viernes, 30 de septiembre de 2022

INTERNATIONAL: LULA RÉÉLU AVEC LE 51% AU SECOND TOUR. DUETS “INSIEME” WITH JONAS KAUFMANN & LUDOVIC TÉZIER.

INTERNATIONAL: LULA RÉÉLU AU SECOND Tour de l'élection présidentielle au Brésil, 


 

DUETS


Kaufmann & Ludovic Tézier release their first duet album “Insieme” (Together) with well known opera duets by Verdi, Puccini and Ponchielli.

Order the album here https://KaufmannTezier.lnk.to/InsiemeAY

Subscribe to Jonas Kaufmann’s Youtube channel here https://www.youtube.com/channel/UCvCc...


On stage they’re usually rivals, but in real life Jonas Kaufmann and Ludovic Tézier share a close friendship. After many live performances together these two extraordinary artists have recorded their first duet album: “Insieme”, meaning “together” in Italian, to be released October 7 on Sony Classical. 

Accompanied by the Orchestra dell’Accademia Nazionale di Santa Cecilia under Antonio Pappano, they present duets they’ve sung together on stage, plus works specially chosen for the album.


ET AUSSI


La Nuit Blanche à Paris fête ses 20 ans
TENDANCES

Techno Parade © Max Pillet

Samedi soir, de 19h à 5h du matin, la manifestation propose aux visiteurs de déambuler et d'admirer les installations, les performances et les œuvres d'artistes contemporains.

Infos pratiques et sélection d'événements •••


REVIEW: JOHN ADAM'S MOSTLY MARVELOUS COLLECTED WORKS. PUCCINI, HIS LIFE AND WORKS, JULIAN BUDDEN

This 40-disc set offers powerful evidence that John Adams is one of the greatest composers of the last half-century. His work reveals a steady evolution from minimalist roots to a sophisticated and personal musical idiom both flexible and expressively wide-ranging. 

Sure, he has had his lapses, but these are few and far between. In most other respects, Adams has proven himself a master.


AND


Puccini: His Life and Works (Master Musicians Series) Tapa blanda – 22 Septiembre 2005



Julian Budden, one of the world's foremost scholars of Italian opera and author of a monumental three-volume study of Verdi's works, now offers music lovers a major new biography of one of the giants of Italian opera, Giacomo Puccini.

Blending astute musical analysis with a colorful account of Puccini's life, here is an illuminating look at some of the most popular operas in the repertoire, including Manon Lescaut, La Boheme, Tosca, Madama Butterfly, and Turandot
Budden provides an illuminating look at the process of putting an opera together, the cut-and-slash of nineteenth-century Italian opera--the struggle to find the right performers for the debut of La Boheme, Puccini's anxiety about completing Turandot (he in fact died of cancer before he did so), his animosity toward his rival Leoncavallo (whom he called Leonasino or "lion-ass"). 
Budden provides an informative analysis of the operas themselves, examining the music act by act. 
He highlights, among other things, the influence of Wagner on Puccini--alone among his Italian contemporaries, Puccini followed Wagner's example in bringing the motif into the forefront of his narrative, sometimes voicing the singer's unexpressed thoughts, sometimes sending out a
signal to the audience of which the character is unaware. 
And Budden also paints an intriguing portrait of Puccini the man--talented but modest, a man who had friends from every walk of life: shopkeepers, priests, wealthy landowners, fellow artists. 
Affable, well mannered, gifted with a broad sense of fun, he rarely failed to charm all who met him.
A new volume in the esteemed Master Musicians series, 
Puccini offers a masterful portrait of this beloved Italian composer.


“I PITTORI DI POMPEI” AL MUSEO CIVICO ARCHEOLOGICO DI BOLOGNA. ET À PARIS, L´EXPOSITION-ÉVÉNEMENT FRED JOAILLIER


Figura femminile Pompei, VI, 9, 2-13, Casa di Meleagro, tablino (8), parete est, registro superiore stucco - affresco, 178 x 188 MANN, inv. 9595 I secolo d.C. - IV stile

BOLOGNA – Dalla collaborazione tra Comune di Bologna | Museo Civico Archeologico e Museo Archeologico Nazionale di Napoli nasce il progetto espositivo I Pittori di Pompei, a cura di Mario Grimaldi.

Al Museo Civico Archeologico di Bologna, dal 23 settembre fino al 19 marzo 2023, viene esposto un corpus di straordinari esempi di pittura romana provenienti da quelle domus celebri proprio per la bellezza delle loro decorazioni parietali, dalle quali  spesso assumono anche il nome con cui sono conosciute. Capolavori – solo per citarne alcuni – dalle domus del Poeta Tragico, dell’Amore punito, e dalle Ville di Fannio Sinistore a Boscoreale, e dei Papiri a Ercolano.

