#Carlos barriento

[randomrichards]

THE ONLY GIRL IN THE ORCHESTRA:

Movie star parents

Played philharmonic

A born team player

[aperint]

Diego el rojo

Diego el rojo #aperturaintelectual #palabrasbajollave @tmoralesgarcia1 @moralesgarciathelma Thelma Morales García

[lot666achandelierinpieces]

Hi! I would love to have "El fantasma de la Opera" Madrid 2003 soundboard with Juan Carlos Barona and Teresa Barrientos. The old mega link does not work anymore. Any chance you could upload it again? Millon thanks!

Of course! It's one of my favorites!

Juan Carlos Barona, Teresa Barrientos, Armando Pita 2003; Madrid, Spain

HERE

[revistaalmiar]

📰 Revista Almiar, n.º 136 (sept./oct. de 2024) ✍️ Autores publicados: Javier Úbeda Ibáñez · Jorge Cervera Rebullida · Kim Bertran Canut · Gabriel José Vale · Xavier Alejandro Llusá Borges · Jesús Greus · Gretchen Kerr Anderson · Juan Carlos Jurado Reyna · Rocío Soria Romero · José Luis Cubillo Fernández · Norberto Pannone · Luis Méndez Viñolas · Rolando Revagliatti · Natanael Marín Zamudio · Javier Claure Covarrubias · Adán Echeverría García · Carlos Montuenga Barreira · Miy’hon · Nadia Contreras · Carlos Álvarez Orozco · Adriana Tuffo · María Dayana Fraile · Juan Carlos Vásquez · Cecilia Valdez Zúñiga · Alicia Leonor · Rut Treviño · Mia Nallely Amaro Arvizo · Víctor H. Orduña · J. Andrés Tomás Pérez Olvera · Efrén Hernández · Estrella Gracia González · Sunhaila Minelly Sánchez Barrientos · Luis Amézaga · Beatriz Celina Gutiérrez Gómez · Naya Carbonell Garrido 🔗 https://margencero.es/margencero/ 🔗 https://margencero.es/novedades-margencero.htm

[princesssarisa]

Sleeping Beauty Spring: Happily Ever After: Fairy Tales for Every Child – Sleeping Beauty" (1995 animated series episode)

Happily Ever After: Fairy Tales for Every Child was like an animated musical counterpart to Shelley Duvall's Faerie Tale Theatre for children of the '90s. Each episode, narrated by Robert Guillaume, adapts a classic fairy tale or fantasy story with a star-studded voice cast, blending irreverent humor with sincerity. But what sets this series apart from any similar series is that each story takes place in a different culture. Highlight episodes include a Chinese Little Red Riding Hood, a Caribbean Goldilocks and the Three Bears, a Native American Snow White, African versions of Jack and the Beanstalk, The Frog Prince, and Beauty and the Beast, and Latin American versions of Hansel and Gretel, Cinderella... and Sleeping Beauty.

This retelling of the tale takes place in an imaginary Latin American seaside kingdom. The dialogue is peppered with Spanish words and phrases, and the voice cast consists entirely of Latino and part-Latino celebrities: Marie Barrientos as Princess Rosita, Ricardo Montalbán as King Carlos, Lucie Arnaz as Queen Maria, Paul Rodriguez as Jesse the Jester, Jacob Vargas as Prince Luis, Carlos Mencia as his squire Poncho, Carmen Zapata as the Seventh Fairy, Vanessa Marquez as all of the other six fairies, and musical theatre/opera singer Julia Migenes as the villainous fairy Evelina.

Apart from the Latin American setting, the plot faithfully follows the traditional story. King Carlos and Queen Maria yearn for a child, comforted only by the slapstick comedy of their clumsy jester, Jesse. But at last, Princess Rosita is born. To her grand christening – a fiesta with flamenco dancing, salsa music, and a feast of arroz con pollo and ropa vieja – the king and queen invite seven good fairies, portrayed as middle aged and elderly women with tiny wings. But the hideous old fairy Evelina goes uninvited because she shut herself away in a tower long ago and is presumed dead. Of course she comes anyway, and after expressing her offense a grand musical number, she curses the princess, but the pink-clad Seventh Fairy softens her curse from death to a hundred-year sleep.

