#Anna corvino

[marleneoftheopera]

More photos from the Italian/Monte Carlo production.

[eleancrvances]

HELLO!!!

(from _broadwayitalia_ on instagram)

[blazeofnight]

PotO Italy (Trieste) review - Act 1

Disclaimer: I apologize in advance if I sound a bit defensive, but honestly, the amount of badmouthing the show is getting based on a few unofficial pictures and videos is astonishing and it gets old quickly (but I admit some of the memes are gold and I am enjoying them).

I have not seen other replica productions in full, only pictures, but I have seen the West End production in March. I do consider using Broadway/West End/replica productions as the one and true standard to judge non-replicas unfair in general, but I think it's fair to use them as a comparison to try and understand how these changes affect character dynamics and stuff like that, and to help in trying to understand the reasoning behind the choices made.

My visual memory is VERY poor, so if you've seen the show too and notice I remember something wrong please tell me so I can correct it!

This is almost 5000 words long, so please make sure you want to read it before clicking in the read more. Also please forgive any typos.

The one for Act 2 is here.

THE LOCATION

Il Rossetti was built in 1878 and is typical of the time, with a large stalls area on a gentle slope surrounded by open boxes, and two rows of balconies. During modern renovations they "opened" the boxes at the back to extend the stalls area, and these last rows are raised and angled to give you a better view of the stage. I have to say it is a good compromise to make an older structure more suited to modern audiences.

The interior is painted a rich lapislazuli blue with cream and gold trim, and the domed ceiling has some nice painted clouds. They have installed small lights that resemble constellations, the effect is very nice and they had the good idea of using it during Masquerade to great effect!

The foyer is also very nice, and there is a bar with good spritz at an affordable price.

We were seated in the second row of the raised stalls area, on the right side, and the view was great. Of course some details and expressions were lost, but unless you are aiming for a close and personal experience, it's a good view. There are some columns as you can see in the picture, bu they are thin and don't really obstruct the view in a significant way.

The audio control station was at the back of stalls, too, on the centre right (next to where I was seated), this meant there was a bit of light coming from them but it was low enough to not be a distraction.

I personally found the music to be a bit too high at times compared to the singers' voices, but it's something I think every time I see a live musical and when listening to the audios I take the voices are perfectly clear, so it's likely it's just me having some audio processing issue. The orchestra is 16 instruments, so reduced from the original but it still sounds nice.

There were subtitles! Two screens at the side of the stage with Italian subtitles, and also an app you can download on your phone for subtitles in English, Italian and German. I saw some folks using the app nearby and it looked like it was well synchronized, also since it was white subtitles on a black background the light was not really an inconvenience.

I saw the afternoon show on June 8th.

OVERTURE

The auction scene is pretty similar to the standard, the only difference is the attendants are seated with their backs to the public. Old Raoul is seated in the row closest to the audience, and he turns towards the monkey for his lines so we can see him in profile. The auctioneer activates a big lever switch on the wall to light up the chandelier, which raises over the centre of the stage instead of the audience.

Let's address this immediately: yes, the chandelier is smaller. It still looks nice, and if you're someone who never saw the show seeing it rise and move around is still a very good effect to open the musical with! The flashes of the chandelier's lights turning on and off at the beginning of the overture were timed to the music, which is a nice touch.

A cool idea that I think could use being improved was having the crash accident be replayed in reverse and slow motion during the chandelier rise! The idea is cool, and by using strong white back lighting it looks almost in black and white, reinforcing the idea of a flashback. BUT. This was done, I suspect, because during the chandelier crash you don't really see Christine and the other actors standing below it, which means that if you don't already know what happens it risks being confusing.

I think it could be easily be solved by having the auctioneer add a couple of lines when talking about the accident to make clearer that's what we are looking at and helping people who have never seen the show before connect the dots. It is a cool scene though! This is where the rotating stage-in-the-stage is used for the first time, and you get to see Buquet laughing maniacally while holding the fake lasso, dangling from a metal stair on the "back" of the stage.

HANNIBAL

We transition into the Hannibal rehearsals! I liked the ensemble costumes, they did remind me of actual early '900 opera costumes and the teal+gold combo is nice. Also, a couple of the soldier extras were ensemble actors wearing their regular suits with capes, fake armour and helmets on top of it, I loved it because sometimes rehearsals are just like that!

Image credit, via cdaae

Anna Corvino is a delightful Carlotta, her fake Italian accent is a delight and I loved how she incorporated some stilted acting that is very typical of early '900 Italian opera. It's a small detail but a very nice bonus for opera aficionados. You could really feel her exasperation when the background drop accident happened, overall she felt arrogant but not as entitled as other actresses I've seen in the role.

Piangi (Gian Luca Pasolini) arrives on a litter and stomps on a ballet girl (who understandably yelped loudly) when dismounting, I liked this detail to show he's a bit clumsy. The litter is also used instead of the elephant at the end, with Pinagi getting on it and the bottom giving out comically. Piangi was also suitably snarky towards Reyer in the Rome/Roma bit, and he did say "Amateurs!" while leaving with Carlotta.

Monsieur Lefèvre was dressed in a snazzy cream suit and he was quite funny, his anxiousness in leaving the theatre behind was palpable from the beginning and the little pause before changing topic when André and Firmin ask him why he's leaving was perfectly timed.

Ear Carpenter is clearly having the time of his life as André, and Ian Mowat is a suitably snarky Firmin with a likeable practical, no-nonsense attitude.

A special note for Rober Ediogu, the male dancer in this production: the scene was a bit cramped, but his grace and elegance are absolutely undeniable and he really gave the vibes of a consummate professional who has Seen Things while working at the Opera.

When Meg (Zoe Nochi) suggests Christine (Amelia Milo) for the main role, she physically pushes Christine to centre stage rather forcefully! Megstine fans will be happy to know this Meg is definitely the proud founder of the "Christine is awesome" fan club.

I agree that the Elissa costume could use a bit more oomph, but it was not bad at all. I think adding some vertical decoration to the skirt in a dark gold tone or big fake jewels would elevate it without making it feel too busy, but under stage lights it looks sufficiently nice and the teal fabric has a lovely shine to it that doesn't feel cheap.

An interesting change is that Reyer does not appear! You hear him speaking from a small orchestra pit on stage, and the actors are similarly looking at it, but he's not seen so you have this extremely annoyed voice coming from the depths of the stage.

THINK OF ME

If you were wondering if Amelia Milo can sing: yes she does, and quite well! In this song it's noticeable that her upper register could use being a bit stronger, but she's still quite young and I trust her voice will mature beautifully, Right now it has a very light, airy quality to it, very angelic. She can and does put more force behind it when needed later in the musical, but I think it suits this song beautifully. You really get why she gets to be a replacement on the spot!

The rotating stage is used again, this time with better lighting, and we get our boy Raoul (Bradley Jaden) being adorable and fangirling over Christine. For those interested in the brava/bravi discussion, Bradley says "Brava".

I don't have much more to say about this scene, I admit it isn't one of my favourites so I tend to get a bit distracted and just listen to the song.

Image credit, via cdaae

ANGEL OF MUSIC

Christine's room is extremely essential: one of the short sides of the rotating stage has been decorated with wallpaper and the mirror, hanging above Christine's vanity and chair. It is very simple but it works and the vanity has a nice lived-in feel to it. Christine has a nice white nightgown that looks similar to the original one, probably in plainer fabric but I wasn't close enough to notice. It's white, it has flounces, it's pretty, so close enough for me!

This is a very Megstine moment, they stand very close and touch a lot and Meg sounds genuinely worried but also happy for her friend. The vocals were very nice and I think Amelia really nails the hypnotized/transfixed aspect of Christine towards the Angel/Phantom, she had some great expression in this song.

Image credit, via cdaae

There is no Madame Giry (Alice Mistroni) rebuking the dancers for being sloppy before this scene, so when she comes to pick up Meg it feels more as if she's purposefully making it so Christine is alone. Meg leaves quite upset, stomping her feet and yelling "Rehearsals, rehearsals, ALWAYS REHEARSALS!" which I found quite funny.

LITTLE LOTTE

No managers bit, Raoul just arrives while Christine is reading. It took me a while to warm up to Bradley's Raoul but I ended up liking him a lot! He's going for a more adult portrayal, still enthusiastic and loving but a bit more level-headed. In this scene he's clearly leaning more into the enthusiastic side and it's a very nice and sweet interaction.

It is very clear that the memories he has with Christine are very dear to him. In this production it's Raoul who says "Those picnics in the attic" and he had a super tender, fond expression that was just the best. Just a very sweet scene overall, I really enjoyed it.

THE MIRROR

Oh boy, I loved this part! Christine had a suitable mix of awe and fear, the Phantom sounded extremely angry, almost growling "My triumph", and then becoming soothing and welcoming after seeing Christine's scared reaction.

Do you remember how the mirror is ABOVE Christine's vanity? It means that when the Phantom appears, he is literally towering over her (especially since Christine is kneeling on the floor), it makes for a very imposing entrance! The mirror is a bit opaque so when it comes up and suddenly you see the bright red of the cloak's lining it is a very nice effect. Christine has to climb on the chair and table to reach the Phantom, and then they disappear in the darkness, almost engulfed by it. It was all very pretty to watch and made for a great first impression of the Phantom.

