jueves, 31 de agosto de 2023

FAKE NEWS. LA FÁBRICA DE MENTIRAS. ESPACIO.FUNDACION TELEFONICA. NUEVA TEMPORADA EN EL THYSSEN


¿Qué son realmente y cómo se propagan? ¿Con qué herramientas contamos para fabricarlas? o ¿Cómo podemos detectarlas y combatirlas? 'Fake News. La fábrica de mentiras' es una exposición que pretende abordar la revisión del fenómeno de las noticias falsas a lo largo de los siglos y plantear una reflexión sobre el impacto que generan actualmente en nuestra sociedad

https://espacio.fundaciontelefonica.com/evento/fake-news-la-fabrica-de-mentiras/


Y ARRANCA NUEVA TEMPORADA EN EL MUSEO THYSSEN-BORNEMISZA




Perspectivas
1 de septiembre de 2023

Arranca la temporada

A la espera del inicio de la nueva temporada expositiva con la inauguración de MaestrasPicasso, lo sagrado y lo profano e Inteligencia líquida (con TBA21), todas ellas en octubre, y de Jordy Kerwick el 22 de septiembre, estrenamos mes con la recta final de las dos exposiciones que nos han acompañado durante el verano: 


Lo oculto en las colecciones Thyssen-Bornemisza, abierta hasta el 24 de septiembre y que ya tiene disponible su visita virtual en la web, y la retrospectiva de André Butzer, que todavía puede verse hasta el día 10. 


Continúan también las instalaciones Encuentros: obras de la colección TBA21, hasta el 8 de octubre, y Restauración de la Virgen de la Humildad, hasta el 12 de diciembre.

PALAZZETTO BRU ZANE, VENISE ET OPÉRA DON GIOVANNI/ MOZART, OPÉRA BASTILLE - DU 13/9 AU 12/10 2023

 

MAR. 12 SEPTEMBRE – 18H


PALAZZETTO BRU ZANE, VENISE


Présentation du festival Au miroir des mondes

Œuvres pour piano de GODARD, BONIS et DAVID

Célia Oneto Bensaid, piano

Gratuit sur réservation.Dernières places disponibles !

ET AUSSI, 


OPÉRA NATIONAL DE PARIS

Pour ouvrir sa saison, l’Opéra national de Paris présente pour la première fois en France une production devenue un classique : Don Giovanni dans la mise en scène de Claus Guth, créée au festival de Salzbourg en 2008.

Si le chef-d’oeuvre de Mozart fascine des générations depuis sa création à Prague en 1787, c’est non seulement parce que sa musique parvient à une synthèse inégalée entre comédie et drame, mais aussi parce que sa puissance expressive décuple la profondeur du mythe de Don Juan, ce séducteur qui défie Dieu et la société.

Sensible à l’urgence de la partition, Claus Guth imagine que Don Giovanni a été touché lors de son duel avec le Commandeur. Dès lors, le libertin consacre ses dernières heures à jouir de la vie tandis que son fidèle Leporello, complice plutôt que valet, tente d’apaiser ses douleurs.

 En bouleversant la temporalité, Claus Guth apporte une vision renouvelée des personnages. Tel un fauve blessé, Don Giovanni assouvit ses instincts de prédateur dans une forêt de sapins nocturne et sensuelle, terrain de chasse ou Eden déchu pour ses péchés...

https://www.operadeparis.fr/saison-23-24/opera/don-giovanni

ABOUT 2,000 ITEMS WERE TAKEN FROM BRITISH MUSEUM AND THEIR RECOVERY IS UNDERWAY CHAIR SAYS,

By Niamh Kennedy,

The British Museum has begun recovering some items that were taken from the prestigious institution and sold online, museum chair George Osborne said on Saturday.

Osborne’s comments follow revelations that the museum failed to properly heed warnings that items purportedly from its collection had been appearing for sale online.

The extent of the theft was previously unclear. The museum had previously said that the majority of the missing items were “small pieces kept in a storeroom” of one collection. They include gold jewelry, gems of semi-precious stones and glass dating from the 15th century BC to the 19th century AD. None of the items had recently been on public display.

