#Andrea Paoli

[marcogiovenale]

numero doppio di 'utsanga', appena uscito

utsanga.it, nn. 39 e 40 (marzo/giugno 2024), con opere diLamberto Pignotti, Carlo Belloli, Lucia Sapienza, Anna Guillot, Nadia Cavalera, Francesco Muzzioli, Daniel Barbiero, Francesco Aprile, Cristiano Caggiula, Dixie Denman Junius, Gianluigi Balsebre, Fernando de Filippi, Fernando Miglietta, Cecelia Chapman, Alfonso Lentini, Tim Gaze, Gian Paolo Roffi, Egidio Marullo, Shadi Fathi, Ninfa…

[clamarcap]

Una Sonata di Alessandro Stradella

Alessandro Stradella (1639 - 25 febbraio 1682): Sonata in re minore per violino, violoncello e basso continuo. Ensemble Consonanze Stravaganti: Linda Przybiernow, violino; Nicola Paoli, violoncello; Andrea Antonel, tiorba.

[nathairart]

Ph: Andrea De Paoli Cosplayer: Nàthair Art

[spaziocomesichiama]

30 dicembre 2022

Spazio come si chiama? promuove la mostra collettiva PECORELLE in collaborazione con spazio mirtilloxgalleriaarrivada e si impegna a dare rilevanza alla sua pecorella preferita: “La pecorella smarrita” di Arabrab Acnirt.

La mostra, inaugurata il 13 dicembre 2022, rimarrà aperta fino al 23 dicembre 2023, per tanti giorni quante sono le pecorelle esposte!

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[opera-ghosts]

Here we see the Italian bass Nazzareno de Angelis (1881 – 1962) as King Henry from Lohengrin. I love the imposing costume and regal pose.

De Angelis was born at L’Aquila on 17 November, 1881 and began his musical life as a boy soprano, first with local choirs, then at the Capella Sistina in the Vatican. After his voice lowered, he studied with one Dr. Faberi at the Accademia di Santa Cecilia in Rome. For several years, he and his mentors wondered about his true vocal placement, and he studied both baritone and bass scores with equal intensity. The top of his voice was tremendous, but it became increasingly clear that it was centred where kings, prophets and devils live. His last two years at the Accademia were spent developing repertoire, and he gave several recitals there before making his opera début at the Comunale of L’Aquila in May of 1903 in Linda di Chamounix, followed by an opera called“L’Educate di Sorrento, by E. Usiglio, at the same theatre. 

Hearing of his enormous success the management of Rome’s Teatro Quirino immediately engaged him, and, in early July, he débuted in Norma. He subsequently appeared at the Teatro Adriano as Il Spettro in Hamlet, to the Ofelia of Maria Barrientos and the Hamlet of Battistini, followed by Rigoletto and Tosi Orsini’s Yanthis. In 1904, after some twelve performances of La Gioconda at the Teatro Lirico of Milan, he appeared at Santa Maria Capua Vetere as Colline and at the Quirino in La Favorita, Il Barbiere di Siviglia (Basilio), Carmen (Zuniga), Ernani, Norma and Rigoletto. Carlo Galeffi was his Rigoletto in several performances. He toured the Netherlands from December of 1904 to May of 1905, singing such diverse roles as Dr. Grenvil in La Traviata, Zuniga in Carmen, Sparafucile in Rigoletto, Ferrando in Il Trovatore, Fouquier-Tinville in Andrea Chénier, Tom in Un Ballo in Maschera, Angelotti in Tosca, Basilio and Raimondo in Lucia di Lammermoor. The company gave performances in Amsterdam, Rotterdam and The Hague. 

In the Autumn of 1905 he appeared at Mirandola in La Gioconda, at Parma’s Teatro Reinach in Rigoletto and Faust, and at Cagliari’s Teatro Regina Margherita as Alvise, along with those first historic performances of Mefistofele. Gaspare Nello Vetro’s Teatro Reinach says of his Faust Mefistofele: “The young Nazzareno De Angelis, now at the outset of his career, received the greatest applause and had to repeat ‘Dio dell’ Or’ at every performance.” At Cagliari, after his first performance of Boito’s Devil, the applause was interminable and it immediately led to a contract at Bari’s very important Teatro Petruzzelli, where he added Lohengrin and Iris to his roster of operas. 

