita ryoutede sagashiteru anata no kuchibiru wo konnani kakkowarui kisu demo ii desuka? futatsu no senkouhanabi hitotsu ni majiwaru toki futari no kuchibiru mo hitotsu ni kasanatta toki no yurusu kagiri anata ni koishitai (densha ga toorisugita toki) boku demo ii no kana (ano hi no boku no kotoba) kao ya se ya kami wa mienakuteii ("hontou wa kikoeteta") kokoro dake wa mieru kara (to waratta anata) juunen saki mo (aka ao kiiro midori) terashiteru futari wo (mieru yo eienhanabi) eienhanabi sore wa (wake mo naku isshoni itai) ichizuni omou kokoro (sore ga koi ka na) ao yori aoku aka yori akai bokura no eienhanabi [Sheshe-P, ShesheP]
https://w.atwiki.jp/vocaloidenglishlyric/pages/786.html
【Tags H Miku tM Pinokio-P】 Original Music title ひとりの帰り道 English music title My Way Home Alone Romaji music title Hitori no Kaerimichi Music Lyrics written, Voice edited by ピノキオP (Pinokio-P) Music arranged by ピノキオP (Pinokio-P) Singer(s) 初音ミク (Hatsune Miku) Append Click here for the original Japanese Lyrics English Lyrics (translated by motokokusanagi2009): A lot happened today Too many to remember For now I m viewing the orange sunset Because my best friend has a cold and was absent I m on my way home alone Staring at my toes silently, I kicked a pebble To the ditch but it didn t make me happy I found a four-leaf clover by the side of the street But it didn t make me happy either This is the usual street home but it feels very long I wish I had the "Anywhere Door" Pipe-dreaming it in the mackerel sky Oh, before going home I ve got to deliver your exam, which you scored 56 on, And raisin bread that you hate I m thinking a lot of things, like what s for dinner, my homework, my crush s wry smile, How many ants I ve stepped on so far, Delusions that are easily detected The group in my way was very annoying Not brave enough to overtake them, I took a detour I m scared because ghosts might show up on this narrow backstreet I wouldn t mind it if you were with me This is the same street home as usual but it feels very different I wonder if your fever has gone down Finally the roof of your house is in sight Pushing the buzzer, unlike the ding-dong ditch we always pull, I waited for your mom to open the door During that time I folded the corner to hide the score for you I believe I can see you tomorrow morning Glad to hear your cold isn t bird flu I still have to walk a little more alone But I can feel it s the same street as usual You ve got to eat the raisin bread, okay? Romaji lyrics (transliterated by motokokusanagi2009): iroiro atta na nani iro ka wakara nai hodo tori aezu ima wa yūyake no orenji iro shinyū no kimi wa kaze de yasumi dakara hitori no kaeri michi damatte tsumasaki o mite koishi kette dobu ni otoshita kedo muhyōjō michibata ni mitsuketa yotsuba no kurōbā mo hitori ja son na ni yorokobe nai itsumo no kaeri michi nanoni tōi michi dokodemo doa ga attara na son na ezoragoto o iwashi gumo ni ukabe teru sōda ie ni kaeru mae ni gojūroku ten no tōan to pan o todoke nakucha kimi no kirai na rēzun pan mokumoku to kangaeru yoru gohan nanika toka shukudai no koto toka suki na hito no nigawarai toka koko made fun zuketa ari wa nanbiki ita datoka zenbu sato rare teru mōsō shitari toka mae no jama na yoko ichiretsu no shūdan o oi nuku yūki naku te tōmawari kono semai rojiura wa obake ga desō de kowai na futari nara zenzen kowaku nai noni itsumo no kaeri michi nanoni chigau michi kimi no netsu wa sagatta kana yatto kimi no ie no yane ga mie te kita nda intāhon o oshi te dasshu wa shinai de obasan ga kuru no o matte iru aida tōan no kado o ottoita ashita no asa niwa genki na kimi ni aeru ne tori infuru ja naku te hontō ni yokatta yo kono ato sukoshi hitori bocchi de aruku kedo mō itsumo no kaeri michi rēzun pan wa chanto tabe te ne [Pinokio-P, PinokioP, Pinocchio-P, PinocchioP]
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https://w.atwiki.jp/pyopyo0124/pages/33.html