Osborne, the former UK Chancellor of the Exchequer, told BBC Radio 4’s “Today” program on Saturday that about 2,000 artifacts went missing, some of which have already been recovered.

The scandal appears to date back to 2021, when a Danish art dealer got in touch with the British Museum to say he had spotted several items he believed to be from the museum’s collection for a sale online. The British Museum initially claimed to have carried out a thorough investigation, but a follow up probe found the first response to be insufficient, Osborne said.

“We obviously have to improve security,” Osborne said.


The British Museum, founded in 1753, is one of the world’s most well-known and prestigious museums. Its display of impressive historic artifacts like the Rosetta Stone and the Parthenon Sculptures regularly draws visitors from across the globe.

The scandal has proved deeply embarrassing for the museum, given both its stature and the repeated calls for the institution to return many of its artifacts that were themselves stolen under the British Empire.

Museum director Hartwig Fischer stepped down on Friday and an unidentified employee was fired on Wednesday.

“Yes, the museum has made mistakes. Yes, we’ve apologized for them. But we’re cleaning up the mess and we’re going to be that British museum that I think the nation and the world can be proud of,” he said.

Osborne said he hoped the police inquiry underway may shed light on how “the museum missed some of the signals that could have been picked up.”

Osborne acknowledged that although the “obvious thing” would be for the museum to publish a list of the stolen items, there are fears that not everyone would respond to the list “in the best possible way.” He also said it falls within the remit of law enforcement to publish such a list.

One key challenge in the recovery efforts has been that not all items in the museum are cataloged. Osborne said following the incident, staff are accelerating its effort to catalog all the items in its collection.

“The truth is we didn’t have a complete catalog of everything, and you know, obviously, I’ve got to be careful what I say because there is a police investigation but someone with knowledge of what’s not registered has a big advantage in removing some of those items,” Osborne said.

CNN’s Joshua Berlinger contributed to this report

https://edition.cnn.com/style/article/british-museum recovery-intl/index -.html

FESTIVAL VENEZIA, "COMANDANTE" E' IL FILM D'APERTURA

Parlano il regista Edoardo De Angelis e  Pierfrancesco Favino, che interpreta Salvatore Todaro



lunes, 28 de agosto de 2023

THE VENICE GLASS WEEK IS AN INTERNATIONAL FESTIVAL

The Venice Glass Week is an international festival founded in 2017 to celebrate, support and promote the art of glass. Following the great success of The Italian Glass Weeks – a special event which took place in 2022 specifically for the UN International Year of Glass – The Venice Glass Week will return for its seventh edition from 9th to 17th September 2023.

https://theveniceglassweek.com/en/#



ALËNA BAEVA, DMITRY ABLOGIN STRESA FESTIVAL 2023

 Schubert Grand Duo – 26 Agosto

F. Schubert, Sonata n. 4 in la magg. op. 162 D 574  Grand Duo
L. Janáček, Sonata n. 3 per violino e pianoforte VII/7
S. Rachmaninoff, Romance da Morceaux de salon op. 6

C. Franck, Sonata in la magg.

Alëna Baeva, violino

Dmitry Ablogin, pianoforte

Alëna Baeva  è stata definita una presenza magnetica e certamente affascina il pubblico con tecnica non comune e con la ricerca perfetta del suono; virtuosa ed eclettica è considerata una delle violiniste più seducenti del panorama musicale internazionale ed ascoltata per la prima volta si evidenzia un livello comunicativo di tutto rispetto.

Parimenti  Dmitry Ablogin vanta l’assegnazione di parecchi riconoscimenti internazionali e si esprime con un tocco poetico  e sicuro che fa trasparire tecnica e ricerca portate avanti con amore ostinato per la musica.

Venendo al programma, la prima sonata, che da il titolo alla serata  “ Schubert Grand Duo”, nonostante al bravura degli interpreti pare sottotono rispetto alla bellezza che segue immediatamente e che colpisce fortemente:  Janáček,con l’unica delle sue  Sonate rimasta, ovvero la  n. 3 per violino e pianoforte non fa sconti e con brusche interruzioni e scrittura originale va diritto al cuore ed alla testa calamitando l’ascolto. Affascinante l’interpretazione di Rachmaninoff  e conclusione di livello con Franck.

