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Appetizer Asian rice balls - Avocado onigiri

Appetizer Asian rice balls - Avocado onigiri

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Mix the rice with the Furikake.

Crush the avocado with a fork and mix with salt.

Cut the cloud sheet into 4 cm long strips.

Add rice to a baking dish or a round cookie cutter. It stretches all over the base. Add avocado in the center. Add rice on top and spread until the avocado is completely covered. It is pressed with the help of a glass whose base fits perfectly with the diameter of the disk or the shape for cutting biscuits.

The disc is removed. Place a piece of cloud paper starting from the center of one of the faces to the other side. Stick with a little water, if it didn't stick on its own.

It is decorated with sesame and watercress seeds.

Serve immediately.

Elena's kitchen

Well, at the initiative mentioned above, of Mihaela, who I like more and more, if it will materialize in the future, I also come with a pumpkin pie. Now, it is not a creation of its own, but rather a melange of ideas. As my junior goes to a course in England for 6 weeks, I tried to pamper him these days, to leave with a bag of culinary memories there. He likes these tender sheets the most. I'm not a fan of them, so it was my mother's job to do them. Well, since my mother is no longer with us, I often hesitate to make recipes that almost belonged to her. But. I saw on Easy peasy on the blog a recipe for sheets of these. So, this recipe is also part of the "Seen-liked-tried" category in terms of sheets. I just want to tell you that they are as she praises them, a little crunchy when they are hot (just so we don't eat them like that, I think!), But great after sitting for a few hours and coming to their senses. They are downright fluffy, not crumbly, as you might expect!


A goodness, I feel its aroma, I feel its taste. I didn't do it this year but I plan it.
A pleasant evening!

the idea is this: that I would try all the possible pumpkin pies, if I weren't afraid of calories though! it is one of the most delicious pies, with a special aroma! What's more, the pumpkin itself is a miracle that works wonders in the kitchen!

Medi, I like to make recipes with all vegetables, but pumpkin is my favorite autumn. In competition with eggplant. If you are not afraid of the calories it contains, you should try a version of pumpkin pie. Otherwise, it's not like autumn.

Zazuza, I consume very few sweets. But I prefer the ones made by me, which taste a bit. Everything is in balance, I think, and this diet allows small amounts of sweets and a few pieces of dark chocolate (the healthiest, so to speak, of all). This time I forgot to mention that it should be consumed in small quantities, if you have weight problems, so I apologize for this omission.

Woe to me, Elena, what a good pumpkin pie here. looks great!
I'll try it too, I hope I don't forget, I filled this simple dough with something else. I guess it works with apples.
Master that healthy kitchen tool! Your son knew why he was buying it for you. hehehehehe. like what goodies you do with it!

Elena, don't worry, I'm thin, but you know how it is, you have to stay, and, as you say, you have to eat a little, not get drunk. although the pumpkin pie on me at the urge urges me. but I resist, I resist heroically and I share with the family :))

I kept seeing pumpkins in the market, and I was thinking of making a pie. Now you convinced me. I have to try. It looks very good.

I also made a pumpkin pie out of this, but I didn't take pictures to post it, instead I made some pumpkin pies that were found in China, I will post those as soon as possible. In the meantime, I invite you to my blog, I thought you might like bamboo mushrooms :). I wish you a good evening!

I make a smooth sheet but mix three types of fat: butter, lard and oil. At 11 tablespoons of water I would say half a packet of butter, a tablespoon of lard and about 5 tablespoons of oil.
I use the carrier mixer. In 5 minutes the whole thing is ready.

A kind of diary

He asserted himself in the shows Beyond forgetting (original title e Beyond oblivion), by Hugo del Carril of 1956 and in Teresa's Bells (original title e The bells of Teresa), by Carlos Schlieper in 1957. She was married to Argentine-based actor Narciso Ibáñez Menta, and later to Mexican architect Manuel Rosen. His last film was in 1957.

The first years
She arrived in Buenos Aires at an early age and was attracted to the show, she studied at the School of Performing Arts of the Hebrew Society of Argentina with Hedy Crilla, David Stivel and Alberto Berco.
He agreed to look for work during his studies and quickly appeared in The strange case of the murdered woman (El extraño caso de la mujer asesinada) by Boris H. Hardy, in 1949 - at a table with a man behind the Duval-Rigaud couple, when they decided to go to a rattle - and it may have been in other movies. In 1949 he participated in a contest of new values ​​organized by Antena magazine and was selected by the producer and protagonist Amando Bó - he gave him the stage name that he used throughout his career to star in the film His last fight (His last fight).

