jueves, 22 de junio de 2017

10 ANS DE PRIX GUERLAIN

15 juin 2017 A  11 septembre 2017


Lle Prix de dessin contemporain de la Fondation Daniel et Florence Guerlain fête cette année son dixième anniversaire. Le Centre Pompidou propose à cette occasion une exposition autour de l’ensemble des artistes distingués depuis la création du prix. L’exposition rassemble une centaine de dessins, récents et plus anciens, des trente artistes français et étrangers, nommés et lauréats depuis 2007.

C’est en 1996 que les collectionneurs Daniel et Florence Guerlain créent leur fondation d’art contemporain. En 2004, leur intérêt et leur engagement se recentrent sur le dessin contemporain, medium qu’ils cherchent à promouvoir. Ainsi, en 2006, le couple de collectionneurs fonde un prix visant à promouvoir les œuvres dessinées.

IMAGINE VAN GOGH

Une exposition immersive
Du 23 juin au 10 septembre
Pour la première fois, la Grande halle de La Villette ouvre ses portes à Vincent Van Gogh pour une exposition immersive qui plonge le spectateur dans 2 000m² de projections des toiles de l’artiste sur de multiples voiles aux dimensions vertigineuses.
Cette réalisation est l’œuvre d’Annabelle Mauger et Julien Baron, qui ont collaboré à la création des spectacles de CATHEDRALE D’IMAGES aux Baux de Provence dès 2001. Leur démarche, mettre la technologie au service de l’art en plongeant le spectateur au cœur de l’œuvre pour lui faire ressentir les émotions créatives de l’artiste.


Venez contempler cette matière précieuse que tous les peintres naturalistes cherchent à saisir pour mettre en scène la vie. Admirez la Nuit étoilée, les Iris et les Tournesols, plongez dans l’intimité de la Chambre de Vincent ou dans l’ambiance d’Auvers sur Oise et de ses champs de blé.
Une expérience au cœur des images portée par la musique de Saint- Saëns, Mozart, Bach, Delibes ou Satie.

IMAGINE VAN GOGH : Pour découvrir ou redécouvrir Vincent Van Gogh.

113 ORS D'ASIE. MUSEE GUIMET


Du 21 juin au 18 septembre 2017
Sur tout le continent asiatique, l’or tient une place centrale. Présent dans la symbolique bouddhique, le bouddhisme tantrique et, pour une moindre part, l’hindouisme et le jainisme, le lumineux métal ne pouvait que s’inscrire dans une exposition d’envergure. Pour cette occasion le musée national des arts asiatiques – Guimet a choisi d’interroger ses propres collections, dont certaines, ressorties des réserves, restaurées ou nouvellement acquises, viendront former un ensemble de 113 chefs-d’œuvre. C’est avec un regard d’orfèvre que le MNAAG explore et pose ainsi le cadre des échanges du métal inaltérable et des raisons de sa rareté, qu’il soit poudre d’or au Japon, en Chine ou en Corée, émissions monétaires dans l’Afghanistan kouchane ou parure de maharajahs indiens. Les techniques d’extraction et du travail de l’or seront abordées en préambule, avant qu’un florilège de splendeurs ne raconte sa fabuleuse épopée, les raisons de l’attrait et du pouvoir de séduction qu’il suscita en Asie, mille et une histoires en or autour de 113 pièces.


Qu’il s’agisse d’hommage rendu aux reliques de maîtres défunts, d’images d’êtres vénérés, d’objets rituels sur les autels, l’or fut hautement recherché pour sa parfaite pureté comme l’exige la loi bouddhique. C’est d’ailleurs le bouddhisme qui lui ouvre de vastes horizons aux résonances toutes symboliques : comment la lumineuse carnation du Bouddha ne pourrait être mieux évoquée que par l’or ? Vecteur d’éternité, l’or tient dans la parure funéraire, comme dans la conservation de la mémoire, une fonction de premier ordre, offrant à la statuaire de saisir de façon frappante ces facteurs d’unité à l’échelle du continent asiatique, de telle sorte que lorsque l’or est absent, le bronze ou le bois doré en jouent les substituts.

Quand l’or fréquemment mentionné est stimulé dans les sutras, les vêtements rapiécés des compagnons du bouddha historique deviennent les prétextes à la création de luxueux patchworks à bande d’or, tout comme l’or présent dans le costume de Lucknow, dernier bastion de l’Inde moghole. Promesse d’éternité, l’or défie le temps humain et joue la transmission : l’empereur de Chine, Qianlong, ne fit-il pas calligraphier à l’encre d’or des plaques de jade, ses propres écrits sur l’éthique et la philosophie en politique, à l’occasion de son quatre-vingtième anniversaire ?
Investi de la symbolique du pouvoir et de la richesse, l’or et ses fastes sont évoqués à travers le matériel archéologique mais aussi la production d’objets de luxe dans l’Inde moghole. En Afghanistan, durant la dynastie kouchane (1er-3e siècle), le monnayage en or apparaît et la monnaie d’or qui fait référence à l’irruption des nomades dans le monde sédentaire, exprimait aussi l’immense prestige et la puissance du souverain, l’Altaï étant la source de l’or. En écho au monde des steppes, certains objets archéologiques tel que la couronne typique du royaume de Silla (5e-6e siècle) provenant d’une tombe de Kyongung en Corée, attestait de l’importance du faste au temps des Trois Royaumes.
Au Japon, l’or habille de grâce les éblouissants objets de laque, les paravents et textiles de l’apogée bourgeoise, les plus raffinés comme les plus frivoles du monde flottant, rappelant ici que la fascination pour le métal magique n’empêche pas le vieil adage : « tout ce qui brille n’est pas d’or ».