CHAPTER XVIII UP CHAPTER XX CHAPTER XIX A Concert a Catastrophe and a Confession "MARILLA, can I go over to see Diana just for a minute?" asked Anne, running breathlessly down from the east gable one February evening. "I don t see what you want to be traipsing about after dark for," said Marilla shortly. "You and Diana walked home from school together and then stood down there in the snow for half an hour more, your tongues going the whole blessed time, clickety-clack. So I don t think you re very badly off to see her again." "But she wants to see me," pleaded Anne. "She has something very important to tell me." "How do you know she has?" "Because she just signaled to me from her window. We have arranged a way to signal with our candles and cardboard. We set the candle on the window sill and make flashes by passing the cardboard back and forth. So many flashes mean a certain thing. It was my idea, Marilla." "I ll warrant you it was," said Marilla emphatically. "And the next thing you ll be setting fire to the curtains with your signaling nonsense." "Oh, we re very careful, Marilla. And it s so interesting. Two flashes mean, `Are you there? Three mean `yes and four `no. Five mean, `Come over as soon as possible, because I have something important to reveal. Diana has just signaled five flashes, and I m really suffering to know what it is." "Well, you needn t suffer any longer," said Marilla sarcastically. "You can go, but you re to be back here in just ten minutes, remember that." Anne did remember it and was back in the stipulated time, although probably no mortal will ever know just what it cost her to confine the discussion of Diana s important communication within the limits of ten minutes. But at least she had made good use of them. "Oh, Marilla, what do you think? You know tomorrow is Diana s birthday. Well, her mother told her she could ask me to go home with her from school and stay all night with her. And her cousins are coming over from Newbridge in a big pung sleigh to go to the Debating Club concert at the hall tomorrow night. And they are going to take Diana and me to the concert--if you ll let me go, that is. You will, won t you, Marilla? Oh, I feel so excited." "You can calm down then, because you re not going. You re better at home in your own bed, and as for that club concert, it s all nonsense, and little girls should not be allowed to go out to such places at all." "I m sure the Debating Club is a most respectable affair," pleaded Anne. "I m not saying it isn t. But you re not going to begin gadding about to concerts and staying out all hours of the night. Pretty doings for children. I m surprised at Mrs. Barry s letting Diana go." "But it s such a very special occasion," mourned Anne, on the verge of tears. "Diana has only one birthday in a year. It isn t as if birthdays were common things, Marilla. Prissy Andrews is going to recite `Curfew Must Not Ring Tonight. That is such a good moral piece, Marilla, I m sure it would do me lots of good to hear it. And the choir are going to sing four lovely pathetic songs that are pretty near as good as hymns. And oh, Marilla, the minister is going to take part; yes, indeed, he is; he s going to give an address. That will be just about the same thing as a sermon. Please, mayn t I go, Marilla?" "You heard what I said, Anne, didn t you? Take off your boots now and go to bed. It s past eight." "There s just one more thing, Marilla," said Anne, with the air of producing the last shot in her locker. "Mrs. Barry told Diana that we might sleep in the spare-room bed. Think of the honor of your little Anne being put in the spare-room bed." "It s an honor you ll have to get along without. Go to bed, Anne, and don t let me hear another word out of you." When Anne, with tears rolling over her cheeks, had gone sorrowfully upstairs, Matthew, who had been apparently sound asleep on the lounge during the whole dialogue, opened his eyes and said decidedly "Well now, Marilla, I think you ought to let Anne go." "I don t then," retorted Marilla. "Who s bringing this child up, Matthew, you or me?" "Well now, you," admitted Matthew. "Don t interfere then." "Well now, I ain t interfering. It ain t interfering to have your own opinion. And my opinion is that you ought to let Anne go." "You d think I ought to let Anne go to the moon if she took the notion, I ve no doubt" was Marilla s amiable rejoinder. "I might have let her spend the night with Diana, if that was all. But I don t approve of this concert plan. She d go there and catch cold like as not, and have her head filled up with nonsense and excitement. It would unsettle her for a week. I understand that child s disposition and what s good for it better than you, Matthew." "I think you ought to let Anne go," repeated Matthew firmly. Argument was not his strong point, but holding fast to his opinion certainly was. Marilla gave a gasp of helplessness and took refuge in silence. The next morning, when Anne was washing the breakfast dishes in the pantry, Matthew paused on his way out to the barn to say to Marilla again "I think you ought to let Anne