In the Spring of 1906 he left on his first South American tour, appearing at Santiago de Chile and Valparaiso from June to November. He sang nine roles to enormous success. On 16 August, the region was stunned by an earthquake so severe that performances had to be suspended until 1 September. The opera house at Valparaiso was almost completely destroyed, and it was there that the greatest damage occurred. Hundreds of people died, and the wounded numbered in the thousands. Despite recurring after-shocks, the season eventually returned to normal and, in addition to his scheduled performances, he participated in several hastily arranged benefits for earthquake victims. Among his new assignments were Ludovico to the commanding Otello of Antonio Paoli, and Marcel in Gli Ugonotti. His receptions were increasingly enthusiastic, and, before the season ended, he happily agreed to return. That agreement was honoured in both 1908 and 1909. El Mercurio said of him: “…. at the end of the Prologue to Mefistofele, De Angelis received a huge and most sincere ovation.” A later review stated that “he has reminded us again as Mefistofele how superb an artist he is, and in Germania has made us marvel at his versatility in this new role”. 

The 1908 season saw him in eight operas including Gli Ugonotti with Hariclea Darclee, and in 1909, he sang nine roles including the creator part of Aquilante in Gloria After his appearances at Santiago, he is thought to have sung in Buenos Aires at the Teatro Coliseo, but no details have been unearthed about his roles during that engagement. He returned to the South American continent in 1910, 11, 12, 14, 19 and 1926, and he appeared in Buenos Aires, Rosario, Montevideo, Rio de Janeiro and São Paolo. He sang Mefistofele in every theatre at which he appeared, and in every season, except for 1914. The list of operas he performed in South America only is long: Tannhäuser, La Sonnambula, I Puritani, Gomes’s Il Guarany and Salvator Rosa, Galitsky in Prince Igor (his only Russian opera, though sung in Italian), Les Huguenots (also in Italian), de Campos’s Um Caso Singular, Verdi’s Otello and Franchetti’s Germania.

On 15 January, 1907 he débuted at La Scala as Alvise in La Gioconda and appeared for the first time in Tristan und Isolde, La Wally and as Aquilante de Bardi in the world premiere of Cilea’s Gloria. Despite recurring arguments with the theater’s management, including one four year hiatus, he would sing twenty four roles over twelve seasons. The year offered two other very important debuts, Alvise at the Teatro Verdi of Firenze with Eugenia Burzio, and King Marke at Bologna’s Teatro Comunale with Amelia Pinto, Giuseppe Borgatti and Giuseppe Pacini. Tristan und Isolde received fifteen performances and was followed by De Angelis’ only appearances in Tschaikovsky’s Iolanthe.

1908 brought with it the beginning of his Scala partnership with Ester Mazzoleni. They first appeared in Franchetti’s Cristoforo Colombo conducted by Toscanini in a run of 16 performances, followed by a revival of La Forza del Destino. Mazzoleni described the event: 

You will not be able to imagine what happened on that opening night. Icilio Calleja started ‘O tu che in seno agli angeli’ both too soon and out of tune, at which point all hell broke loose in the house. The theatre took on the atmosphere of a bullring, and, as often happens when things are not going well, the audience vented its rage at everything in sight. Both Pasquale Amato and Luisa Garibaldi were booed and hissed without mercy. The only ones who escaped their fury were De Angelis and myself. At the end, after almost collapsing from nervous exhaustion, we received a standing ovation. Notwithstanding our personal success, Toscanini, eyes ablaze, cancelled the remaining performances. 

On 19 December, 1908 De Angelis and Mazzoleni appeared in the historic production of Spontini’s La Vestale, a revival that was repeated 16 times, and then travelled to Paris. Verdi’s I Vespri Siciliani was next in the list of successes, and, on 30 December, 1909, they caused a sensation in Cherubini’s Medea. In March 1910, they appeared in what was to be their last opera together, Meyerbeer’s L’Africaine. This unbroken string of personal triumphs is one of the most legendary of all stories associated with the Milan theatre. Among other memorable evenings at La Scala was the world première of Montemezzi’s L’Amore dei Tre Re on 10 April, 1913 in the role of Archibaldo, which he later premièred at the Colón of Buenos Aires, the Costanzi of Rome, Rio de Janeiro, São Paolo and Trieste’s Teatro Verdi. 

Of his Archibaldo in the Rome première of L’Amore dei Tre Re, Il Tempo, on 15 March, 1919, said: “De Angelis, the old lion, he of the pungent, powerful voice, sang the ideal performance of Montemezzi’s king.” 

Most of 1910 was spent in the Western Hemisphere. On 31 May De Angelis debuted at Buenos Aires’ Teatro del Opera in Lohengrin with Salomea Krusceniski, Luisa Garibaldi, Dygas and Riccardo Stracciari ,and he completed his season in Aida with Giannina Russ, Garibaldi, and Giovanni Zenatello, Norma with Russ, Garibaldi and Dygas, Mefistofele with Krusceniski and Dmitri Smirnov and Gotterdammerung with Krusceniski and Dygas. In August, the company visited Montevideo for a three week season. after which De Angelis traveled to Chicago for his only performances in the United States. 

