Hace 54 años.
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Alicia Perris
lunes, 30 de agosto de 2021
viernes, 27 de agosto de 2021
CONSIDERING IMMERSIVE ART ROOMS AND WHY WE LOVE TO ESCAPE
What unites all the immersive art rooms is the communal sensory experience viewers share together.
by Filippo Lorenzin
Giulio Romano, “Chamber of the Giants”
(1532-34), fresco, Palazzo Te, Mantua, Italy (image courtesy Wikimedia Commons)
Trained by Raphael in Rome, Giulio Romano
(1499–1546) was invited to work in Mantua, a strategically important city-state
at the time, as an architect and painter. His most memorable project was
Palazzo Te, a leisure palace commissioned by Federico Gonzaga II, the local
ruler, and designed and built over 10 years, from 1524 to 1534. Located just
outside the city’s walls, the building is regarded as one of the most precious
examples of Mannerist architecture and is still a joy to visit since it retains
most of the original wall decorations. The crowning jewel of the lot is the
“Fall of the Giants” room where, thanks to astounding illusionistic frescos,
viewers have the feeling that the surroundings are closing in on them. The
ceiling scene, featuring an animated circular composition with Roman deities
looking down, is rendered in a way that makes one experience it as a
continuation of the scenes on the walls which depict the massive bodies of
giants one on top of the other, desperately trying to save themselves from
Jupiter’s wrath. The room was designed with the purpose of offering
entertainment to a high-brow public that could recognize obscure mythological
themes. The tension between the desire to offer insightful experiences to a
cultural elite and the desire to make environments that would jostle their
senses in a playful, memorable way, has been a recurrent dynamic in the history
of immersive art rooms.
But first, what is an immersive art room?
Artificial immersion has a long history and is connected to both art and
architecture. The early cave paintings can be understood as the earliest
immersive environments, and medieval churches are equally aimed at enclosing
the public’s senses through a combination of architecture, light, and even
odors. In the last 50 years, immersive art environments have been often
designed so that they are scalable: For example, Ólafur Elíasson’s “Room for
one colour” (1997), comprised of special lamps emitting yellow light that
reduces the viewers’ spectral range to yellow and black, can be installed in
any white room. The “Infinity Mirror Room” by Yayoi Kusama has been presented
in many different indoor environments since its first display in New York in
1965, needing no more than mirrors and the special objects designed by the
artist to be installed. The colorful, digital interactive spaces designed by
teamLab, an art collective founded in 2001 in Tokyo whose team includes several
hundred specialists, albeit complex from a technical perspective, can be
installed in any space big enough to host them.
“To immerse yourself” means to actively limit your senses so that
you can experience a different dimension, such as a virtual world or a novel.
Technological devices, whether a virtual reality helmet or a book, have always
been used to make humans perceive different realities. What makes immersive art
rooms so unique is that their history is not only intertwined with art history
but also with the changing roles that technology has played over the centuries.
The popularization of the linear perspective in the early 15th century
normalized images created following strict mathematical rules. It is safe to
assume a knowledgeable 16th-century public knew what to expect from recently
painted images in terms of virtual spatiality. Giulio Romano bent the commonly
accepted perspective conventions to create surprise, wonder, and dismay. Since
then, numerous other artists and architects have designed immersive rooms that
take advantage of the latest discoveries in technology and human body science
to provide the most compelling experience possible.
What unites all the immersive art rooms, from Elíasson’s alienating
spaces to Kusama’s obsessive, mirrored environments, from teamLab’s visually
pleasing installations to Giulio Romano’s rooms, is the communal sensory
experience viewers share together. The immersion is most effective when there is
someone else next to us seeing what we see, hearing what we hear and validating
the ingenuity of the sensory tricks that make us question, perhaps for only
brief moments, how reality works. The disorientation one feels after leaving
these rooms is often part of the work itself. For example, in the case of
Elíasson’s “Room for one colour” it is explicitly stated in its description
that, “In reaction to the yellow environment, viewers momentarily perceive a
bluish afterimage after leaving the space.”
