This apartment features a living room with dining area, an equipped kitchen and 3 bathrooms. Sorry — there was an error submitting your response. Via della Vite 74 Featuring a small balcony, this apartment has a living room with dining area, kitchen and 2 bathrooms. Via Rasella 6 Offering a terrace, this apartment has a living room with dining area, kitchen and 2 bathrooms. Via Campo Marzio 69 This apartment features a living room with dining area, a fully equipped kitchen and 2 bathrooms. Passeggiata di Ripetta 25 This apartment features a living room, a separate dining area, a fully equipped kitchen , two double bedrooms and two bathrooms.
Vicolo della Torretta 55 Set on 2 levels, this apartment features a living room, a fully equipped kitchen, 4 bedrooms, 3 bathrooms, and a private terrace. Reception staff was helpful and welcoming. She explained all the surroundings and near by famous locations. WiFi is available in all areas and is free of charge. It looks like something went wrong submitting this. You need to let the property know what time you'll be arriving in advance. Cancellation and prepayment policies vary according to apartment type. Please enter the dates of your stay and check what conditions apply to your preferred room.
Children and Extra Beds. Cards accepted at this property.
Newest Reviews for RSH Spanish Steps Luxury Apartments
RSH Spanish Steps Luxury Apartments accepts these cards and reserves the right to temporarily hold an amount prior to arrival. Guests are required to show a photo ID and credit card upon check-in. Please note that all Special Requests are subject to availability and additional charges may apply. Comfortable, clean, spacious, and centrally located. Close walking distance to Rialto Bridge.
Good location for sights and food. Also nice tray of treats - biscuits, etc. Nice location close to many restaurants. Walkable to Spanish Steps, and many other sights. The place has everything you need, I would definitely recommend it over a tiny hotel room, after the second day, we felt like we really live in Rome. Magdalena was very gracious hostess upon meeting her at the property. The welcome basket was a very classy, unexpected and much appreciated touch. Two separate and comfortable bedrooms with bathrooms. We were right around the corner from the Trevi fountain and minutes from the Spanish steps.
Apartment was lovely and well appointed very comfortable let and clean. There was a lovely welcome package waiting for us including a big bottle of Proseco. Madeline greeted us at the door when we arrived and gave us the tour explaining everything in detail. She was super friendly and helpful.
I liked the location the cleanliness of the unit! All the amenities were great!!! Everything perfect and very nice. A bit noisy from the street, but hey, it's a big city, so this is normal! The apartment is in a wonderful location and is very big with great amenities.
Nothing - we liked everything about it. Beautiful apartment in a brilliant location, staff were incredibly helpful despite our arrival being disrupted because of poor weather. Great base for our family stay in Rome! Washing Machine is leaking and one of the toilet light isn't working.
Super convenient location few hundred meters to Spanish stairs and metro station. Location, size, washing facilities. The host Madelina was the gem of our trip she was amazing and very hospitable. We stayed for 4 nights over a weekend. The property was lovely and met our expectations. It is clean, modern, spacious and in a fantastic location, walking distance to most attractions. We would definitely stay here again!
We arrived later than expected due to a lot of traffic, however this was not a problem for the sweet Madelena who waited for us at the apartment and gave us all the information. It made our checkin stress free and very welcoming. Very special location - central. Great location walking to all attractions. Check was from to We arrived at and were still charged a late fee because the host spent mins explaining how the apartment worked. Not happy about that! Very easy, we were met at the front door. There was nothing we did not like, you could fault nothing, everything was perfect: We had a wonderful stay at your apartment, everything was within easy walking distance and the apartment was very comfortable, safe and had everything you could need on a holiday - we felt very relaxed when we returned from discovering Rome back to the apartment - thank you again for a wonderful stay - a very special thank you to Maddalena she was excellent and gave us info on all we needed to know re travelling around and things to see and knowing our location in Rome we would have been lost without her knowledge, thank you again for our beautiful stay, warmest regards Sharon, Trevor and Abbey.
