#Cristina Pavarotti

[bravagente]

con necessari aggiornamenti. buon mese del panettone!

[thisisyourdriverspeaking]

In honour of Le Mans today, here's a little soundtrack for you. This is motorsport number twos, the edition for all the drivers. Enjoy 😊

Sebastien Loeb (26th February 1974) - Alvin Stardust - Jealous Mind

Tony Kanaan (31st December 1974) - Wombles - Wombling Merry Christmas

Juan Pablo Montoya (20th September 1975) - Leo Sayer - Moonlighting

Mark Webber (27th August 1976) - Wings - Let 'Em In

Kimi Raikkonen (17th October 1979) - The Police - Message In A Bottle

Jenson Button (19th January 1980) - Billy Preston & Syreeta - With You I'm Born Again

Felipe Massa (25th April 1981) - Ennio Morricone - Chi Mai

Heikki Kovalainen (19th October 1981) - Laurie Anderson - O Superman

Andre Lotteter (19th November 1981) - The Police - Every Little Thing She Does Is Magic

Pippa Mann (11th August 1983) - Paul Young - Wherever I Lay My Hat (That's My Home)

Simon Pagenaud (18th May 1984) - The Pointer Sisters - Automatic

Robert Kubica (7th December 1984) - Jim Diamond - I Should Have Known Better

Nico Rosberg (27th June 1985) - Madonna - Crazy For You

Jerome D'Ambrosio (27th December 1985) - Whitney Houston - Saving All My Love For You

Rahel Frey (23rd February 1986) - Diana Ross - Chain Reaction

Kamui Kobayashi (13th September 1986) - Boris Gardiner - I Want To Wake Up With You

Rene Rast (26th October 1986) - Status Quo - In The Army Now

James Hinchcliffe (5th December 1986) - Berlin - Take My Breath Away

Oliver Turvey (1st April 1987) - Mel and Kim - Respectable

Sebastian Vettel (3rd July 1987) - The Firm - Star Trekkin'

Alexander Sims (15th March 1988) - Rick Astley - Together Forever

Molly Taylor (6th May 1988) - Fairground Attraction - Perfect

Simona De Silvestro (1st September 1988) - Brother Beyond - The Harder I Try

Sarah Bovy (15th May 1989) - Kylie Minogue - Hand On Your Heart

James Calado (13th June 1989) - Cliff Richard - The Best Of Me

Brendon Hartley (10th November 1989) - Milli Vanilli - Girl I'm Gonna Miss You

Earl Bamber (9th July 1990) - Luciano Pavarotti - Nessun Dorma

Cristina Gutierrez (24th July 1991) - Heavy D & The Boyz - Now That We've Found Love

Abbie Eaton (2nd January 1992) - Michael Jackson - Heal The World

Timmy Hansen (21st May 1992) - Guns 'N' Roses - Knockin' On Heaven's Door

Daniel Abt (3rd December 1992) - Charles & Eddie - Would I Lie To You?

Alice Powell (26th January 1993) - Exterminate ft Niki Harris - Snap!

Tatiana Calderon (10th March 1993) - Shaggy - Oh Carolina

Christine GZ (22nd July 1993) - 4 Non Blondes - What's Up?

Alex Lynn (17th September 1993) - Pet Shop Boys - Go West

Bubba Wallace (8th October 1993) - DJ Jazzy Jeff & The Fresh Prince - Boom! Shake The Room

Michelle Gatting (31st December 1993) - Take That - babe

Naomi Schiff (18th May 1994) - Stiltskin - Inside

Jessica Hawkins (16th February 1995) & Luca Ghiotto (24th February 1995) - Annie Lennox - No More I Love Yous

Beitske Visser (10th March 1995) - Alex Party - Don't Give Me Your Life

Nicholas Latifi (29th June 1995) - Outhere Brothers - Boom Boom Boom

Jack Aitken (23rd September 1995) - Michael Jackson - You Are Not Alone

Oliver Askew (12th December 1996) - The Prodigy - Breathe

Louis Deletraz (22nd April 1997) - Robbie Williams - Old Before I Die

Catie Munnings (15th November 1997) - Natalie Imbruglia - Torn

Cem Bolukbasi (9th February 1998) - Backstreet Boys - All I Have To Give

Jamie Chadwick (20th May 1998) - Aqua - Turn Back Time

Kevin Hansen (28th May 1998) - All Saints - Under The Bridge

Mick Schumacher (22nd March 1999) - Boyzone - When The Going Gets Tough

Toni Breidinger (14th July 1999) - ATB - 9pm (Till I Come)

Max Fewtrell (29th July 1999) - Five - If Ya Gettin' Down

Robert Shwartzman (16th September 1999) & Bent Viscaal (18th September 1999) - Lou Bega - Mambo No. 5 (A Little Bit Of...)