La Musica vince sempre

Renzo Bellardone

RICH MAN, POOR MAN: ART, CLASS, AND COMMERCE IN A LATE MEDIEVAL TOWN. MET MUSEUM

Below the monarch, nobility, and land-owning gentry in the highly stratified society of sixteenth-century England stood those known as the “middling sort.” Like their compatriots of higher rank, they too saw art and architecture as a means of self-fashioning.

This exhibition examines the emergence of distinctly middle-class taste in late medieval England by showcasing a rare set of large-scale domestic sculptures from Exeter. Commissioned by a merchant named Henry Hamlyn, the sculptures, which adorned the exterior of his house, feature stock characters drawn from popular prints and bawdy tales: a jester, a quarreling couple, peasants, and musicians. Rustic in style and subject matter, they fascinatingly came across as figures both amusing and menacing.

With over fifty works, including textiles, prints, furnishings, and other decorative arts, Rich Man, Poor Man explores why Hamlyn might have been drawn to such imagery. It also highlights how the home, both inside and out, could serve as a form of individual self-expression and a statement of social order.

The exhibition is made possible by the Michel David-Weill Fund.

Hay un folleto con el texto de la exposición en español disponible en sala.

Este folleto se ha hecho gracias a la Fundación Helen Clay Frick.

https://www.metmuseum.org/exhibitions/rich-man-poor-man

EXPOSICIÓN FUEGO Y ARENA: EL VIDRIO EN LA ANTIGÜEDAD. MUSEO IBERO

Exposición sobre el vidrio en la antigüedad en las colecciones del Museo Íbero. Del 15-9.2022 al 31-5-2023

Exposición Fuego y Arena: el vidrio en la antigüedad

Presentamos una nueva colección en el Museo Íbero para uso y disfrute de todos aquellos que acudan a visitarnos, titulado "Fuego y Arena: el vidrio en la antigüedad", estará expuesto en el museo y se podrá visitar hasta mayo del año 2023.

La Asamblea General de la ONU declaró el año 2022 como el Año Internacional del Vidrio con objeto de visibilizar su importancia científica, económica, ambiental y cultural como "elemento transformador de la humanidad" y así "celebrar su historia y su futuro". Con esta declaración se trata de concienciar sobre este preciado material, uno los mas extraordinarios usados para la fabricación de objetos.

El Museo Ibero se suma a los actos de celebración de este día internacional con una exposición que trata de mostrar el momento en que se incia su uso en nuestra península, y la gran expansión de su uso en el S. II gracias a la incorporación de nuevas técnicas de fabricación a partir del soplado.

Los primeros datos sobre el uso del vidrio lo encontramos hace más de 5000 años en Mesopotamia, desde donde se extendió su uso por todo el Mediterráneo.

La exposición muestra los primeros productos en las tumbas iberas, amuletos, cuentas de collar y pequeñas botellas que llegan a la Península Ibérica a través del comercio fenicio y que pronto se convierten en un objeto de lujo muy cotizado por las aristocracias iberas. Esos primeros objetos de vidrio llegan a la Península de manos de los comerciantes fenicios a partir del S. IX a.n.e., y de forma mas continuada, en los siglos VI-IV a.n.e.

A partir del S. I d.C. ya en época romana, el uso del vidrio se amplia y generaliza entre la población. Como muestra del gran valor que de estos productos se hace entre la sociedad romana, se incorporan como ajuar en las tumbas del I y II siglo de la era.

Las arenas de los ríos de la Península Ibérica eran muy valoradas para fabricar vidrio, por lo que fueron muchos los talleres, más de 35, que se instalaron en el S. I y IV. Sin embargo, los cambios en la tecnología y la crisis de determinados materiales provocó que muchos talleres desaparecieran con el tiempo y a partir del S. VI sólo ciudades como Cartagena, Alicante , Barcelona y Toledo entre otras, contaban con talleres.