http://www.guimet.fr/fr/expositions/expositions-a-venir/113-ors-d-asie

DAVID HOCKNEY . CENTRE POMPIDOU, PARIS


21 juin 2017 - 23 octobre 2017
Le Centre Pompidou en collaboration avec la Tate Britain de Londres et le Metropolitan Museum de New York présente la plus complète exposition rétrospective consacrée à l’œuvre de David Hockney.
 L’exposition célèbre les 80 ans de l’artiste. Avec plus de cent soixante peintures, photographies, gravures, installation vidéo, dessins, ouvrages... incluant les tableaux les plus célèbres de l’artiste tels les piscines, les double portraits ou encore les paysages monumentaux.., l’exposition restitue l’intégralité du parcours artistique de David Hockney jusqu’à ses œuvres les plus récentes.


L’exposition s’attache particulièrement à l’intérêt de l’artiste pour les outils techniques de reproduction et de production moderne des images. Animé par un désir constant de large diffusion de son art, Hockney a, tour à tour, adopté la photographie, le fax, l’ordinateur, les imprimantes et plus récemment l’I Pad : « la création artistique est un acte de partage ».

L’exposition s’ouvre avec les œuvres de jeunesse, réalisées par Hockney à l’école d’art de sa ville natale de Bradford. Images d’une Angleterre industrieuse, elles témoignent de l’empreinte sur le jeune peintre du réalisme âpre, prôné par ses professeurs adeptes du réalisme social du mouvement du Kitchen sink. De l’école d’art de Bradford au Royal College of Art de Londres, Hockney découvre, assimile la traduction anglaise de l’expressionisme abstrait élaborée par Alan Davie. De l’œuvre de Jean Dubuffet, il retient une stylistique (celle du graffiti, de l’art naïf..;) qui satisfait son projet de produire un art éloquent et socialement, universellement accessible. Chez Francis Bacon, il puise l’audace d’une expression qui aborde explicitement la question de l’homosexualité. Sa découverte de l’œuvre de Picasso achève de le persuader qu’un artiste ne saurait se limiter à un style donné. Il intitule une de ses premières expositions : Démonstration de versatilité.

David Hockney découvre en 1964 la côte ouest des Etats-Unis. Il devient l’imagier d’une Californie hédoniste et solaire. Son Bigger Splash (1967) accède au statut d’icône. Hockney met en chantier ses grands doubles portraits par lesquels il exalte le réalisme, la vision perspectiviste empruntés à la photographie qu’il pratique alors de façon assidue. Aux Etats-Unis, où il réside de façon désormais permanente, David Hockney est confronté à la prééminence critique du formalisme abstrait (Art minimaliste, Stain color field..;). Aux grilles du Minimalisme, il répond par la peinture de façades de building, ou de gazons taillés au cordeau. Il traduit la peinture du « stain color field » (une peinture qui procède à l’imprégnation de la toile par une couleur considérablement diluée), dans une série d’œuvres sur papier illustrant l’eau d’une piscine soumise à un éclairage diurne et nocturne.

Les décors et costumes que conçoit David Hockney pour l’opéra l’éloignent d’un réalisme photographique dont il a conscience d’avoir épuisé les ressources. Renonçant à la perspective classique induite par l’appareil photographique (la vision du « cyclope immobile » dira bientôt Hockney ), le peintre expérimente différents types de constructions spatiales.

Reconsidérant la vision du Cubisme, qui synthétise la vision d‘un spectateur en mouvement autour de son sujet, Hockney se munit d’un appareil Polaroïd et assemble ses « joiners » : images multiples recomposant une figure. Systématisant cette vision « polyfocale », il compose Perblossom Highway, somme de plus d’une centaine de photographies qui sont autant de points de vue différents. A la recherche de nouveaux principes pour une évocation picturale de l’espace, Hockney s’inspire des rouleaux de peinture chinois qui enregistrent la perception visuelle d’un spectateur en mouvement. Combiné avec les points de vue multiples de l’espace cubiste, la cinématique chinoise lui permet de concevoir Nichols Canyon qui relate son parcours en automobile de la ville de Los Angeles à son atelier sur les collines.

En 1997, David Hockney revient dans le nord de l’Angleterre, sur les sites champêtres de son enfance. Ses paysages intègrent la complexité spatiale de ses recherches reconsidérant l’espace de la perspective classique. A l’aide de caméras haute définition, il anime l’espace du cubisme, celui de ses « joiners » de Polaroïds, juxtapose des écrans de télévision pour composer son cycle des quatre saisons, un sujet qui, depuis la Renaissance, évoque l’inexorable passage du temps.

