VIDEO AUF DEUTSCH MIT UNTERTITELN AUF SPANISCH. CLAUDIO ABBADO (MILAN, 26/6/1933-BOLONIA (20/1/2014)

CLAUDIO ABBADO, THE SILENCE THAT FOLLOWS THE MUSIC (SUBTÍTULOS EN ESPAÑOL)

EL 26 DE JUNIO PASADO, CLAUDIO ABBADO, HUBIERA CUMPLIDO, 86 AÑOS. TODO NUESTRO RECUERDO Y AGRADECIMIENTO. UN MAESTRO.

En este documental de Paul Smaczny seguimos a Claudio Abbado en su trabajo con la Chamber Orchestra of Europe (en Venecia), la Berlin Philharmonic (en Salzburgo) y la Gustav Mahler Youth Orchestra (en París). Está en su mayor parte en alemán, pero con subtítulos en español.

SYDNEY OPERA. ANNA BOLENA CON ERMONELA JAHO

 In the Joan Sutherland Theatre

Desire burns in the shadows, rage blazes in the light.

Anne Boleyn won the king’s desire first, his love second, but only an heir could deliver his loyalty. In a court full of secrets and spies, the Tudor Queen’s time is running out.

Donizetti’s opera rips the best bits from a bloody time in history to create a thrilling ride through the last days of Anne Boleyn’s marriage to King Henry VIII. Jealous courtiers and scheming royals have the queen caught fast in a tightening trap. And her lady-in-waiting is waiting indeed, consumed with guilt, to take her place on the throne.

With ardent melodies, fiery singing and acrobatic coloratura, every minute of Anna Bolena is a masterclass in bel canto opera. It depends on a stellar soprano to throw herself into the role.

Ermonela Jaho is that singer, “a fiery angel” (The Economist) renowned for offering her heart and soul up on stage. “Don’t even try to resist,” warns the Financial Times. This starry cast includes Leonardo Cortellazzi as Lord Percy and Teddy Tahu Rhodes as the ruthless, passionate king.

From the creative team that brought you Aida comes the first of a new trilogy of Donizetti’s Tudor Queen operas. Davide Livermore directs a new production featuring stunning costumes and his signature high-tech sets.

Presented by Opera Australia.

https://www.sydneyoperahouse.com/events/whats-on/opera-australia/2019/anna-bolena.html?ecid=EMW%3Awhatson-news_20190626%3AOA_Anna_Bolena&bId=181161474&acId=178396617&mid=PDM24156&utm_source=email&utm_medium=whatson-news&utm_campaign=whatson-news_20190626&utm_content=OA_Anna_Bolena

ALTE PINAKOTHEK, MUNICH, GERMANY. "UTRECHT, CARAVAGGIO AND EUROPE. 1600-1630"

 What a shock it must have been for Hendrick ter Brugghen, Gerard van Honthorst, and Dirck van Baburen, three young painters from Utrecht, when they encountered the breathtaking and unorthodox paintings of Caravaggio for the first time in Rome. Described as ‘miraculous things’, his works were marked by an innovative realism, striking drama, and mysterious lighting. He would shape the style of many artists from Italy, France, Spain, and the Netherlands.

The exhibition, developed in collaboration with the Centraal Museum in Utrecht, shows over 70 of the most beautiful and important works of the leading ‘Caravaggisti’, including paintings by Bartolomeo Manfredi, Jusepe de Ribera, and Valentin de Boulogne. Placed alongside the works of their painterly colleagues, it becomes immediately apparent why the significant pictures of these Utrecht painters are so typically Dutch and had success both in Italy as well as at home.

https://www.mutualart.com/Exhibition/Utrecht--Caravaggio-and-Europe--1600-163/B9EC473C83151709

MET MUSEUM. WATERCOLORS OF THE ACROPOLIS: ÉMILE GILLIÉRON IN ATHENS

Exhibition Overview

A virtuoso watercolorist, Émile Gilliéron (1850–1924) became the most important draftsman and popularizer of archaeological discoveries in Greece following his arrival in Athens in the late 1870s. The exhibition features five drawings—three of them more than eleven feet long—that depict architectural sculptures from the Athenian Acropolis. In addition to their documentary value, the drawings capture the power of the ancient sculptures' mythological subjects, their effect intensified by the surviving traces of original color.