On 3 November, 1910 he sang in the inaugural performance of the Chicago Civic Opera Company as Ramfis. The cast included Karolewicz, de Cisneros, Bassi, Sammarco and Dufranne. He subsequently sang Colline in La Boheme with John McCormack, Raimondo in Lucia di Lammermoor and Ashby in La Fanciulla del West. On 18 January 1911, in a closing night gala, he appeared as Ashby with Carolina White, Caruso and Sammarco. It is curious that De Angelis accepted a contract with Chicago for roles so small when he had already become the most important bass at La Scala and in many of South America’s theatres. Perhaps the heady company that he would be keeping attracted him; that, with the hope that other more important roles would come his way. He visited several other cities, but, outside of a single appearance in Fanciulla del West at Milwaukee in November.

Upon his return to Italy, De Angelis prepared for the most important début of his career: the Costanzi of Rome. The theatre was to present a gala ‘Musical Exposition’ of opera and ballet in celebration of the fiftieth anniversary of the declaration of the Kingdom of Italy. Among the notable events were the company premières of Verdi’s Macbeth and Donizetti’s Don Sebastiano and the Italian première of La Fanciulla del West, with Eugenia Burzio and Giovanni Martinelli. Serge Diaghilev’s Ballet Russe presented local premières of Les Sylphides and Giselle with Nijinsky, and Toscanini conducted several of the operas. In the midst of this carnival of riches, on 16 April, 1911, De Angelis débuted as Don Basilio with the stellar cast of Graziella Pareto, Umberto Macnez, Titta Ruffo and Giuseppe Kaschmann. The theatre was packed with family, friends, colleagues from his days at the Vatican and the Conservatorio, and former teachers. Dal Costanzi all’Opera states that “it was an evening of surpassing grandeur, refinement and polish, a performance beyond any criticism”. Il Giornale d’Italia reported that “De Angelis convinced a highly expectant audience that he is truly an artist of the first rank….The tumultuous applause that greeted the singers became a roar each time that he appeared before the great curtain”. He was to tell Paolo Silveri many years later that it was the most emotionally satisfying evening of his career. The bond between singer and city had been permanently cemented and he would return in thirteen additional seasons in seventeen roles.

On 23 May, De Angelis debuted at the Teatro Colon in Buenos Aires as the Landgrave in Tannhauser with Pasini-Vitale, Ferrari-Fontana and De Luca. He sang in ten operas, including his first performances in Don Carlo with Agostinelli, Garibaldi, Constantino and Ruffo, La Sonnambula with Barrientos and Bonci and I Puritani with Barrientos, Bonci and De Luca. The Colon hosted him the following year in seven operas, including his only performances as Friar Lawrence in Gounod’s Romeo et Juliette with Lucrezia Bori and Giuseppi Anselmi. De Angelis sang at the Colon for the last time in 1914, but he returned to Buenos Aires in 1919 as Basilio, Mefistofele, Galitzky, Mose and Archibaldo at the Teatro Coliseo. 

On 10 October, De Angelis sang Mefistofele at the Costanzi for the first time, and it would be the defining event of his career. The first night audience cheered for nearly an hour and the next day’s reviews were among the most laudatory ever seen: 

Mefistofele at Rome - Il Corriere d’Italia - 11 October, 1911. “This singer and magnificent actor can truly claim to be the greatest basso currently on the lyric stage. Extraordinary power, an excellent voice, clear and perfect diction and impeccable technique were all completely confirmed last night. His success was enormous.” 

His triumph was reported on the front page of newspapers throughout Italy and he was immediately asked to sing the role in virtually every Italian theatre. Within four months he had débuted at Turin’s Regio, Trieste’s Verdi and the San Carlo of Naples, where he sang fourteen performances of the opera. Barcelona’s Liceo received him with enormous acclaim in April of 1913 and Mefistofele was to serve as his debut role at Venice’s Fenice, Genoa’s Carlo Felice and Politeama, Brescia’s Grande, Padua’s Verdi, Palermo’s Massimo and the Verona Arena. In 1918, De Angeles sang the role for the first time at La Scala with Linda Cannetti, Elena Rakowska and Gigli, and, in 1920, at Milan’s Dal Verme, he appeared in some fifteen performances of the opera with Hina Spani as Margherita. It was so overwhelming a part of his career, that in 1923, it was the only role he sang. 