Sixteen years later, as in the Cannon Movie Tales adaptation, the whole kingdom is dressed in rags and patches because no new cloth can be made without spinning wheels. Princess Rosita knows that spinning was banned due to an old prophecy, but doesn't know what that prophecy is. When her parents go out a tour of the kingdom, Jesse the Jester promises to look after her. But he promptly knocks himself unconscious on a column, so Rosita is free to explore unknown parts of the castle. Of course she finds a tower where Evelina waits with a spinning wheel. King Carlos, Queen Maria, and Jesse are distraught when they find Rosita sleeping, but the Seventh Fairy arrives and puts the rest of the kingdom to sleep too. Over a hundred years, a dense jungle grows around the castle.

At long last, Prince Luis and his nervous squire Poncho arrive. They've heard many legends about the old castle, but finally an old man tells them the true story. When they ride into the jungle, the trees miraculously part, and soon the prince finds Rosita and kisses her, breaking the spell. A fantastico wedding is celebrated with new clothes for everyone, Evelina "goes all to pieces" with rage (her tower explodes with her inside it, leaving just a smoking ruin), and everyone else lives happily ever after.

While the animation isn't the most sophisticated, its lively, colorful, stylized aesthetic is memorable and charming. It perfectly suits the balance between humor and heart that the script offers. As in most episodes of this series, there are two featured songs, the brief "Good Fairies' Song" and Evelina's "Que Es Esto" ("A party without me? Surely you jest-o!"), both infused with the local color of the setting.

I recommend not only this episode, but the entire Happily Ever After series to anyone who enjoys seeing fairy tales told with fresh, colorful new spins, and especially to children of different ethnic groups, who will enjoy seeing themselves in the classic tales.

@ariel-seagull-wings, @thealmightyemprex, @faintingheroine, @reds-revenge, @paexgo-rosa, @comma-after-dearest, @the-blue-fairie, @themousefromfantasyland, @thatscarletflycatcher, @fairytaleslive, @autistic-prince-cinderella

[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. 

[boomgers]

El amor verdadero desafía todo, incluso el tiempo… “Contigo En El Futuro”

Carlos y Elena están a punto de firmar el divorcio, poniendo fin a un matrimonio que ha sido marcado por altibajos y desafíos emocionales. Ambos se preguntan si su relación fue un error o si simplemente el destino les jugó una mala pasada. Justo antes de finalizar el trámite, un inesperado y excéntrico visitante, aparece para ofrecerles una segunda oportunidad: un viaje en el tiempo a 1994, el año en que se conocieron.

Así comienza una aventura en la que Carlos y Elena tratarán de cambiar su historia, enfrentándose a divertidas y conmovedoras situaciones mientras intentan evitar su romance. A lo largo del camino, descubrirán aspectos de su relación que habían olvidado y se preguntarán si el amor está realmente escrito o si se puede reescribir.

Estreno: 7 de febrero de 2025 en Prime Video.

Creada y dirigida por Roberto Girault, la película cuenta con las actuaciones de Michel Brown, Sandra Echeverría, Mariané Cartas, Fernando Cattori, Mauricio ‘El Diablito’ Barrientos, entre otros.

[acapulcopress]