go, Marilla." For a moment Marilla looked things not lawful to be uttered. Then she yielded to the inevitable and said tartly "Very well, she can go, since nothing else ll please you." Anne flew out of the pantry, dripping dishcloth in hand. "Oh, Marilla, Marilla, say those blessed words again." "I guess once is enough to say them. This is Matthew s doings and I wash my hands of it. If you catch pneumonia sleeping in a strange bed or coming out of that hot hall in the middle of the night, don t blame me, blame Matthew. Anne Shirley, you re dripping greasy water all over the floor. I never saw such a careless child." "Oh, I know I m a great trial to you, Marilla," said Anne repentantly. "I make so many mistakes. But then just think of all the mistakes I don t make, although I might. I ll get some sand and scrub up the spots before I go to school. Oh, Marilla, my heart was just set on going to that concert. I never was to a concert in my life, and when the other girls talk about them in school I feel so out of it. You didn t know just how I felt about it, but you see Matthew did. Matthew understands me, and it s so nice to be understood, Marilla." Anne was too excited to do herself justice as to lessons that morning in school. Gilbert Blythe spelled her down in class and left her clear out of sight in mental arithmetic. Anne s consequent humiliation was less than it might have been, however, in view of the concert and the spare-room bed. She and Diana talked so constantly about it all day that with a stricter teacher than Mr. Phillips dire disgrace must inevitably have been their portion. Anne felt that she could not have borne it if she had not been going to the concert, for nothing else was discussed that day in school. The Avonlea Debating Club, which met fortnightly all winter, had had several smaller free entertainments; but this was to be a big affair, admission ten cents, in aid of the library. The Avonlea young people had been practicing for weeks, and all the scholars were especially interested in it by reason of older brothers and sisters who were going to take part. Everybody in school over nine years of age expected to go, except Carrie Sloane, whose father shared Marilla s opinions about small girls going out to night concerts. Carrie Sloane cried into her grammar all the afternoon and felt that life was not worth living. For Anne the real excitement began with the dismissal of school and increased therefrom in crescendo until it reached to a crash of positive ecstasy in the concert itself. They had a "perfectly elegant tea;" and then came the delicious occupation of dressing in Diana s little room upstairs. Diana did Anne s front hair in the new pompadour style and Anne tied Diana s bows with the especial knack she possessed; and they experimented with at least half a dozen different ways of arranging their back hair. At last they were ready, cheeks scarlet and eyes glowing with excitement. True, Anne could not help a little pang when she contrasted her plain black tam and shapeless, tight-sleeved, homemade gray-cloth coat with Diana s jaunty fur cap and smart little jacket. But she remembered in time that she had an imagination and could use it. Then Diana s cousins, the Murrays from Newbridge, came; they all crowded into the big pung sleigh, among straw and furry robes. Anne reveled in the drive to the hall, slipping along over the satin-smooth roads with the snow crisping under the runners. There was a magnificent sunset, and the snowy hills and deep-blue water of the St. Lawrence Gulf seemed to rim in the splendor like a huge bowl of pearl and sapphire brimmed with wine and fire. Tinkles of sleigh bells and distant laughter, that seemed like the mirth of wood elves, came from every quarter. "Oh, Diana," breathed Anne, squeezing Diana s mittened hand under the fur robe, "isn t it all like a beautiful dream? Do I really look the same as usual? I feel so different that it seems to me it must show in my looks." "You look awfully nice," said Diana, who having just received a compliment from one of her cousins, felt that she ought to pass it on. "You ve got the loveliest color." The program that night was a series of "thrills" for at least one listener in the audience, and, as Anne assured Diana, every succeeding thrill was thrillier than the last. When Prissy Andrews, attired in a new pink-silk waist with a string of pearls about her smooth white throat and real carnations in her hair--rumor whispered that the master had sent all the