Image credit, via cdaae

THE PHANTOM OF THE OPERA

Ok, onto the bad part. Unfortunately, they didn't find a way to give something to do to the characters in this scene. The scene is quite dark, they cross the stage, then get out of a door and cross it again, disappear for a bit and reappear on a box on the upper level of the fake stage and sing there for a while, then a catwalk is lowered and they walk on it, then a very short boat ride. No candles, they used a holographic fake flame effect for the boat ride that resembled will-o'-the-wisp fires burning just on the "surface", and while I liked the idea it could be implemented better.

They definitely have to find a way to make this feel more like a descent into a dungeon, cave, whatever, and better effects to transmit the otherworldliness that Christine perceives. As it is now, it just doesn't work.

ETA: I forgot to mention, a lot of folks remarked how this song sounds played faster than usual. I suspect it might be because as I said they don't really know how to keep the actors busy, so shaving off 20 seconds or so is good for them. This is just a guess, though.

THE MUSIC OF THE NIGHT

This has a lot of issues, too. The set is pretty sparse: the boat on the left, the pipe organ at the centre, and the Phantom's bed on the right, plus a nice background suggesting the passages and mazes that lead to the lair. I think a more gothic-looking bed and a couple more props could complete it nicely, but not too bad.

Unfortunately, once again they have to find stuff to do for the actors. The piece starts with the Phantom sitting at the organ and Christine standing a bit far away, looking at him. This isn't bad per se, it gives you the impression that Christine is trying to get a feel for the situation and what's going on and it makes sense, but... it goes on for too long. It becomes boring, the worst crime for a musical.

FINALLY he gets up and Christine starts getting nearer, they kinda circle each other and then the Phantom blows a candle in Christine's face after "Only then can you belong to me" and suddenly we're back to a more traditional choreography with the classical embrace pose. I really don't like it because it's pretty clear from watching that the candle blowing makes Christine suddenly change her attitude and behaviour and... it makes me think of a roofie, sorry. She's suddenly less scared, more agreeable, and at the end she loses consciousness. Nope nope NOPE.

On the good side, when Christine faints we get the catch and carry! All that crossfit Ramin is doing paid out! The Phantom gently lays Christine on the bed and covers her with her cloak, despite the unfortunate implications of what happens just before it is a sweet moment.

In general, Ramin played the Phantom as very gentle in this scene, you get the feeling of a genuine care and not wanting to scare Christine (magid drug candle apart). It reminded me a bit of the book, where the Phantom kidnaps Christine with the idea of having her spend a month or so with her, and then when she's got to know him reveal her his face because by then she knows him as a person and he hopes she'll stay by her own will.

Despite the issues, this scene got a BIG applause because Ramin did display an awesome vocal control, since his voice is on the warmer side I think it's a song that suits him a lot.

I REMEMBER/STRANGER THAN YOU DREAMT IT

In this version, the Phantom is aware of Christine being there and he lets her touch him, which makes the unmasking feel even more as a betrayal of sorts.

There is no Mandarin robe and no crawl, but the scene is suitably pathetic nonetheless. The Phantom is angry at the beginning, but it quickly turns more into a kind of sad resignation. I was really hit by the delivery of "now you cannot ever be free", it didn't sound like a threat but more like a sad realization that Christine has sealed her fate and thing will not go the way the Phantom hoped for. Immediately after that, the pleading in "fear can turn to love" is honestly heartbreaking. You get the feeling that he's trying to reach Christine, to make her understand, through the pain he's feeling.

At one point Christine falls on the floor, petrified, and scuttles away when the Phantom tries to get nearer, she does keep her distance a bit longer than I expected but then when the Phantom crumples on the floor she gets closer and tries to return the mask. the Phantom turns towards her, reaching out, but at the last moment turns away saying "No", and then gets the mask back while looking away from Christine.

The "come, we must return" bit is softer than I expected, too. He's clearly upset but tries not to show it and does not manhandle Christine, guiding her offstage gently.

Very pathetic, lots of self-loathing, 8.5/10 but only because there's no crawl, otherwise it'd be a solid 9 despite the staging.

MAGICAL LASSO

Man, this Buquet (Matt Bond) is unhinged! He clearly loves scaring the dancers, he has a WONDERFUL manic laugh. Madame Giry is her usual scary, ominous self. I did not mention it yet, but one of the high points of this production is the lightning. They use it quite effectively, especially to set the mood, and in this scene it was fantastically gothic and doomy. It's a short scene but it worked well to remind us that we are in a story with gothic elements, people will die, etc.

NOTES I/PRIMA DONNA

The rotating stage is slightly ajar, so you can see Meg finding a noose in box 5 (which in this production is at ground level) and playing with it during the scene before joining the others for her part. This means that a part of the stage is occupied by the fake stage, so unfortunately there's less space for the actors to move around.

This is just a minor quibble, everyone is very good in this scene with the usual amount of funny moments, over-the-top reactions, Raoul not understanding a thing, etc., Piangi was very supportive of Carlotta, Anna Corvino hits some very nice notes, the usual.

Carlotta's dress was way less snazzy than the original productions, but it did look nice (a dark-ish green with very dark velvet trimming) and fit well, also the train did take up a lot of space which fits the character and her large ego.

I loved that when André says "your public needs you" there is a longer beat than usual with Firmin saying nothing, then Carlotta turns towards him with a "weeell?" expression, and only then does Firmin rushedly say "we need you, too" with ZERO emotion, it was great! He was so DONE.

I also loved how they ended it: everyone went on the stage while it was slowly turning towards the public, ending up in the usual line facing the public and with the stage lights completely open, giving the impression they all really just stepped on the Opera's stage. It worked very well and did give me a beautiful moment of immersion and a reminder that the Opera, too is a character of sorts.

IL MUTO

I liked the staging! Overall it's slightly over the top, and the dresses are less glitzy, but the Rococò meringue-like look is still there and it works well. There is no bed but some decadent couches and ottomans instead, the background is on fabric with a big window showing a balcony and a nice garden. When the husband fakes his leave, he gets out of the door and behind the background where the window is, and then they change the lighting so it looks like he's standing on the balcony. It's simple but it adds some nice physical depth to the scene.

They do take a page from the movie here: when the performance gets interrupted by the Phantom Carlotta calls for her seamstress (with a super loud "SARTAAAAH!" we all enjoyed), who appears with a big perfume-like glass bottle and sprays Carlotta in the mouth, then everything resumes. Instead of croaking, Carlotta is more gasping for air as if her voice isn't coming out at all.

You can see the managers sitting in their box (there's no madame Firmin here) and André enjoying a nice bottle of wine, when Carlotta runs away in shame he jumps on the stage and does his bit as if tipsy and not 100% "there". I can see why Earl wanted to play the role, he's clearly suited to slapstick comedy and enjoying every moment of it!

So, André jumps in without a plan but knowing he has to do something, then he turns and sees they have a full house.. and no Countess... He manages to salvage the situation, mostly thanks to Firming feeding him suggestions from the box (I could clearly see him mouthing "ballet ballet BALLET!"), there's the usual ensuing confusion and then the male dancer LIFTS André to move him out of the way, while he's looking completely and utterly lost. It's great.

The dancers are not wearing separate outfits, just the "standard" white tutus. This is a clever way to have one less set of costumes to make, since they have moved up the ballet all of a sudden it makes sense for the dancer to not have changed yet, they probably were doing warmups and the like.

Instead of the Phantom shadows, we get the Phantom swinging wildly twice from one side of the stage to the other while laughing maniacally. It does work, because the third time it's the hanged Buquet that swings in instead, so when you see the rope for the third time your brain needs a second to register that this time something's different. My only complaint is that Ramin is clearly having a lot of fun and so his laugh isn't the most menacing xD

The scene ends the usual way, with more confusion, screams, Firmin trying to calm down the audience, and Christine and Raoul escaping to the roof.

WHY HAVE YOU BROUGHT ME HERE?

For this scene a walkway gets lowered to represent the roof, you can see the beams below which is nice. The background is a bit too dark and you can't really see it clearly, I think it's meant to show a dark night sky and the Paris skyline but it really is too dark to see what it should be, which makes it hard to understand they're on the roof. I hope they change it because it's the one blemish in an otherwise really nice scene. Christine has no special dress or cape for this scene, if I remember correctly she's wearing her Il Muto clothes + the nightgown but the rooftop scene had a lot of more interesting stuff to notice so I might be wrong.

Amelia really makes you feel how what just happened plus the kidnapping plus the revelation that her Angel of Music is a murderous weirdo is hitting Christine like a ton of bricks. She sounds so anguished at times! But luckily Raoul is there to help, which leads us to...

ALL I ASK OF YOU

Ok so, this is where this production starts to REALLY diverge character-wise. Are you ready? (Trigger warning: discussion of suicide, and mention of depression, if this might upset you please skip to the next song)

So, this song is no longer a lovey-dovey 4-minute long "I love you!" "I love you more!". It's Raoul talking Christine down from attempting suicide by jumping off the rooftop.