Filosofo con Macedonia e Persia Boscoreale, Villa di Fannio Sinistore, oecus (H), parete ovest affresco, cm 240 x 345 MANN, Inv. s.n. inv. 906 1 secolo a.C. – II stile

L’esposizione ruota attorno alle figure dei pictores, ovvero gli artisti e gli artigiani che realizzarono gli apparati decorativi nelle case di Pompei, Ercolano e dell’area vesuviana. Lo scopo del progetto è quindi contestualizzarne il ruolo e la condizione economica nella società del tempo, oltre a mettere in luce le tecniche, gli strumenti, i colori e i modelli.

Come spiega Grimaldi:  “L’esperienza che si propone con questa mostra è quella di rileggere alcuni grandi esempi decorativi facenti parte della Collezione degli Affreschi del Museo Archeologico Nazionale di Napoli provenienti da quelle città che, seppellite dalla grande eruzione del Vesuvio nel 79 d.C., ci offrono ancora oggi la possibilità di indagare e far parte di quell’inganno splendido attraverso la personalità dei pictores che operarono in modo anonimo in quelle case“.

In mostra è possibile ammirare un’ampia selezione degli schemi compositivi più in voga nei diversi periodi dell’arte romana, osservando come alcuni artisti sapessero conferire una visione originale di modelli decorativi continuamente variati e aggiornati sulla base di mode e stili locali.

L’esposizione propone inoltre la  ricostruzione di interi ambienti pompeiani come quelli della Casa di Giasone e, ancora di più della straordinaria domus di Meleagro con i suoi grandi affreschi con rilievi a stucco, per raccontare il rapporto tra spazio e decorazione, frutto della condivisione di scelte, e di messaggi da trasmettere, tra i pictores e i loro committenti.

Se nel mondo della Grecia classica i pittori erano considerati “proprietà dell’universo” – come ricorda Plinio il Vecchio a sottolinearne l’importanza ed il ruolo – al tempo dei romani, i pictores erano visti come abili artigiani, e solo alcuni di loro conquistarono, per la qualità e la raffinatezza delle loro creazioni, il ruolo di artisti.

Parete in IV stile con Nature Morte (xenia) Pompei, Praedia di Iulia Felix, Reg. II, 4, 3, tablino (92), parete sud affresco, cm 298 x 447 MANN, Inv. 8598 I secolo d.C.

E la loro arte, da mestiere riservato alle classi sociali marginali – schiavi, liberti – diventa arte che qualifica chi la pratica.

L’esposizione è accompagnata da un ampio e ricco programma didattico rivolto, non solo alle scuole di ogni ordine e grado, ma anche alle famiglie e al pubblico adulto.

https://artemagazine.it/2022/09/23/anticipazioni-i-pittori-di-pompei-al-museo-civico-archeologico-di-bologna/


ET AUSSI, À PARIS...

DÉCOUVREZ LES IMAGES DE L'EXPOSITION-ÉVÉNEMENT FRED JOAILLIER

La Maison FRED Joaillerie illumine le Palais de Tokyo avec la présentation exceptionnelle de 450 bijoux étincelants à découvrir gratuitement. Du célébrissime collier de diamants et de rubis du film culte Pretty Woman aux boucles d'oreilles portées par Marlene Dietrich, vous allez briller de mille feux. > Un bon plan étincelant !


EXPOSICIÓN TESLA. CAIXAFORUM MADRID. DESDE EL 29/9/2022, AND, THE SEDUCTIVE MUSIC OF JAMES JOYCE’S ULYSSES




Exposición
Nikola Tesla: el genio de la electricidad moderna

Inauguramos la exposición “Nikola Tesla”, un recorrido por la vida y obra de este visionario ingeniero que cambió la historia de la ciencia y en el que podrás profundizar con nuestras visitas comentadas y actividades.
A partir del 29 de septiembre
CaixaForum Madrid


Ultimately the legacy of the classic modernist novel may reside in how attentively and scrupulously it concentrates on the music of tentative, shambolic, open-ended urban lives.

by Tim Keane


James Joyce in Zurich, 1915 (image courtesy the UB James Joyce Collection of the Poetry Collection, University Libraries, University at Buffalo, The State University of New York) Avatar photo

In 1919, an excerpt from James Joyce’s novel Ulysses (1922) was being prepped for magazine publication. Confused by the unorthodox syntax, diction, and punctuation, the editor sought clarification from the author, who unhelpfully compared its layout to that of a late medieval contrapuntal song — adding that his fiction articulates “the seductions of music beyond which Ulysses travels.” That fugue-like musical prototype — which arguably spans the entirety of the novel’s 700-plus pages — remains its most underestimated subversion, underpinning a radicalism that extends into the novel’s fearless exploration of taboos around class, politics, money, sexuality, marriage, gender, colonialism, religion, ethnicity, and even language itself.

