NEW YORK TIMES BEST SELLER • The Pulitzer Prize–winning
journalist and editor of The New Yorker gathers his writing on some of the
essential musicians of our time—intimate portraits of Leonard Cohen, Buddy Guy,
Mavis Staples, Paul McCartney, Bruce Springsteen, Patti Smith, and more.
The greatest popular songs, whether it’s “Respect” sung by
Aretha Franklin or “Blind Willie McTell” performed by Bob Dylan, have a way of
embedding themselves in our memories. You remember a time and a place and a
feeling whenever you hear them.
In Holding the Note, David Remnick writes about
some of the most influential musicians, songwriters, and performers of the past
fifty years.
He portrays a series of musical lives—Leonard Cohen, Buddy Guy,
Mavis Staples, Paul McCartney, Bruce Springsteen, Patti Smith, and more—and
their unique encounters with the passing of that essential element of music:
time.
From Cohen’s performing debut, when his stage fright was so debilitating
he couldn’t get through “Suzanne,” to Franklin’s iconic mink-drop at the
Kennedy Center, Holding the Note delivers intimate portraits of some of the
greatest creative minds of our era, written with a passionate lifelong
attachment to their music and an acute appreciation of how it has shaped us.
MERCI TOUJOURS À LA FONDATION NAPOLÉON POUR SON INFORMATION GÉNÉREUSE
Célébration de la musique
L'objet du mois : le « fortepiano » et l'Empereur
Inventé à la toute fin du XVIIe siècle, le « fortepiano » est devenu extrêmement populaire en France dans la dernière décennie du XVIIIe siècle. Deux raisons majeures expliquent qu’il ait remplacé le clavecin comme instrument de prédilection dans la France révolutionnaire.
Tout d’abord, le « fortepiano » possédait de meilleures qualités expressives, correspondant ainsi à la sensibilité romantique naissante de l’époque – on pouvait le jouer fort ET doux, comme son nom italien l’indiquait, Forte (fort) et Piano (doux).
Nostalgia is the defining emotion of our age. Political
leaders promise a return to yesteryear. Old movies are remade and cancelled
series are rebooted. Veterans reenact past wars, while the displaced across the
world long for home.
But who is behind this collective ache for a home in the
past? Do we need to eliminate nostalgia, or just cultivate it better? And what
is at stake if we make the wrong choice?
Moving from the fight over Confederate monuments to the
birth of homeland security to the mourning of species extinction, Grafton
Tanner traces nostalgia’s ascent in the twenty-first century, revealing its
power as both a consequence of our unstable time and a defense against it.
With
little faith in a future of climate change and economic anxiety, many have
turned to nostalgia to weather the present, while powerful elites exploit it
for their own gain.
An exploration into the politics of loss and yearning, The
Hours Have Lost Their Clock is an urgent call to take nostalgia seriously. The
very future depends on it.
The Hours Have Lost Their Clock charts the rise of nostalgia
in an era knocked out of time.
In The Hours Have Lost Their Clock, Grafton Tanner charts
the rise of nostalgia in an era knocked out of time.
“In a world where the reassuring sweep of the second
hand has been usurped by a digital pulse, Grafton Tanner’s meditation on
looking back may be just what we need to dare look forward again.”
Soprano Anna Netrebko announces separation from tenor Yusif Eyvazov
The Canadian Press
·1 min read
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Soprano Anna Netrebko announces separation from tenor Yusif Eyvazov
The Associated Press
Soprano Anna Netrebko and tenor Yusif Eyvazov have separated.
The couple had been together since 2014, when they appeared together in Puccini’s “Manon Lescaut” at Rome's Teatro dell'Opera. They married in 2015.
“After 10 happy years together, we have made the difficult but amicable decision to separate,” Netrebko and Eyvazov said in a statement issued Wednesday by her London-based manager. “We will remain wonderful friends, united in our love for Tiago, and look forward to our announced and future stage collaborations.”
Netrebko, 52, has a 15-year-old son, Tiago, from her relationship with bass-baritone Erwin Schrott, her partner from 2007-2013.
Inaugurata a Roma, nei Musei di San Salvatore in Lauro, il
23 aprile 2024, la mostra dal titolo “Figurazione anni ’60 e ’70”, dedicata a
due decenni del Novecento caratterizzati da grande vitalità.
Si propone di
intercettare il nuovo interesse internazionale per la pittura e la scultura
attraverso importanti artisti che hanno segnato un momento di intenso fervore
creativo.
Promossa dalla Fondazione Terzo Pilastro – Internazionale e
realizzata da Poema S.p.A. in collaborazione con Cigno Arte, l’esposizione
presenta un’ampia rassegna dedicata alla pittura e alla scultura di figurazione
in Italia a cavallo tra i due decenni artistici più vitali del Ventesimo
secolo.