The wish to immerse ourselves in temporary out-of-this-world
experiences hasn’t been fulfilled only by known artists and architects over the
centuries but also by magic shows, amusement parks, and other forms of
entertainment that while not being usually mentioned in traditional art history
accounts, nonetheless play an influential role in shaping the expectations of
those hungry for sensory satisfaction and surprise. Panorama theatres,
360-degrees paintings depicting historical scenes, geographically proportional
views were conceived in the late 18th century and paved the way to the modern
cinema and contemporary VR headsets. And these technological innovations are
direct descendants of the so-called raree show, an older optical entertainment
device with which it was possible to see scenes printed on paper and colored by
hand, backlit by a candle. Its popularity was mainly due to street vendors who
went to village festivals and asked the public to pay a few pennies to view the
images.
The fact that these devices could be easily moved from a place to
another, sometimes even across oceans, developed within the public a certain
way to understand visually immersive shows. Not only these were often available
at relatively cheap prices, but also, they were enjoyed with the rest of the
community as a shared special experience. Contemporary itinerant installations
such as the Van Gogh Exhibition: The Immersive Experience and Klimt: The
Immersive Experience can be transported, sold, and rented theoretically
anywhere. When you access one of these, you know your senses will be fed with
the same tricks and sensory stimuli that were cast over and over many other
visitors around the world. To know you have been tricked in the same way is
part of the joy these amusements provide.
https://hyperallergic.com/670523/considering-immersive-art-rooms-and-why-we-love-to-escape/
INSTITUTO RUMANO DE MADRID INFORMA: "BETWEEN PAIN AND AMEN" / "ÎNTRE CHIN ȘI AMIN" ABRE LA MUESTRA DE CINE RUMANO 2021 EN MADRID
Del 3 al 11 de septiembre, el Instituto Cultural Rumano y Cineteca Madrid presentan una selección de películas rumanas recientes, en el marco de la programación de la 11ª Muestra de Cine Rumano. Son cinco propuestas diversas, tanto a nivel formal como temático, pero que también tienen un hilo común. La mayoría hablan sobre el comunismo en Rumanía, la represión, las penurias del sistema, la vida de millones bajo el comunismo, las prisiones que se parecen a campos de concentración, el yugo autoritario y el estancamiento de la economía, el culto a la personalidad y el terror ejercido por la policía política, la temida Securitate. Nefastas experiencias en la Rumanía bajo el comunismo, llevadas magistralmente a la pantalla por los directores que os proponemos este año. Pero no son los únicos temas que os proponemos. Una de las películas es una adaptación de un texto del siglo XIX escrito por el filósofo y poeta ruso Vladimir Solovyev y otra de las cintas trata temas sociales enmarcados, habla sobre la corrupción, la burocracia y la incapacidad del sistema para satisfacer las necesidades básicas de sus ciudadanos.
Después de la Revolución Rumana de 1989, el país desarrolló una
corriente cinematográfica novedosa, de corte realista, con un sentido del humor
cáustico, en donde se reflejan tanto los años vividos bajo Ceaușescu como sus
consecuencias en la actualidad. Es conocida como la Nueva Ola Rumana.
En España hay esta conciencia de que en Rumanía se hace un cine
realmente interesante, con visiones nuevas y creo que es considerada, al menos
por los cinéfilos, como una de las cinematografías fundamentales de Europa -
afirmaba el crítico Javier H. Estrada.
La Muestra de Cine Rumano se inaugurará el 3 de septiembre en la
Cineteca Madrid, con la proyección de la película “Între chin și amin”/
“Between Pain and Amen” en la sala Azcona, a las 20:30 h. El director Toma Enache
estará presente en la inauguración, para la presentación de su película y para
dialogar con el público, acompañado por el crítico de cine Fernando García
Bernal.