Artistic career
He had supporting roles in Five big ones and a girl, El Morocho del Abasto Juan Mondiola and Old law, a 1951 film by Manuel Romero that critic Abel Posadas describes as a & # 8222 disaster without mitigation & # 8221 2 and his opportunity arose. The Argentine company Sono Film bought the rights to film La orquídea, a play that was Mecha Ortiz's passenger in the theater and had to find the protagonist because Zully Moreno was busy with other projects and could not find the physical type. Someone suggested Laura Hidalgo be called, and director Arancibia did some tests with a white dress they did. Although they were not sure because, although she photographed very well, she did not know how to act, they hired her and, after losing weight, a new image that included luxury clothing, although it was not better diction, filming was done.

Ulyses Petit de Murat sweetened the erotic content of the play and turned it into what Posadas calls & # 8222the prostitution brochure & # 8221 in its film adaptation. In addition to Laura Hidalgo, the film featured prestigious actors such as Santiago Gómez Cou, Eduardo Cuitiño and Felisa Mary. When Hidalgo appeared on the stage wearing that white test dress at a party, there were exclamations of surprise from the audience. The first & # 8211 approaches that made her eyes shine & # 8211 made the camera and the male audience accept it from the start with the excellent photography of Alberto Etchebehere. Laura Hidalgo & # 8222 was not an actress, but not much flesh. This mixture of the necessary brain - no more, no less & # 8211 and a privileged physique, achieved a resounding success in the box office. According to Mae West, there was no doubt about it. some: did you have it or not. And this creature that comes out of Etchebehere's photographs possesses it, regardless of the result of that ingredient to which West alluded. & # 8221 But through advertising, the producer tried to take advantage of the good reception that the public gave the As for her, she will begin a stormy relationship with Narciso Ibáñez Menta.

Then he came The tunnel, a film by León Klimovsky (Argentine director), whose critics have recognized a special effort to do something transcendent and quality, but which conveys a climate of falsity that makes him fail in drama. In 1952, Argentina Sono Film decided to insist with Laura Hidalgo on a project in which she would participate alongside Ibáñez Menta, both as protagonists and producers through the company & # 8222Esmeralda Films & # 8221 & # 8211 name that corresponded to the color of the eyes to Hidalgo. It was an adaptation of the novel The beast must die (in Spanish: The beast must die) by Nicholas Blake whose direction was entrusted to Román Viñoly Barreto and in which Guillermo Battaglia participated as the beast, married to a sister & # 8211 Josefa Goldar & # 8211 of Hidalgo's character. Milagros de la Vega & # 8211 in a memorable distance & # 8211 is Battaglia's mother, and Beba Bidart, Nathán Pinzón and Gloria Ferrandiz participate in other roles.

Posadas points out that Hidalgo de Ibáñez Menta's drunkenness and seduction is not forgotten, nor is the final reading of the letter and the career that women and children undertake on the beach to discover that there, in the distance, the perpetrator of revenge was preparing to Laura & # 8221 Laura Hidalgo had not increased her acting level, but she was docile to accept the directions of the director or Ibáñez Menta and, although problems with her voice remained, trying to learn.

In the theater she worked with her husband at the time, Narciso Ibáñez Menta, for three seasons with The pewter manufacturer by Carlos Gorostiza The death of a traveler by Arthur Miller and F.B. of Enrique Suárez de Deza.

Hidalgo traveled to Spain in 1952 to film The express train directed by León Klimovsky with a role subordinate to that of Jorge Mistral. In that film, he presented a preview of the interpretation of Blanca's character from Beyond oblivion. According to Olga Zubarry, when Hidalgo arrived from Spain with Ibáñez Menta, everyone left on their own when she got off the plane: apparently the actress' moderate nudes in that film, plus a hypothetical relationship with Mistral, had infuriated him. The following year, he filmed in Mexico Three married women (Spanish: Las tres perfectas casadas), directed by Roberto Gavaldón, based on the works of Alejandro Casona, along with Arturo de Córdova and Miroslava Stern, as an unbearable and fake hypochondriac who was nominated for the Ariel Award in the category best actress in 1954.

Carlos Hugo Christensen was entrusted with the following film & # 8211 partially filmed in Peru & # 8211 in which Hidalgo acted accompanied by Roberto Escalada, melodrama Black ermine, which was a box office success. With the same director and foreign filmed in San Salvador de Bahia, he led the cast Mary Magdalene in the role of an unscrupulous sinner in what turned out to be an economically successful film. In 1954 he went to film in southern Argentina with Luis César Amadori in luxury residences in Bariloche and Llao Llao, a novel by Michael Valbeck adapted by Amadori, which plays a sexually murdered psychopath, sharing the film with actors such as Guillermo Battaglia, Susana Campos, Eduardo Cuitiño and Alberto de Mendoza. Her show was not effective, but the film was another box office success.