La mostra, curata da Lorenzo e Enrico Lombardi, è infatti
dedicata alle esperienze della pittura e della scultura figurative in Italia
delle generazioni attive in particolare tra gli anni Sessanta e Settanta, un
contesto molto complesso e differenziato che oggi merita di essere approfondito
e, in moltissimi casi, riscoperto.
En questo periodo, tra l’altro, gli artisti visivi hanno di
sovente operato in stretto dialogo di poetica e di rappresentazione con
scrittori e registi come Pier Paolo Pasolini, Italo Calvino, Alberto Moravia,
Giovanni Testori, Luchino Visconti, Vittorio De Sica o Leonardo Sciascia.
In una
condivisione spesso diretta alla narrazione delle nuove realtà delle metropoli
e della società in rapida e, talvolta drammatica, trasformazione.
Le linee iconiche italiane rappresentano, infatti, un
intreccio di esperienze spesso collocate in un contesto internazionale, in cui
si sono incrociate visioni e suggestioni di varia provenienza: dal Realismo di
matrice sociale e politica al Naturalismo, fino alla Pop Art e
all’Iperrealismo, senza dimenticare le importanti influenze della pittura
metafisica.
Il progetto espositivo è diviso in quattro sezioni: FIGURA
SCULTURA, dedicata alla grande tradizione della scultura italiana figurativa;
POLITICA SOCIETÀ REALTÀ, che illustra le variegate ricerche dei protagonisti di
quegli anni, tra impegno politico e contaminazioni con design e nuovi media.
NATURA PITTURA, focalizzata sul nuovo Naturalismo del ‘900, spesso collegato
anche ai primi, embrionali movimenti ecologisti.
METAFISICI E VISIONARI,
dedicata agli artisti che, andando oltre gli elementi contingenti
dell’esperienza sensibile, scelsero di rappresentare gli aspetti della realtà
da loro considerati autentici e fondamentali, secondo la prospettiva più ampia
e universale possibile.
Dopo il successo della mostra temporanea "Gladiatori nell'arena. Tra Colosseo e Ludus Magnus", un rinnovato allestimento sarà aperto al pubblico nei sotterranei dell'Anfiteatro Flavio di Roma il prossimo 21 giugno con la curatela di Alfonsina Russo, Federica Rinaldi e Barbara Nazzaro. La nuova esposizione Spettacoli nell’Arena del Colosseo.
I protagonisti a cura di Alfonsina Russo, Federica Rinaldi e Barbara Nazzaro, mantiene inalterati i suoi punti di forza, ovvero la suggestiva proiezione olografica con i gladiatori che avanzano dal buio del criptoportico orientale andando incontro al loro destino sull'arena (realizzata da Katatexilux su idea e curatela di Federica Rinaldi), assieme alle ricostruzioni delle armature del compianto Silvano Mattesini riprodotte a partire dagli originali conservati nei principali musei italiani e internazionali.
Sir George Benjamin (composer, conductor and Henry Purcell
Professor of Composition at King's College London) has been awarded the BBVA
Foundation Frontiers of Knowledge Award in the category of Music and Opera for
"his extraordinary contribution and impact in contemporary creation in the
realms of symphonic music, opera and chamber music," according to the
committee.
Benjamin's symphonic and chamber music has been performed by
the world's leading orchestras and institutions.
The committee's citation notes
that the London composer "manages to communicate directly with the
audience, without forgoing a rigorous, fine-grained workmanship in all aspects
of composition, with particular regard to his mastery of orchestration and tone
color, and exquisite formal architecture."
With his four operas – Into the Little Hill (2006), Written
on Skin (2009-12), Lessons in Love and Violence (2015-17) and Picture a day
like this (2023) – Benjamin has found his most unique voice, in the view of the
committee, “modernizing the operatic language, proposing new structures and
consistently presenting an emotional dramaturgy that both connects with and
moves the public of the 21st century.”
Víctor García de Gomar, committee secretary and Artistic
Director of Barcelona’s Gran Teatre del Liceu, stated: “We are probably talking
about the most important name in contemporary music. And he is still a
formidable creative force. Every new addition to his catalogue is eagerly
awaited, especially in the world of opera: he writes a new one every four or
five years, and with that rhythm of output and the quality of his work,
expectations are always high.”
Music as a mirror of today's world
Asked about the subject matter of his operas, Benjamin
believes the historical period they are set in is of secondary importance: “As
for the fact that our works are usually set in quite ancient circumstances, but
have strong contemporary references, that’s one of the many, many things I’ve
had to learn while writing opera, to avoid settling for easy solutions or two
dimensional portrayals. It’s something that has been part of my learning
process,” the composer explained.
Music, theater and opera, with words and drama, can’t help
but throw a mirror to our contemporary world. “And there’s a strange beauty to
how opera can create a deep resonance to things that are right now important to
our world.