The Bulletin is made possible in part by The Ceres Foundation, Inc., The Prospect Hill Foundation, and the Jenny Boondas Fund. The Met's quarterly Bulletin program is supported by the Lila Acheson Wallace Fund for The Metropolitan Museum of Art, established by the cofounder of Reader's Digest.

https://www.metmuseum.org/exhibitions/listings/2019/watercolors-of-the-acropolis-emile-gillieron

VIÑETA DE EL ROTO DEL 24 DE JUNIO DE 2019

https://elpais.com/elpais/2019/06/23/opinion/1561294824_701351.html

THE JEWELED ISLE: ART FROM SRI LANKA

The first comprehensive survey of Sri Lankan art organized by an American museum, The Jeweled Isle: Art from Sri Lanka presents some 240 works addressing nearly two millennia of Sri Lankan history. The image of a bejeweled isle, first invoked in Greco-Roman accounts of Sri Lanka’s precious gems, inspired numerous literary descriptions of the island’s wealth and tropical beauty. The Jeweled Isle includes precious decorative objects fashioned from gold, silver, and ivory, and 19th-century photographs documenting Sri Lanka’s extraordinary monuments, scenery, and flora. Several artworks convey the importance of sacred sites and relics in Sri Lankan Buddhist practice, while rare images of Hindu gods attest to the long and constant interaction between Sri Lanka and South India. Exquisite ivories, textiles, and furnishings further reflect nearly four centuries of European colonial presence in Sri Lanka and the dynamic interaction between local and foreign visual traditions. Featuring LACMA’s rarely displayed collection of Sri Lankan art—one of the finest and most extensive in the U.S—the exhibition presents a timely exploration and celebration of a geographically complex, ethnically diverse, and multicultural South Asian hub.

https://www.lacma.org/jeweledisle

REVOLUCIÓN. DA LO MISMO QUE AÚN NO SE HAYAN REFORMADO LOS TIPOS DELICTIVOS, ESTE O AQUEL ARTÍCULO DEL CÓDIGO PENAL, PORQUE LO QUE PASA EN LA CALLE NO ES UNA SIMPLE REVUELTA

ALMUDENA GRANDES

Concentración en Valencia en protesta contra de la puesta en libertad de los miembros de La Manada. MÓNICA TORRES / EL PAÍS

María Antonieta preguntó qué ocurría al escuchar los furiosos gritos de la plebe. “El pueblo protesta, majestad, porque no tiene pan”, le informaron. “¡Ah!”, replicó la reina, “pues si no tienen pan, que coman bollos”. Supongo que es una leyenda, pero se parece mucho a la correspondencia que se conserva del último zar de Rusia. El tiempo es bueno, muy frío, pero ideal para la caza, era todo lo que Nicolás II escribía a la zarina mientras las mujeres de sus soldados tomaban las calles para pedir pan y, además, bollos. La presunta respuesta de María Antonieta y la probada indiferencia de Nicolás comparten la misma sensatez. Son la expresión del sentido común de sus respectivas épocas, reacciones basadas en la lógica del poder frente a una amenaza de magnitud desconocida. Ambos creían que se hallaban ante una rebelión, de las que habían conocido muchas, y cometieron el mismo error. Estaban, por primera vez, ante una revolución, porque a los oprimidos se les había ocurrido contarse, porque habían descubierto que eran más y que su número les hacía invencibles. Esa es también la situación del tribunal que ha puesto en libertad bajo fianza a los miembros de La Manada. Sus argumentos pueden ser jurídicamente impecables, pero se ajustan a una ley que ha perdido su vigencia social, a una realidad que ha caducado ya. Da lo mismo que aún no se hayan reformado los tipos delictivos, este o aquel artículo del Código Penal, porque lo que pasa en la calle no es una simple revuelta. Las revoluciones arrasan con todo, y ante todo, con la sensatez preexistente, con la lógica del poder que pretenden destruir. Ese es ahora mismo el horizonte de un movimiento que no persigue un auto distinto, sino el fin del patriarcado. Es decir, una revolución.

https://elpais.com/elpais/2018/06/22/opinion/1529681252_740686.html