On 4 April, 1915, he sang Mosè for the first time, appearing at Rome’s Teatro Quirino and took the role to Firenze, Livorno’s Teatro Goldoni, the Comunale of Bologna and Milan’s Dal Verme. The cast included Giannina Russ, Adele Ponzano, Luigi Pieroni and Alessandro Dolci, and was conducted by Mascagni. The tour was among the very few performances he gave between the Spring of 1915 and the Winter of 1918. A 1916 press release from the Teatro Municipal of Santiago, Chile notes that, because he was serving in the Italian armed forces, he would not be able to appear. He returned to the stage at Rome’s Costanzi in February, 1918, and sang Mosè there on 23 April. 

Mosè - 2 June, 1918 - Rome Dal Costanzi all’Opera. “On the closing night, which presented the tenth performance of Mosè, De Angelis achieved one of the greatest successes of his career.” 

La Tribuna said: “The great bass received an ovation perhaps without parallel in memory. His performance was of monumental proportions, and the audience responded in kind.” 

Over the next several years, De Angelis sang Mose at La Scala, Buenos Aires, Rosario, Montevideo, Rio de Janeiro, Sao Paolo, Bergamo, Genoa, Ferrara, Trieste, Turin, Ancona, and, for the last time in 1925 at the Verona Arena. 

Although De Angelis’ stage debut was in Linda di Chamounix, Donizetti and Bellini seem not to have been composers for whom he felt much affinity. In 1911, he sang in La Sonnambula and I Puritani at the Colón of Buenos Aires and, on the closing night of the 1926 season at Rio de Janeiro, he sang one additional lonely performance of I Puritani. By 1912, he had stopped singing in La Favorita and Lucia di Lammermoor and seems never to have appeared in a Donizetti opera again. He sang important revivals of Norma with Giannina Russ, Claudia Muzio, Vera Amerighi-Rutili, Bianca Scacciati and Iva Pacetti, but they were few in number and widely separated in time. 

Lucia di Lammermoor at Buenos Aires - La Prensa - 27 May, 1911 Though the soprano role is the centrepiece of this opera, Barrientos’s grand companions, Constantino, Ruffo and De Angelis were all triumphant. 

Norma at Rome - Il Tevere - 28 December, 1928 The evening confirmed the triumph of Norma, and of Muzio, Luisa Bertana, the tenor Mirassou and Nazzareno De Angelis, who conferred, with beauty of voice and physical presence, the ultimate realization of Oroveso.

Don Basilio in Il Barbiere di Siviglia was a very important role in De Angelis’s career, and he sang it in both the largest and smallest theatres. In the Spring of 1916 he toured among Parma’s Regio, Naples’ San Carlo, Pisa’s Verdi, Pesaro’s Salon Pedrotti and Rome’s Quirino in commemoration of the 100th anniversary of the opera’s premiere. The cast for the performances was Fanny Anitua as Rosina; Carpi and Macnez sang Almaviva; Galeffi portrayed Figaro and Kaschmann, Bartolo. At Rome, the cast included de Hidalgo, Salvati and De Luca. He sang it at the Costanzi in 1919 and garnered his usual superlatives. 

Il Barbiere di Siviglia at Rome - Il Messagero - 16 February, 1919 “This old opera rarely has one divo, fewer times two, but tonight there were four, de Hidalgo, Schipa, Galeffi and De Angelis, truly an Olympus of singers. It was a marvellous evening, one which made us almost believe that we were seeing the opera for the first time. The soloists sang as though inspired by some magic spirit.” 

In 1919, De Angelis toured to Buenos Aires, Montevideo, Rio de Janeiro and Sao Paolo as Basilio with Angeles Ottein, Tito Schipa and Armand Crabbe. It was on this tour that he appeared in Prince Igor, Il Guarany and Salvator Rosa for the only times in his career. In 1921 he appeared as Basilio at Spoleto with the inimitable Conchita Supervia and in 1922 he appeared in a lavish production at La Scala with de Hidalgo, Hackett and Galeffi. In 1925 he made both his Swiss debut and farewell as Basilio at Lugano. 

His Wagner roles were seven: King Marke in Tristan und Isolde, Wotan in both Das Rheingold and Die Walküre, King Henry in Lohengrin, Hagen in Götterdämmerung, the Landgrave in Tannhäuser and Gurnemanz in Parsifal. In 1914, he sang Gurnemanz an amazing twenty seven times during La Scala’s first season of Parsifal and premièred the opera at Buenos Aires’s Teatro Colón the following May. In January 1922, he returned to La Scala for eleven performances in a cast that included Helene Wildbrunn, Amadeo Bassi, and on the fourth night, the debut at that theater of Apollo Granforte. He appeared at Paris as Gurnemanz in May of the same year. De Angelis appeared in Die Walkuere at Rome, La Scala, Naples, Rio de Janeiro and Sao Paolo and in Das Rheingold at Bologna, Rome and La Scala. In the winter of 1938 at Rome, he sang Wotan in Das Rheingold and Die Walküre, as well as Hagen, in the first ‘Ring’ ever performed completely in Italian. The undertaking was supervised by Tullio Serafin and the four operas were broadcast throughout Italy. De Angelis’ last Wagner performances were as Gurnemanz at the San Carlo of Naples in April, 1938.