way to town for them for her--"climbed the slimy ladder, dark without one ray of light," Anne shivered in luxurious sympathy; when the choir sang "Far Above the Gentle Daisies" Anne gazed at the ceiling as if it were frescoed with angels; when Sam Sloane proceeded to explain and illustrate "How Sockery Set a Hen" Anne laughed until people sitting near her laughed too, more out of sympathy with her than with amusement at a selection that was rather threadbare even in Avonlea; and when Mr. Phillips gave Mark Antony s oration over the dead body of Caesar in the most heartstirring tones--looking at Prissy Andrews at the end of every sentence--Anne felt that she could rise and mutiny on the spot if but one Roman citizen led the way. Only one number on the program failed to interest her. When Gilbert Blythe recited "Bingen on the Rhine" Anne picked up Rhoda Murray s library book and read it until he had finished, when she sat rigidly stiff and motionless while Diana clapped her hands until they tingled. It was eleven when they got home, sated with dissipation, but with the exceeding sweet pleasure of talking it all over still to come. Everybody seemed asleep and the house was dark and silent. Anne and Diana tiptoed into the parlor, a long narrow room out of which the spare room opened. It was pleasantly warm and dimly lighted by the embers of a fire in the grate. "Let s undress here," said Diana. "It s so nice and warm." "Hasn t it been a delightful time?" sighed Anne rapturously. "It must be splendid to get up and recite there. Do you suppose we will ever be asked to do it, Diana?" "Yes, of course, someday. They re always wanting the big scholars to recite. Gilbert Blythe does often and he s only two years older than us. Oh, Anne, how could you pretend not to listen to him? When he came to the line, "THERE S ANOTHER, not A SISTER, he looked right down at you." "Diana," said Anne with dignity, "you are my bosom friend, but I cannot allow even you to speak to me of that person. Are you ready for bed? Let s run a race and see who ll get to the bed first." The suggestion appealed to Diana. The two little white-clad figures flew down the long room, through the spare-room door, and bounded on the bed at the same moment. And then--something--moved beneath them, there was a gasp and a cry--and somebody said in muffled accents "Merciful goodness!" Anne and Diana were never able to tell just how they got off that bed and out of the room. They only knew that after one frantic rush they found themselves tiptoeing shiveringly upstairs. "Oh, who was it--WHAT was it?" whispered Anne, her teeth chattering with cold and fright. "It was Aunt Josephine," said Diana, gasping with laughter. "Oh, Anne, it was Aunt Josephine, however she came to be there. Oh, and I know she will be furious. It s dreadful--it s really dreadful--but did you ever know anything so funny, Anne?" "Who is your Aunt Josephine?" "She s father s aunt and she lives in Charlottetown. She s awfully old--seventy anyhow--and I don t believe she was EVER a little girl. We were expecting her out for a visit, but not so soon. She s awfully prim and proper and she ll scold dreadfully about this, I know. Well, we ll have to sleep with Minnie May--and you can t think how she kicks." Miss Josephine Barry did not appear at the early breakfast the next morning. Mrs. Barry smiled kindly at the two little girls. "Did you have a good time last night? I tried to stay awake until you came home, for I wanted to tell you Aunt Josephine had come and that you would have to go upstairs after all, but I was so tired I fell asleep. I hope you didn t disturb your aunt, Diana." Diana preserved a discreet silence, but she and Anne exchanged furtive smiles of guilty amusement across the table. Anne hurried home after breakfast and so remained in blissful ignorance of the disturbance which presently resulted in the Barry household until the late afternoon, when she went down to Mrs. Lynde s on an errand for Marilla. "So you and Diana nearly frightened poor old Miss Barry to death last night?" said Mrs. Lynde severely, but with a twinkle in her eye. "Mrs. Barry was here a few minutes ago on her way to Carmody. She s feeling real worried over it. Old Miss Barry was in a terrible temper when she got up this morning--and Josephine Barry s temper is no joke, I can tell you that. She wouldn t speak to Diana at all." "It wasn t Diana s fault," said Anne contritely. "It was mine. I suggested racing to see who would get into bed