Felipe Drugovich (23rd May 2000) - Madison Avenue - Don't Call Me Baby

Marta Garcia (9th August 2000) - Craig David - 7 Days

Arthur Leclerc (14th October 2000) - Mariah Carey ft Westlife - Against All Odds

Sophia Florsch (1st December 2000) - Leann Rimes - Can't Fight The Moonlight

Clement Novalak (23rd December 2000) - Eminem - Stan

Frederik Vesti (13th January 2002) - Puretone - Addicted To Bass

Luke Browning (31st January 2002) - A1 - Caught In The Middle

Liam Lawson (11th February 2002) - No Doubt - Hey Baby

Olli Caldwell (11th June 2002) - Eminem - Without Me

Jack Doohan (20th January 2003) - Busted - Year 3000

All added to this playlist 😊😊

[lamilanomagazine]

Pesaro.  Svelata nella mattinata di sabato 27 aprile la Scultura di Pavarotti insieme alle figlie Giuliana e Cristina.

Pesaro.  Svelata nella mattinata di sabato 27 aprile la Scultura di Pavarotti insieme alle figlie Giuliana e Cristina. La Capitale italiana dalla cultura ha dato appuntamento davanti al Teatro Rossini per la scopertura dell’opera realizzata dal Maestro Poli e dedicata “all’artista mondiale amatissimo dalla sua seconda città” Le figlie Giuliana e Cristina, la moglie Nicoletta Mantovani, il regista e scenografo Pier Luigi Pizzi. Erano presenti le figure più care al Maestro Luciano Pavarotti, in piazzale Lazzarini, per la cerimonia di scopertura della scultura bronzea, che la Capitale ha dedicato al “suo” Luciano Pavarotti, “nell’anno straordinario di Pesaro 2024”. “Un regalo alla città e, soprattutto, un omaggio a Luciano Pavarotti – spiegano Matteo Ricci, sindaco di Pesaro e Daniele Vimini, vicesindaco assessore alla Bellezza - artista straordinario mai dimenticato, cittadino onorario di Pesaro che abbiamo deciso di onorare con una scultura bronzea di alto valore”. Dall’altezza di 192cm, poggiata su una base di marmo, l’opera in bronzo è realizzata con la tecnica della fusione a cera persa, da Albano Poli. A presentarla è stato Andrea Mezzetti, assistente artistico del maestro Poli che è intervenuto durante l’appuntamento promosso da Pesaro 2024 e a cui hanno partecipato Giuliana e Cristina Pavarotti (figlie del tenore; il sindaco e il vicesindaco sono stati al loro fianco durante la posa della stella del Maestro nella Walk of Fame di Hollywood nel 2022), Nicoletta Mantovani (moglie e presidente della Fondazione Pavarotti con cui la città ha stretto un intenso legame), il regista e scenografo Pier Luigi Pizzi, da 40 anni protagonista del ROF. Un Festival che deve tanto a Pavarotti. Fu proprio lui a inaugurare il rinnovato Teatro Rossini nell’aprile del 1980 dopo 14 anni di chiusura, una ricorrenza che diede ulteriore slancio ad un progetto, quello di un festival rossiniano a Pesaro, che pochi mesi dopo vide la luce. Fu nuovamente lui, nel 1986, a incantare il pubblico del ROF con uno storico concerto in piazza del Popolo. E infine, nel 1996, fu lui a inaugurare l’attuale Vitrifrigo Arena, nella quale il Rossini Opera Festival ha allestito alcuni dei suoi ultimi maggiori successi. “Pesaro, Città creativa della Musica UNESCO e Capitale italiana della Cultura 2024 - ricordano sindaco e vicesindaco - deve tanto al Maestro che qui ha intrecciato legami umani, solidali e creativi. Soprattutto nella sua villa immersa ne ‘La natura della cultura’ che ha plasmato Pesaro 2024. Una città che, per il Maestro era ‘il luogo della felicità’ e residenza creativa in cui produceva il suo canto capace di emozionare il pubblico dei teatri di tutto il mondo”. L’opera è stata collocata in piazzale Lazzarini, all'intersezione con via Curiel, “affinché possa salutare e accogliere con la sua presenza, pesaresi e visitatori che arrivando da via Branca imboccano il piazzale, quasi per invitarli a Teatro” aggiungono Ricci e Vimini. E proprio il Rossini ha accolto, dopo la cerimonia della statua, alle ore 21, la consegna dei Pesaro