During the previous number, Christine grows more and more distressed, especially after hearing the Pahntom's "Christine", and she ends up at the very edge of the roof, clearly debating if it'd be better to jump. Why? you might be wondering. My theory is a mix of her getting depressed after her father's death and now having that final connection to her father severed, plus feeling responsible for Buquet's death. I did come out of this musical thinking that, the way it is in this production, the Phantom works excellently as a physical representation of Christine's depression. More about that later.

Raoul notices what's going on and backs off a little, giving Christine space. He sits on the edge of the roof, still giving her space but within arm's reach. Meanwhile, Christine has barely moved. She's standing on the edge, her shoulders hunched, hugging herself spasmodically, her hands white, her face turned down looking at her feet, or maybe at the pavement many, many floors below.

And Raoul starts the song, but now it hits differently. This time he's telling a girl feeling alone, depressed and suicidal that he'll be there for her, that he'll do what he can to make her feel safe, that he'll turn away the darkness. Not just the Phantom's darkness, but depression, too. He's seeing her at her lowest and saying "I still care for you, I still love you". Especially since at this point Raoul isn't really sold on the whole "the Phantom of the opera is real" thing, so from his point of view the real issue is Christine's depression, not a magical man in a cape.

And this gets through to Christine, and slowly, timidly, she starts to answer. "Turn my head with talk of summertime", she asks. Show me that there is a future filled with light instead of darkness for me, that I can get better, that I can live without this fear. Tell me that your promises are true, tell me that you'll stay at my side even when things get difficult and ugly, like now.

Yeah, it really got to me. This song is when I forgave this production (almost) everything.

When Christine starts singing, she's still completely still. She really looks like a statue, it's impressive the amount of anguish and desperation she projects by just being so still as if rooted in place, closed off to the world. Then, she slooowly starts to break her pose, first by looking at Raoul, who extends her a hand and... after a few seconds, she takes it and goes to sit beside him. She gets more animated as the song progresses, they hug, then the big kiss at the end.

I just realized as I was writing, this scene parallels Christine giving the Phantom his mask back, even the positions of the one offering help (Christine/Raoul) are the same as the one who has to accept it (the Phantom/Christine). It might be a coincidence, but I hope not because it would be beautiful. Where the Phantom rejects Christine's hand and help at first and accepts only to get up, close off completely and be separated from Christine, here Christine is much happier to receive help and this then leads to her and Raoul getting closer both physically and emotionally.

So everything's well, they lived happily ever after, etc., right? Right?

ALL I ASK OF YOU (REPRISE)

Ah, yes, the Phantom's turn to break our hearts.

The rooftop raises, revealing that just below where Christine and Raoul had their loving moment there's the chandelier... and the Phantom upon it. As he's singing he gets down from it, stumbles among the rooftop beams, and finally collapses on the floor holding his head in his hands when Christine and Raoul's happy voices echo in the distance. It's a very nice Phantom's breakdown, very vulnerable despite him having just killed a person. It really makes you feel sorry for him despite the situation (of his own making) he's in.

He then gets back to the chandelier, the roof rises again and the chandelier with it, the chandelier catches fire (well, not actual fire, it's a nice red smoke effect), the lightning changes to a nightmarish red, and you suddenly realize that there are red LEDs all around the stage's frame that are lighting up and making everything even more oppressive and quite infernal. The Phantom saws away at the chandelier's rope, until it comes crashing down.

Yes, the crash is less impressive than in the original. Yes, it's less clear exactly what is happening (I mean, that it's falling down on the Il Muto's bows). It's still a nice effect, the chandelier swings down towards the orchestra while the lights go on and off. If you've never seen the original, I think it can still make an impression.

I also think that this is less of a focal point for this production. For me, at least, AIAOY stole the show and in general, the emotional twists and developments were the real star of the show. It feels more like the chandelier's crash is there because it has to be, both for plot and marketing reasons.

Overall, the first act started a bit rocky, the two "big" songs have some major issues that need to be addressed, but once they got the characters going it picked up steam quickly. At intermission I was already feeling I got my ticket's worth back, to be honest.

I am working on part two, which covers the second act, the actors' performances, and some general/final thoughts. It'll be longer than this one, so I'll need at least a couple more days to finish it.

[angelandmadman]

PotO Audio Trieste 07.07.2024

So, I've been thinking. I've had a few PotO audios lying around for a while now, and wondered what to do with them. I thought about trading them for other audios. But I don't really want to get into trading (if you would like to share something though, I wouldn't be averse to it 😊)

So, Happy Holidays! 🎁 This is the first audio of three.

Ramin Karimloo, Amelia Milo, Bradley Jaden, Anna Corvino, Ian Mowat, Earl Carpenter, Alice Mistroni, Gian Luca Pasolini, Zoe Nochi

Audio is untracked.

Disclaimer: Recorded by me. Only to be gifted! Please do not trade/sell. If posting to external site, please do not link back to this post!

[apileofpans]

Birthday audio/video gifts!

It is my hecking birthday this month, y’all! To celebrate I am giving away videos and audios from Phantom of the Opera that positively ruined me (AKA some of my faves) !

NOTE: the links will work until November 6th, 10 AM CEST! After that they won’t work anymore :) If any of the masters want me to remove their master, let me know and I will!

Everything, including cast info, is under the cut!

Video

US Tour - Dallas, April 6, 2006 Evening Gary Mauer, Elizabeth Southard, Jim Weitzer, Kim Stengel, John Jellison, DC Anderson, Patti Davidson-Gorbea, John Whitney, Kate Wray https://ln5.sync.com/dl/b833dd740/gvnusjtv-a7wywsjy-98mvkiid-nsa6ksqp

Las Vegas Spectacular - August 8, 2008 (SunsetBlvd79) Anthony Crivello, Kristi Holden, Andrew Ragone, Geena Jeffries Mattox, John Leslie Wolfe, Lawson Skala, Tina Walsh, Larry Wayne Morbitt, Brianne Kelly Morgan https://ln5.sync.com/dl/f4b151790/79fc7xe8-emk99ug5-va2ndite-vrapb47x

Broadway - May 12, 2014 (inallyorufantasies, turnofthescorpion) Norm Lewis, Sierra Boggess, Jeremy Hays, Michele McConnell, Tim Jerome, Laird Mackintosh, Ellen Harvey, Christian Šebek https://ln5.sync.com/dl/9dbe75640/89h6694u-db6i4y53-ker76kab-xtm9qbj3

Boadway - May 20, 2003 Hugh Panaro, Lisa Vroman, John Cudia, Julie Schmidt (u/s), Jeff Keller, George Lee Andrews , Marilyn Caskey, Larry Wayne Morbitt, Joelle Gates https://ln5.sync.com/dl/04cef73f0/watx9j5t-s2amh9zy-hmxqchav-2h2sf3ra

West End - August, 2018 Ben Lewis, Amy Manford, Jeremy Taylor https://ln5.sync.com/dl/8a1ae4700/ys5mbar9-yas2ewaq-rrnk4sye-wt5pgdtb

Trieste, Italy - July 15, 2023 (Filthybonnet) Ramin Karimloo, Amelia Milo, Bradley Jaden, Earl Carpenter, Ian Mowat, Anna Corvino, Gian Luca Pasolini, Alice Mistroni, Zoe Nochi https://ln5.sync.com/dl/f916fe200/6dw52cqj-usu7pimm-zbgk2gdg-9qixj3d4

Audios

Broadway - September 26, 1990 Steve Barton, Rebecca Luker, Gary Lindemenn (u/s), Marilyn Caskey, Jeff Keller, George Lee Andrews, Leila Martin https://ln5.sync.com/dl/21e8e2db0/wsqmti8i-4d4vukku-xs8fvh3y-85kjak3h

Broadway - May 10, 2003 Hugh Panaro, Lisa Vroman, John Cudia, Patricia Phillips, Jeff Keller, George Lee Andrews (u/s), Marilyn Caskey, Joelle Gates, Larry Wayne Morbitt https://ln5.sync.com/dl/5640398d0/3d5axeix-ie6cpr3t-4j7fbew7-5q8mjcqq

Broadway - August 19, 2014 (Oogie Boogie) Norm Lewis, Sierra Boggess, Jeremy Hays https://ln5.sync.com/dl/59b8c8720/hzpmzgq7-5hx5xqx9-4e6h4qt2-ynn5dmw6

Broadway - April 6, 2023 (phantomygoodness) Jeremy Stolle (u/s), Julia Udine (alt.), John Riddle, Nehal Joshi, Craig Bennett, Raquel Suarez Groen, Maree Johnson, Carlton Moe, Sara Etsy https://ln5.sync.com/dl/dfa420090/i2m495z9-zwdgyka9-r2k9njdn-tu9hwt9m