first." "I knew it!" said Mrs. Lynde, with the exultation of a correct guesser. "I knew that idea came out of your head. Well, it s made a nice lot of trouble, that s what. Old Miss Barry came out to stay for a month, but she declares she won t stay another day and is going right back to town tomorrow, Sunday and all as it is. She d have gone today if they could have taken her. She had promised to pay for a quarter s music lessons for Diana, but now she is determined to do nothing at all for such a tomboy. Oh, I guess they had a lively time of it there this morning. The Barrys must feel cut up. Old Miss Barry is rich and they d like to keep on the good side of her. Of course, Mrs. Barry didn t say just that to me, but I m a pretty good judge of human nature, that s what." "I m such an unlucky girl," mourned Anne. "I m always getting into scrapes myself and getting my best friends--people I d shed my heart s blood for--into them too. Can you tell me why it is so, Mrs. Lynde?" "It s because you re too heedless and impulsive, child, that s what. You never stop to think--whatever comes into your head to say or do you say or do it without a moment s reflection." "Oh, but that s the best of it," protested Anne. "Something just flashes into your mind, so exciting, and you must out with it. If you stop to think it over you spoil it all. Haven t you never felt that yourself, Mrs. Lynde?" No, Mrs. Lynde had not. She shook her head sagely. "You must learn to think a little, Anne, that s what. The proverb you need to go by is `Look before you leap --especially into spare-room beds." Mrs. Lynde laughed comfortably over her mild joke, but Anne remained pensive. She saw nothing to laugh at in the situation, which to her eyes appeared very serious. When she left Mrs. Lynde s she took her way across the crusted fields to Orchard Slope. Diana met her at the kitchen door. "Your Aunt Josephine was very cross about it, wasn t she?" whispered Anne. "Yes," answered Diana, stifling a giggle with an apprehensive glance over her shoulder at the closed sitting-room door. "She was fairly dancing with rage, Anne. Oh, how she scolded. She said I was the worst-behaved girl she ever saw and that my parents ought to be ashamed of the way they had brought me up. She says she won t stay and I m sure I don t care. But Father and Mother do." "Why didn t you tell them it was my fault?" demanded Anne. "It s likely I d do such a thing, isn t it?" said Diana with just scorn. "I m no telltale, Anne Shirley, and anyhow I was just as much to blame as you." "Well, I m going in to tell her myself," said Anne resolutely. Diana stared. "Anne Shirley, you d never! why--she ll eat you alive!" "Don t frighten me any more than I am frightened," implored Anne. "I d rather walk up to a cannon s mouth. But I ve got to do it, Diana. It was my fault and I ve got to confess. I ve had practice in confessing, fortunately." "Well, she s in the room," said Diana. "You can go in if you want to. I wouldn t dare. And I don t believe you ll do a bit of good." With this encouragement Anne bearded the lion in its den--that is to say, walked resolutely up to the sitting-room door and knocked faintly. A sharp "Come in" followed. Miss Josephine Barry, thin, prim, and rigid, was knitting fiercely by the fire, her wrath quite unappeased and her eyes snapping through her gold-rimmed glasses. She wheeled around in her chair, expecting to see Diana, and beheld a white-faced girl whose great eyes were brimmed up with a mixture of desperate courage and shrinking terror. "Who are you?" demanded Miss Josephine Barry, without ceremony. "I m Anne of Green Gables," said the small visitor tremulously, clasping her hands with her characteristic gesture, "and I ve come to confess, if you please." "Confess what?" "That it was all my fault about jumping into bed on you last night. I suggested it. Diana would never have thought of such a thing, I am sure. Diana is a very ladylike girl, Miss Barry. So you must see how unjust it is to blame her." "Oh, I must, hey? I rather think Diana did her share of the jumping at least. Such carryings on in a respectable house!" "But we were only in fun," persisted Anne. "I think you ought to forgive us, Miss Barry, now that we ve apologized. And anyhow, please forgive Diana and let her have her music lessons. Diana s heart is set on her music lessons, Miss Barry, and I know too well what it is to set your heart on a thing and not get it. If you must be cross with anyone, be cross with me. I ve