Music Awards 2024, premio ideato dall'Orchestra Sinfonica Rossini, in collaborazione con il Comune di Pesaro e il sostegno di OSR Xanitalia “per quelle personalità eccellenti nel settore musicale, che hanno o hanno avuto contatti e legami con la città di Pesaro”. A ricevere il riconoscimento, nella quinta edizione degli Awards, saranno: Pier Luigi Pizzi, regista, scenografo, costumista, direttore artistico e scrittore legato a Pesaro – che gli ha assegnato la cittadinanza onoraria nel 2022 - da numerosissimi allestimenti curati per il Rossini Opera Festival; ItaliaFestival, l’associazione multidisciplinare formata che oggi rappresenta 43 festival italiani e 4 reti di festival, che operano nell’ambito musicale, teatrale, delle arti performative e della danza, della letteratura; il “tenore per eccellenza”, a ritirare il premio è stata la moglie Nicoletta Mantovani, presidente della Fondazione Luciano Pavarotti. La cerimonia è stata inserita all’interno del concerto dell’Orchestra Sinfonica G. Rossini, guidata dal direttore residente, M° Noris Borgogelli. Il programma musicale prevedeva un omaggio a Giacomo Puccini, di cui nel 2024 ricorre il centesimo anniversario dalla morte. BIOGRAFIA ALBANO POLI Albano Poli nasce a Verona il 2 agosto 1935. Terminati gli studi presso la scuola d’arte di Verona inizia l’attività di vetratista in una piccola bottega d’arte in un prestigioso palazzo storico in centro a Verona. Dapprima restaura o riproduce vetrate di chiese e via via negli anni, unendo l’abilità manuale al genio creativo, disegna e progetta vetrate con un proprio stile. Più che le forme definite, nelle sue vetrate giocano le composizioni cromatiche ed il cenno allusivo a voler comunicare un preciso messaggio inserendosi armoniosamente nel contesto in cui vengono collocate. La creatività del Maestro Poli lo porta presto a sperimentare espressioni artistiche nuove circondandosi di professionisti e artigiani che assieme a lui crescono con la stessa sensibilità. Il suo laboratorio PROGETTO ARTE POLI è oggi un atelier ispirato alle antiche botteghe rinascimentali dove si progettano e creano opere diverse: non solo vetrate ma anche mosaici, affreschi, opere in bronzo, legno, pietra e metallo. Ognuna di esse si può dire sia l’esito di una sintesi tra l’artista e l’artigiano che in lui si ritrovano. La sua è un’arte in cui creatività, idea, ricerca e antica tecnica convivono in una perfetta simbiosi dove ogni elemento si intreccia con l’altro per trarne nuova energia vitale. Nella sua lunga carriera Albano Poli non ha però mai abbandonato l’attività di restauro. Anche in questo campo Albano Poli non si “limita” e approfondisce tecniche e metodi acquisendo esperienza per affrontare interventi su opere diverse e che gli ha permesso di ottenere la certificazione S.O.A. nelle categorie OS2, OG2, OS6.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[ilvoloflightcrew]

Ricomincio Da Tre ~ I Start Again from Three!

Ricomincio Da Tre ~ I Start Again from Three!

I was torn between calling this story “The Man in the Shadows” or “Ricomincio Da Tre” (I Start Again from Three) because both titles would be so appropriate here. If you follow Il Volo, you certainly know who I am talking about in this story, their manager, Michele Torpedine.  At concerts we see a patch of grey hair and we all say, “There’s Michele.” But who is this man? And where did it all…

[opera-simplified]

Opera Simplified #6: I Lombardi alla prima crociata

I Lombardi alla prima crociata (The Lombards at the First Crusade)

Opera Simplified #6

The Basics:

Music: Giuseppe Verdi

Libretto: Temistocle Solera

Premiere: February 11, 1843; Teatro alla Scala, Milan.

Based on: Tommaso Grossi’s epic poem of the same name, available here in Italian.

Setting: Milan, Antioch, and various locations in the desert near Jerusalem; 1095-1099 CE.