Of his performances in the 1938 ‘Ring’at Rome, the following reviews are quoted. 

Il Messagero, 25 January - Das Rheingold De Angelis sang with enormous resonance. His achievement was hard to imagine, sung with the greatest of expression, vigour and vibrancy.

Il Piccolo, 27 January - Die Walkuere He maintained a level of excellence throughout this very long and difficult role that was exceptional. 

Among Verdi’s operas, he sang Zaccaria in Nabucco, Silva in Ernani. Ferrando in Il Trovatore, Grenvil in La Traviata, Sparafucile in Rigoletto, Tom in Un Ballo in Maschera, Padre Guardiano in La Forza del Destino, Procida in I Vespri Siciliani, Fiesco in Simon Boccanegra, King Philip in Don Carlo, Ramfis in Aida and Lodovico in Otello. Interestingly, he sang far fewer performances of Verdi than he did of Wagner. In fact, in no Verdi opera, outside of Aida, did he sing more than twenty five performances, and Simon Boccanegra, had only one revival, at La Scala in 1933. It was his last new role. 

Aida - Rome - La Tribuna - 6 October, 1911 The Ramfis of Nazzareno De Angelis showed an extraordinarily robust, mellow and vibrant voice. 

Nabucco - Rome - La Tribuna - 2 June, 1916 A memorable evening of art, of patriotic love.... in which all the artists offered a spectacle of singular interest. The interpreters, Nazzareno De Angelis in the white robes of the high priest, Zaccaria, Carlo Galeffi, Cecilia Gagliardi and Fanny Anitua gave superb examples of their great art. 

Non-operatic appearances were fairly infrequent. He sang in Verdi’s Manzoni Requiem several times, most importantly at La Scala in 1913 under Toscanini’s direction, at Rome’s Teatro Augusteo in both 1913 and 1922, and in 1924 at Vicenza and the Verona Arena. The Verona engagement with Rinolfi, Minghini Cattaneo and Taccani, was so successful that after two performances in the outdoor stadium, an additional two were given at the Teatro Filarmonico with Lucia Crestani singing the soprano music. In May 1938 he returned to the work for the last time when he sang it at Rome’s Teatro Adriano with Caniglia, Stignani and Alessandro Granda. On 4 December 1924, under Toscanini’s direction, he and Hina Spani sang at Giacomo Puccini’s Funeral in the Duomo of Milan, and on the 29th , the program was repeated at La Scala. Among De Angelis’ more interesting concerts were three at Rome’s Teatro Quirino. On 4 April 1915 he appeared with Russ and Battistini in an all Mascagni programme honouring the composer. In September, 1915 he appeared in a composition called Inno alla Patria by Zandonai accompanied by Gabriella Besanzoni, and in June 1916, he sang in Canto di Guerra, written by the great bass-baritone Giuseppe Kaschmann. 

De Angelis’ career in Iberia was not impressive. He sang Mefistofele at La Coruña, Spain in 1908 and appeared at Barcelona’s Liceo in the Spring of 1913 as Boito’s Devil. The La Coruña engagement includes a reference to Gounod’s Faust, which, if it were to have happened, would have been an extremely interesting juxtaposition of roles. Perhaps it did. There are announcements of a second engagement at La Coruña in 1912, but I have found no details. It would seem, from the evidence, that he never appeared in Portugal.

By 1927, De Angelis was averaging no more than 20 performances a year, though he continued to make recordings at a prodigious rate. In 1934, his only appearances were as Mefistofele at Piacenza and, about a year later, he sang Oroveso, Gurnemanz and Padre Guardiano at Genoa’s Carlo Felice. After a three-year absence, he returned to Rome’s Teatro Reale in January of 1938 for Mefistofele and the celebrated ‘Ring Cycle’. In August, after a debut at Rome’s Caracalla as Mefistofele, he sang his valediction at Naples’ Arena Flegrea as Boito’s Beelzebub, with Delia Sanzio, Margherita Grandi and Granda. De Angelis had appeared in fifty seven operas and had sung well over fifteen hundred performances. 

It has been reported that he gave occasional recitals until about 1942. Upon his eventual retirement, he taught in Milan and, later, at his favorite city, Rome. He died on 14 December, 1962, in Rome, at the age of 81. 