been so used in my early days to having people cross at me that I can endure it much better than Diana can." Much of the snap had gone out of the old lady s eyes by this time and was replaced by a twinkle of amused interest. But she still said severely "I don t think it is any excuse for you that you were only in fun. Little girls never indulged in that kind of fun when I was young. You don t know what it is to be awakened out of a sound sleep, after a long and arduous journey, by two great girls coming bounce down on you." "I don t KNOW, but I can IMAGINE," said Anne eagerly. "I m sure it must have been very disturbing. But then, there is our side of it too. Have you any imagination, Miss Barry? If you have, just put yourself in our place. We didn t know there was anybody in that bed and you nearly scared us to death. It was simply awful the way we felt. And then we couldn t sleep in the spare room after being promised. I suppose you are used to sleeping in spare rooms. But just imagine what you would feel like if you were a little orphan girl who had never had such an honor." All the snap had gone by this time. Miss Barry actually laughed--a sound which caused Diana, waiting in speechless anxiety in the kitchen outside, to give a great gasp of relief. "I m afraid my imagination is a little rusty--it s so long since I used it," she said. "I dare say your claim to sympathy is just as strong as mine. It all depends on the way we look at it. Sit down here and tell me about yourself." "I am very sorry I can t," said Anne firmly. "I would like to, because you seem like an interesting lady, and you might even be a kindred spirit although you don t look very much like it. But it is my duty to go home to Miss Marilla Cuthbert. Miss Marilla Cuthbert is a very kind lady who has taken me to bring up properly. She is doing her best, but it is very discouraging work. You must not blame her because I jumped on the bed. But before I go I do wish you would tell me if you will forgive Diana and stay just as long as you meant to in Avonlea." "I think perhaps I will if you will come over and talk to me occasionally," said Miss Barry. That evening Miss Barry gave Diana a silver bangle bracelet and told the senior members of the household that she had unpacked her valise. "I ve made up my mind to stay simply for the sake of getting better acquainted with that Anne-girl," she said frankly. "She amuses me, and at my time of life an amusing person is a rarity." Marilla s only comment when she heard the story was, "I told you so." This was for Matthew s benefit. Miss Barry stayed her month out and over. She was a more agreeable guest than usual, for Anne kept her in good humor. They became firm friends. When Miss Barry went away she said "Remember, you Anne-girl, when you come to town you re to visit me and I ll put you in my very sparest spare-room bed to sleep." "Miss Barry was a kindred spirit, after all," Anne confided to Marilla. "You wouldn t think so to look at her, but she is. You don t find it right out at first, as in Matthew s case, but after a while you come to see it. Kindred spirits are not so scarce as I used to think. It s splendid to find out there are so many of them in the world." CHAPTER XVIII UP CHAPTER XX 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 22 55 (Tue)
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1.HTML5とは 簡単に言うと、動画とか音楽にも対応した新しいhtml。 現在、ホームページ記述の主流となっている「HTML 4.01」の新バージョンとして開発された言語。HTML4とは上位互換であり、HTML5対応のブラウザからは見ることができる。逆に、HTML5専用ページを対応していないブラウザで見ようとしても、表示することが出来ない(基本的に何も表示されないが、ページによっては対応していませんという旨のメッセージが表示される) ⇨Flashだとここまでできる! HTML5とFlashの機能比較 ⇨http //clockmaker.jp/blog/2010/02/flash-vs-html5/ 2.今までと何が違うのか 2.1 プラグインなしに動画が再生できる。 現在のhtml4では、FlashやSilverlightといったプラグインが仲介することで動画の再生が実現されている。html5では、 video タグにより動画再生を可能にする。これにより、flashが対応していないiphoneで動画が再生できるなど、身近な部分でも期待することができる。 2.1.1 動画再生の問題点 動画再生の問題点に、コーデックの問題がある。現在のデファクトスタンダードとなっているflashでは、プラグイン自体に複数の動画コーデックをサポートしているため問題ないが、html5では、表示するブラウザごとにサポートの必要がある。 特に、大きな問題となっているのは、「H.264」をプッシュするAppleやMicrosoftと、オープンビデオにはオープンコーデックがふさわしいとしているMozilla(firefox)やOperaとの対立である。 「H.264」はライセンス料が必要であるため、営利団体でないMozillaなどは特に難色を示す。逆にオープンソースの「Ogg Theora」では、品質(圧縮効率)が劣るとして、両者の足並みは揃わない。 ⇨「Google、H.264サポート中止」の背景を探る/ascii.jp ⇨http //ascii.jp/elem/000/000/581/581646/ ⇨Flashだとここまでできる! HTML5とFlashの機能比較 ⇨http //clockmaker.jp/blog/2010/02/flash-vs-html5/
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【登録タグ A-One H T.Stebbins TOHO EUROBEAT VOL.19 地霊殿 旧地獄街道を行く 曲 華のさかづき大江山】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/vocaloidenglishlyric/pages/1180.html