Dès les années 1980, David Hockney s’empare des nouveaux outils infographiques disponibles avec lesquels il conçoit un nouveau type d’images. Après les ordinateurs et les tablettes graphiques, viennent le smartphone puis l’I Pad qui lui permettent de réaliser des images graduellement plus sophistiquées qu’il fait circuler par le web dans ses cercles amicaux.

L'exposition est organisée en collaboration avec la Tate Britain (Londres), le Centre Pompidou (Paris) et le Metropolitan Museum of Art (New York).

Commissaire : Mnam/Cci, Didier Ottinger


https://www.centrepompidou.fr/cpv/resource/cR8ydbn/rKA9jL9

martes, 20 de junio de 2017

OTELLO, JAGO, IL CIOCCOLATTE E DESDEMONA

di Caterina.
Nuovo articolo su Amneris vagante

Nel 1880 Verdi, già stuzzicato da Giulio Ricordi e incuriosito dalla versificazione (il poema) di Othello alla quale Boito stava lavorando, aveva iniziato una corrispondenza con il pittore Domenico Morelli. In una delle lettere il compositore gli aveva chiesto di realizzare dei bozzetti raffiguranti alcune delle scene del dramma shakespeariano, manifestando uno spiccato interesse per il personaggio di Jago. Il progetto ancora in nuce era già stato definito da Verdi il cioccolatte, poichè nella bevanda a base di cacao e di latte egli trovava che fossero racchiusi i personaggi principali. Se Otello era il cacao, altrettanto lo era il malefico alfiere del Moro. "Questo Jago è Shakespeare, è l'umanità, cioè una parte dell'umanità, il brutto". Egli era il doppio di Otello, il nero del cioccolatte, la sua ombra. Il latte era invece Desdemona, delicata e candida come colomba.

Ci si arrovella sempre sui due protagonisti maschili, sullo stile vocale intimamente legato alla psicologia dell'uno e dell'altro, sull'impervia tessitura affidata al tenore e sulla natura manipolatrice incarnata dal baritono. Di Desdemona si dice frettolosamente che è la personificazione dell'amore incondizionato, vittima sacrificale e consenziente della collerica ingenuità di un marito sentimentalmente immaturo. Ma così facendo si sbarra la strada al naturale confronto tra la caratterizzazione fatta da Shakespeare e quella di Verdi-Boito.

L'ottica nella quale si muovono i tre personaggi principali dell'opera è infatti lo specchio della semplificazione ad uso e consumo del pubblico di fine Ottocento, operata da compositore e librettista fin dalla soppressione dell'atto veneziano. Il melodramma verdiano ci introduce infatti in medias res, di fatto privando la personalità di Desdemona di quella componente di rottura che nel dramma elisabettiano fa di lei un'icona dell'autodeterminazione. Shakespeare ci consegna una donna che rivendica il diritto di scegliere in totale autonomia l'uomo da amare e da sposare, così facendo ribellandosi alle rigide convenzioni sociali della società patriarcale veneziana.


 La sua purezza e castità non sono soltanto nei comportamenti esteriori, in realtà si concretano nell'atteggiamento mentale e nel suo volersi ritagliare un ruolo paritario nel confronto con gli uomini. Lei sceglie il Moro non solamente perchè soggiogata dai racconti delle sue valorose imprese, e nemmeno per sfuggire all'autorità paterna, lo sceglie consapevolmente perchè il suo è un amore completo che trova ristoro solo nelle gioie coniugali, frutto di una totale corrispondenza di sentimenti.

Una tale sconvolgente modernità sarebbe stata obiettivamente difficile da accettare in un Ottocento ancora profondamente segnato dall'interpretazione romantica di Othello secondo Coleridge e Schlegel. Allora via la descrizione del coraggio e della ribellione della nobile veneziana sui generis, a favore di un più rassicurante ritratto di angelo di totale innocenza, vulnerabile e generosa nella sua fedeltà di sposa innamorata.

Verdi e Boito ne fanno una creatura quasi celeste che nel quarto atto passa dal brivido premonitore della canzone del salice alla preghiera di fede dell'Ave Maria che dissolve la fosca e rabbiosa atmosfera dell'atto precedente. E' l'esaltazione dell'amore  più puro e innocente, la sua è una volontaria rinuncia alla vita, così che, prima di morire, prega pel peccatore, per l'innocente e pel debole oppresso e pel possente........per chi sotto l'oltraggio piega la fronte....

Verdi implacabilmente vuole che, alla morte di Desdemona, lo spettatore inorridisca davanti alla brutalità e all'ignoranza, per poi spingerlo a perdonare la cecità di Otello al disvelarsi dell'orribile complotto di Jago. Il Moro è lì, le sue fibre più intime esposte e date in pasto agli astanti che, in un attimo, passano dallo sdegno alla commozione per questa larva di nobile condottiero ridotto ad un piccolo uomo impotente. Nell'immediatezza musicale (sublimazione dell'arte verdiana qui più che mai) e nella semplificazione teatrale si compie la catarsi  di fronte all'universalità dell'uomo che soffre.

https://amnerisvagante.wordpress.com/2017/06/19/otello-jago-il-cioccolatte-e-desdemona/

ONE MAN BAND ‘GIGI BIOLCATI’

Per una personale forma di pensiero da cui deriva la mia etica comportamentale, non ho mai recensito opere e produzioni che in qualche modo mi vedessero coinvolto nell’organizzazione, ma i tempi cambiano ed anche il modo di vedere e valutare le situazioni cambiano; sta infatti succedendo e succederà che recensirò anche spettacoli che mi vedono in qualche modo coinvolto! Evviva la libertà di pensiero e di azione !