[byneddiedingo]

Philippe Noiret and Salvatore Cascio in Cinema Paradiso (Giuseppe Tornatore, 1988)

Cast: Philippe Noiret, Salvatore Cascio, Marco Leonardi, Jacques Perrin, Agnese Nano, Antonella Atti, Enzo Cannavale, Isa Danieli, Leopoldo Trieste, Roberta Lena, Nino Terzo, Leo Gullotta, Tano Cimarosa, Nicola Di Pinto. Screenplay: Giuseppe Tornatore, Vanna Paoli. Cinematography: Blasco Giurato. Production design: Andrea Crisanti. Film editing: Mario Morra. Music: Ennio Morricone.

Will today's kids feel sentimental about the multiplexes in which they see movies, the way I feel about the small-town theaters where I grew up, the places where I learned to love movies? I have my own lost cinema paradises, so I should be the right audience for Cinema Paradiso, with its tribute to a bygone era of moviegoing. Tornatore's movie has some good things going on, including the performance of Philippe Noiret as Alfredo, and the wonderful rapport between Noiret and young Salvatore Cascio as Toto. Leopoldo Trieste's performance as the censorious Father Adelfio is also a delight, and ending the film with Alfredo's assemblage of the kissing scenes the priest made him excise is a masterly bit. But once Toto grows up to be the lovestruck teenager Salvatore (Marco Leonardi), I begin to lose interest, as Tornatore's screenplay lards on more and more sentimentality. I've seen the 155-minute version twice now, though I have yet to see the 173-minute "director's cut" of the film, in which, I am told, the grownup Salvatore (Jacques Perrin) is reunited with his teen love Elena (Agnese Nano), now grown up and played by Brigitte Fossey. Frankly, I don't much want to: The 155-minute version seems overlong as it is. Cinema Paradiso is beloved by many, and often makes lists of people's favorite foreign-language films, but I find it thin and conventional.

[lamilanomagazine]

“Be inspired”, l'evento che racconta i Giochi Invernali di Milano-Cortina 2026

“Be inspired”, l'evento che racconta i Giochi Invernali di Milano-Cortina 2026. La Fondazione Milano Cortina 2026 nella serata del 3 novembre, darà vita all’evento “Be Inspired”, per raccontare a tutti gli appassionati di sport i Giochi Olimpici e Paralimpici Invernali del 2026. L’Allianz Cloud di Milano si illuminerà per regalare alla città, agli spettatori, agli stakeholder e a tutti i territori interessati, un grande momento di emozione per raccontare la magia dei Giochi. L’evento “Be Inspired” si struttura in quattro atti e vede la partecipazione di atleti e grandi glorie del passato. I quattro capitoli dell’evento, denominati rispettivamente Beauty, Passion, Change, Together, rappresenteranno il percorso verso i Giochi Olimpici e Paralimpici di Milano Cortina 2026. Il palcoscenico che riempirà l’Allianz Cloud sarà una pista di ghiaccio sulla quale andrà in scena un racconto all’insegna della bellezza, della passione, del cambiamento e dello stare insieme. Il palco come tela, le voci e i volti degli atleti come pennelli e colori, in un mix di elementi che disegneranno magnifiche storie di sport. L’iniziativa, a cura del direttore creativo Marco Boarino, racconterà tutta la magia dello Spirito Italiano: vibrante, dinamico e contemporaneo. Ghiaccio e neve e gli altri elementi naturali dei Giochi Invernali si animeranno, trasformandosi in materia ed azione scenica, grazie ad un approccio creativo multidisciplinare, immersivo e tridimensionale. La narrazione della serata sarà arricchita da musica dal vivo e specifica sui vari cluster, montaggi audio che introdurranno le performance sul ghiaccio, visual e sfere cinetiche con programmazioni e contenuti audiovisivi ad hoc. Un team creativo di primo piano per l’evento organizzato da Milano Cortina 2026 che, insieme al direttore artistico e regista Marco Boarino, vede il coinvolgimento di Davide Tappero Merlo (Autore), Lorenzo Zambelli Hosmer (Creative Manager & Artistic Producer), Andrea Minetto (Consulente di progetto), Mamakass (Music), Diana De Paolis (Show & Visual Designer), Massimo Furlanetto (3D Artist & Visual Motion Designer), Alessio De Simone (Lighting & Kinetics), Laurent Tobel (Choreographer) e Sara Fanucci (Showcaller). L’evento aprirà le porte dei Giochi a tutti coloro che parteciperanno, facendo vivere un'esperienza “invernale” senza tralasciare i Giochi nel loro insieme e lo sport in tutte le sue declinazioni. Be Inspired esplorerà quindi il concetto di ispirazione per raccontare i valori Olimpici e Paralimpici e gli elementi di uno spirito italiano lontano dalla retorica.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[reginadeinisseni]