Las Vegas Spectacular - September 2, 2012 Anthony Crivello, Kristi Holden, Andrew Ragone, Joan Sobel, Lawson Skala, John Leslie Wolfe, Tina Walsh, Larry Wayne Morbitt, Brianne Kelly Morgan https://ln5.sync.com/dl/882621a90/2kz2ajn8-nkre4uhw-5y7vesm6-gmk3pv7v

West End- October 27, 2017 Ben Lewis, Amy Manford (alt), Jeremy Taylor, Una Reynolds (u/s), Siôn Lloyd, Mark Oxtoby, Jacinta Mulcahy, Paul Ettore Tabone, Lily Howes (u/s) https://ln5.sync.com/dl/d6fa41cb0/axfwkn8z-66dpfim8-7uekxefw-aahsqs8x

West End - September 1, 2018 Evening (Winschi) Ben Lewis, Kelly Mathieson, Jeremy Taylor, Lara Martins, Siôn Lloyd, Mark Oxtoby, Jacinta Mulcahy, Paul Ettore Tabone, Georgia Ware https://ln5.sync.com/dl/99b982430/9dpb2hez-rex5y3nn-z9e963m3-wm57qfu2

West End - November 13, 2021 Evening (starprincess) Killian Donnelly, Lucy St Louis, Rhys Whitfield, Saori Oda, Tim Morgan, Adam Linstead, Francesca Ellis, Greg Castiglioni, Ellie Young https://ln5.sync.com/dl/fcffc67e0/7362xu65-tefiqt8x-9z3njksk-353iuqjk

West End -March 4, 2023 (verytheatricaltrades) Earl Carpenter (t/r), Holly-Anne Hull, Matt Blaker, Matt Harrop, Adam Linstead, Kelly Glyptis, Greg Castiglioni, Francesca Ellis, Ellie Young https://ln5.sync.com/dl/f142d9230/5ngjfdrx-fhjmc9wf-x2yhme8h-z4exy8cf

[ayearincontent]

2023

key

bold = highlight of 2023

+ = not new in 2023

# = book club

books

The Lost Daughter, Elena Ferrante (trans. Ann Goldstein) (2006)

The Mars Room, Rachel Kushner (2018)#

One Day, David Nicholls (2009)

Sea of Tranquility, Emily St. John Mandel (2022)#

A Man in Love, Karl Ove Knausgaard (trans. Don Bartlett) (2009)

Convenience Store Woman, Sayaka Murata (trans. Ginny Tapley Takemori) (2018)#+

The Orton Diaries, Joe Orton (ed. John Lahr) (1996)

Heatwave, Victor Jestin (trans. Sam Taylor) (2021)

The Color Purple, Alice Walker (1982)#

Leaving the Atocha Station, Ben Lerner (2011)#

Those Who Leave and Those Who Stay, Elena Ferrante (trans. Ann Goldstein) (2013)

All The Devils Are Here, David Seabrook (2002)

Milk Teeth, Jessica Andrews (2022)

Hot Milk, Deborah Levy (2016)

If I Had Your Face, Frances Cha (2020)#

A Waiter in Paris: Adventures in the Dark Heart of the City, Edward Chisholm (2022)

So Late in the Day, Claire Keegan (2023)

If on a Winter's Night a Traveller, Italo Calvino (trans. William Weaver) (1979)

Assembly, Natasha Brown (2021)#

Carmilla, Sheridan Le Fanu (1872)#

When We Cease to Understand the World, Benjamín Labatut (trans. Adrian Nathan West)#

audiobooks

The Call of the Weird, Louis Theroux (2005)

For the Record, David Cameron (2019)+

films

Knives Out (2019)

Glass Onion (2022)

Belfast (2022)

The Banshees of Inisherin (2022)

Aftersun (2022)

Moonrise Kingdom (2012)

Palm Springs (2020)

The Menu (2022)

The Worst Person in the World (2022)

Building Jerusalem (2015)

Close (2022)

Barbie (2023)

Logan Lucky (2017)

All My Friends Hate Me (2021)

The Lobster (2015)

Midnight in Paris (2011)

Are You There God? It’s Me, Margaret (2023)

Fracture (2007)

albums

'Dance Fever', Florence + the Machine (2022)

'Cautionary Tales Of Youth', Lapsley (2023)

'MAYBE IN ANOTHER LIFE...', Easy Life (2022)

'in/FLUX', Anna B Savage (2023)

'Where I'm Meant to Be', Ezra Collective (2023)

'Mid Air', Romy (2023)

'Ella and Louis', Ella Fitzgerald and Louis Armstrong (1956)

exhibitions

'Dia Al-Azzawi: Painting Poetry', Ashmolean Museum

'Spain and the Hispanic World', Royal Academy

'Hilma af Kilnt & Piet Mondrian: Forms of Life', Tate Modern

live music

Weyes Blood, Roundhouse

Easy Life, Alexandra Palace

Sofar Sounds, Holborn

Open Mic Night, Backstory

Soul Central, Stanway House (my wedding!)

Önder Focan Trio, Nardis Jazz Bar

The Aaron Parks Quartet, Ronnie Scott's

theatre

Matthew Bourne's Sleeping Beauty, Sadler's Wells Theatre

A Little Life, Harold Pinter Theatre

restaurants

The Lion, Winchcombe+

Pierre Victoire, Oxford+

The Perch, Binsey+

Morse Bar, Randolph Hotel, Oxford

Noble Rot, Soho+

Viet Corner, Balham+

Foley's, Fitzrovia

Tongi, Balham

Nobu, Shoreditch

Sophie's, Soho

The Eastern Eye, Brick Lane

Made in Italy, Clapham Junction+

Chez Jules, Edinburgh

Morton's Bistro, Gilmorton

No 29 Power Station West, Battersea

Rondo, Holborn+

Taberna da Baixa, Lisbon

Ponto Final, Lisbon

Sacramento, Lisbon

El Deseo, Ibiza

Cottons, Ibiza

La Bodega, Ibiza

Smoke & Salt, Tooting

Antica Trattoria della Pesa, Milan

The FisherMan Pasta, Milan

Baobab Organic Burger, Milan

La Casa Iberica, Milan

Felice a Testaccio, Milan

Osteria del Proconsolo, Florence

I' Girone De' Ghiotti, Florence

Entoca Pitti Gola e Cantina, Florence

Fooderia, Manarola

Il Porticciolo, Manarola

Nessun Dorma, Manarola

Ananasso Bar, Vernazza

Ristorante La Torre, Vernazza

Boisdale, Belgravia

Oakhill, Matlock

Caraffini, Chelsea

Coal Office Restaurant, King's Cross

Thai Night @ Milk, Balham

Canto Corvino, Spitalfields+

The Royal Oak, Gretton+

Wild Oven, Stanway House (my wedding!)

The Back Garden @ Dormy House, Broadway

La Cave, Annecy

Bon Pain Bon Vin, Annecy

Bleu 1801, Annecy

Côté Jardin @ La Maison Bleue, Annecy

La Table de Yoann Conte (**), Annecy

Pane Cunzato, Holborn

Lao Cafe, Covent Garden

Galata Art Smyrna Restaurant Cafe, Istanbul

Antakya Kebap asmalı, Istanbul

Tarihi Eminönü Dürümcüsü, Istanbul

Bilice Kebap, Istanbul

Cafe Privato Restaurant, Istanbul

Asmalı Mescit Dürümcü, Istanbul

Pandeli, Istanbul

Galata Kitchen, Istanbul

Muutto, Istanbul

Yöremiz Pide Lahmacun, Istanbul

Cappadocian Cuisine, Goreme

Wood Fire Barbeque, Goreme

Paket Kiymali Salonu, Ihlara

Beydilli Kebap Barbeque, Goreme

Yeşil Vadi Göreme Şubesi, Goreme

Kale Terrasse Restaurant, Goreme

Le Relais de Venise l'Entrecôte, City

Juliet's, Tooting

Forza Win, Camberwell

The Ginger Fox, Hassocks 

Shack Fuyu, Soho+

Noizé, Fitzrovia (x2)

Socius, Burnham Market+

The Brisley Bell, Brisley

Forza Wine @ NT, South Bank

Yuu Kitchen, Shoreditch

Circolo Popolare, Fitzrovia

Obica, Soho

Forza Wine, Peckham

Pachamama East, Shoreditch

Master Wei Xi’An, Holborn

podcasts

The Ricky Gervais Show (XFM)+

The Russell Brand Show (Radio 2)+

The Always Sunny Podcast+

The Adam Buxton Podcast+

Kermode & Mayo’s Take+

Books and Authors+

Literary Friction+

The New Statesman Podcast+

The Rest is Politics+

A Very British Cult

How I Built This+

The Prospect Podcast

Working It+

The News Agents

The News Meeting

Today in Focus+

The Slow Newscast+

Law in Action+

A Long Time in Finance+

The Lawyer Podcast+

Young Again

tv

The White Lotus (series 2)

Severance (series 1)

Succession (series 4)

The Bear (series 1)

The Bear (series 2)

It's Always Sunny in Philadelphia (series 16)

Beckham (limited series)

Boiling Point (series 1)

Top Boy (series 1)

Top Boy (series 2)

Top Boy (series 3)

Top Boy: Summerhouse (series 1)

Top Boy: Summerhouse (series 2)

talks

David Nicholls, Backstory

foreign travel (no 'favourites of the year', all excellent)

Edinburgh

Lisbon

Ibiza

Italy (Milan, Bellagio, Santa Margherita Ligure, Cinque Terra, Tuscany)

Lake Annecy

Turkey (Istanbul, Cappadocia)

[marshxd]

❤️💛 Observatório de Hogwarts 💚💙

Temos o prazer de informar que Vossa Senhoria foi aceito para cursar o ensino no Observatório de Hogwarts.

