lunes, 3 de octubre de 2022

EL CABALLERO AVARO DE SERGEI RACHMANINOFF. EN LA FUNDACIÓN JUAN MARCH CON COPRODUCCIÓN CON EL TEATRO DE LA ZARZUELA

 


Teatro musical de cámara, con piano solo.

El caballero avaro

ÓPERA EN UN ACTO

Música de SERGUÉI RACHMAMINOFF

Libreto basado en el drama de ALEKSANDR PUSHKIN

Ficha Artística

Dirección musical y piano

BORJA MARIÑO

Dirección de escena

ALFONSO ROMERO

Escenografía

CARMEN CASTAÑÓN

Vestuario

GABRIELA SALAVERRI

Iluminación

FÉLIX GARMA

Vídeo

PHILIPP CONTAG-LADA

Reparto

IHOR VOIEVODIN (Barón), JUAN ANTONIO SANABRIA (Alber), ISAAC GALÁN (El duque), GERARDO LÓPEZ (El prestamista), JAVIER CASTAÑEDA (Un sirviente)

2 de octubre de 2022 · 12:00 h.

“Si todas las lágrimas, la sangre y el sudor causados por el oro que aquí se guarda fueran regurgitados por la tierra, bien podría producirse un segundo Diluvio…” Alexander Pushkin”.

El caballero avaro’, la ópera más oscura de Rachmaninoff, es un relato musical moralizante con personajes exclusivamente masculinos, sin mujeres, que narra la historia de un padre rico y tacaño cuya relación con su hijo acaba destruida por la avaricia. En la visión escénica de Alfonso Romero, el hijo simboliza la salud y el padre la enfermedad. Aunque habría que matizar porque no hay caracteres literarios ni humanos puros.

Formato de cámara para una gran representación aparentemente modesto en una sala repleta con un aforo siempre escaso, porque la Fundación March atrae un público variopinto y la calidad de la oferta, muy diversa, es impecable. El libreto de esta ópera de Sergei Rachmaninoff (1873-1943) estrenada en 1906 en el Teatro del Bolshói está basado en una de las ‘Pequeñas tragedias’ (1830) del icono de la literatura rusa Alexandr Pushkin (1799- 1837). Al estreno le faltó el impulso del bajo ruso Fedor Chaliapin, pero la partitura resiste al tiempo y sufrió las influencias de ‘El anillo del nibelungo’, que había visto en Bayreuth el compositor en su viaje de novios, y utiliza el novedoso método de orquestación wagneriano.

 El director de escena, Alfonso Romero, ha creado una propuesta que conecta pasado y presente, entre el concepto de avaricia como pecado capital y la creptomanía. Se representa la historia en un tríptico medieval que la escenógrafa Carmen Castañón sitúa en el centro de un cajón negro que ocupa el escenario del auditorio y se proyectan también los dibujos a carboncillo del proyeccionista Philipp Contag-Lada.

Las ratas, representadas al comienzo, las inmundicias de las que extra el avaro (con una tradición que va desde La marmita de Plauto, hasta el Avaro de Molière y tantas otras referencias literarias y pictóricas), se plasman junto al supuesto triunfo del personaje, que enarbola, como signo de poder, una corona que le ciñe la cabeza, el báculo religioso y una espada, algunos evidentes símbolos fálicos, porque la riqueza podría tener un valor sublimado erótico sexual claramente fetichista.

El reparto lo encabeza el aplaudido barítono ucraniano Ihor Voievodin en el papel del Barón, con un instrumento a pleno rendimiento, joven, llena de matices, buena línea de canto y expresividad, y apabullante presencia escénica, el tenor Juan Antonio Sanabria como Albert, el hijo del aristócrata, que transmite calor y emotividad a un corazón desgarrado, el barítono Isaac Galán como El duque, elegante y afianzado en su traje de tiempo universal, fino y elegante, en lo teatral y lo vocal, al igual que el tenor Gerardo López como El prestamista, escurridizo y adecuado en las prestaciones vocales y teatrales, en consonancia con el resto del cast y el bajo Javier Castañeda como Iván El sirviente, de evidente lucimiento durante la primera parte.