-  Riseria Molinaro Santhià 16 giugno 2017

Dopo anni di conclamato  successo della rassegna ‘Poetiche Armonie’, con artisti di fama internazionale nella Sala Macchine della Riseria Molinaro di Santhià, per la concomitanza di diversi fattori si erano dovute sospendere le serate, a malincuore e con la tristezza degli spettatori abituali. Quest’anno per volontà dei titolari Gabriella ed Enrico e dell’amministrazione comunale di Santhià, si è pensato di farle rivivere in una unica serata che si è rivelata eccezionale.

Quale format è stato mantenuto lo stesso che aveva dato luce alle iniziative e pertanto il consueto conduttore Renzo Bellardone, dopo i saluti istituzionali ha lasciato spazio all’arte ed al pittore Ennio Cobelli che ha presentato Ruggero Pezzaga affermato pittore ai bordi dell’iperrealismo con ‘l’anima’.
Il tema principale della recensione è quello musicale e si va quindi a raccontare di GIGI BIOLCATI che appunto One Man Band, con qualche elemento di batteria, qualche strano strumento dallo stesso artista costruito, con body percussions e vocalità inconsuete ha realizzato una serata eccezionale.
Le canzoni, in parte da lui stesso composte ed altre celebri in arrangiamento, sono state presentate ben oltre le convenzioni e le già ben alte attese sono state superate, portando il pubblico al delirio degli applausi con tanto di standing ovation finale.
‘Al santé’, ‘da spunda’, ‘la Monferrina’   sono alcuni dei titoli proposti e cantati con il coinvolgimento del pubblico a cantare insieme, a ritmare con le mani, insomma a vivere lo spettacolo.
Alla fine dell’esibizione i signori Molinaro hanno offerto al pubblico in sala una degustazione del loro riso bellavista (con la gramigna) al profumo di erbaluce.
Sarà stato l’entusisamo dei ritmi, saranno stati i profumi dell’erbaluce, ma la serata è stata un gran bel  successo.
La Musica vince sempre.


Renzo Bellardone

BRUSSELS SUMMER FESTIVAL


PRÉSENTATION
Le BSF est né en 2002 (sous le nom d’Eurit’mix) d’une volonté commune d’acteurs culturels, touristiques et institutionnels bruxellois de proposer un événement culturel majeur au coeur même de la capitale belge pendant la période estivale.

Grâce à la volonté des organisateurs de programmer des artistes de qualité, à un prix très démocratique et au programme des  « BSF EXTRAS », proposant une multitude d’activités annexes, le BSF est devenu l’événement musical urbain incontournable de notre capitale.

Plus de 120 000 festivaliers de tout âge en 2016 !

Le BSF propose une programmation diversifiée, aux styles variés: du rock au hip hop, en passant par le jazz, la pop ou encore la world music.


http://bsf.be/fr/festival/presentation

ANNA NETREBKO, PRIMA LA VITA. INTERVIEW WITH ANNA NETREBKO

 By Marion Mirande
The first time Anna Netrebko sang at the Opéra Bastille, in 2008, she embodied Bellini's Giulietta. Returning a few months later in L'Elisir d’amore, she confirmed her supremacy in the bel canto repertoire. Since then, her voice has evolved, allowing her to move towards more demanding roles, filled with dramatic expression. This season, she is Tatiana, the heroine of Tchaikovsky’s Eugene Onegin, alternating with Nicole Car. The Parisian public will see her again in February 2018 in Verdi’s La Traviata. >


https://www.operadeparis.fr/en/magazine/anna-netrebko-prima-la-vita


WHAT CARAVAGGIO’S LAST PAINTINGS REVEAL ABOUT HIS TUMULTUOUS FINAL DAYS

 BY ABIGAIL CAIN
No one is quite sure how Caravaggio died. Perhaps, as researchers suggested in 2010, it was lead poisoning from oil paint. Perhaps, as another scholar claimed in 2012, he was murdered by a vengeful contingent of the Knights of Malta. Or perhaps it was simply heat exhaustion that pushed the already-wounded artist over the edge.


What no one disputes is that, in the years leading up to his untimely death, Caravaggio’s work underwent a transformation. And according to Keith Christiansen, chairman of the European painting department at the Metropolitan Museum of Art, those changes distilled the painter’s genius even further.

Christiansen encouraged the Met’s 1997 purchase of The Denial of Saint Peter (1610), Caravaggio’s penultimate painting. “It was then my conviction, and has been increasingly so, that Caravaggio's most moving and profound works” were created during the artist’s final years in exile from Rome, Christiansen said, during a lecture at the Met earlier this month.