【Tags Akuno-P G Len t5 tC tF tT 5】 Original Music title 五番目のピエロ English music title The Fifth Pierrot / Clown of No.V Romaji music title Gobanme no Piero Music Lyrics written, Voice edited by mothy \ 悪ノP(Akuno-P) Music arranged by mothy \ 悪ノP(Akuno-P) Singer(s) 鏡音レン (Kagamine Len) Append Click here for the original Japanese Lyrics English Lyrics (translated by animeyay): E.C.610 Rolled-city Lucifenia Lemy Abelard At 2 a.m., in a town shrouded in night s darkness, who will be the victim? I will need to punish the bad children, since that is my job as Pierrot. Ms. Santa has taught me that the world is infested with mistakes. I, Pierrot of No.V, will dance once again in today s dark night. The silly-looking boy, with his face painted white, thrusts his silver knife into a chunky pig. Tonight the restless Pierrot, in a circus devoid of an audience, plays his flute to the moon, and then dyes the blackness into crimson. Today, too, the magical cage enclosing the ecstatically dancing Pierrot has been opened, and that wild beast, while jumping through fire hoops, wanders in the street. ~Members of "Pere Noel"~ V. Pierrot → the yellow one (male) I. Santa → the adult woman sexy beauty III. Princess Sandman → the first green → retired ✝ II. the blue one → he will never get his debut VI. samurai → used for chores and others The Magician of No.VII, with her gentle yet gloomy eyes, tried to ask me to escape from this place with her, so I told Ms. Santa that we had a traitor in the house. The immediate next day, the Magician became missing. Gently caressing Pierrot s head, Ms. Santa s hand was almost... There was another job for Pierrot today. I waited for my prey in the dark back valley. Suddenly, I heard a rupture sound, and everything changed from black to crimson. Pierrot s chest hurts! Pierrot doesn t want to die! I don t want to die! Standing soundlessly before my eyes is the Sniper of No.VIII. Tonight the restless Pierrot was very tired, so he closed his eyes. In his dream, he saw his real father and mother smiling at him. Pierrot will not be able to dance again. "See, I told you to escape with me!" Muttering and then laughing wickedly was the Magician of No.VII... Romaji lyrics (transliterated by animeyay): E.C.610 Rolled-city Lucifenia Lemy Abelard gozen niji kurayami no machi koyoi no giseisha wa dare? warui ko ni wa o-shioki sore ga Piero no shigoto Santa-san kara mananda koto sekai wa machigai darake gobanme no doukeshi wa kyou mo yamiyo ni odoru shironuri on kao odoketa shounen ga futotta buta ni gin no naifu o tsukitateru koyoi midareshi Pie-Piero kankyaku no nai yoru no saakasu ano tsuki no tame ni fue o fuke soshite kuro kara aka e kyou mo odorikuruishi Pie-Piero mashou no ori wa mou hirakareta hi no wa o kugutta moujuu wa machi o samayoiaruku yo ~Member of "Pere Noel"~ V. Piero → kiiroi no (otoko) I. Santa → toshima sekushii bijo III. Nemurase-hime → midori ichigou → ritaiya ✝ II. aoi no → deban nashi VI. samurai → zatsuyou yasashikute kurai me o shita nanabanme no tejinashi ga koko kara nigedasou to amai sasoi o kakeru Santa-san ni oshiete ageta uragirimono ga imasu to tsugi no hi ni tejinashi wa yukue shirezu to natta Piero no atama yasashiku naderu Santa-san no te sore wa marude... kyou mo shigoto da Pie-Piero uraroji no kage emono o matta fui ni hibikiwataru haretsuon soshite kuro kara aka e mune ga itai yo Pie-Piero shinitakunai yo shinitakunai yo mugon de me no mae ni tatte iru hachibanme no sogekishu koyoi midareshi Pie-Piero totemo nemui to me o tojita n da yume no naka de hohoende iru hontou no chichi to haha mou odoru koto no nai Pie-Piero "dakara nigeyou tte itta no ni" sou tsubuyaite waratta no wa nanabanme no tejinashi datta... [mothy, Akuno-P, AkunoP]
https://w.atwiki.jp/prima/pages/58.html
Ada SariAdele StolteAgnes SchebestAgnes ScheibelreiterAlbin SwobodaAlbina ShagimuratovaAlbrecht SackAlexei StebliankoAlla SolenkovaAmalie SchrammAmalie SchützAmira SelimAmélie SandmannAndreas SchagerAndreas SchmidtAndreas SchollAndrè SchuenAnja SiljaAnke SieloffAnn-Beth SolvangAnna SamuilAnna SchrammAnna SutterAnne SchwanewilmsAnnet Kazue StrnadtAnny SchlemmAnny von StoschAntonie SchlägerAntonietta StellaAntonino SiragusaArianna SavallArlene SaundersArno SchellenbergArturo SergiAudrey SchuhBarbara SchlickBarbara Schmidt-GadenBarbara SenatorBarbara StrozziBenedikt SchakBernhard SchneiderBeverly SillsBidu SayãoBirgit SarataBlandine StaskiewiczBo SkovhusCarl SchlottmannCaroline