Resurgimiento de Acapulco, si Sheinbaum autoriza a Fonatur

Maremágnum » RICARDO | CASTILLO BARRIENTOS ) Acapulco Press Se han vertido infinidad de opiniones en torno a la reconstrucción de Acapulco, a partir de los desastres generados por Otis y John, que no solo afectaron la infraestructura de servicios públicos, hotelería y viviendas; también descarriló la principal fuente de ingresos de la economía local que representa el sector turismo. La reconstrucción avanza a marchas forzadas, por escasez de recursos privados, en rehabilitación de departamentos en edificios condominales y algunos hoteles, causando una imagen deplorable, en la zona Diamante todavía se observan vestigios catastróficos. El pasado jueves se celebró en Palacio Nacional, una reunión con la presidenta Claudia Sheinbaum y magnates encabezados por Carlos Slim del Grupo Carso, Francisco Cervantes del Consejo Coordinador Empresarial (CCE), Juan Antonio Hernández del Grupo Mundo Imperial, Daniel Chávez del Grupo Vidanta y otros. La mandataria nacional estuvo acompañada por la mayor parte del gabinete y de la gobernadora Evelyn Salgado Pineda, la alcaldesa Abelina López Rodríguez y el secretario estatal de Turismo, Simón Quiñones, a quienes conminó ejecutar un Programa Integral de Desarrollo Urbano y Turístico, junto con el sector privado, con una inversión hasta el momento de 10 mil millones de pesos y 8 mil millones del sector privado, para reconstruir infraestructura urbana, turística y el sistema de agua potable, a mediano plazo. Para mejorar la fisonomía del puerto se requiere que el sector privado se avoque a reacondicionar los inmuebles en mal estado, ubicados en la Costera Alemán, desde Caleta hasta la Base Naval; e impulsar la modernización de Acapulco con productos turísticos innovadores que resulten grandiosos atractivos como el Cablebús, el Mar&Bús, y otros, en la franja marítima desde la playa Manzanillo hasta la playa Las Hamacas, además del Acapulco Tradicional. FONATUR, la Secretaría de Turismo y la Secretaria de Economía, tienen la encomienda presidencial de levantar al puerto en lo turístico y económico; para ello responsabilizó al subsecretario federal de la SECTUR, Sebastián Ramírez Mendoza, y le ordenó mantener su  estancia permanente en el puerto, a fin de coordinar los trabajos del Programa Integral de Reconstrucción y Reactivación, anticipándose con ejercicios de planeación democrática en reuniones públicas denominadas “Acapulco se Transforma Contigo”, donde se plantearon propuestas sobre el “Nuevo Acapulco”, a cargo de profesionistas de diferentes especialidades técnicas y representantes de la Sociedad Civil. Como señalamos en alguna entrega anterior, la intervención de FONATUR será decisiva sí desarrolla funciones y responsabilidades semejantes a las que realiza en Cancún, Nuevo Vallarta, Los Cabos e Ixtapa, que operan bajo su control como destinos de excelencia. Si la presidenta Sheinbaum autoriza la incorporación de Acapulco a FONATUR, el resurgimiento de Acapulco resultaría viable y el Gobierno del Estado se desprendería de la Promotora de Playas, el Ayuntamiento, tendría que transferir la Zona Federal Marítima y los servicios públicos de la Costera Miguel Alemán y zona Diamante. La seguridad pública, asignatura pendiente que requiere poner en operación toda la inteligencia del Estado Mexicano. Marrea Baja.- Como se había informado con anterioridad, el magistrado Ricardo Salinas Sandoval, resultó electo por unanimidad, presidente del Tribunal de Justicia (TSJ) y del Consejo de la Judicatura del Poder Judicial del Estado, periodo 1º. de diciembre de 2024 al 30 de noviembre del 2027. Se espera que las aguas vuelvan a su nivel en ese órgano jurídico, debido a los barruntos de inconformidad del personal de todos los niveles, en contra del todavía magistrado presidente Raymundo Casarrubias Vázquez, a quien le achacan incurrir en opacidad en el manejo de recursos, nepotismo y arbitrariedades diversas. Marea Alta.- Resulta bastante lamentable que la recién inaugurada con bombo y platillos, ciclopista de Ciudad Renacimiento, está siendo destruida en varios tramos, a causa del reencarpetamiento con pavimento asfáltico de la avenida principal de esa populosa colonia. Desde siempre cuando se han realizado obras públicas recién estrenadas, suceden que las abren por cualquier motivo, sea la CAPAMA, CFE o cualquier otra dependencia pública y… ¡hasta empresas privadas!, además del desperdicio de recursos, las graves molestias que causan a la población por amontonamientos de tierra que convierten en intransitables calles y avenidas. La falta de programación y coordinación interinstitucional provoca irritación social, sin que las autoridades den respuesta a la ciudadanía, que ya no soporta a estos pésimos "servidores públicos”. Maremoto.- Las cosas en la Guardia Nacional en Guerrero, no andan muy bien que digamos, pues los relevos en la Coordinación Estatal, se dan con frecuencia y esto se debe a la falta de resultados o rotación de los titulares de este importante corporación de seguridad pública. Ahora fue nombrado el general brigadier Gregorio Espinoza Toledo, con amplia trayectoria y experiencia en el Ejército Mexicano, quien ha estado al mando de zonas militares de Tamaulipas, Sinaloa, Chihuahua, Ciudad de México y Chilpancingo. Tiene estudios de maestrías sobre Terrorismo y Seguridad Nacional Se espera que por fin, la Guardia Nacional pueda ofrecer mejores garantías con ese gran despliegue operativo con más de 10 elementos en el campo de acción, más que suficientes para  resguardar a una población inerme y a merced de los grupos delincuenciales, que siguen haciendo de las suyas con absoluta impunidad, aunque de vez en cuando se dan golpes de suerte y aprehenden a uno que otro contumaz delincuente. ) www.acapulcopress.com Read the full article