Casanova '70 (1965) ORIGINAL TRAILER [HD 1080p]

TONINO GUERRA

ENRICO MARIA SALERNO - PSICANALISTA

ROSEMARIE DEXTER CAMERIERA

DI MARIO MONICELLI

Andrea Colombetti, maggiore italiano distaccato presso la NATO, è esperto nel sedurre le donne con qualche dose di adrenalina. Qualcosa però va storto e il suo psicanalista gli ordina una vacanza rilassante. Ma i giochi di seduzione non finiscono.

Marcello Mastroianni: maggiore Rossi-Colombetti

Virna Lisi: Gigliola

Marisa Mell: Thelma

Michèle Mercier: Noelle

Enrico Maria Salerno: psicanalista

Liana Orfei: domatrice di leoni

Guido Alberti: monsignore

Beba Loncar: ragazza del museo

Moira Orfei: Santina

Margaret Lee: Dolly Greenwater

Rosemarie Dexter: cameriera

Jolanda Modio: Addolorata

Seyna Seyn: hostess

Luciana Paoli: moglie del droghiere

Marco Ferreri: conte

Ivo Garrani: avvocato

Mario Feliciani: procuratore

Ennio Balbo: giudice

Memmo Carotenuto: falsario

Toni Maestri: Erminio, il servo

Mario Banchelli: padre di Gigliola

Augusta Checcotti: madre di Gigliola

Frank Gregory: generale Greenwater

Bernard Blier: commissario (non accreditato)

Nino Vingelli: cliente di Santina (non accreditato)

[personal-reporter]

Ischia Film and Music Fest 2023

Sarà Double Soul di Valerio Esposito ad aprire ufficialmente la 21esima edizione dell’ Ischia Global Film and Music Fest,  in programma sull’Isola Verde dal 9 al 16 luglio. Il film , che sarà  proiettato in anteprima mondiale la sera del 9 luglio, è l’ultimo lavoro dell’attore Julian Sands, scomparso in un’escursione sulle montagne di San Gabriel fuori Los Angeles, in California, il 13 gennaio, con le gemelle Angela e Marianna Fontana accanto ai premi Oscar F. Murray Abraham e Danny Glover e a Paz Vega, Francesca Tizzano e Marco Bocci, co-prodotta da Camaleo e Marvel (Dubai) ed uscirà nelle sale italiane giovedì 13 luglio con Plaion Distribution.  Ad annunciare la notizia è stato il leggendario produttore Tony Renis, presidente onorario dell’Accademia Internazionale Arte Ischia che promuove il festival sin dal 2003 con il sostegno della D.G. cinema del MiC e della Regione Campania. Senza ombra di dubbio la kermesse estiva di Ischia è la più attesa al mondo, come punta tra il festival del cinema di Cannes e la mostra cinematografica di Venezia e, nel corso degli anni, ha goduto della partecipazione di tantissimi big del panorama cinematografico e musicale sia in campo artistico che in quello d’impresa. L’Ischia Global Fest, ideato da Pascal Vicedomini e realizzato con Giancarlo Carriero, Marina Cicogna e Franco Nero, rappresenta un grande evento nel panorama dell’international showbiz che dà opportunità concrete i  giovani artisti di avere un escalation per la loro professione, come dimostrano i 1400 autori che hanno chiesto di parteciparvi attraverso la piattaforma filmfreeway.com, me ma si pone anche l’obiettivo di premiare gli astri nascenti del settore. In 21 anni di vita l’ Ischia Global Film & Music Festival è riuscito nell’intento  di riportare l’isola ai fasti degli anni Sessante, reinserendola all’interno della geografia del jet set internazionale, diventando un’occasione di  incontro per addetti ai lavori, cinefili  e pubblico, dove sono venuti nomi come Dennis Hopper, Andrew Garfield, Vanessa Redgrave, Selena Gomez,Francis Ford Coppola, Giuseppe Tornatore, Helen Mirren , Naomi Watts, Samuel L. Jackson, Baz Lurhmann, Alicia Vikander, Oliver Stone, Quincy Jones, Sting, Sheryl Crow e Bob Geldolf. Tra le presenze italiane di Ischia Global Fest ci sono state personalità cha vanno da Andrea Bocelli a Matteo Garrone, da Dante Ferretti a Zucchero, da Paolo Virzì a Pupi Avati,  fino a Giancarlo Giannini, Valeria Golino, Dario Argento, Valeria Bruni Tedeschi, Riccardo Scamarcio e Micaela Ramazzotti. Ci sono nomi prestigiosi anche tra i membri onorari del board, come Christoph Waltz, Vanessa Hudgens, Julio Iglesias, Rob Reiner, Enrico Vanzina, Danny De Vito, Stanley Tucci, Carlo Verdone, Gino Paoli, Michele e Violante Placido, Massimo Ranieri, Alejandro Gonzalez Inarritu, Monica Bellucci, Alfonso Cuaron, Michael Fassbender, Valeria Golino, Jean Paul Gaultier, Valentino e Tom Hilfiger. Read the full article