Siguiendo esta breve historia del vidrio, el Museo Ibero expone un amplio conjunto de objetos de de su colección con los que se ofrece una panorámica de los usos de este material, desde los pequeños anforiscos iberos, los ungüentarios y jarras de gran calidad romana o aquellos otros, menos numerosos, como vasos visigodos y fragmentos de los escasos vidrios medievales.

La exposición presenta 105 objetos entre los que destacan aryballos, askos, rhyton, jarras, skyhpos, platos y ungüentarios de gran calidad técnica con los que mostrar la calidad y variedad de objetos que se realizaban en etapas tan tempranas.

MUSIQUE : OUVERTURE DU PRESTIGIEUX FESTIVAL GEORGES ENESCO À BUCAREST

Le festival créé en 1958 en l'honneur du compositeur franco-roumain est devenu au fil des ans un rendez-vous incontournable.

Le Festival Georges Enesco (George Enescu en roumain), créé en 1958 en l'honneur du compositeur franco-roumain est aujourd'hui l'un des rendez-vous majeurs pour les musiciens et les mélomanes du monde entier.

Pendant un mois, Bucarest accueille des dizaines de concerts et des compétitions destinées aux jeunes musiciens.

C'est l’Orchestre philarmonique Georges Enesco qui a ouvert le bal du festival dimanche avec le chef d'orchestre roumain Cristian Măcelaru et le Français Gautier Capuçon, l'un des plus grands virtuoses du violoncelle.

domingo, 27 de agosto de 2023

STRESA FESTIVAL 2023 - BACH - SONATE E PARTITE -EREMO DI SANTA CATERINA DEL SASSO – 24 E 25 AGOSTO

Capolavoro assoluto della musica per violino solo, le Sonate e Partite di Bach quest’anno sono proposte al Festival nella suggestiva esecuzione di Mario Brunello al violoncello piccolo.  

L’integrale in due serate ha luogo nella chiesa dell’Eremo di Santa Caterina del Sasso a Leggiuno, tra le più suggestive sedi del Festival

J.S. Bach, Sonate e Partite: una storia biblica?
Sonata n. 1 in sol minore per violino BWV 1001, “Genesi”

Partita n. 1 in si minore per violino BWV 1002, “Spirito e Carne”
Sonata n. 2 in la minore per violino BWV 1003, “Destino”


MARIO BRUNELLO – violoncello piccolo

Mario Brunello, direttore artistico del Festival ed  interprete delle Sonate e Partite di Bach c, per l0ccasione diviene divulgatore in apertura di serata, nel cortiletto che precede la chiesa, luogo del concerto: l’esecuzione sarà con violoncello piccolo a quattro corde, strumento  molto usato in epoca barocca, è costruito nella tipica accordatura violinistica (mi, la, re, sol), ma un’ottava più bassa, mantenendo quindi la profondità e le sfumature più scure tipiche del violoncello.

«Le armonie si rivelano appieno negli accordi, nelle cascate di note, nelle fughe a tre o quattro voci e nella monumentale Ciaccona – un linguaggio e un’architettura musicali che non esistono nel repertorio per violoncello. Il violoncello piccolo mi ha permesso di scoprire tutti questi lavori magnifici e di ampliare quindi il mio repertorio». (Mario Brunello).

Nella presentazione racconta pure della sua investigazione musicale, del potere del numero 6 e dell’ispirazione biblica e la storia di Cristo, fino alla morte sulla croce: <<[…] Senza serie intenzioni e in maniera quasi casuale ho provato a suonare le Sonate e Partite con un violoncello piccolo a quattro corde (non a cinque, sicuramente più diffuso). 

Ebbene, quella musica, le Sonate e Partite per violino, mi ha rivelato che Bach non mi aveva detto tutto, mi aveva tenuto nascosta una metà di quello che la sua arte aveva saputo creare con uno strumento a sole quattro corde […]>>.  Mario Brunello


 Le serate, complice una spettacolare cornice paesaggistica, l’inevitabile suggestione che il luogo crea, ma soprattutto l’amore per la Musica che Brunello esprime in ogni suo tocco con tecnica impressionante, hanno fatto si che si sia trattato di due momenti di ascolto e di Bellezza straordinaria. 