[wild-love-heart]

ÁLBUM III DO PINTOR DIEGO RIVERA.

Nome completo: Diego Maria de la Concepcion Juan Nepomuceno Estanislao de la Rivera y Barrientos Acosta y Rodríguez, de origem judaica, foi um dos maiores pintores mexicanos, casado por quatro vezes, incluindo um tumultuoso casamento com Frida Kahlo.

Nascimento: 8 de dezembro de 1886, Guanajuato, México.

Falecimento: 24 de novembro de 1957, Cidade do México, México.

Nacionalidade: Mexicano.

Educação: Academia de São Carlos.

Ocupação: Pintor; foi um dos maiores artistas plásticos mexicanos do século XX. É considerado um dos mais destacados pintores do movimento denominado “Muralismo Mexicano”.

Períodos: Muralismo mexicano, Cubismo, Arte moderna, Realismo, Impressionismo, Realismo Social, Pós-impressionismo.

Título da obra de arte: Nude with Calla Lilies foi pintado em 1944 e é uma das poucas obras que ele fez naquele ano. Também conhecido como Desnudo con alcatraces, não tem o comentário social e político tão frequentemente encontrado nas pinturas de Rivera. Esta pintura foi originalmente feita em óleo sobre cartão duro em 157 x 124 cm.

A pintura foi feita logo depois de seus dois grandes murais para o Instituto Nacional de Cardiologia e antes do enorme mural Grande Cidade de Tenochtitlan.

[agendaculturaldelima]

#AmigosInolvidables

📣 “COLOQUIO SEBASTIÁN SALAZAR BONDY [A CIEN AÑOS DE SU NACIMIENTO]”📖✍️🌎😍💯

🗯 La tradición literaria de un país no solo está conformada por un conjunto de obras literarias, sino por aquellas ideas que rodean a los escritores, a los críticos literarios y a los intelectuales de cada época o generación literaria. Son estas ideas las que permiten que una literatura nacional se renueve, y, en consecuencia, den lugar a un nuevo tipo de expresión y sensibilidad estética, que es lo que debe caracterizar a toda obra que se deba considerar original y auténtica. Sebastián Salazar Bondy (1924-1965) fue un escritor que, precisamente, forjó una literatura en un tiempo en el que la sociedad peruana sufría cambios sociales y culturales profundos. Su poesía, su narrativa y su dramaturgia son reflejo de una comunidad a la que le era muy difícil encontrar su voz y su lugar, pero que, con todo, luchaba por hacerse presente. Del mismo modo, sus artículos periodísticos y sus ensayos fueron también un esfuerzo por tratar de describir y reflexionar críticamente sobre la sociedad peruana de los años cincuenta y sesenta; el mejor ejemplo de ello fue su ensayo Lima la horrible (1964), donde reclamó la necesidad de acabar con la mentalidad colonial. A cien años de su nacimiento, el presente coloquio tiene como propósito abordar las distintas facetas de una figura que se convirtió en la pieza clave de su generación y también en la primera voz de una literatura que representó las tensiones de un país que en ese momento se vislumbraba cada vez más complejo y cambiante.📕

🙌 Objetivos:

✅ Difundir el valor de la obra literaria, periodística y ensayística del escritor limeño Sebastián Salazar Bondy (1924-1965) en el centenario de su nacimiento.