En “Între chin și amin”/“Between Pain and Amen”, del director Toma
Enache, ganador en el European Cinematography Awards (ECA) en 2019 y 2020,
entre muchos otros, un joven músico y compositor es detenido por la policía
política en Rumanía a su regreso de Viena, poco después de prometerse. Se acoge
a su devoción a Dios para sobrevivir a la tortura en la prisión de Pitești.
Cabe destacar que en 1949 se definió finalmente al régimen de Rumanía como una
dictadura del proletariado. Es en ese nuevo “orden” comunista, aún naciente y
que llegó a implantarse de manera definitiva en Rumanía con Gheorghiu-Dej, en
el que tiene lugar El experimento de Pitești desde diciembre de 1949 a agosto
de 1952, un intento de reeducación para la nueva realidad comunista.
“Uppercase Print”, de Radu Jude, presente en la selección oficial a competición (Sección "Albar") del Festival de Gijón 2020, se ha descrito como un “docudrama” en el amplio sentido de la palabra (y lo deja claro en sus primeras escenas). Es la Rumanía del año 1981. El dictador Nicolae Ceaușescu está en el gobierno, liderando una Rumanía comunista. Escribe la historia oficial con la ayuda de la Televisión Nacional. Mugur Călinescu, un adolescente de 16 años, escribe con tiza y en mayúsculas otra historia en las paredes con mensajes de protesta contra el régimen. Sus acciones se recopilan en un voluminoso archivo guardado por la Policía Secreta (Securitate), que lo observaron, aprehendieron e interrogaron. "Una obra escalofriante de teatro filmado (...) Una denuncia feroz y apasionada del mal" (Peter Bradshaw: The Guardian).
“Malmkrog”, dirigida por Cristi Puiu, ha sido incluida entre las 5
mejores películas del festival de cine de autor D'A Film Festival 2021 de
Barcelona. “Pura esgrima verbal en una puesta en escena mucho más dinámica de
lo que apunta su premisa, la última película del rumano Cristi Puiu ("Sieranevada",
"La muerte del señor Lazarescu")” (Time Out). Cristi Puiu ha recibido
también el FIPRESCI 96 Platinum Award en el marco de la 25 edición del Festival
Internacional de Cine de Sofía. Este prestigioso premio es concedido por la
Federación Internacional de Críticos de Cine - "Las películas del famoso
guionista y director Cristi Puiu, fundador de la nueva ola del cine rumano, es
uno de los motivos por los que Rumanía ha captado la atención del mundo
cinematográfico", ha argumentado el jurado. “Malmkrog” ha ganado en el
festival de cine europeo de Sevilla el Giraldillo de Oro, su máximo galardón,
al que ha sumado el premio al mejor guion. El certamen ha calificado a la
ganadora de su 17º edición de “obra maestra”, según el jurado, que la ha ensalzado:
“Nos quedamos impresionados por el potencial de la película de un grandísimo
director y cuya acción tiene lugar en la Rusia del siglo XIX y que sin embargo
no deja de hablarnos de nosotros. En aquellos tiempos de pandemia, la niebla
resuena de forma particular y duradera entre nosotros”.
“Cardinalul”/“El Cardenal”, del director Nicolae Mărgineanu, premio
al guión y mejor actor para Radu Botar por la “Unión de Cineastas de Rumanía”,
es una película sobre la vida y la personalidad del obispo greco-católico Iuliu
Hossu. Es el año 1953. Sighet, la cárcel de los curas. Un héroe de la
resistencia greco-católica cara a cara con un torturador insólito. Una única
salida… conversión o muerte. Poco después del final de la Segunda Guerra
Mundial, el régimen rumano decidió prohibir la Iglesia greco-católica local,
unida a Roma: sus obispos, sacerdotes y fieles se vieron forzados a
incorporarse a la Iglesia ortodoxa. Muchos de ellos se negaron y fueron
arrestados. Esta es la historia de Iuliu Hossu y de sus hermanos en
sufrimiento.