We face such big challenges at the moment, it’s almost terrifying.
What can I or anyone else offer? I don’t feel worthy to even suggest a solution
to anything. But music can speak to the heart of the people like nothing else
can,” Benjamin added.
When composing, Benjamin aims “to write something that I
want to hear myself, that matters to me and is the best that I can do, in the
hope there might be some people out there who are also sensitive and open to
it, and with whom it might resonate. It might stay with them and open up an
area of thinking and feeling that is meaningful and new.”
A strong bond with Spain
In his work for chorus and orchestra Dream of the Song
(2014-2015) Benjamin’s writing shows the influence of Spanish culture: “In that
piece there’s not only text by Federico García Lorca – whose home I visited in
Granada the first time and whose piano I played – there are also texts set to
Hebrew poetry of the 11th century from Andalusia, a secular poetry of
extraordinary modernity and beauty.”
Benjamin admits to feeling a deep connection to Spain. “I
love the country and have been many times, to many different regions. My first
professional experience was in Barcelona, where someone who has remained a dear
friend and loyal supporter of my music, Josep Pons [the current musical
director of the Gran Teatre del Liceu in Barcelona], invited me to conduct the
Teatre Lliure Chamber Orchestra.
He also invited me to conduct the City of
Granada Orchestra, which gave me the thrill of seeing what is perhaps the most
beautiful place in Europe, the Alhambra. I’ve been two or three times since and
it remains for me an absolute jewel in the crown of our continent.”
Este disco, con el título en quechua de “Yaya Kuntur”, está dedicado a ciertos aspectos musicales que, si bien se han tratado de manera científica en libros, escritos, estudios y congresos por parte de investigadores y musicólogos, pocas veces se han visto reflejados o traducidos en propuestas de música práctica. La intención con esta grabación es “hacer sonar” la visión musical que me inspira el estudio de estas mismas fuentes.
Uno de los aspectos tratados en este disco se centra en el himno católico en quechua, del que se pretende ofrecer una rápida panorámica a través de su historia desde sus inicios en el siglo XVI hasta el siglo XX, y que comienza con dos ejemplos contenidos en el Symbolo Catholico Indiano de Luis Jerónimo de Oré: una referencia al canto del Symbolo Menor en quechua utilizando la melodía del himno Sacris solemniis, (tracks 10 y 11), y el Te Deum en quechua (track 13).
En este recorrido no podía faltar el famoso Hanaqpachap Kusikuynin (track 4) procedente del Ritual Formulario de Pérez Bocanegra, del que se propone una versión para voz y acompañamiento de arpa tomando el tradicional wayno como fuente de inspiración.
La importancia del himno en quechua, adaptándose a los tiempos, atraviesa el siglo XIX (track 14), alcanzando amplia aceptación en el siglo XX (tracks 18, 21). Además de los himnos en quechua, no se puede obviar la importancia de los que emplean la lengua latina, tan presentes en estas latitudes desde las primeras fases de evangelización; hay en el disco varios ejemplos de himnos en latín procedentes de un himnario de la catedral de La Plata (Sucre) del siglo XVIII (tracks 5, 6, 15), y uno del siglo XIX (track 19).
La lengua quechua, la gran protagonista de este disco, fue uno de los objetivos de estudio lingüístico y traducción en la Sudamérica hispana desde mediados del XVI hasta mediados del XVII. Han llegado hasta nuestros días una docena de volúmenes de esta época que incluyen sermones, catecismos, oraciones, himnos y otros géneros en quechua, todos escritos por sacerdotes españoles para que fueran usados en parroquias y pueblos de indios.
Este quechua, idioma de gran diversidad lingüística, corresponde al quechua de la sierra sur, escrito sobre todo en un patrón basado en la variedad del Cuzco, la capital incaica. A este quechua se le ha denominado “quechua pastoral”, el tipo de lenguaje o registro cristiano en quechua que corresponde a las obras contenidas en este disco. Este corpus estaba pensado parar ser usado en parroquias plenamente organizadas, en zonas que habían estado bajo control cristiano durante generaciones.
En 1937, la reportera noruega Gerda Grepp llega a Málaga
acompañada del célebre escritor Arthur Koestler, en realidad, un espía al
servicio de los sóviets. Encuentran una ciudad abandonada, donde el hambre se
sacia con caracoles y naranjas.
Tras una peligrosa incursión a Marbella en la
que Koestler desaparece, Gerda vuelve a pie a Málaga, desde donde escribe sus
crónicas de guerra antes de ser la última corresponsal en dejar la ciudad, ya a
manos del Frente Nacional. Tras escapar y cubrir el frente norte, muy enferma
de tuberculosis, vuelve a su país, donde muere. Tenía 33 años.