Caravaggio did not leave the city of his own accord. A brawler with a temper, he had been known to prowl the streets with a pack of painters and swordsmen, looking for trouble. But this mischief-making turned criminal on May 28, 1606, when Caravaggio killed a man named Ranuccio Tomassoni during a gang fight. The artist had always claimed friends in high places, but this time they couldn’t clear his name (at least, not right away). Rather than face capital punishment, he slipped away from Rome………


https://www.artsy.net/article/artsy-editorial-caravaggios-paintings-reveal-tumultuous-final-days

GIUGNO GIORNATA DELLA MUSICA A SORAGNA

Mercoledì 21 giugno alle ore 21.00 si svolgerà in tutta Italia la Giornata della Musica, promossa dal Ministero per i Beni e le attività Culturali e del Turismo con spettacoli e concerti per celebrare l'universalità del linguaggio musicale.

L'Ucei (Unione Comunità Ebraiche Italiane) ha scelto il Museo Ebraico “Fausto Levi” di Soragna,  come luogo deputato a rappresentare il mondo ebraico all'interno del programma nazionale dell'iniziativa.


Il maestro Riccardo Joshua Moretti presenterà il suo recital Moshè, dalla schiavitù alla libertà. E’ un testo in musica, quasi un monologo, che affronta una delle figure centrali dell’ebraismo, Moshè rabbenu-Mosè nostro maestro.

lunes, 19 de junio de 2017

THE BAALBECK INTERNATIONAL FESTIVAL IS THE OLDEST AND MOST PRESTIGIOUS CULTURAL EVENT IN THE MIDDLE EAST WITH A HISTORY THAT SPANS SIX DECADES.

The Festival was launched in 1956 when the President of the Lebanese Republic, Camille Chamoun, announced its creation. Initially the Festival was an official government institution managed by people on a mission to promote culture and tourism in Lebanon. They aspired to nurture an enticing artistic environment rooted in cross-cultural exchange. They also strove to establish a unique setting for innovative performances by local, regional and acclaimed international talents. Soon the Festival became an annual highlight on the calendar every summer, gaining an international reputation and attracting big names on the music, theatre and dance scenes.



Amidst the magnificent ruins of the temples of Bacchus and Jupiter, The Baalbeck International Festival has enchanted generations with world class plays, Lebanese nights, operas, music concerts (classical music, pop, jazz and more), and dance (modern, classical and folkloric). Over the years this incredible historical setting has witnessed world premieres and exceptional performances. The Festival has always been committed to its role as a patron of the arts and an example of this is the opening of a drama school in 1966 to promote Lebanese productions for the stage. Today The Baalbeck International Festival continues to showcase the arts, project a positive image of Lebanon to the world and work towards a better country through the power of culture and tourism.

In 2016, we celebrated 60 successful years of the Baalbek Festival thanks to the determination of our team, carried by the support of the friends of the Festival. We achieved a program that will be in the annals of the history of the Festival. The national and international press covered our cultural and touristic activities, praising the importance of cultural resistance and noting the effectiveness of security measures.

http://baalbeck.org.lb/history/

LE TROISIÈME HOMME PRÉHISTOIRE DE L’ALTAÏ. – GRAND PALAIS

Cette exposition est organisée par le musée national de
Préhistoire des Eyzies-de-Tayac et la Réunion des musées
nationaux – Grand Palais.


L’expansion de l’homme moderne en Europe occidentale, associée à l’apparition du Paléolithique supérieur, est marquée par le développement d’une culture matérielle caractéristique.
Elle se distingue progressivement de celle de la période précédente, le Paléolithique moyen, dont l’artisan était l’Homme de Néandertal. C’est notamment dans le domaine symbolique, à l’exclusion des pratiques funéraires,
que la différence est la plus remarquable. Les manifestations symboliques ne sont pas absentes des comportements des Néandertaliens, mais elles sont limitées et n’ont en rien la complexité et la diversité dont témoignent les vestiges rapportés au Paléolithique supérieur.


ALBERT RENGER-PATZSCH. LA PERSPECTIVA DE LAS COSAS Y RETRATOS. COLECCIONES FUNDACIÓN MAPFRE DE FOTOGRAFÍA

La perspectiva de las cosas propone un recorrido por la trayectoria artística de Albert Renger-Patzsch, uno de los principales representantes de la nueva objetividad alemana y reconocido como una de las figuras más representativas e influyentes de la historia de la fotografía del siglo XX.

La exposición Retratos. Colección Fundación MAPFRE de Fotografía presenta una selección de más de 100 fotografías pertenecientes a las colecciones artísticas de la Fundación. Destacan las obras de artistas como Walker Evans, Diane Arbus, Alberto García-Alix o Paul Strand.