“Cărturan” es el primer largometraje del director Liviu Săndulescu,
nominado para mejor película en el Festival Internacional de Varsovia y en
varias secciones de los Premios Gopo, y que ha entrado en competición para los
Premios Flash Forward de Busan. Vemos al protagonista de la película, Vasile
Cărturan, en primer plano, un hombre de 60 años que empieza a poner en orden
sus asuntos, incluido el de encontrar una familia adoptiva para su nieto
huérfano, dado que los médicos le han dado pocos meses de vida. Lo más
sorprendente de Cărturan es su guión, desprovisto de fatalismo. El
despreocupado protagonista parece haber aceptado su destino en el momento en
que los médicos le dieron el diagnóstico y procede a tachar cosas de su lista.
Hay algo increíblemente estoico, austero y sereno en su forma de enfrentarse a
su mortalidad, que es la principal baza de la historia, con la actuación
discreta y honesta de Corban, que dota de profundidad y humanidad al personaje
cuya impotencia frente a la muerte se convierte en su principal recurso, como comenta
a los demás personajes.
11ª MUESTRA DE CINE RUMANO EN MADRID
Del 3 al 11 de septiembre de 2021
Cineteca Madrid /
Matadero (Plaza de Legazpi, 8, 28045 Madrid)
https://www.icr.ro/madrid/intre-chin-si-amin-inaugureaza-festivalul-filmului-romanesc-la-madrid-editia-a-xi-a/es
jueves, 26 de agosto de 2021
SALGADO AMAZÔNIA. PHILARMONIE DE PARIS
from May 20 to October 31, 2021
For seven years, Sebastião Salgado immersed himself in far corners of the Brazilian Amazon, photographing the forest, rivers and mountains, and the people who live there. On his journeys deep into this realm—where the immense power of nature can be felt as in few places on earth—his photographer’s eye captured striking images, most being shown here to the public for the first time.
Accompanied by an original soundtrack—a ‘symphony-world’ created by
Jean-Michel Jarre using concrete sounds from the forest—the exhibition also
gives voice to the indigenous communities photographed, via their testimonies.
A photographic journey
Following from his Genesis project, a photographic ode to the
majestic beauty of the most remote regions of the world, Salgado embarked on a
new series of expeditions to capture the incredible natural diversity of the
Brazilian rainforest, and the ways of life of its inhabitants. Staying in
remote villages for several weeks at a time, he was able to photograph ten
ethic groups. Taken from small watercraft or from the air, Salgado’s images
reveal the complex maze of tributaries that twist their way into the river,
mountains reaching heights of 3 000 metres, and the skies so thick with
moisture that there are rivers in the air
A symphony-world
The exhibition highlights not only the fragility of this ecosystem,
but also the rich natural soundtrack of the Amazon, placing in dialogue
Salgado’s arresting photos and a new musical composition by Jean-Michel Jarre,
created specially for the exhibition using concrete sounds from the forest. The
rustling of trees, animal calls, birdsong, the roar of water tumbling from
mountain peaks, etc. collected in situ, in the rainforest, form a stunningly
apt audio landscape to accompany Salgado’s journey.
An inestimable heritage
Featuring 200 photographs, along with giant projections—scaled to the immensity of a natural realm like no other—the exhibition shines a spotlight on the fragility of the Amazonian ecosystem. It seeks to show that in the areas inhabited by indigenous groups, the ancestral guardians of these lands, the forest remains almost entirely undamaged. Documentary films allow visitors to hear from the people who live in the forest, in their own voices, and to gain a sense of their rich cultures. Through these powerful images, Sebastião and Lélia Salgado hope to prompt the thinking and actions urgently needed to protect this inestimable heritage of humanity.