✅ Ofrecer al público la oportunidad de escuchar a investigadores que provienen de distintas especialidades (la crítica literaria, el periodismo, la arquitectura, la perspectiva de género) para debatir en torno a la obra y el legado de la obra de Sebastián Salazar Bondy.

✅ Convocar a investigadores, docentes, estudiantes y a todo tipo de público que se encuentre interesado por la obra del autor.

📜 PROGRAMA:

📆 Miércoles 03 de julio

🕡 6:50pm.

🎤 Mesa 1: Mesa inaugural

👥 Ponentes: Juan Yangali y Alejandro Susti

🕖 7:00pm.

🎤 Mesa 2: El laberinto y el hilo

👥 Ponentes: Violeta Barrientos, Alonso Rabí y Wiley Ludeña

🎙️ Moderador: Mario Carlos Granda Rangel

📆 Miércoles 10 de julio

🎤 Mesa 3: Presentación del Archivo Sebastián Salazar Bondy

👥 Ponentes: Ibis Meléndez y María del Rosario Rodríguez

🕖 7:00pm.

📆 Miércoles 17 de julio

🎤 Mesa 4: Confidencia en alta voz

👥 Ponentes: Roberto Ángeles, Álex Morillo y Peter Elmore

🎙️ Moderador: Alejandro Enrico Susti Gonzáles

🕖 7:00pm.

© Producción: Universidad Antonio Ruiz de Montoya y CASLIT.

📌 COLOQUIO:

📆 Miércoles 03, 10 y 17 de Julio

🕖 7:00pm.

🏫 Auditorio de la Casa de la Literatura (jr. Áncash 207, Estación Desamparados - Centro de Lima)

🚶‍♀️🚶‍♂️ Ingreso libre 

[noticiasdelcanar]

Extraditarán de EE.UU. a autores de violación y asesinato

John Darwin León Heras y Jhony Celedonio Burgos Barrientos son los dos ecuatorianos que serán extraditados en las próximas semanas desde Estados Unidos, así lo anunció la Corte Nacional de Justicia (CNJ). John León, de 42 años, originario del Cañar, está preso en una cárcel de Nueva York desde marzo de 2022. Llegaría a Ecuador para comparecer "a la etapa de juicio". Su caso se remonta a 2014, cuando tenía 31 años, era un estudiante soltero. Habría participado junto con otro hombre en los asesinatos (con el uso de arma blanca) de Juan Carlos Heras Cedeño, de 43 años, y de Jorge Javier Urgilés Paredes, de 56 años. La Corte Nacional de Justicia recién en marzo de 2022 solicitó al Gobierno de Estados Unidos la extradición del sujeto. Desde su reclusión, ha argumentado que ser trasladado a Ecuador, equivaldría a una “sentencia de muerte” para él, fundamentando su posición en la violencia en las cárceles ecuatorianas, la corrupción en el sistema penitenciario y la presencia de bandas organizadas. Por su parte, Burgos Barrientos, alias 'Loco', era buscado por la Justicia ecuatoriana desde noviembre de 2013. El hombre es acusado de abusar sexualmente a su hijo menor de edad, mientras éste estaba en casa de una tía. El día de los hechos, el individuo luego de salir de una fiesta, regresó bajo los efectos del alcohol e inmovilizó de manos y pies a su hijo de 10 años, y abusó sexualmente. Burgos formó parte de la lista de los más buscados en el Cañar por varios años. El 29 de marzo de 2023, fue capturado en Brooklyn, New York, Estados Unidos, en un trabajo coordinado entre la Policía del Ecuador y la Agencia Federal de Alguaciles de país norteamericano, U.S. Marshals. El costo de los traslados corre por cuenta del Estado ecuatoriano, incluyendo a estos dos extraditables. Read the full article

[coronellotainfo]