EL BARÍTONO ITALIANO LUCA PISARONI CIERRA EN EL TEATRO DE LA ZARZUELA EL XXIII CICLO DE LIED

En su primera visita al ciclo de lied, el joven barítono italiano interpretará, acompañado por Maciej Pikulski al piano, canciones de Schubert, Beethoven y Mendelssohn
El ciclo es una coproducción entre el Centro Nacional de Difusión Musical y el Teatro

El XXIII Ciclo de Lied recibirá por primera vez al polivalente barítono italiano Luca Pisaroni acompañado por el pianista Maciej Pikulski. En esta última cita de la temporada, que será el próximo martes  20 de junio en el Teatro de La Zarzuela (20h00), Pisaroni interpretará obras de Schubert (una selección de su último ciclo de canciones Schwanengesang entre ellas), Beethoven (con la bellísima Adelaide en primer termino) y Mendelssohn

Luca Pisaroni se ha posicionado como uno de los bajo barítono más carismáticos y versátiles de hoy en día. Desde su debut a los 26 años con la Filarmónica de Viena en el Festival de Salzburgo y Nikolaus Harnoncourt, ha recorrido los grandes teatros de ópera, auditorios y festivales. Sus papeles operísticos incluyen Enrico VIII en Anna Bolena en la Opernhaus de Zúrich y en la Staatsoper de Viena, Alidoro en La Cenerentola y Caliban en The Enchanted Island en el Met, Le nozze di Figaro en las óperas de París, San Francisco, Viena y Baviera, Leporello en Don Giovanni en Glyndebourne, el Metropolitan de Nueva York, el Festival de Salzburgo y Tanglewood con la Boston Symphony y James Levine, Guglielmo en Così fan tutte en Glyndebourne y Salzburgo, Conte Dorval en Il Burbero di buon cuore de Martín y Soler en el Teatro Real, Enrico en L’Isola Disabitata de Haydn en el Musikverein de Vienna y Tiridate en Radamisto en la Ópera de Santa Fe. También interpretó el papel de Argante en Rinaldo en la Lyric Opera de Chicago, el papel principal de Ercole Amante de Cavalli con De Nederlandse Opera, Aeneas en Dido and Aeneas en la Wiener Festwochen y Don Fernando en Fidelio de Beethoven con la San Francisco Symphony.

domingo, 18 de junio de 2017

ATHENS AND EPIDAURUS FESTIVAL 2017

The Athens and Epidaurus Festival is the city’s annual arts festival and a highlight of the Greek summer calendar. With a legacy that spans more than sixty years, today it incorporates a full programme of music, theatre, dance and visual arts that takes place at various venues around the city, including the former industrial buildings at Piraeus 260, the Ancient Agora of Athens and the Onassis Cultural Centre. Performances at the two ancient amphitheatres of Odeon Herodes Atticus and the Theatre of Epidaurus are highlights of the festival. Both theatres are famous for their exemplary acoustics and many of the great works of classical playwrights such as Sophocles who premiered at the Epidaurus theatre in ancient times.


A theatre performance at the Odeon of Herodes Atticus Photograph: Stefanos, courtesy of Athens and Epidaurus Festival

The festival will once again present a diverse programme that has been described as youthful, alternative and political. There is a nod to the city’s cultural heritage with a full schedule of ancient Greek drama, comedy and tragedies showing at Epidaurus theatre throughout July and August. The performances showing at the Odeon of Herodes Atticus in Athens and Epidaurus (a two hour drive from the city) are listed below.


https://whyathens.com/events/athens-epidaurus-festival/

MADAMA BUTTERFLY Y LA ATRACCIÓN POR JAPÓN. MADRID, 1868-1915

El 20 de noviembre de 1907 se presentó en el Teatro Real de Madrid la ópera Madama Butterfly, de Giacomo Puccini. Ahora, cuando se cumplen ciento diez años de la representación, y coincidiendo con una nueva programación de la ópera en el Teatro Real, el Museo Thyssen-Bornemisza presenta el 22 de junio una pequeña exposición para situar aquel estreno en el contexto de la moda japonista que recorrió gran parte de Occidente en el último tercio del siglo XIX, y de la que Madrid también fue partícipe.







La muestra cuenta con el mecenazgo de JTI. Madama Butterfly y la atracción por Japón. Madrid, 1868-1915 se propone acercar la ópera de Puccini al público, a través de medio centenar de pinturas, carteles, estampas, porcelanas, fotografías, complementos de moda y libretos teatrales procedentes del Museo Nacional de Artes Decorativas, el Museo ABC, el Museo de las Artes Escénicas del Institut del Teatre y el Centro de Documentación y Archivo de la SGAE, entre otros museos y colecciones. 

LUNES 19: RUEDA DE PRENSA DE LA EXPOSICIÓN EL RENACIMIENTO EN VENECIA. TRIUNFO DE LA BELLEZA Y DESTRUCCIÓN DE LA PINTURA


CON LA PRESENCIA DEL COMISARIO CHECA, MAR BOHORIA, DEL ÁREA DE PINTURA ANTIGUA DEL MUSEO Y GUILLERMO SOLANA, DIRECTOR DE LA INSTITUCIÓN, SE HA PRESENTADO A LOS MEDIOS ESTA MAÑANA, LA PRIMERA MUESTRA DEL VERANO MADRILEÑO EN EL MUSEO THYSSEN- BORNEMISZA.
COMO COMENTÓ EL PROFESOR SOLANA, "SIEMPRE ME HE BATIDO PARA QUE SIGA HABIENDO EXPOSICIONES EN VERANO, PORQUE YA NO ES COMO ANTES, YA NO HAY RECESOS ESTIVALES TAN PROLONGADOS... "

El Museo Thyssen-Bornemisza presenta El Renacimiento en Venecia. Triunfo de la belleza y destrucción de la pintura, una exposición dedicada al arte veneciano del siglo XVI, su primer gran periodo de esplendor, con casi un centenar de obras de artistas como Tiziano, Tintoretto, Veronés, Jacopo Bassano, Giorgione o Lotto. Desde el uso del claroscuro y el color como fundamentos de la representación de la figura y del espacio, hasta una atención a la naturaleza más directa que la que proponía la tradición clásica, de concepción más idealista, la muestra pretende demostrar cómo los medios específicos de la pintura veneciana plantearon una idea de belleza plenamente renacentista al mismo nivel, y a veces incluso superior, a lo que se hacía en Roma, Parma o Florencia.