Temos aulas, jogos, jogos relâmpagos, cargos, lojas, galeões entre muitas outras coisas do mundo bruxo em que você pode aprender e fazer amizade com outros bruxos.

O ano letivo começa de imediato, aguardamos sua presença.

Estamos anexando um link para que possa embarcar nessa aventura conosco.

Ass: ministra Anna Júlia

Vice Herbeth

Indicação:Maria

Obs:precisamos muito de corvinos e Lufanos

[bloggiuliostrocchi]

Marco Galli e Anna Seregni sono i fotografi ufficiali del premio Starlight del Festival Del Cinema di Venezia 2022

Marco Galli e Anna Seregni sono i fotografi ufficiali del premio Starlight del Festival Del Cinema di Venezia 2022

Marco Galli e Anna Seregni sono una coppia di fotografi specializzati nell'ambiente moda e di servizi in studio. La passione fotografica li dirige verso la fotografia di moda senza sapere nulla di quel settore, hanno imparato tutto ciò che riguarda la fotografia da soli, studiando le varie tecniche da riviste e manuali, ottenendo così la partecipazione assidua e costante all'evento di moda più importante, cioè la Fashion Week Milanese. Partecipando ai vari eventi Marco Galli e Anna Seregni, con i loro scatti, si sono fatti conoscere dai vari stilisti italiani e stranieri oltre che dagli organizzatori delle manifestazioni. Marco ed Anna sono stati impegnati nei vari backstage e passerelle dell'evento glamour. L'eleganza, il lusso, l'eccentricità e l'unicità dell'alta moda espressa attraverso lo styling, le location e il make up, schemi di luce che permettono di scolpire i volumi e le linee uniche degli abiti di alta moda arricchiscono la loro esperienza lavorativa ed umana, permettendosi di avviare collaborazioni con agenzia di moda, magazine, stilisti ed agenzie di eventi e spettacolo. Non per questo sono stati selezionati per essere i fotografi ufficiali dell'attrice Francesca Rettondini in veste di presidente del premio Starlight del Festival del Cinema di Venezia, nonchè in veste di fotografi ufficiali e personali della top model Valentina Corvino che ben per il secondo anno consecutivo sarà ospite del Festival in argomento. I social: https://www.instagram.com/seregnianna/ Per vedere altri articoli cliccare nel link  Read the full article

[marleneoftheopera]

POTO Italy Audio Gift!

Audio of Italy's opening night, graciously allowed to be shared by the master. I had shared this on YT, but it got taken down so I thought I would share it here.

Cast info: Ramin Karimloo, Amelia Milo, Bradley Jaden, Earl Carpenter, Ian Mowat, Anna Corvino, Gian Luca Pasolini, Alice Mistroni, Zoe Nochi

[blazeofnight]

PotO Italy (Trieste) review - Actors and final thoughts

ACTORS

Let's get this out of the way: I am not a Ramin fan. As in, I like him fine as a singer, not so much as an actor, but I also don't resent him with the burning hatred of a thousand suns. He's NOT the main reason why I went to see this production, I went in expecting him to be perfectly serviceable but nothing more.

I think his voice has improved since the 25th-anniversary recording, and I liked his acting a bit more too. He still has some mannerisms that annoy me, but in general this Phantom was a good mix of angry and pathetic, definitely more nuanced and vulnerable. I didn't come out of the theatre converted to him as the one true Phantom or whatever, but it still was way better than what I expected.

Bradley was ok, not a Raoul I loved, and at times he was just…. there, I did love him in the more emotional/intimate moments (like AIAOY, he was great) but he could have been better when 100% emotions weren’t required. He did look very good in Raoul’s suits, so there’s that, and he was NOT a possessive/angry Raoul (which I personally dislike). A bit jealous, maybe, but nothing too strong.

I have to say this staging has some rather physical moments for both the Phantom and Raoul, good thing both Ramin and Bradley are gym rats!

The one I really LOVED (and the main reason I’ll see the show again) is Amelia Milo. You can definitely tell she needs a bit more experience, and as I said in the first post her voice can be a bit thin in her very upper range, but overall she impressed me with her portrayal of a sweet, naive girl who has to grow up and leave the past behind. I think she portrayed Christine’s growth and change beautifully, if she’ll be back in Italy in other roles I’ll definitely go see her again because I want to see how her career goes! Also, people who met her at the stage door say she’s absolutely a lovely human being, which is always nice!

Earl Carpenter and Ian Mowat as the managers were a delightful comedic duo, you can definitely see they are both experienced actors. Slapstick does suit Earl and I remember him saying he really wanted to play André because of the comedic potential, I can definitely see how he enjoyed himself in the role! His half-drunk “baleeeEEEET” will stay with me forever.

I also really liked Anna Corvino as Carlotta, if you’re familiar with the mannerisms of old Italian opera divas you can definitely see she got some inspiration from them and it was a lovely detail. She sings well, and I found her lovely to watch; she did not go overboard with the funny faces but still provided a lot of funny moments with her overly dignified countenance.

Zoe Nochi as Meg was… a mixed bag. I loved how close she and Christine are, and how intense she was during Angel of Music, BUT. She spent a lot of time screaming “THE PHANTOM OF THE OPERA!” at the top of her lungs, looking comically over the top scared. No nuance there, which is perplexing since she showed she’s capable of that in other scenes. It’s a pity because those screeches really ruined an otherwise lovely Meg (ETA: after seeing her again in Milan, I have to say I felt this issue a lot less so maybe I just caught her on an off day! Also to be clear I really liked her Meg's performance apart from this)

I have little to say about the other actors, they were all perfectly fine, no issues there but also nothing that stood out to me.

CONCLUSIONS

Overall, I’d give this production a 7.5/10. 

The cast worked well, nothing to complain about here.

The costumes had some really nice stuff + some just ok stuff + a couple of baffling choices.

The same goes for the backgrounds and props, there’s a couple of glaring issues (the title song, the whole cemetery scene), some need a bit of adjusting (the use of the rotating stage, the ending of AIAOY), and others worked well.

I have never seen another non-replica version live, but from the pictures and reviews of those who did, it looks like this is pretty much what happens with all of them. Working with smaller budgets + having to do stuff differently leads to similar issues, I believe, and each production has to choose what to sacrifice.

One thing I do love 100% without reservation, is the tone shift. The original novel was very gothic in ambience, descriptions, tone, horror. The current version of the musical I saw in London is extremely beautiful, smooth, a fantastic musical experience, but I find that the emphasis on the romance part of “gothic romance” flattens it a bit (and a big part of the fandom then brings the process even further). I do love how the Italian production shifts the tone a bit further back towards the “gothic” bit, which really explains much of the background, the use of lights (which was GREAT in many scenes btw), and especially much of the changes that outraged people when they first became known. 

It is a different point of view on the tale and its themes than the one the original production has, and as such it’s natural that some folks will like one but not the other, while others will like both. Personally, being originally a book fan, I LOVE it. And I honestly believe it can be an interesting experience for folks who really like the original, but are willing to have their idea of how this story can be told challenged a bit. Maybe there’ll be that one detail or scene that you really love and will incorporate into your own personal canon, maybe you’ll just use this experience as a springboard to analyze what you like about the original musical and confirm that yep, you like it as it is. As long as they don’t go into the theatre expecting to have the same experience as the original, I think most people will be fine when it comes to characterization and plot details changes.

As I said in part 2 of my review, I think that this is a perfectly serviceable production for folks approaching this musical for the first time and I think if fans of the original approached it with more of an open mind and less comparing it to other productions at all costs, there is some value here for them too. Yes, some stuff does not work and needs to be fixed, but it’s definitely not a disaster beyond anyone’s imagination. As I said I give it 7.5/10, which means it’s perfectly watchable and ok overall, but will need to do a bit of work in order to be truly “good”.

I will see it again tomorrow in Milan and I'm excited to see how Vinny Coyle as Raoul will change the main trio dynamic and if there are any changes made/if issues were solved. 

There's some stuff I really want to say about the current status of musical theatre in Italy, why I think the management made certain choices, and why this production is important for the Italian scene, but it's a post for another time. For now, it's all. 