[livornopress]

La Pielle non muore mai ed espugna Piombino

La Pielle non muore mai ed espugna Piombino #basket

Livorno, 30 gennaio 2023 La rinuncia all’ultimo tiro di Federico Loschi per un assist ad un compagno. Gli 11 punti consecutivi di Andrea Lo Biondo. La continuità e la solidità di Giovanni Lenti sotto i tabelloni. La serenità di Filippo Paoli. Il cuore di tutti i ragazzi. Il parziale di 17-0 nell’ultimo quarto. Ce ne sarebbe davvero una miriade di episodi chiave, ma forse la fotografia che più di…

[atomheartmagazine]

New Post has been published on Atom Heart Magazine

New Post has been published on https://www.atomheartmagazine.com/sanremo-2023-toto-nomi-della-73esima-edizione-del-festival/31628

Sanremo 2023: toto-nomi della 73esima edizione del Festival

Alle 13.30 Amadeus ufficializzerà i nomi dei big di Sanremo 2023. Nel frattempo, come tradizione, si è già scatenato il toto-nomi per capire chi salirà palco dell’Ariston per la 73esima edizione del Festival.

Quando inizia il Festival di Sanremo 2023

La 73esima edizione del Festival di Sanremo si svolgerà da martedì 7 febbraio 2023 a domenica 11 febbraio 2023 e sarà condotta da Amadeus, Chiara Ferragni e Gianni Morandi.

Sul palco saliranno 25 cantanti in totale, di cui 3 provengono da Sanremo Giovani.

I nomi papabili

Tra i nomi più in hype troviamo Marco Mengoni (vincitore nel 2013) e Giorgia (vincitrice nel 1995). Potrebbe poi tornare anche Gino Paoli. E ancora Tananai, Elodie, Francesca Michielin, Nada e Lugi Strangis (vincitore di Amici 2021).

Sanremo 2023 – Reunion di Paola e Chiara?

Non è tutto, perché accanto alle voci che accontenterebbero anche il pubblico più giovane (Lazza, Colapesce, Dimartino, Levante e il ritorno sul palco anche di Madame), si fanno insistenti anche quelle sulla reunion di Paola e Chiara sul palco di Sanremo 2023.

Prima Festival – I conduttori

Amadeus ha già rivelato che i conduttori del Prima Festival, la striscia che anticiperà l’inizio delle serate di Sanremo 2023, saranno Andrea Delogu e gli inviati Jody Cecchetto (figlio di Claudio, speaker per RTL 102.5 e già alla conduzione del Power Hits) e Gli Autogol.

[marcogiovenale]

numero doppio di 'utsanga', appena uscito

utsanga.it, nn. 39 e 40 (marzo/giugno 2024), con opere diLamberto Pignotti, Carlo Belloli, Lucia Sapienza, Anna Guillot, Nadia Cavalera, Francesco Muzzioli, Daniel Barbiero, Francesco Aprile, Cristiano Caggiula, Dixie Denman Junius, Gianluigi Balsebre, Fernando de Filippi, Fernando Miglietta, Cecelia Chapman, Alfonso Lentini, Tim Gaze, Gian Paolo Roffi, Egidio Marullo, Shadi Fathi, Ninfa…

[nathairart]

Ph: Andrea De Paoli Cosplayer/Model: Nàthair Art (IG: nathairart)

[malewatch]

Coming Soon on Malewatch Instagram.

[bettinasawmorgan]

[morelin]

Boccadasse

Se vi capita di soggiornare a Genova, vi consiglio di andare a vedere Boccadasse, un piccolo ma affascinante borgo di pescatori arroccato sul mare.

Sembra che il tempo si sia fermato tra queste casette colorate che hanno ispirato anche Gino Paoli e Andrea Camilleri.

Io l’ho raggiunto con una passeggiata di circa 4km (solo andata) dal mio hotel percorrendo per la gran parte il lungomare di Corso Italia ma è possibile arrivarci anche utilizzando bus urbani. Certo è che la passeggiata, soprattutto se fatta al mattino, vi regalerà panorami come questi.