StamCarolyn SampsonCarry SassCelena ShaferCesare SiepiChad SheltonCheryl StuderChristianne StotijnChristine SchäferClementine von Schuch-ProskaCorona SchröterCozmin SimeCéline ScheenDaniel SansDavid Michael SchusterDeborah SassonDiana SovieroDieter SchweikartDoris SoffelDorothy SarnoffEbe StignaniEdward SeguinEgon SchulzEike Wilm SchulteEkaterina SemenchukEkaterina ShimanovichEkaterina SiurinaEleanor Painter StrongEleanor SteberElena SouliotisElisabeth SchollElisabeth SchumannElisabeth SchwarzElisabeth SchwarzkopfElisabeth SchärtelElisabeth SöderströmEllen ShadeElvira ScholzElvira SoukopEmmy Sonntag-UhlEric StoklossaErik SaedénErik SchmedesErika SunnegårdhErna SackErna SchlüterErna SpoorenbergErnestine Schumann-HeinkErnst Gerold SchrammErnst SchützErnst-Dieter SuttheimerErwin SchrottFalk StruckmannFatma SaidFelice SalimbeniFerdinand SeilerFjodor Iwanowitsch SchaljapinFrancesca ScainiFranziska StadingFrederica von StadeFriedrich SchorrFritz SchrödterFritz SootFritzi ScheffGabriela SchererGabriele SchnautGeorg SternGeorge ShirleyGerhard SiegelGerhard StolzeGiorgio StigelliGiulietta SimionatoGiuseppe SabbatiniGiuseppina StrepponiGladys SwarthoutGloria ScalchiGoran SimićGotthold SchwarzGraziella SciuttiGregory StappGérard SouzayHanna SchwarzHans SisaHans SotinHans StüweHarald StammHarry SteierHedwig Schmitz-SchweickerHeikki SiukolaHeinrich Conrad SchleinitzHeinrich SalomonHeinrich SchlusnusHelene SchneidermanHenriette Schramm-GrahamHenriette SontagHerbert SchachtschneiderHermann SchrammHermine SpiesHorst SchulzeHortense SchneiderHossein SarsharIlona SteingruberIngeborg SchöpfIoanna Sfekas-KarvelasIrmgard SeefriedIsabel StraussJames SauvageJames StuartJeanette ScovottiJoan SutherlandJoanna SimonJocelyn B. SmithJochen SchmeckenbecherJohn Shirley-QuirkJosef SpitzederJosef StaudiglJoseph SchmidtJoseph SchwarzJoseph SeipeltJoseph ShoreJubilant SykesJózsef SimándyJürgen SacherKarl ScheidemantelKarl Schmitt-WalterKarl StreitmannKasumi ShimizuKaterina Sokolová-RauerKay StiefermannKenneth Lee SpencerKenneth SpencerKevin ShortKlaus Peter SamsonKlemens SanderKrassimira StoyanovaLee SnookLeo SlezakLeonid Witaljewitsch SobinowLiane SynekLiesel Schuch-GanzelLilian SukisLotte SchädleLuciana SerraLuciana SouzaLudovic SpiessLudwig Schnorr von CarolsfeldLudwig SuthausLukas SchmidLéopold SimoneauMagda SpiegelManami SuzukiMarcella SembrichMargarete SchickMargarethe SiemsMargit SchrammMaria StaderMarianela SánchezMarianne SchechMariano SpagnoloMarie Friederike SchöderMarie SundeliusMarija Sklad-SauerMarija StojakovicMarilyn SchmiegeMario SammarcoMario SereniMark St. LaurentMartial SingherMaría José SiriMatti SalminenMaurice SternMeta SeinemeyerMichael SchadeMichael SchopperMichael SpyresMichael SylvesterMichaela SchusterMichel SénéchalMichela SburlatiMieko SatoMihály SzékelyMikhail SvetlovMilada ŠubrtováMitsuko ShiraiMonica SinclairMyrna SharlowMüzeyyen SenarNadine SierraNancy ShadeNancy StoraceNathalie StutzmannNeil ShicoffNina StemmeNino SandowNino SurguladzeNorman ScottOda SlobodskayaOksana StepanyukOlivia SafeOlivia SaragosaPaolo SilveriPasquale SantoniPatrick SchrammPaul SchöfflerPaul SpäniPauline Strauss-de AhnaPeter SchreierPeter Schulz-JarosPeter SchönePeter SeiffertPeter SlikerPetra-Maria SchnitzerPhil StarkPhilip SkinnerRafael Sánchez CesteroRalph Maria SiegelRaphael SchwarzerRebecca SjöwallRegina SarfatyReina SuzukiReiner SüßRenata ScottoRenate SpinglerRiccardo StracciariRichard SalterRichard StilwellRichard StockerRisë StevensRita ShaneRita StreichRobert Dean SmithRobert SavoieRobert SchunkRoberto ScandiuzziRoberto StagnoRosina StorchioRosine StoltzRosl SchwaigerRoy Cornelius SmithRudolf SchockRuth Ann SwensonRuth StewartRyoko SunakawaSainte-FoySandBoxSanford SylvanSarianna SalminenSenesinoSerge SchoonbroodtSet SvanholmSharon SweetShingo SudoShinobu SatoSibyl SandersonSimona ŠaturováSophie SchröderSophie von Schönburg-WaldenburgSpyros SakkasStanislawa StojtschewaStefan SchwerStephan SchreckenbergerStephen SaltersSusan GrahamSusanne MentzerSuzanne SarrocaSviatoslav SmirnovSybille SpechtSylvia SassSylvia SchwartzSylvia StahlmanTadahiro SakashitaTeresa SeidlTeresa Stich-RandallTeresa StolzTeresa StratasThais St JulienThomas StewartTito SchipaTrudeliese SchmidtTuva SemmingsenUlrike SonntagUrsula Schröder-FeinenVera SchoenenbergVera SchwarzVesselin StoykovViviana Araiza StaffiniWalter SoomerWalter StreckfußWilhelm SchwinghammerWilhelm StrienzWilhelmine Schröder-DevrientWilli StörringWolfgang SchöneWolfgang von SchwindXavier SabataYukie Sato total 343singers ページ先頭へ