[sciscianonotizie]

Riecco il Party del sorriso a Villa Domi la sesta edizione

A Villa Domi riecco il “Party Del Sorriso” di Angelo Iannelli, dedicato alle persone meno fortunate. Una parata di stelle e Premio Cuore D’oro a  Elena Presti e Cosimo  Alberti. Dopo il successo delle scorse cinque edizioni, ritorna il “Party del Sorriso”, serata di solidarietà dedicata alle persone meno fortunate . Si svolgerà Sabato 14 Maggio  alle ore 20:00 nell’incantevole dimora settecentesca di Villa Domi la sesta edizione. L’evento è ideato e curato da Angelo Iannelli “ Ambasciatore del sorriso”, organizzato dall’ Associazione Vesuvius A.P.S. in collaborazione con Villa Domi Event  di Domenico Contessa . Il sociale diventa luce ,il sorriso terapia e  Napoli capitale dei grandi eventi .   Lo slogan  di questa edizione è “ Per donare un sorriso basta poco, avere un cuore grande”. Si preannuncia una serata ricca di emozioni, comprendente : Il Sociale ,la Moda, l’Arte, la Musica, i Balli , la valorizzazione del territorio attraverso le Eccellenze Enogastronomiche  , tutto  glorificato dalla solidarietà. Aprirà la serata il Gruppo Musicale di Acerra,  a seguire  la moda con l’ Accademia Maria Mauro  , le modelle di   “The Quiero Mucho “  e la sposa di Nunzia Di Bernardo , seguiranno momenti musicali  con  i cantanti : Luis Navarro , Michele Selillo e Mario Conte  .L’atmosfera in villa diventerà magica con il percussionista Rosario  Scotti Di Carlo  e  i giochi di luce di Aiguil Duisheeva  . Alla serata saranno presenti tantissime personalità : blogger, vip, musicisti, pittori, istituzioni, imprenditori ,  ragazzi speciali e mass media  .Includere, valorizzare e socializzare, sono i tre obbiettivi  del produttore di emozioni Iannelli , C.t della nazionale del sociale che richiama tutti al grande evento per il suo Birtday.

Tantissimi i personaggi che hanno dato conferma al re del sorriso , che vuole rilanciare Napoli capitale degli eventi sociali nel mondo e stupirci in questa edizione :Corrado Ferlaino, Giulio Tarro, Gigi Savoia, Gigi Attrice, Lucia Cassini, Angelo Di Gennaro, Francesca Maresca  ,  Diego Moreno,Antoine, Teresa Moccia, Marco Cristi, Massimiliano Cimino Crescenzo De Gennaro, ,Lino Blandizzi, Enzo Guariglia,  Nicola Mora,Gino Accardo ,Francesco Iannelli, Lorenzo Crea, Cristian Musella, Antonio Riscetti, Fortuna Autiero, , Franco Melidoni , Alessia Fusaro ,  Zara De Felice,Chiara Aliberti,  Diletta’ Bone’ Acanfora,  Magda Mancuso , Stefania Pagano, Maria Grazia Verace, Morena De Rosa, Lina La Mura, Carmen La Bruna, Monica Pignataro,  Alessia Caputo. Eduardo Angeloni, Daniela Sabella, Delia Pacilio, Andrea Iovino  ,  Anna Semenkova, Miriam Rigione, Giulia Accardo, Susy Silvestri, Annabella Prisco ,Maria Grazia Liguori, Maria Guerriero, Roberto Minini (sosia Bono Vox), Natascia Ummaro, Ida Piccolo, Enza Guadagni, Miry D’amico,Maria Pirozzi, Vania Scarpato, Marianna Fortuna, Susy Fiorillo, Rosanna Romano, Ciro Marra, Alfredo Mariani, Massimo Sparnelli, Franco Capasso, Gigione Maresca, Raffaele Carlino, Franco Buononato, Teresa Lucianelli, Gianfranco Bellissimo, Vincenzo Assanti, Dora Chiariello, Pasquale Spera,Davide Guida, Giuseppe De Carlo,  Rosita Arpaia, Gianni Testa, Vincenzo Maio, Davide Ponticiello  e tanti altri ospiti a sorpresa .Per le istituzioni Invitato anche il Sindaco di Napoli  Gaetano Manfredi , i consoli: Gerry Danesi e Giuseppe Gambardella, Il Presidente Confesercenti Campania  Vincenzo Schiavo, il  sindaco di Camposano Francesco Barbato ,  il sindaco di Somma Vesuviana , Salvatore Di Somma  , il sindaco di Casola di Napoli Costantino Peccerella e tanti altri ospiti a sorpresa  . Durante la serata ci saranno i” Percorsi D’arte in tour “ con l’esposizioni degli artisti: Marino Di Lorenzo, Nadia Basso, Marcello Eraldi, Giovanni Cardiero, Claudio Torino, Francesco Sellone e  Tiziana Corvino. Momento clou della serata   l’esibizione di “Ragazzi Speciali . Un vero festival delle eccellenze enogastronomiche campane ; I fiocchi di neve di Ciro Poppella, le   pizze  di Luciano Sorbillo , Azienda Agricola Luigi Turboli, Acqua Service, Latteria Sorrentina, I Sapori di Napoli, Sabatini Jamonita , Antonio  Arfè  e le sue primizie , l’angolo Nestle’,  Pasta Gemme del Vesuvio, pelati La Torrente ,  Iazzetta,  Cantine Mediterranee,Antonio Tiramisù,  Mille Dolcezze di Nicola Obliato, confetti  Rastiello, Rogante vino e spumante ,Terre Pompeiane con il liquore Baba Re’. Tanti i partner ; Miky Makeup artist Accademy , Angelo De Falco Gioielli, Go Away Donna,  La Floricoltura di Michelangelo Griffo ,  Beaty System di Enzo Nocerino e Claudio Di  Martino , Carlo Di Giacomo  consolle e audio. Sistema Casa Immobiliare, Futura Service, Associazione Giaguaro “Accendi Un sogno “ Durante il Party  “sarà consegnato il prestigioso premio “Cuore D’oro” realizzato dallo scultore Michele Buonincontri all’attrice e cantante Elena Presti e all’attore del soap” Un posto al Sole “Cosimo Alberti . La kermesse sarà condotta da Erennio De Vita , Edda Cioffi, Angelo Iannelli ed  Emanuela Gambardella  con le miss . Mara Mollo e Lucia Schettino .  La manifestazione sarà ripresa  e documentata dai più importanti mass media regionali e locali .

source https://www.ilmonito.it/riecco-il-party-del-sorriso-a-villa-domi-la-sesta-edizione/

[mscoyditch]

"The Country Schoolmaster. 1939". Andrew Wyeth.

> Anna Maria Corvino > Andrew Wyeth

[oupacademic]

OUP and Blackwell’s Bookshop in Oxford have once again successfully collaborated for the annual Oxford Philosophy Festival, a series of talks aiming to make philosophy fun and accessible. 2017′s festival had talks given by festival speakers including Andrew Copson, Clare Chambers, Richard Marshall, Leif Wenar, Jonathan Birch, and John Corvino.

The closing event saw Jeff-McMahan in conversation with David Edmonds remembering the late Derek Parfit. Jeff shared personal stories with the audience and illuminated key ideas in Derek’s work. A wonderful tribute to a great philosopher and his contribution to the field.

Image credits: (1) Jeff-McMahan in conversation with David Edmonds. Photo by Panumas King; (2)Richard Marshall. Photo by Panumas King; (3) Clare Chambers by Panumas King; (4) John Corvino. Photo by Anna Gell; (5) OUP philosophy book stand. Photo by Anna Gell. All used with permission.

[nonsolomodanews]

MICAM 2019 - CREATIVITÀ, INNOVAZIONE E GIOVANI TALENTI In fiera numerose le iniziative dedicate alle prospettive del settore e ai giovani che saranno protagonisti nei prossimi anni. Tornano, così, gli Emerging Designer con le loro proposte creative, inedite, con materiali innovativi e forme originali. A partire da questa edizione, ogni designer è sostenuto dall’attività di un Influencer, all’insegna di un’evoluzione che non riguarda solo il prodotto, ma anche il modo di comunicarlo. I designer emergenti sono Adult, Anna Baiguera, Annie Gestroemi, Andrea Mondin, Balluta, King Ping, Maison Ernest, Marie Weber, Me.Land, Panafrica, Paolo Ronga, Seven All Around. Accanto a loro 12 Influencer: Camilla Agazzone, Giulia Calefato, Rita Capparelli, Francesca Chelli, Valeria Conte, Asia Corvino, Martina Favaro, Eros Grecu, Camilla Lucchi, Martina Panagia, Elisabetta Pistoni, Marianna Zuliani. Nella moda i social media moltiplicano le possibilità di successo per una nuova generazione di marchi "sfidanti" che entrano in un settore in cui marchi affermati hanno maturato nel tempo la notorietà acquisita a fronte di importanti investimenti nei mezzi classici. Per competere e rimanere rilevanti tra i giovani consumatori esigenti, i marchi affermati stanno facendo incontrare 12 Emerging Designers, selezionati per le due edizioni della fiera nel 2019, con 12 influencer che interpreteranno su Instagram gli star products delle nuove collezioni duranti i giorni di manifestazione a settembre. Nell'operazione mediatica è stata coinvolta agenzia di pubbliche relazioni Alessandra Ianzito, con cui sono state definite le abbinate tra influencer ed Emerging Designers #micam #micamemergingdesigners #brunoangeloporcellanaph www.nonsolomodanews.it #nonsolomodanews #igersitalia #igers #shoes #fashion #influencer #influenceritalia (presso MICAM Fiera Milano) https://www.instagram.com/p/B3AUobUIybY/?igshid=18snif7u80pv1