Born in 1882, Joyce, an avid reader and polyglot, was drawn to melancholic tales derived from the oral tradition, and to modern writers who trafficked in symphonic realism, like Henrik Ibsen and Leo Tolstoy. As novelist Colm Tóibín writes in One Hundred Years of James Joyce’s Ulysses (Pennsylvania State University Press/The Morgan Library & Museum, 2022), public life in Dublin during Joyce’s youth was saturated with musical and vocal performances; this often filled a vacuum for a citizenry whose civic engagement was disallowed by their status as colonized British subjects.

Joyce observed this link between music and yearning at home, too. His father, a gifted tenor, gradually failed at business, and after completing undergraduate work in languages at University College Dublin, Joyce looked beyond Ireland. He abandoned medical studies in Paris to write fiction and, newly married, resettled in Trieste, Italy, in 1905. There, he began writing Ulysses while teaching Berlitz-method language courses and taking singing lessons at the Adriatic city’s Conservatorio Tartini. He also attended musical performances featuring the work of Europe’s leading composers: Wagner and Strauss, Verdi and Puccini, Donizetti and Mascagni.

Plotted on a single day in Dublin — June 16, 1904 — Ulysses draws on topographical rhythms from The Odyssey, that ancient sonorous epic about exile and waywardness attributed to Homer, which existed for centuries solely as a verbal-musical recitation by Greek poets. Though the pages of Ulysses teem with countless historical bits of trivia and philological lacunae that have fueled scholarly labor for generations, in its overall, unifying drive it breaks with Edwardian realism’s linearity to render what poet Seamus Heaney calls, in another context, “the music of what happens”: the cacophonous drama in a city’s public spaces, the furtive chamber music unfolding behind closed doors, and the many aria-like inner languages that play to an audience of one in the secret auditoriums of individual psyches — especially those of Joyce’s protagonists: Stephen Dedalus, Leopold Bloom, and Bloom’s wife, Molly.

This year Ulysses’s centenary has generated important cultural events for new and previous readers alike, including three newly published editions of Ulysses. The Cambridge Centenary Ulysses: The 1922 Text with Essays and Notes (Cambridge University Press) is a mammoth but tidy volume that contains Joyce’s schemata, a biographical context, timelines, city maps, and a 16-page index of recurring characters, supplementing a full facsimile reprint of the novel’s first edition. And from Johns Hopkins University Press is The Guide to James Joyce’s ‘Ulysses’ by Patrick Hastings, the creator of UlyssesGuide.com.

Dispensing with secondary text, Ulysses: An Illustrated Edition (Other Press) resets the 1922 edition into new, large, and elegant typeface and intersperses 134 color illustrations and 200 black and white artworks — vibrant collages, drawings, photomontages, and watercolors — depicting the novel’s dramatic scenes, its characters, and the innumerable everyday objects that appear in its pages, created by the late Spanish painter and graphic artist, and self-professed Joyce fanatic, Eduardo Arroyo.

On the curatorial side, One Hundred Years of James Joyce’s Ulysses at The Morgan Library & Museum, curated by Colm Tóibín, is an immersive look into the novel’s tortuous route into mainstream culture. The exhibition’s rare Ulysses-related artwork — photographic portraits and paintings of Joyce, as well as his family and supportive friends — punctuate the display of manuscripts, letters, galleys, and legal filings, building its case that Ulysses’s ultimate achievements resulted from an international avant-garde collaboration led by intrepid individuals (nearly all women) who believed in the novel’s greatness when almost no one in the world did.

When American editor Margaret Anderson, with encouragement from her partner Jane Heap, began serializing Ulysses in 1919 in The Little Review, American postal authorities seized and burned issues of the magazine on the grounds of purported subversive content. Unintimidated, Anderson continued to serialize it until her press was slapped with a charge of pornography by New York State, a case she pressed and lost in 1921.

At that time, American and British book publishers balked at even considering the novel, so Joyce’s friend, the Paris-based American expatriate Sylvia Beach, bankrolled its first limited edition publication in February of 1922 while, across the channel, Harriet Shaw Weaver soon followed suit through her Egoist Press.