La tecnica interpretativa e l’uso dello strumento diventano celebrativi del monumento compositivo, ridandogli mistico splendore e lucentezza avvolgente.

La Musica vince sempre.

Renzo Bellardone

CAFFÈ FLORIAN, UNO DEI LUOGHI SIMBOLO DELLA MOSTRA DEL CINEMA

Considerato uno dei luoghi preferiti da parte di celebrities di tutti i tempi, le Sale del Florian hanno goduto di frequentazioni incredibili, dagli attori della Mostra del Cinema

ai più grandi artisti e scrittori.


L’elenco è infinito: da Charlie Chaplin a Paul Newman, da Grace Kelly a Michael Caine,

da Liza Minnelli a Clint Eastwood, da Salma Hayek a Vittorio Gassman,

da Matt Damon e Gwyneth Paltrow a Paolo Sorrentino e Jude Law.

Alle personalità cinematografiche presenti in città per la Mostra del Cinema di Venezia, in partenza il 30 agosto, si aggiungono i grandi nomi della cultura e della scrittura:

Giorgio de Chirico e Amedeo Modigliani passavano ore seduti ai tavolini in piazza San Marco, Ernest Hemingway ci veniva per un bicchiere di Amarone, e altri personaggi illustri, come Andy Warhol e Gabriele D'Annunzio, amavano sedersi ai suoi tavolini in Piazza.

RENATA SCOTTO, 1934–2023. THE METROPOLITAN OPERA HOUSE. PIOTR BECZALA: NEW ALBUM, TCHAIKOVSKY AND RACHMANINOFF

The Metropolitan Opera mourns the death of one of our most illustrious divas of the last century, Renata Scotto. 

Her 1965 Met debut in the title role of Madama Butterfly revealed her to be an extraordinarily compelling and complete artist, with the ability to create a deeply moving character through magnetic stage presence, expressive musical phrasing, and unfailingly dramatic delivery of the Italian text. 

While Butterfly remained her most memorable portrayal and served as her final performance in 1987, Scotto sang a total of 26 roles with the company, giving more than 300 performances on the Met stage.

She portrayed lead soprano roles in eight new production premieres, including the company’s first staging of Mozart’s La Clemenza di Tito and two operas that had not been heard for generations, Meyerbeer’s Le Prophète and Zandonai’s Francesca da Rimini. 

Her repertory encompassed a wide spectrum of Italian works from verismo melodramas such as Manon Lescaut and Adriana Lecouvreur to bel canto masterpieces such as Lucia di Lammermoor and Norma to lesser-known Verdi operas such as Luisa Miller and I Vespri Siciliani. 

In 1977, Scotto’s artistry was shared with a huge national audience when the Met first teamed up with PBS for a live telecast of La Bohème, her heart-rending performance as Mimì bringing her wider fame and making her a media personality. She would go on to star in eight more Met telecasts of complete operas and many more radio broadcasts.

Scotto’s visceral, total immersion in the characters she portrayed made her a vital exemplar of the grand Italian operatic style that underlies much of the standard repertory. 

After her retirement from singing, she continued to pass on this legacy as a teacher, regularly giving coachings to members of the Met’s Lindemann Young Artist Development Program and offering invaluable advice to many of today’s leading artists. 

She is affectionately remembered by many at the Met, her former pupils, administrators, and staff, as well as by her legions of admirers. 

We offer our sincerest condolences to her daughter, Laura, her son, Filippo, and to all of her family and friends.

https://www.metopera.org/information/memorial/renata-scotto/


This music belongs to the whole world... ❤️🎶 My latest album Romances by Tchaikovsky and Rachmaninoff recorded with the phenomenal Helmut Deutsch has its premiere today! 🤩 I encourage you to listen and share your impresions! 👉🏻
Ta muzyka należy do całego świata... 🎶❤️ Mój najnowszy album Romanse Czajkowskiego i Rachmaninowa, nagrany z fenomenalnym Helmutem Deutschem dzisiaj ma swoją premierę! 🤩 Zachęcam Was do słuchania i dzielenia się swoimi wrażeniami! Pięknego weekendu! 😘