INTERVIEW WITH SIMONETTA AGNELLO HORNBY, AUTHOR OF “LA MONACA”

Andrew Edwards
Simonetta Agnello Hornby was born in Palermo and has spent most of her working life in London where she works as a lawyer. Her first novel, La mennulara (The Almond Picker) was greatly acclaimed and has been translated into many languages. It was awarded the Forte Village Literary Prize, the Stresa Prize for Fiction and the Alassio Prize. She has had continued success with other novels including her most recent work to be translated into English, La monaca (The Nun).
  What brought you to London and drove you to specialise in your particular field of law?
I fell in love with an Englishman whom I met in Cambridge when I was learning English as a foreign language at 17 and then married him. I lived in America, in Zambia, in Oxford and then in London in 1972. I obtained a doctorate in jurisprudence in Sicily and when I returned to England I had already worked in lawyers’ offices in Zambia. I had to train to become an English solicitor and I did so while I was having my children. I worked in the City which I loved greatly, but the pressures in those days on married women with children were huge and in order to have success I would have had to put the children in boarding school and I didn’t want to do this. So, I looked for a job locally. There was one in Brixton, the London Borough of Lambeth, as a Child Care Solicitor. I worked for them for two years. I then set up my own business as Hornby and Levy, with a partner who is now Judge Marcia Levy.
Given your other commitments, why did you feel compelled to put pen to paper?
I’m very happy to be a lawyer. Of my two jobs, the one of a lawyer is more enjoyable to be honest, and more useful than being a writer. There are lots of good writers around and if I disappeared my readers would be sad for a while, but would comfort themselves extremely well. I set up my law firm and then carried it on alone, because Marcia, my partner, went abroad and then went on to become a judge. We created a school of lawyers who applied the ethos of the City to working in legal aid for the poor. I think that was worthwhile and has left a legacy of excellent lawyers all over England who were trained by us.
When did you start writing?
I started writing by chance. I never wanted to be a writer; it just came to me at an airport on the 2nd September 2000 in the form of a vision. I saw a film in my head and tried to write it. I write like a lawyer.
So you write visually?
I write visually, although lawyers are not visual. I write like a lawyer in the sense that I never give a judgement to the reader, it’s the reader who has to decide whether the character is good or bad. I try to be short and to the point, avoiding repetitions, just as I write my legal documents. The difference between the two jobs is that as a writer I can invent everything, as a lawyer I can’t do that.
Your work is chiefly in the United Kingdom?
I’m an English solicitor, and all my clients are in Britain. I’m not an Italian avvocato. I’ve been lecturing for many many years and I lecture everywhere in the world. Next year, as I’ll be 67, it will be the right time for me to leave the law, sadly: otherwise I’ll become a bad lawyer and won’t realise it. I’ll then take a course in mediation. I don’t know if I am suitable for this new career or if I will want to work as such. But I would not like to leave the law permanently yet and mediation may be useful. However, I shall leave the courtroom.