For more than a decade, Ulysses circulated only illicitly in the UK and US through second-rate pirated editions until, in 1932, Random House publisher Bennett Cerf deliberately broke the law by mail ordering an original edition from France. This led to the book’s seizure by customs officials and triggered a test case against its ongoing censorship (USA vs. One Book Called Ulysses); Cerf prevailed following a landmark ruling for free expression in 1934. Ulysses was commercially published and, stoked by cutting-edge publicity campaigns around its recent censorship, became an unlikely best seller. For the first time in his life, Joyce, forever borrowing from others, earned a substantial income.

The rest, the Morgan exhibition suggests, is history. But that history isn’t over. Nor did it end, as the show implies, around the 1950s. The Morgan sidesteps relevant questions that loom large regarding the novel’s impact across this last half century. For instance, how has Ulysses’s formal experimentation altered the conventions and expectations for novel-writing around the world?

Burning political questions are left unaddressed, too, that flow from the legal battles waged for Ulysses. With government-led book bans recurring in US schools and libraries, and following the attack on novelist Salman Rushdie, the exhibition missed an opportunity to examine how creative writers and book publishers in the last half century have either followed in Joyce’s audacious footsteps by bringing forth challenging stories or how fiction has retreated from cultural boat-rocking through tacit self-censorship, or, perhaps, through the homogenizing and repressive effects of today’s corporatist book-publishing industry. 

Ultimately the legacy of Ulysses may reside in how attentively and scrupulously it concentrates on the music of tentative, shambolic, open-ended urban lives. In the right hands, those qualities take on operatic magnitudes, even in comic, droll, and pedestrian settings, like the novel’s infamous “Nausicca” passage, a prime focus in its bygone court battles, built around a prolonged erogenous duet internally vocalized by two strangers on a beach. As the liturgical organ music and responsorial chants from a nearby mass fill the air and fireworks screech and explode overhead, Gerty McDowell notices Leopold Bloom staring at her lasciviously as she extends her legs and arches, congenially revealing herself to her admirer’s gaze as he clandestinely pleasures himself.


As it does throughout Ulysses, Joyce’s narrative weaves together radically distinct characters’ overlapping consciousnesses within this perverse moment, writing like a conductor presiding over woodwind and string, and producing a peculiar, reciprocally empathic and forlorn melody:

[…] she wasn’t ashamed and he wasn’t either to look in that immodest way like that because he couldn’t resist the sight of the wondrous revealment half offered like those skirtdancers behaving so immodest before gentlemen looking and he kept on looking, looking. She would fain have cried to him chokingly, held out her snowy slender arms to him to come, to feel his lips laid on her white brow, the cry of a young girl’s love, a little strangled cry, wrung from her, that cry that has rung through the ages […].

One Hundred Years of James Joyce’s Ulysses continues at The Morgan Library & Museum (225 Madison Avenue, Murray Hill, Manhattan) through October 2. The exhibition was curated by Colm Tóibín.

https://hyperallergic.com/764643/the-seductive-music-of-james-joyces-ulysses/

jueves, 29 de septiembre de 2022

DANZAS HINDÚES DE KERALA.TEATROS DEL CANAL, EN LOS 75 AÑOS DE LA INDEPENDENCIA DE LA INDIA

Teatros del Canal. Sala Verde. Estreno en España

País: India
INDIA@75 FESTIVAL. Danza mohiniyattam y arte marcial kalaripayattu

JAYAPRABHA MENON & COMPANY. Shakthi

Nari: Jayaprabha Menon (mohiniyattam)
Veera: Akshay Shekharan (kalaripayattu). 

Bailarinas mohiniyattam: Radhika Menon, Ananya Nair, Punya Nair, Nimisha Raj, Ranjitha Rajesh, Ramita Rajesh, Aparna Sajeev, Rohini Satheesh, Shruthi Krishnan, Nivedita C.

Artistas kalaripayattu: Sajith, Akshay, Nishin

Técnico de luces: Atul Mishra

Patrocina: Consejo Indio para las Relaciones Culturales (ICCR), la Embajada de la India y la Casa de la India.