Curator and scenographer: Lélia Wanick-Salgado
Original musical soundtrack for the exhibition: Jean-Michel Jarre
Exhibition in collaboration with the Geneva
Ethnography Museum
https://philharmoniedeparis.fr/en/activity/exposition/22404-salgado-amazonia
HISTOIRE DU GRAND PALAIS. PALISSADE DU GRAND PALAIS, PARIS
Nayel Zeaiter
Palissade autour du Grand Palais
16 septembre 2021
En mai 1900, le Grand Palais ouvrait pour l’Exposition Universelle.
Début 2021, il fermera ses portes pour d’importants travaux de restauration.
Entre ces deux dates s’est déroulée une vie foisonnante, pendant laquelle le
Grand Palais a résonné avec son temps, acteur majeur de la vie artistique et
culturelle française, miroir du XXe siècle - du progrès technique et
scientifique qui l’ont marqué, des remous sociaux et historiques qui l’ont
jalonné. La Rmn – Grand Palais invite l’artiste Nayel Zeaiter à faire de la
palissade qui va entourer le Grand Palais pendant les travaux une œuvre (d’une
hauteur de 1,5 m et de près de 1km) offerte au public qui ne pourra plus entrer
dans le monument pendant un peu plus de 3 ans. « Le travail de Nayel pour la
palissade du Grand Palais, tout comme son album « Histoire de France » et sa
plus récente installation « Histoire du Vandalisme », est un véritable tour de
force. Les images et textes méticuleux, fléchés dans des longues compositions
narratives, à la fois familiers et étranges, inspirés des tableaux pédagogiques
et des instructions didactiques, comme dans les manuels touristiques, traitent
des événements et scènes peu connus de l’histoire et la vie du Grand Palais.
L’artiste prend le rôle de l’historien amateur, une fascination qui règne dans
chacun de nous. Le résultat est une œuvre colossale qui combine la lecture de
longue durée des tapis de Bayeux avec la légèreté des bandes dessinées et les
meilleurs exemples du street art ».
Chris Dercon
« La commande qui m’a été faite consiste en la création d’une œuvre
traitant de l’histoire du Grand Palais. Pour y répondre, j’ai voulu parler du
bâtiment et de tout ce qui l’a fait vivre depuis 1900 : les événements, acteurs
et projets qui ont animé le lieu, mais aussi les débats artistiques et
politiques qui l’ont entouré.
Vitrine culturelle de la France, le Grand Palais a été aussi bien
témoin des mutations du monde de l’art que des changements de régime qu’a
connus le pays. En dessiner l’histoire me permet de traiter 120 ans d’histoire
de l’art et de politique culturelle française. Le résultat prendra la forme
d’une très longue frise chronologique. Elle sera composée de dessins et de
textes fléchés, créant un fil narratif continu se déroulant tout autour du
chantier du Grand Palais. Le tout sera imprimé sur du papier affiche et
placardé sur les palissades en bois. »
Formé aux Arts décoratifs de Paris, Nayel Zeaiter tente de
perpétuer et d’entretenir le genre de la peinture d’histoire. Son travail
oscille entre œuvres grand format et réalisations éditoriales au sein des
Éditions Comprendre qu’il a créées en 2011. Il expose notamment au Salon de
Montrouge (2015), au salon Drawing Now (2015), au Palais de Tokyo pour
l’exposition Appareiller (2017), à la Biennale internationale de design de
Saint-Étienne (2017), à Vent des forêts (2017), au musée d’art sacré de
Saint-Mihiel (collection permanente), au Palais de Tokyo pour l’exposition
Futur, ancien, fugitif (2019). En 2018, il publie Histoires de France en 100
planches illustrées, aux éditions La Martinière. En 2019, il publie Histoire du
vandalisme illustrée, aux éditions Comprendre.