Gerda Grepp creció en Oslo y trabajó como periodista
política. Se involucró con el socialismo y la revolución hasta el punto de que,
en 1936, dejó a sus hijos en Noruega y viajó a Barcelona para, inmediatamente
después, cubrir el frente madrileño.
Muy amiga de Aleksandra Kolontái, Otto
Katz y Hans Kahle, fue amante de Louis Fischer. Esta es la vida de una mujer
olvidada, cuya repercusión en la historia de España era hasta ahora
desconocida.
«Si gana el fascismo, vendrá una época infinitamente más
oscura y larga».
Gerda Grepp
Puños alzados, voces de mujeres entremezcladas con los
tambores que gritaban en la oscuridad «¡Todos los hombres al frente, todos los
hombres al frente!», «¡Antes la viuda de un héroe que la esposa de un
cobarde!». Gerda se dejó arrastrar por el coro de mujeres españolas. Las siguió
un rato, alzó el puño, gritó las consignas con ellas antes de salir corriendo
hacia el hotel. «La población madrileña había escogido enfrentarse al enemigo
antes de que pusiera un pie en Madrid», escribió a casa.
La Fondazione Nicola Del Roscio e la Cy Twombly Foundation
presentano da sabato 25 maggio a venerdì 5 luglio, presso gli spazi di via
Crispi 18, la seconda edizione di Un/veiled, un progetto curato da Nicola Del
Roscio e Eleonora Di Erasmo, che celebra diversi linguaggi artistici, in
omaggio all’opera di Cy Twombly.
Un/veiled. Inside the creative process (after
Cy Twombly) è un programma multidisciplinare che si articola in cinque serate
di concerti live, danza, poesia, incontri, in una stazione d’ascolto dedicata a
Morton Feldman e in una mostra di opere del musicista ed artista visivo
Devendra Banhart, in collaborazione con la Galleria Mazzoli, Modena.
Il calendario prevede
il coinvolgimento di artisti di fama internazionale: Morton Feldman (stazione
d’ascolto Triadic Memories, 1981), Devendra Banhart (live 25 maggio, ore
21.00), MYRA MELFORD´S SPLASH TRIO con Michael Formanek & Ches Smith (live
30 maggio, ore 21.00), Dean Rader e Carlos Peris (presentazione delle
pubblicazioni di Dean Rader, Before the Borderless: Dialogues with the Art of
Cy Twombly, 2023 e di Carlos Peris, From State of Mind to the Tangible. The
Photographic Cosmos of Cy Twombly, 2022, 7 giugno, ore 18.30), PLAY/Michèle
Murray (danza 22 giugno, ore 21.00), Eraldo Bernocchi e Rita Marcotulli (live
29 giugno, ore 21.00).
Un/veiled è l’inedito
risultato di un’ampia ricerca condotta nel corso degli ultimi quattro anni
dalla Cy Twombly Foundation presso le sedi di Roma e Gaeta per volontà di
Nicola Del Roscio, volta a raccogliere, documentare e conservare presso i
propri archivi le composizioni musicali, coreografiche e poetiche di artisti
che si sono lasciati ispirare o hanno tentato di costruire un dialogo intimo
con le opere di Cy Twombly.
Da questa ricerca nel 2022 ha preso vita l’idea di
invitare alcune tra le personalità più interessanti del panorama internazionale
che si sono cimentate nella rilettura dell’opera di Twombly, a esibirsi in una
serie di concerti live presso gli spazi della Fondazione Nicola Del Roscio.
This exhibition presents a reimagination of Jenny Holzer’s
landmark 1989 installation at the Guggenheim. Climbing all six ramps of the
Frank Lloyd Wright-designed rotunda to the building’s apex, the site-specific
installation transforms the building with a display of scrolling texts,
featuring selections from her iconic series, such as “Truisms” and
“Inflammatory Essays”.
Light Line highlights the incisive use of the written word
across time and media in Holzer’s practice. In addition to the LED sign, the
exhibition features a selection of Holzer’s works from the 1970s to the present
day, including paintings, works on paper, and stone pieces. From May 16–20, the
artist’s light projection For the Guggenheim illuminated the building’s façade
with with a selection of poems and eyewitness accounts that speak to the
necessity of peace.
Jenny Holzer: Light Line is organized by Lauren Hinkson,
Associate Curator for Collections. Conservation research and treatment of Jenny
Holzer’s Installation for the Solomon R. Guggenheim Museum is led by Lena
Stringari, Deputy Director and Andrew W. Mellon Chief Conservator, and Agathe
Jarczyk, Associate Time-Based Media Conservator.
What to Expect
Jenny Holzer: Light Line includes descriptions of violence,
explicit language, low light levels, and an electronic light program.
The exhibition does not contain traditional wall labels or
explanatory texts. To enhance your experience, download the free Bloomberg
Connects app to access the museum’s Digital Guide, which offers information
about the works on view in multiple languages.
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