28 de septiembre, de 2022

 

“Voglio vederti danzare come i dervishes turners che girano sulle spine dorsali o al suono di cavigliere del Kathakali...” Franco Battiato

La India, una vez degustada, se echa de menos: Ravi Shankar, su hija y la literatura colonial del Raj, (“El cuarteto” justamente, Rudyar Kipling,), y las versiones culturales, sociales y políticas del propio país, que se desconoce, se frecuenta alguna vez en la vida en el mejor de los casos desde Europa, y se paladea solo de fuera: los aromas intensos, los rituales, las castas, las diferentes religiones, las lenguas, por docenas, las costumbres, las vestimentas, las comidas. Ahora el espectáculo Shakthi, una celebración de heroínas hindúes poco conocidas, (aunque hay también dos hombres, unos guerreros) exalta las hazañas de valor, resistencia y fuerza interior mostradas por mujeres de Kerala y otras partes del país, nos devuelve la esencia de este lugar al sur del subcontinente.

Jayaprabha Menon y su compañía ofrecieron una mezcla entre el baile mohiniyattam (que ejecutaron seis participantes) y el arte marcial kalaripayattu (interpretado por dos artistas) en una historia que cuenta Shakthi: la de una Nari (una hermosa doncella), que representa el lasya o gracia femenina del mohiniyattam, y un Veera (guerrero), que se plasma en la masculinidad del kalaripayattu.

En Occidente conseguimos entrever apenas las tradiciones de la región norte de la India, islamizante, poblada y colonizada por los mongoles, el Rajasthán, con sus palacios, sus templos y el Taj Mahal, hollado cada día, para turistas, a veces para viajeros. Pero el sur nos resulta más indescifrable aún, ese archipiélago que algunos consideran el corazón hindú más genuino y fundacional. En la India, nada es lo que parece. No es un caos ni un desorden, como perciben algunos extranjeros. Es un universo diferente.

 El mohiniyattam, literalmente traducido como danza de la hechicera, conmemora la venida del dios Visnu en la forma de Mohini, una hermosa y seductora mujer cuyo cometido radicaba en cautivar a los Asuras (demonios). El tema principal de esta danza es el amor y la devoción al dios, intentando hacer prevalecer el bien sobre el mal.

Respecto al kalaripayattu, está considerado una de las artes marciales más antiguas del mundo y está centrado no solo en cultivar la resistencia y fuerza física, sino también en acrecentar el bienestar mental y la energía para optar por un estilo de vida pacífico y tranquilo.

Aunque la verdad que la vivencia es muy distinta: hay marcialidad y espíritu guerrero, lucha, ataque y defensa y una masculinidad que carece de modestia para distraer e impresionar al oponente.

En estos bailes, que encantaron en general a un público muy interesado y en conexión con lo que estaba viendo, los cantantes narran leyendas hindúes con ecos tal vez provenientes del Mahabharata, del Ramayana y del Bagavata Purana, que los bailarines/actores personifican en escena mediante un complejo lenguaje de nrta (pasos de danza), mudras (gestos de las manos) (es también el nombre de un grupo de danza que fundó Maurice Béjart, el mítico coreógrafo francés) y navarasya (expresiones del rostro). 

En los Teatros del Canal resonaron flautas de pico, cascos y relinchos de caballos, algún gong y crótalos, y tambores parecidos a los derbukas árabes y además, voces humanas a capella y por momentos, un ambiente sonoro semejante al que recrea la música electrónica occidental.

Movimientos de ojos, dedos, manos, pies descalzos sensibles y ágiles, se trata de unas danzas que exigen la dedicación de una vida, y tienen mucho de religiosidad, liturgia y sacerdocio. 

Estampas únicas que recuerdan en la fijación del movimiento, en la sensualidad sugerente, la colección de escenas eróticas, entre la celebración y lo sagrado, de los templos místicos de Khajuraho.

Los trajes, una maravilla, en telas nobles, algodones blancos y seda en verde. Evocación de los saris tradicionales. 

La protagonista en rojo y dorado, tinturas en pies y manos, uñas esmaltadas, ajorcas, pulseras, anillos, un maquillaje facial elaborado y denso, como una máscara, tocados complicados y pesados en la cabeza, bindis, complementos varios que cambiaron durante el espectáculo que, programado en principio para una hora, se extendió más por un bis, con la presencia al final del Excmo. Embajador de la india y personal diplomático en el escenario, saludando a la compañía de baile.

Con la Sala Verde de los Teatros del Canal completa para esta, la séptima edición del Festival India en Concierto organizada por el Consejo Indio para las Relaciones Culturales (ICCR), la Embajada de la India y la Casa de la India con la colaboración de otras entidades. Este gran proyecto  es uno de los que conforman un intenso programa de un mes (octubre) que se reparte por distintas zonas de la geografía española. 

Un privilegio y un consuelo para los nostálgicos de este hermoso lugar, amplio, críptico y onírico, inabarcable, hasta que puedan regresar. Namasté...

Alicia Perris

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