JCDecaux, mécène de L’Histoire du Grand Palais par Nayel Zeaiter
DOCUMENTA. POLITICS AND ART. BERLÍN
Following its debut in 1955 as a major exhibition with international ambitions, documenta became a place where West Germany’s image of itself was moulded anew. Every four years (later, five years), its organisers and curators set themselves the task of illuminating current trends in art. The Deutsches Historisches Museum is breaking new ground by considering the history of documenta one to ten in the context of the political, cultural and social development of the Federal Republic of Germany between 1955 and 1997. Works of art, films, documents, posters, oral history interviews and other original objects of cultural and historical value illustrate how documenta, as an art event and a historical venue, commented on, demanded and reflected political and social change. Among them are famous works shown at documenta by artists as diverse as Max Beckmann, Willi Baumeister, Joseph Beuys, the Guerrilla Girls, Hans Haacke, Séraphine Louis, Wolfgang Mattheuer, Emy Roeder, Andy Warhol and Fritz Winter.
From the outset in 1955, documenta confronted its visitors with modern art, that is, with artistic styles that had been labelled ‘degenerate’ in Germany for more than a decade until 1945. In Kassel, the Federal Republic commended itself to its Western partners with a programme that perpetuated a past that it ostensibly sought to overcome. Almost half of those who participated in the organisation of the first documenta had been members of the Nazi party, the SA or the SS. By contrast, works by Jewish or communist artists who had been persecuted or murdered were not present at documenta. There was apparently no place for the victims of persecution, war and mass murder in the narrative of the young Federal Republic’s supposed ‘fresh start’.
documenta was closely connected with the political agenda of the Federal Republic in the 1950s and 1960s; it thus reflected the tensions of the Cold War. Modern art, previously denigrated, advanced to the status of official state art – through considerable financial backing and political support – and served as a means of cementing the Federal Republic’s bonds with the West. Located near the eastern border with the GDR – the former Soviet occupation zone – documenta also addressed an East German audience, even though it did not welcome the art of the GDR. It was not until the 1970s, in the wake of Willy Brandt’s policy of détente, that documenta showed any interest in East German and Eastern European artists.
Over the years, the documenta forged its career as a major international
event with festival appeal, where young people came in throngs and could even
discuss art with the artists in person. However, the traditionally minded among
the educated middleclass felt provoked by the event and sometimes even
protested against it. In the following decades, the ‘documenta’
brand established itself internationally as the model for popular and
commercially oriented art events in a globalised (art) world. Time and again,
it became a platform for political activism, as the feminist artists’ group
Guerrilla Girls impressively demonstrated at documenta 8 in 1987.
https://www.dhm.de/en/exhibitions/documenta-politics-and-art/#/
TURANDOT E L’ORIENTE FANTASTICO. MUSEO DEL TESSUTO. RICHARD TUCKER, SINGER, ( AUGUST 28, 1913-JANUARY 8, 1975)
22 maggio – 21 novembre 2021
Turandot e l’Oriente fantastico di Puccini,
Chini e Caramba (Museo del Tessuto, Prato dal 22 maggio al 21 novembre) è il
frutto di un lungo e accurato lavoro di ricerca compiuto dal Museo sullo
straordinario ritrovamento di un nucleo di costumi e gioielli di scena
risalenti alla prima assoluta della Turandot di Puccini e provenienti dal
guardaroba privato del grande soprano pratese Iva Pacetti.
Un’esposizione inedita, suggestiva,
multidisciplinare e di ampio respiro, che nasce grazie alla collaborazione di
enti e istituzioni pubblici e privati italiani di grande prestigio che a vario
titolo hanno contribuito a questo ambizioso progetto: ricostruire le vicende
che hanno portato il grande compositore toscano Giacomo Puccini a scegliere
Galileo Chini per la realizzazione delle scenografie per la Turandot, andata in
scena per la prima volta al Teatro alla Scala il 25 aprile 1926, diretta da
Arturo Toscanini.