My friends and I stayed at the apartment in Passeggiata di Ripetta for 5 days. The apartment was perfect - well equipped, very clean and beautiful.
5 Star Luxury Hotel in Rome on top of Spanish Steps | Hassler Roma
I would have included some of the pictures we've taken, but it looks way more beautiful in reality. The woman who checked us in and gave us the key to the apartment - Maddalena - was lovely. We arrived late at night, and yet, other than going with us over the neccesary details, she took the time to show us on a map all the places and areas worth seeing in the city and give us tips, make sure the hot water in the shower worked, and check the air conditioning.
There was an air conditioner in each bedroom, and two more in the living space. Our first day was really hot, and the air conditioners worked very well.
RSH Spanish Steps Luxury Apartments (Apartment), Rome (Italy) Deals
The beds were comfortable, the kitchen had everything we needed all kinds of dishes, kitchenware, washing machine, dishwasher, espresso machine, etc. I loved the design! Again - everything was very clean and comfortable, and the overall feeling was extremely cozy and home-like. The location was perfect. The Tiber is just across the street. The Appartment space is amazing the design and facilities inside the Appartment was very good. Please enter a valid email address.
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Qureshi, Henri Justino, and Jeffrey S. Rutledge, and John D. Wright, Katsuhide Maeda, Norman H. Hanley, and Stephen J. Complex Cardiac Abnormalities Giselle and other dancers would enter and whirl through the room, unable to resist the spell to keep them dancing.
Giselle would try to keep her lover from partnering other girls. The Queen of the Wilis would enter, lay her cold hand on Giselle's heart and the girl would drop dead. Gautier was not satisfied with this story. It was basically a succession of dances with one moment of drama at its end. Georges, a man who had written many ballet librettos. Georges liked Gautier's basic idea of the frail young girl and the Wilis. He found that story in Giselle.
Grisi liked it as much as Pillet did, so Giselle was put into production at once. The balletomanes of Paris became very excited as the opening night of Giselle approached.
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News reports kept their interest alive. Some reports said that Grisi has had an accident whilst other reports indicated that the conductor was ill with a tumor. Still others said that the stage hands feared for their safety.
Hopes that the ballet would be ready in May were dashed and the opening night was postponed several times. Grisi was absent for a few days and her return was delayed to protect her health. Lighting, trapdoors, and scene changes needed further rehearsals. Cuts were made in Grisi's role to spare the dancer's health.
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Instead of returning to her tomb at the end of the ballet, it was decided that she would be placed on a bed of flowers and sink slowly into the earth. This touch preserved the romantic mood of the Act II finale. In spite of the chief machinist shouting orders to his crew that could be heard by the audience, Giselle was a great success. Grisi was a sensation. Ballet-goers regarded her as another Marie Taglioni , the greatest ballerina of the period.
Giselle was a great artistic and commercial success. Le Constitutionnel praised Act II for its "poetic effects". He thought the Act I waltz "ravishing" and noted that the scene of Berthe's narrative was filled with "quite new" harmonic modulations. He praised other moments in Act I especially the mad scene , and was in raptures with the music of Act II, singling out the entrance of the Wilis and the viola solo played through Giselle's last moments. He thought the flute and harp music accompanying Giselle as she disappeared into her grave at ballet's end "full of tragic beauty.
Coralli followed a suggestion made by Gautier and picked the most beautiful girls in the company to play the peasants and the Wilis. One observer thought the selection process cruel: Grisi and Petipa were great successes as the tragic lovers. Gautier praised their performance in Act II, writing that the two dancers made the act "a real poem, a choreographic elegy full of charm and tenderness More than one eye that thought it was seeing only [dance] was surprised to find its vision obscured by a tear—something that does not often happen in a ballet Grisi danced with a perfection Her miming surpassed every expectation She is nature and artlessness personified.