At this time, it was the only time when a program broadcast by Radio El Mundo on Saturday, at 20:30 until midnight, with a film adaptation appeared on Radiocine Lux, together with Roberto Escalada, the version Indiscreción de una novia. In 1955 Argentina Sono Film proposed to Carlos Schlieper to direct & # 8222Beyond Oblivion & # 8221, with Laura Hidalgo, but he did not accept, so they hired Hugo del Carril, who with Eduardo Borrás adapted the opera Brujas, the death of Georges Rodenbach on which the film is based. There are only three characters in the play: the widow, Monica, the prostitute he kills and the housekeeper, the adapters played the female character, adding that of Blanca, the first woman and that of Monica's exploiter.

Then, Hidalgo, who was already meeting a Mexican potential she would later marry, filmed under the direction of Carlos Schlieper, who was very ill and died on April 11, 1957 before the film's premiere, the comedy Teresa's bells, which Posadas says was a mediocre product, without rhythm, and Hidalgo 's work is discreet & # 8221. Already in Mexico he filmed in a few days his part of The crime mafia, directed by Julio Bracho, his latest film.

On December 1, 1957, she married the architect Manuel Rosen of Mexico, where her three children settled and were born. He wrote the book of poems The house on the slopes, published in Mexico. In 1987, the Buenos Aires Film Museum presented him with the Pathé Camera in recognition of his cinematographic work. She later settled in La Jolla, California, USA, where she suffered a stroke shortly before her death on November 18, 2005, which left her lying down.

He also had characters who escaped these characteristics, and among them are the two that he composed with great ductility in Beyond forgetting (in Spanish: Beyond oblivion) by Hugo del Carril and the one in Las campanas by Teresa by Carlos Schlieper, which allowed him to appear as a great comedian.

Critic Abel Posadas, after telling that Mario Vanarelli said years later that Laura Hidalgo & # 8222 had the attributes of a sexy symbol, although it was necessary to photograph her very carefully, especially if she wore a net because her hips were very broad & # 8221, added: & # 8222 her image, at the moment of equilibrium, is required to establish itself in the Argentine cinematic discourse of the 50s, thanks to Beyond Oblivion and Black Ermine, she was the last to obtain a star text, as was understood by the cinematography of the factories. Isabel Sarli arrived just as Hidalgo was missing. It is not at all curious that the character created by Alejandro Dolina for his radio auditions still mentions him. It is one of the best memories we have from the end of our childhood. & # 8221

For Claudio Spain, Ana María Lynch and Laura Hidalgo were built as images that hurt men. However, they did not look bad as women for the mentality of the moment, because there was the final repentance: evil knelt or got into a wheelchair at church or experienced a ransom situation that delighted the viewer, especially the spectator who was he had been amazed by such beautiful and terrible women. Consequently, there was no danger that the ladies would try to imitate them, that they would hunt a whip to hit a priest, or that they would be too sensual with their children like Laura Hidalgo in that great melodrama that is Armiño negro. That she was made a star, if she met certain basic conditions, is proved by the fact that Laura Hidalgo & # 8211 in the roles of Pesea Faerman, born in Romania & # 8211 did not reach sixty meters and was very small, but she became imposing on the screen and in the photos thanks to the costumes and lights, the long crack in the flames. & # 8222Although it already existed before Sono Film and starred in The Tunnel and the Orchid (Spanish: El túnel y la orquídea), it is said that Atilio Mentasti invented it & # 8203 & # 8203to have a brunette who faced Zully Moreno, who was not only blonde, but very expensive.

The crime mafia (1958) dir. Julio Bracho (Mexico)
The bells of Teresa (1957) dir. Carlos Schlieper
Beyond Oblivion (1955) dir. Hugo del Carril
The express train (1955) dir. León Klimovsky (Spain)
Fallen in Hell (1954) Luis César Amadori
Mary Magdalene (1954) dir. Carlos Hugo Christensen
Las tres perfectas casadas (1953) dir. Roberto Gavaldón (Mexico)
Black ermine (1953) dir. Carlos Hugo Christensen
The Beast Must Die (1952) dir. A hard tackle from Román Viñoly to Barreto
The Tunnel (1952) dir. Leon Klimovsky
The orchid (1951) dir Ernesto Arancibia
Derecho viejo (1951) dir. Manuel Romero
Juan Mondiola (1950) dir. Manuel Romero
El morocho del Abasto (The Life of Carlos Gardel) (1950) dir. Julio Rossi
Five big ones and a girl (1950) dir. Augusto César Vatteone
His last fight (1949) dir. Jerry Gómez