Co-organizzatore della mostra è il Sistema
Museale dell’Ateneo fiorentino nel cui Museo di Antropologia e Etnologia è
conservata una collezione di oltre 600 cimeli orientali, riportati da Galileo
Chini – grande interprete del Liberty italiano – al rientro dal suo viaggio in
Siam nel 1913 e da lui personalmente donati nel 1950 al Museo fiorentino.
A questi si aggiunge il contributo degli enti prestatori: l’Archivio Storico Ricordi, il Museo Teatrale alla Scala e l’Archivio Storico Documentale Teatro alla Scala, le Gallerie degli Uffizi – Galleria d’Arte Moderna di Palazzo Pitti, la Fondazione Giacomo Puccini di Lucca, la sartoria Devalle di Torino, l’Archivio Corbella di Milano, la Società Belle Arti di Viareggio e numerosi prestatori privati.
Il percorso espositivo della mostra – che occupa circa 1.000 metri quadri complessivi – si apre nella Sala dei Tessuti Antichi con una selezione di circa 120 oggetti della collezione Chini, proveniente dal Museo di Antropologia e Etnologia di Firenze. Il visitatore potrà ammirare tessuti, costumi e maschere teatrali, porcellane, strumenti musicali, sculture, armi e manufatti d’uso di produzione thailandese e cinese – suddivisi per ambiti tipologici all’interno di grandi teche espositive – che sono stati continua fonte di ispirazione per l’Artista e sono diventati soggetti di suoi numerosi dipinti.
L’esposizione prosegue al piano superiore con
una sezione dedicata alle scenografie per la Turandot e al forte influsso che
l’esperienza in Siam ebbe nell’evoluzione del percorso creativo e stilistico di
Chini. La terza e ultima sala riunisce finalmente, dopo decenni di oblio, gli
straordinari costumi della prima dell’opera. Infatti, accanto a quelli della
protagonista di proprietà del Museo – su una grande pedana rialzata che la
prima volta nella storia riunisce la straordinaria parata realizzata da Caramba
nel 1926 – sono esposti anche 30 costumi straordinari provenienti dall’archivio
della Sartoria Devalle di Torino, comprendenti i ruoli primari e comprimari –
l’Imperatore, Calaf, Ping, Pong e Pang, il Mandarino – e i secondari – i
Sacerdoti, le Ancelle, le Guardie, i personaggi del Popolo. Si tratta dei
costumi originali realizzati per la stessa edizione dell’opera, anch’essi
inizialmente scomparsi, ma poi rocambolescamente ricomparsi a metà degli anni
Settanta ed entrati a far parte definitivamente di questo meraviglioso archivio
storico privato.
VISITA
Dal 22 giugno al 5 agosto, la mostra è aperta
anche di sera ogni martedì e giovedì con orario 19-23.
Ogni giovedì di luglio, la visita guidata alla
mostra delle ore 21 è gratuita. Prenotatevi!
https://www.museodeltessuto.it/mostra-turandot/
Richard Tucker
American opera singer
BRITANNICA
FULL ARTICLE
Richard Tucker, original name Reuben Ticker, (born August 28, 1913, Brooklyn, New York, U.S.—died January 8, 1975, Kalamazoo, Michigan), American operatic tenor and cantor who sang roles in more than 30 operas.
As a youth, Tucker first sang as a member of a synagogue choir and on radio. He studied voice with Paul Althouse and made his Metropolitan Opera debut in 1945 as Enzo in Amilcare Ponchielli’s La gioconda. His European debut was in 1947 at the Verona Arena in the same role opposite Maria Callas in the title role. Although Tucker sang in opera and recitals in many European cities—London, Milan, Vienna, Barcelona, Florence—his career was centred in the United States. He was a popular performer on radio and television and made a number of highly regarded recordings. Before his sudden death on a concert tour, he had sung with most of the leading American opera companies and orchestras and was highly praised as a cantor.
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