[fondazioneterradotranto]

Nuovo post su http://www.fondazioneterradotranto.it/2018/12/22/fascinazione-i-riti-i-simboli-le-guaritrici-le-affascinatrici-e-le-vittime/

Fascinazione: i riti, i simboli, le guaritrici, le affascinatrici e le vittime

di Gianfranco Mele

  “L’ occhio manifesta molte cose magiche, poiché incontrandosi un uomo con l’altro, pupilla con pupilla, la luce più possente dell’uno abbaglia e abbatte l’altro che non può sostenerla”

(T. Campanella, Del senso delle cose e della magia, pag. 284)

  Johanne Christiano, Tractaus de fascinatione, Nuremberg, 1675

  Nell’ambito di un seminario-ricerca universitario di antropologia, a metà anni ’80 mi fu assegnata una ricerca sulle tradizioni magico-popolari a Sava e in particolare sull’usanza de “lu ‘nfascinu” (una forma di “maleficio” – anche involontario – lanciato principalmente per mezzo dello sguardo). Intervistai in quella occasione 25 donne savesi di estrazione contadina, che erano entrate in contatto con questa esperienza: in particolare, mi occupai sia di raccogliere informazioni da chi aveva avuto in famiglia un caso di ‘nfascinu, che di intervistare donne guaritrici e donne ritenute ammaliatrici. Sinteticamente, gli elementi che emergevano erano i seguenti:

  soggetti maggiormente colpiti dal fascinum: bambini/e e fanciulli/e

modalità di trasmissione: sguardo, parole (anche complimenti), gesti, contatto fisico (carezze, toccamenti)

sintomatologia: mal di testa, vomito, sonnolenza, pesantezza delle palpebre, perdita delle forze, pallore, febbre, intontimento, spossatezza, dolori diffusi.

aggravamento dei sintomi non accompagnato da “cure”: morte

tipologia del “male”: maleficio (anche e spesso involontario)

riti preventivi: amuleti (“cornetti” appesi al collo), immagini sacre, sacchettini appesi con una spilla agli indumenti e contenenti piombo, immagini sacre, acini di sale

riti esplorativi (diagnostici): rituali relativamente complessi con utilizzo di orazioni segrete, formule, preghiere, piattino con acqua e olio;[1] utilizzo della lingua (segno della croce per 3 volte) sulla fronte del bambino per “saggiare” se è affascinato o meno

rituali riparatori: formule, gesti, orazioni segrete o preghiere o segni della croce ripetuti per 3 volte. Il rito del “piattino con acqua e olio” ha in genere una funzione esplorativa ma si protrae sino alla fase riparatoria (è in un certo senso parte integrante anche della “cura” e viene ripetuto per verificare se il soggetto è guarito)

persone deputate a guarire: donne, in genere anziane, che hanno appreso la pratica per via “segreta o iniziatica (spesso tramandata di generazione in generazione a “eredi” prescelti e/o considerati predestinati, attraverso – in ogni caso – una vera e propria iniziazione).In altra occasione in cui ho descritto alcuni dei risultati della suddetta ricerca, ho evidenziato alcuni elementi comuni tra i rituali di guarigione connessi al fascinum tipici della nostra cultura contadina, e elementi che rimandano al mito di Demetra – nutrice, guaritrice e protettrice degli infanti, e dispensatrice di rimedi magici. [2]

Il rituale esplorativo con l’utilizzo di una bacinella in cui si versano gocce d’olio, è un tipico esempio di Lecanomanzia (dal gr. λεκανομαντεία, comp. di λεκάνη «bacino» e μαντεία «divinazione»).

L’utilizzo del piattino con acqua e olio a scopo divinatorio e diagnostico è un classico: si lasciano cadere 3 gocce di olio in un piattino colmo d’acqua e si osserva il “comportamento” delle gocce al fine di individuare se il soggetto è stato “affascinato”, e anche se l’ “affascinatore” sia stato un uomo o una donna.

Vittime dell’affascino possono essere tutti, ma in particolare donne gravide e bambini in quanto sia particolarmente vulnerabili che più frequentemente bersagli di attenzioni e complimenti. L’ arte dell’affascino si esercita difatti attraverso sguardi e parole (in particolare complimenti alla bellezza). Il bacio o lo sputo sono rituali preventivi istantanei atti a scongiurare l’effetto dell’affascino (esercitato anche involontariamente), cosicchè se viene rivolto un complimento a una donna o a un bambino/a si può istantaneamente rimediare con uno dei suddetti gesti riparatori onde evitare di “infascinare”.

Ma il bacio è anche veicolo di affascino. Camilla Rubino è accusata dal Tribunale del Santo Officio di Oria, nel 1722, di praticare la fascinazione; in particolare, è accusata di aver affascinato con i complimenti e di aver rafforzato l’ “affascino” con i baci, dati alla sua vittima con la scusa di doverli utilizzare a fini preventivi:“ li voleva dare tre baggi per non essere affascinata, ed infatti accostatasi la baggiò trè volte in faccia e all’istesso tempo detta Anna Maria s’intese come tre chiodi e punture acutissime sul cuore, uno però era più amaro degli altri […] e dall’ora in poi li sopravvenne inquietudine e perdì affatto l’appetito non potendo gustare altro se non qualche poco d’acqua e in tanto stava qualche poco quieta se la metteva un vaso d’acqua avanti agli occhi e trattenutasi così per lo spazio di dodici giorni circa, doppo aver sola fatta fare dalla di sua madre molta preghiera, andò di nuovo detta Camilla in casa d’essa Anna Maria, e ribaggiàtala trè volte in faccia subito si sentì all’istesso levare quelle tre punture dal cuore […] li sopravvenne l’appetito, ed incominciò a rifarsi, vero bensì li restò l’ utero gonfio in tre parti che poi a poco a poco li sgonfiò”. [3]

Nell’ambito delle credenze sulla fascinazione, l’acqua riveste un ruolo molto importante. La sua presenza è difatti multifunzionale: è parte integrante del rituale di “sfascinazione”, sia nella sua parte esplorativa che in quella riparatoria. La bacinella d’acqua è utilizzata per capire se il soggetto è “infascinatu” (attraverso il rito dell’olio versato in acqua) sia nell’ambito del successivo e consequenziale procedimento di sfascinazione. Inoltre, l’acqua è l’unico alimento che il “malato” riesce ad ingerire, ed ha per di più la funzione di acquietarlo se posta dinanzi ai suoi occhi.

Vi sono varianti del rituale, nelle quali l’acqua è comunque presente: Maria Rosaria Corvino è ritenuta vittima di una qualche malìa, così sua madre Anna Corvino chiede aiuto congiunto a fra’ Matteo, padre cappuccino, e alla masciàra Maddalena Montagna. La masciàra compie un rito che consiste nello spargimento di “3 acini di sale, un poco di incenso benedetto e un poco di palma benedetta”, e, successivamente

“havendo fatto prendere un poco d’acqua dentro un piatto li fece bagnare la faccia alla rovescia per qualche fascino” [4]

La vittima della fascinazione trae dunque giovamento dall’ acqua, dal contatto o dall’ingestione o dalla vista dell’acqua, esattamente come la tarantàta: nei rituali domiciliari del tarantismo sono poste delle bacinelle d’acqua a tal scopo nell’ambiente ove si svolgono il ballo e il rito terapeutico, e inoltre, secondo alcune testimonianze, sino almeno al 1700 le tarantate svolgono le loro danze, oltre che nei pressi di crocicchi, in luoghi vicini a fonti d’acqua[5] o addirittura vengono portare a far bagni nel mare (tipico degli antichi rituali tarantini).[6]

La presenza e il ruolo fondamentale dell’acqua sono inoltre noti anche nell’ambito del rito galatinese, nel quale alla cristianizzazione del rituale attraverso l’intercessione di San Paolo sono affiancati elementi preesistenti (e anch’essi cristianizzati) quali appunto l’ acqua risanatrice del noto pozzo di S. Paolo presente all’esterno della Cappella omonima. Un’altra particolarità in comune tra il rituale galatinese del tarantismo e il rituale della fascinazione è la presenza dello sputo risanatore (secondo il Vallone, che a sua volta riprende da alcuni scritti dell’ Arcudi, l’acqua del pozzo di Galatina sarebbe stata contaminata, nella leggenda, dalle proprietà medicinali della saliva delle sorelle Francesca e Polisena Farina, dette anche le Bellevicine:[7] del resto, le credenze sullo sputo risanatore sono antichissime e ne fa menzione Plinio, così come sono presenti nei Vangeli di Giovanni e Marco che narrano di Gesù che guarisce un cieco e un sordomuto con lo sputo, e lo stesso Arcudi narra delle genti dei popoli dei Marsi e degli Psilli che guariscono tramite la saliva).