Monte Pellegrino

With your life in the UK, what do you miss about Sicily?
It’s very difficult to say what I miss. Monte Pellegrino, which for me, is the centre of the world. When I went to Australia and I saw the holy mountain of the aboriginals I thought “I understand them” because mine is Monte Pellegrino. I also miss people, places, the food. But, as for people, I can talk to and see them on Skype, and I can cook Sicilian food in London. The sun and the beauty of Sicily are great, but so is the beauty of London. Monte Pellegrino is my real point, I need to go back to Palermo to see it.
 Your first book, La mennulara (The Almond Picker) is set in the fictional town of Roccacolomba. Where in Sicily did you locate it?
Roccacolomba in the book is in the Madonie, the mountains in Palermo Province. It’s an imaginary place, a rocky little town in the mountains. The characters came to me at the airport, as did the whole book. The setting could have been anywhere on the island, but the culture of almonds is widespread in the south of Sicily, and not in the north. I spend my summer holidays near Agrigento, so my countryside is that countryside.
How do you go about researching your books?
As I do as a lawyer, I read, I compare, I go and see, I speak.
So there’s much work involved?
A lot of work, but it’s very enjoyable. Possibly one of the best things about writing is the research.
In a way like legal research – finding your goals and aims?
Yes and no. It’s like the law in so far as you have to research, but in the law I never do research for my own goals or aims, but for the client’s own aims and goals. I don’t ‘create’ or find them in the law, only when I write. The law is very limited and limiting.
Working withing the strictures of the law?
No restrictions, but instructions.
Sicily seems to invite the historical novel. Some of your books, like The Nun, have historical themes. Was this a conscious decision or simply the appropriate setting for each story?
La zia marchesa (The Marchesa) and La monaca (The Nun) are both set in the nineteenth century. The Marchesa is the story of a great great aunt of mine who had been maligned by the family and died without children. She left her considerable wealth to my grandfather and his brothers, not the sisters. The family and her husband treated her badly so I wanted to put right the wrong done to her by them and by Pirandello who wrote Tutt’ e tre about her. It was a nasty novel, unworthy of such a great writer. So I wanted to put something right. Also, because of the period I had the opportunity of explaining the origin of the Mafia. That’s important because many Sicilians don’t know it, my mother didn’t know it. And if you think you don’t know the origins of something you imagine that it can never change. In fact we can change if the state wants and if we want. La monaca is historical too. But I really wanted to write a story about two characters: an Islamic girl obliged to marry today and a nun who was obliged not to marry two centuries ago. The nun was so powerful that she kicked out the Islamic character.
She took over the story?
That’s right.
You have a foot in two cultures, both with island mentalities. What are the differences and similarities between Sicily and England?
They are incredibly similar. The island mentality is interesting; the British are terrified of being invaded and haven’t been for more than a thousand years now. We are terrified of being invaded and still are. It’s a sad story. The British are incredibly conceited and so are the Sicilians. I think it comes from being an island. We’ve a very strong sense of the clan, with a powerful male figure. Most of the aristocracy in Britain survives on the male tail and we have the same. We have the influence of the Normans which is enormous in Britain and lasting in Sicily. The concept of family is very similar. My husband was better than papà, to be honest, and modern, but his concept of the family was very much like my father’s – the male provider, the mother looks after the children. We differ: the Sicilians have sarcasm, the English have humour. That’s very important.
 Can you explain that?
Sarcasm is when you laugh at others and humour is when you laugh at yourself. Also, the British have got more method and, therefore, they get the NOBEL prizes. We Sicilians have a very intuitive intelligence which sparks but then stops when we question why we should do that. The British have developed a sense of community and working together, I think because of the weather. When the weather is bad you have to join together or you don’t survive. We Sicilians have been blessed and cursed with such wonderful weather that we don’t need to do much to survive. People and families can live on their own. We really have no tradition of working together, of setting up cooperatives, having share companies, of business enterprises that are not family run. Fights over inheritance in Sicily rank above most others. It’s one of our immense downfalls in business.
Commentators have mentioned the concept of Sicilies, in plural, rather than Sicily? What do you think?
No, I don’t believe in Sicilies. I don’t understand and am happy not to understand “Sicilianitudine” or other such words. What I’ve said is that the Mafia is in western Sicily and that eastern Sicily was without the Mafia, but I really don’t divide Sicily in two because it isn’t this way. Others may divide it into all the villages which couldn’t be reached from other parts until recently, but, although the Siculi were the original inhabitants of Sicily (in eastern Sicily). I do think there is a tremendous similarity between all Sicilians, everywhere; you can begin with the food which is very similar, or the language. I can understand the Sicilian from anywhere.
That’s interesting; I was going to ask you about the role of place and dialect in your work. As a translator I think there must be an art to capturing these nuances in any translation. How do you see the work of a translator?
Let me say from the very beginning that I consider the profession of translation as one that is maligned and not given the consideration that it deserves. It’s an incredibly difficult job. We owe, I owe to translators my knowledge of ancient Greek literature, of poems, of books from all over the world. A bad translation can kill a book, a good translation can actually make it better than the original. This is the work of the translator. My book is my book: if somebody makes a film of it, it’s his film, if he makes a play, it’s his play and if he makes a translation, it’s his translation. I think the translator must be free to do what he wants, that’s important. He can ask questions to the author and the author has got to reply, but it’s not his job to check the translation. It’s not for me to say if it is a good translation, but for the publisher who appoints the translator, whether or not in consultation with the author or his agent. I find it very difficult to read myself in English because both my translators, I’ve had two, use words I don’t understand, they give a style that isn’t mine, I think, but it’s their book.
Have you written in English yourself?
I wrote a book in English that has never been published in English. I rewrote it , I didn’t translate the book; I verbally read it aloud and put it into Italian. What was extraordinary was that when I was reading, when I was talking, I was saying different things from the written word. I would shorten dialogue or change it. I would also change descriptions. There was a description of St James Park, which in English was full of clouds, but in Italian I only wrote of the luminosity, the clouds didn’t fit. So you have to give freedom to the translator, but within limits, obviously.

 Finally, you mentioned that Sicily can change. Do you think the recent election (2012) to the Sicilian Regional Assembly signals the path towards a significant shift?
I really can’t talk about politics in detail. I know a little bit about the leaders. My personal view is that change must be fundamental, sustainable and sustained by everybody, but we are very far from that. Corruption, which is endemic in Italy, thrives in Sicily thanks to the Mafia and the will of the government of Italy and the Region to let things go. We’ve got a former president in prison, as you know, for Mafia related crimes. This fact is quite an extraordinary indictment of politicians. It takes a lot to change, but we can. I think we have to work from the bottom up and have a huge common will. At the moment we are struggling to survive.

http://www.timesofsicily.com/interview-with-simonetta-agnello-hornby-author-of-la-monaca/