Presentación y ejecuciones redondas, la de la dirección musical y piano de Borja Mariño y un equipo técnico nutrido, en la dirección (Sonia Gómez Silva), la coordinación de producción de Cristina Martín Quintero, la caracterización de Sara Álvarez y Moisés Echeverría, la sastrería de Isabel Turga, realizado por Gabriel Besa y la escenografía de Miguel Ángel Coso. Pablo Espiga fue el técnico de proyecciones y vídeo.

Mención aparte deben recibir todos aquellos que, esforzadamente, defendieron la versión en lengua rusa, ya que todos menos el barón protagonista, no son rusohablantes y la lengua caucásica, no es un juego evidente ni sencillo para un occidental. A destacar pues el sobretitulado de Estéfano Cerami, la traducción del ruso del libreto por Amelia Serraller Calvo y, muy especialmente, a la instructora de ruso, Marina Makhmoutova.

Notas a un programa para recordar y guardar como un ejemplo de buen hacer y un tesoro, con Marina Frolova-Walker en las notas ad hoc, además de Alfonso Romero y Marta Rebón. Un éxito de esfuerzos reunidos y un modelo de la actuación en la gestión teatral y musical de las joyas de un repertorio sugerente, reconquistado ahora para todos, ya que hubo funciones escolares y transmisión en streaming. Las audiencias, todas, fascinadas.

Alicia Perris

Cartel de la obra, fotos 1 y 2 de Dolores Iglesias, Archivo F. Juan March.

Foto 3, Julio Serrano

domingo, 2 de octubre de 2022

EN CASA ABBELL, VINTAGE HOMEWARE: OFRECE UNA SELECCIÓN DE OBJETOS VINTAGE ÚNICOS Y COLORIDOS PARA EMBELLECER SU HOGAR.


 Una tienda en línea que ofrece una selección de objetos vintage y preamados cuidadosamente seleccionados para embellecer su hogar.


En Casa Abbell, creen que hacer que su entorno sea más atractivo estéticamente lo hace feliz. También creemos firmemente en consumir de manera más responsable.

Casa Abbel is an online shop offering a selection of carefully curated vintage and preloved objects. Abbell, which comes from Italian Abbellimento (adornment, decor, ornament) perfectly captures the spirit of the brand : sourcing items to embellish your home with little touches of colour and a vintage soul.

We believe making your environment more aesthetically appealing makes you happy. We also firmly believe in consuming more responsibly. If you want to find unique, colourful pieces for your home, head over to our website.

CONTACTO         HELLO@CASABBELL.COM


https://casabbell.com/

sábado, 1 de octubre de 2022

MUSEO THYSSEN-BORNEMISZA."HIPERREALISMO EN LA COLECCIÓN BLANCA Y BORJA THYSSEN", AND, 1962 - LOVE ME DO (THE BEATLES). 60 YEARS...


Perspectivas
3 de octubre de 2022

Hiperrealismo en la colección Blanca y Borja Thyssen-Bornemisza


Hoy se ha abierto al público una exposición que presenta, por primera vez en el museo, una selección de obras de la colección que Blanca y Borja Thyssen llevan realizando en los últimos años y que se va a ir mostrando en las salas periódicamente a partir de ahora. 


Para esta primera cita se han elegido ocho obras de grandes nombres del hiperrealismo, movimiento artístico nacido en los Estados Unidos en la década de 1960 y que ha tenido posteriormente un gran desarrollo internacional. 


Richard Estes, Charles Bell, Don Jacot o Raphaella Spence son algunos de los artistas presentes en la instalación, de entrada libre y abierta hasta el 15 de enero en la sala de exposiciones de la primera planta.


AND, ALWAYS, THE BEATLES

Stuart Maconie celebrates the 50th anniversary of the release of the Beatles' Love Me Do, and reflects on how they evolved into one of the most famous bands in the world. 

First broadcast in October 2012 it features contributions (in order of appearance) from  Pete Best, Brian Epstein, Freda Kelly, Billy Kinsley, Gerry Marsden, Joe Flannery, Iris Fenton  (Caldwell), Andy White, and 20 Forthlin Road (Paul McCartneys childhood home).

viernes, 30 de septiembre de 2022

THE MAKING OF CD DUETS “INSIEME” WITH JONAS KAUFMANN & LUDOVIC TÉZIER. ET AUSSI, LA NUIIT BLANCHE À PARIS

Good friends Jonas 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/