10-2: Estamos respondiendo a fuego en árbol o pastizal en las esquinas de LA PAZ y CARLOS BARRIENTOS, en la comuna de CORONEL. Concurren 2 carros de Bomberos de Coronel #Coronel #F3 #BF4 https://viper.cl/m/?q=-37.018421658283%2C-73.152883039347&utm_source=dlvr.it&utm_medium=tumblr

[whatsonmedia]

Challenging Capitalism: Voices for Climate Solutions

A Critical Examination of COP and Corporate Influence Every year, the Conference of the Parties (COP) brings together global leaders, government officials, and representatives from the private sector to address the pressing climate crisis. However, the sponsorship of this conference by transnational giants like Unilever, Danone, and Nestle, companies implicated in environmental devastation, raises questions about the effectiveness of such gatherings. The discussions often fall short of pinpointing the true culprits and demanding the transformative changes necessary to safeguard our planet. The Global South Unites: Insights from the III International Dilemmas of Humanity Conference In a landscape dominated by corporate interests, forums like the III International Dilemmas of Humanity Conference have gained paramount importance. Here, experts, activists, and members of global movements converge to tackle pivotal issues, with the climate crisis taking center stage. The focus shifts from the well-known impacts of climate change to the imperative solutions required to preserve life on Earth. Capitalism's Incompatibility with Life: A Bold Assertion Keynote speakers at the environmental crisis panel minced no words in highlighting capitalism's incongruity with ecological preservation. Theodora Pius of the National Network of Small-Scale Farmers Groups in Tanzania spoke passionately about the global struggle of peasants, who constitute a significant segment of the workforce. She emphasized the vital role they play in safeguarding land, forests, water, and seeds, defending life for all inhabitants of our planet. Dirty powerful male hands clenched into fists and chained with old rusty thick chain on the wooden boards. Unfreedom concept. Pius decried the solutions offered by capitalists, particularly the push for GMOs, which she viewed as counterproductive and potentially exacerbating climate challenges. Her rallying call resonates: the reclamation of common resources for the collective good. A Systemic Shift: The Imperative of Change Tikender Singh Panwar, a noted researcher and political activist from India, underscored the consensus among top scientists that the existing system is steering humanity towards catastrophe. The IPCC report's call for a "systemic shift" is seen as a recognition of the urgent need for transformation. Panwar drove the point home: the only path forward is a departure from capitalism and the emergence of a socialist paradigm. Battle of Discourse: Unmasking False Narratives Houcine Rhili, representing Tunisia, a nation grappling with recurring droughts and heat waves, emphasized the pivotal role of discourse in combating climate devastation. Rhili urged a reevaluation of blame, highlighting the disproportionate responsibility placed on poorer nations and individuals. He challenged false solutions, such as green energy alternatives, which often exploit resources from the Global South to fuel the North, perpetuating an unsustainable cycle. Rhili drew attention to the potentially detrimental consequences of green hydrogen extraction, particularly for African nations. He warned of the impending resource extraction, stressing that water scarcity threatens human dignity and life itself. The Dual Struggle: Humanity and the Planet as One Carlos Barrientos, an indigenous and peasant revolutionary, emphasized the inseparability of the environmental crisis from the survival of humanity. He called for a profound understanding of our intrinsic connection to Mother Earth, advocating for a joint fight for life and socialism. A Collective Call for Change The III International Dilemmas of Humanity Conference has underscored the urgency of addressing the environmental crisis through a transformative lens. Speakers from diverse backgrounds and regions have highlighted the imperative to challenge the prevailing capitalist paradigm and forge a path towards sustainability and collective well-being. As the world grapples with the consequences of environmental degradation, the clarion call for change resonates louder than ever. Read the full article

[cinemedios]

Reseña | 'Un Rescate de Huevitos'

'Un Rescate de Huevitos' tiene una historia que a pesar de lo genérico, funciona a favor de su mensaje inspirador.

Toto, Di y sus amigos deberán viajar a África luego de que sus hijos Uly y Max son secuestrados con la intención de ser usados en un platillo exótico. A pesar de su aparente pequeñez, estos padres son capaces de cruzar el mundo entero para rescatar a sus hijos.Después de unos cuantos años y un retraso por culpa de la pandemia, por fin llega la cuarta entrega de la ahora saga de Una Película de…