Nella fascinazione lo sputo o la saliva è utile sia a livello di riparazione contestuale ai possibili effetti di fascinazione causati dai complimenti, che a livello riparatorio ad uno stadio di fascinazione avanzata (una variante del rituale riparatorio consiste nel leccare la fronte del soggetto “affascinato” da parte di una guaritrice esperta che accompagna a questo gesto orazioni e altre ritualità).

Nella fascinazione lo sputo o la saliva è utile sia a livello di riparazione contestuale ai possibili effetti di fascinazione causati dai complimenti, che a livello riparatorio ad uno stadio di fascinazione avanzata (una variante del rituale riparatorio consiste nel leccare la fronte del soggetto “affascinato” da parte di una guaritrice esperta che accompagna a questo gesto orazioni e altre ritualità).

Altro elemento in comune tra fascinazione e tarantismo è la possessione, da intendersi nel caso del tarantismo come possessione da parte del ragno, e nella fascinazione come una sorta di dominazione[8] esercitata dalla persona che ha causato la “malattia”.[9]

Rilievo marmoreo contro il fascino, da: G. Lafaye, Fascinum, in: Daremberg, Saglio, Dictionnaire des Antiquités Grecques et Romaines II, Parigi, 1896

  Il principale veicolo di fascinazione è lo sguardo (gli occhi, l’ “ogu malo” come si dice in Sardegna, ovvero il “malocchio”).

Le principali o le più frequenti vittime sono i bambini. La donna “strega” invidiosa delle altrui gravidanze e della altrui prole ha un precursore mitico nella figura di Lamia regina della Libia. Lamia fu rivale in amore di Era: Zeus difatti se ne invaghì e mise al mondo dei figli per mezzo suo. Ma Era, rabbiosa di gelosia, uccise tutti i figli che Lamia ebbe da Zeus, e condannò inoltre Lamia a non chiudere mai gli occhi. In conseguenza di questo episodio, schiacciata dal dolore, Lamia iniziò ad essere gelosa di tutti i nascituri e a far morire così per invidia i figli di tutte le altre femmine. Sembra che li divorasse succhiandone il sangue o che li trucidasse, e inoltre, questa figura è collegata agli occhi stregati. Zeus, per compassione e nel tentativo di placarla, le diede il dono degli occhi movibili, che Lamia poteva perciò mettere e togliere a suo piacimento. Questa capacità di rimuovere gli occhi permise a Lamia di accedere ad una percezione particolare, sia da un punto di vista profetico che, probabilmente, della forza magica e magnetica degli occhi stessi.   

Della fascinazione in ambito salentino parla anche Michele Greco nella sua ricerca dei primi del ‘900:

“… molte mamme attribuiscono il dimagrimento e il malessere dei loro bimbi a qualche masciàra (fattucchiera) invidiosa…”[10]

Ravenna, chiesa di S. Giovanni Evangelista: frammento di mosaico raffigurante Lamia (XIII sec.)

  Tuttavia, sebbene i soggetti più a rischio siano ritenuti i bambini e le belle donne, chiunque può essere vittima della fascinazione.

La masciàra Giustina Quaranta, denunciata e processata a Oria nel 1742 (e incarcerata nel gennaio dell’anno successivo), era temutissima per le sue arti magiche, e per la sua capacità di ammaliare con gli occhi:  difatti, secondo l’accusa di   Carmina De Tomaso lei stessa vanta questo potere, nel momento in cui una delle sue vittime gli fa presente di essersi rivolta ad un sacerdote: “altercatasi la detta Giustina con mio padre à riflesso che diceva alla medesima che detto mio padre era stato da Monsignor ill.mo, detta Giustina soggiungeva, che Monsignor non l’avrebbe fatto cosa alcuna che li bastava l’animo incantarlo con l’occhi...” [11]

L’inquisitore descrive le capacità di Giustina di provocare infermità con parole, sguardo e “toccamenti” (e, allo stesso modo, di “sanare”): “ I testimoni che hanno deposto e testificato che essa costituita si avesse servita di cosa superstiziosa, e che con parole, colla sua vista, i suoi toccamenti avesse fatto ammalare, e rispettivamente sanare alcune persone, anzi che con sua bocca essa costituita abbia detto di aver fatto morire più persone…” [12]

Mosaico romano da Antiochia, Casa del Malocchio

  Nell’antica Roma esisteva una divinità, Cunina, espressamente deputata a proteggere i bambini dal Fascinum.[13]

A livello preventivo si indossavano amuleti di forma fallica, e questa consuetudine era così diffusa che l’ amuletum stesso iniziò ad essere denominato fascinum, e addirittura il fallo stesso era indicato, a volte, con lo stesso termine.[14]

Amuleto fallico gallo-romano, Museo di Saint Remi

  [1] Le varianti del rituale sono numerose. In altra sede mi riservo di descriverle compiutamente.

[2]    Gianfranco Mele,   I sacri rituali di guarigione: Demetra, la “papagna” e “lu ‘nfascinu”. Echi di antichi culti sopravvissuti nella tradizione contadina della Provincia di Taranto e del Salento, Terre del Mesochorum – storia, archeologia e tradizioni nell’area ionico tarantina, Archeoclub Carosino, sito web, aprile 2015

[3]    Atti Curia di Oria, Denuncia di Giuseppe Rizzo contro Camilla Rubino di Latiano, perchè definita maga, Anno 1722, cit. da Maria Antonietta Epifani in “Stregatura”, Besa Editrice, 2001, pp. 57-58

[4]    Atti Curia di Oria, Sortilegi e stregonerie ai tempi di Monsignor Labanchi, Denuncia di Anna Corvino in data 14 febbraio 1741 contro fra’ Matteo cappuccino acusato di credere nelle stregonerie, f. 1

[5]            Giuseppe Gigli, Il ballo della tarantola. In “Superstizioni, pregiudizi, credenze e fiabe popolari in Terra d’Otranto” Firenze 1893

[6]    Cfr.Giovanni Battista Gagliardo, Descrizione topografica di Taranto, pp. 64-65, Napoli, 1811

[7]    Giancarlo Vallone, Le donne guaritrici nella terra del rimorso. Dal ballo risanatore allo sputo medicinale, Congedo Editore, 2004

[8]          Scrive Ernesto De Martino in “Sud e magia”: “Il tema fondamentale della bassa magia cerimoniale lucana è la fascinazione (in dialetto: fascinatura o affascino). Con questo termine si indica una condizione psichica di impedimento e di inibizione, e al tempo stesso un senso di dominazione, un essere agito da una forza altrettanto potente quanto occulta, che lascia senza margine l’autonomia della persona, la sua capacità di decisione e di scelta. Col termine affascino si designa anche la forza ostile che circola nell’aria, e che insidia inibendo o costringendo. L’immagine del legamento, e del fascinato come “legato”, si riflette nel termine sinonimo di attaccatura talora impiegato per designare la fascinazione: in particolare l’ attaccatura di sangue è un legame rappresentato simbolicamente come sangue che non fluisce liberamente nelle vene. Cefalgia, sonnolenza, spossatezza, rilassamento, ipocondria accompagnano spesso la fascinazione: ma l’esperienza di una forza indominabile e funesta resta il tratto caratteristico. La fascinazione comporta un agente fascinatore e una vittima, e quando l’agente è configurato in forma umana, la fascinazione si determina come malocchio, cioè come influenza maligna che procede dallo sguardo invidioso (onde il malocchio è anche chiamato invidia), con varie sfumature che vanno dalla influenza piú o meno involontaria alla fattura deliberatamente ordita con un cerimoniale definito, e che può essere – ed è allora particolarmente temibile – fattura a morte. L’esperienza di dominazione può spingersi sino al punto che una personalità aberrante, e in contrasto con le norme accettate dalla comunità, invade piú o meno completamente il comportamento: il soggetto non sarà piú allora semplicemente un fascinato, ma uno spiritato, cioè un posseduto o un ossesso, da esorcizzare. “

[9]    Vedi anche M.A. Epifani, op. cit., pag. 58

[10]  Michele Greco, Superstizioni medicamenti popolari tarantismo, manoscritto, 1912, ried. a stampa Filo Editore, 2001, pag. 85

[11]  Atti Curia di Oria, Sortilegi e stregonerie ai tempi di monsignor Labanchi, Denuncia in data 5 luglio 1742 di Carmina De Tomaso contro Giustina Quaranta accusata di essere strega, ff. 1-2

[12]  Atti Curia di Oria, Sortilegi e stregonerie ai tempi di monsignor Labanchi, Denuncia in data 5 luglio 1742 di Carmina De Tomaso contro Giustina Quaranta accusata di essere strega, f. 29

[13]  Carla Corti, Diana Neri, Pierangelo Pancaldi, Forme ed attestazioni di religiosità del mondo antico nell’ Emilia centrale, Aspasia Edizioni, 2001, pp. 73-74

[14]  Ibidem, pag. 72

[marleneoftheopera]

Because I know you all want to hear Earl. Have been told by a few people who went that he "plays a very good drunk Andre". Good for him honestly. Some nice high notes from Anna too!