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Adam thought Petipa "charming" as both dancer and actor, and that he had "rehabilitated" male dancing with his performance. Giselle made francs between June and September This was twice the amount for the same time period in Souvenirs were sold, pictures of Grisi as Giselle were printed, and sheet music arrangements were made for social dancing. Adolphe Adam was a popular writer of ballet and opera music in early 19th-century France. This style is well known to music lovers from Bellini 's opera Norma and Donizetti 's Lucia di Lammermoor.
Adam used several leitmotifs in the ballet. This is a short musical phrase that is associated with a certain character, event, or idea. Adam's leitmotifs are heard several times throughout the ballet. Hilarion's motif marks his every entrance. It suggests the Fate theme in Beethoven 's Fifth Symphony. Another leitmotif is associated with the "he loves me, he loves me not" flower test in Act I, which is heard again in the mad scene, and in Act II when Giselle offers flowers to Albrecht.
The Wilis have their own motif. It is heard in the overture, in Act I when Berthe tells the story of the Wilis, and in the mad scene. It is heard again in Act II when the Wilis make their first entrance. The hunting horn motif marks sudden surprises. This motif is heard when Albrecht is exposed as a nobleman. The music was completely original. A critic noted, however, that Adam had borrowed eight bars from a romance by a Miss Puget and three bars from the huntsman's chorus in Carl Maria von Weber 's opera Euryanthe. By no stretch of the imagination can the score of Giselle be called great music, but it cannot be denied that it is admirably suited to its purpose.
It is danceable, and it has colour and mood attuned to the various dramatic situations As we listen today to these haunting melodies composed over a century ago, we quickly become conscious of their intense nostalgic quality, not unlike the opening of a Victorian Keepsake , between whose pages lies an admirably preserved Valentine—in all the glory of its intricate paper lace and symbolic floral designs—which whispers of a leisured age now forever past. For a brief space the air seems faintly perfumed with parma violet and gardenia.
The music of Giselle still exerts its magic. Adam's score for Giselle acquired several additional numbers over the course of its history, with some of these pieces becoming an integral part of the ballet's performance tradition. Coralli's original intentions were to have the ballet's composer Adolphe Adam supply the music for Fitz-James's pas , but by this time Adam was unavailable.
Petersburg, Perrot commissioned the composer Cesare Pugni to score a new pas de cinq for the ballerina that was added to the first tableau. Marius Petipa would also commission an additional piece for the first tableau of the ballet. This was a pas de deux from the composer Ludwig Minkus that was added to the choreographer's revival for the ballerina Maria Gorshenkova. Three solo variations were added to the ballet by Petipa during the latter half of the 19th century. The third variation added by Petipa was also composed by Drigo and has survived as one of the most beloved passages of Giselle.
This variation, sometimes dubbed as the Pas seul , was arranged in for the ballerina Elena Cornalba. There was much confusion at that time as to who was responsible for composing the music, leading many ballet historians and musicologists to credit Ludwig Minkus as the author, a misconception which still persists.
Jean Coralli and Jules Perrot choreographed the original version of Giselle. Perrot and Carlotta Grisi were lovers and, consequently, Perrot designed all of her dances and pantomime. Grisi was afraid of these swoops, therefore a stage hand was brought in to test them. He crashed face-first into the scenery and the swoops were dropped. Cyril Beaumont writes that Giselle is made up of two elements: Act I features short mimed scenes, he points out, and episodes of dancing which are fused with mime.
In Act II, mime has become fused entirely with dance. He indicates that the choreographic vocabulary is composed of a small number of simple steps:. Beaumont speculates that the simple steps were deliberately planned to allow the "utmost expressiveness. Parts of Giselle have been cut or changed since the ballet's first night. Giselle's Act I pantomime scene in which she tells Albrecht of her strange dream is cut and the peasant pas de deux is also slightly cut back.
The Duke of Courland and his daughter Bathilde used to make their entrance on horseback, but today they walk on. In the original production they were present at Giselle's death, but now they leave the scene before she dies. The machines used to make Giselle fly and to make her disappear are no longer employed.
A trapdoor is sometimes utilized to make Giselle rise from her grave and then sink into it at the end of Act II. He took a few unsteady steps toward them and then collapsed into their arms.