Characters:

Arvino, a nobleman, one of the two sons of Lord Folco of Rò—tenor 

Viclinda, his wife—soprano

Pagano, his brother—bass

Giselda, Arvino and Viclinda’s daughter—soprano

Pirro, Arvino’s squire—bass

Acciano, Governor of Antioch—bass 

Sofia, his wife—soprano

Oronte, their son—tenor

A Prior of the City of Milan—tenor

Recommended Audio Recordings: if you can get over the presence of The Tenor Turned Baritone Who Shall Not Be Named [yours truly opts to skip over the parts featuring That Singer, as luckily there are not many such parts], this 1971 recording also starring Cristina Deutekom and Ruggero Raimondi is quite good (YouTube; Spotify). Another quite good recording, with That One Conductor From The Met Who Shall Not Be Named, June Anderson, Samuel Ramey, Luciano Pavarotti, Richard Leech, and young Patricia Racette and Ildebrando d’Arcangelo in supporting roles is this nice 1996 take (YouTube; Spotify). A third is this live recording from Parma in 2009 (YouTube; Spotify).

Recommended Video Recordings: The Met 1993 production, which has [unfortunately] the same conductor as the 1996 recording but also Ramey, Pavarotti, and the delightful Lauren Flanigan, is great (and also the source of the vast majority of the featured video clips). The 2009 Parma production is pretty good too, as is this 1999 Santiago production (Part I; Part II).

The Opera, Very Simplified: After one of the Folco brothers returns from exile to (allegedly) reconcile with his brother, who himself has been named leader of the Lombard forces for the First Crusade, things could not look more rosy. But when the brother just returned from exile horribly botches an attempt to murder the other brother, that combined with the family’s imminent departure for the Crusade throws the family into chaos, especially when the heiress to the family is captured by the enemy and summarily falls in love with a local prince...and who is the mysterious hermit helping the Lombards at every turn anyway?

A couple more things:

Here’s some quick geographical/historical context going in, courtesy of your history and European studies dual-degree student and series author.

DISCLAIMER: the author of this Opera Simplified would like to make explicitly clear that she roundly condemns both the Islamophobic nature of the Crusades and the Islamophobic sentiments that certain characters in this opera voice. At the same time, she has also written about how this opera was not intended to be Islamophobic, although there are certain potentially uncomfy aspects to the drama on account of the subject matter.

With that in mind,

THE OPERA:

Prelude (note: as written, this goes directly into the first act)

ACT I: La vendetta (Revenge) **

Scene 1:

Outside the Church of Sant’Ambrogio in Milan, 1095. Joyful music can be heard coming from the church. A bunch of men come out of the church into the square.

Some Men: THIS IS SO WONDERFUL

Other Men: I know, right? Everyone looked so happy!

Some Men: Yeah, well, everyone except Pagano. He still looks like he’s filled with terror.

All the Men: YEAH HIS EYES ARE STILL HOLLOW AND HE STILL LOOKS LIKE HE’S TORMENTED LIKE ALL THOSE YEARS AGO 

I mean, we’re not saying it’s impossible to change, but really: it’s very rare for fury like a wolf’s to turn into peace like a lamb’s.

*A bunch of women run in.*

Women: Hey, it’s dark out, so out of curiosity, what’s going on in the church? Why does it sound so festive in there?

Men: Oh, haven’t you heard? It’s a ceremony of forgiveness and reconciliation between Pagano and his family. Pagano had to agree to it before his exile was allowed to be lifted.

Women: Exile? For what? Tell us!

Men: ...How do none of you know this story?

Women: Well, we do, but the audience doesn’t.

Men: *heavy collective sigh*...Fine.

So y’all know Viclinda, right?

Women: Yup! Great gal.

Men: Right. She was this young woman, very beautiful, very gentle and kind. So of course all the most eligible young bachelors in Milan wanted desperately to marry her. And two of those bachelors were Arvino and Pagano, the two sons of Lord Folco. And of course, Viclinda and Arvino fell head over heels for each other, and she picked him to be her husband.

Women: And now they’re such a wonderful couple!

Men: But that’s not all. Pagano couldn’t get over the rejection, so he swore revenge, and one day when Arvino and Viclinda were going to church, he tried to ambush and murder Arvino! Thank God it failed, but Pagano was sent into exile in the Holy Land so he could pray at all the holy places and repent of his sins. He’s been away for many years now, he’s done that, and now he’s been allowed to come back.

...You got that, audience?

Women: They can’t talk to you. That would be violating the commonly-accepted rules of operatic theatricality.

Men: SO WHY DID YOU HAVE US TELL THAT ENTIRE STORY IF WE CAN’T EVEN TELL WHETHER OR NOT THEY UNDERSTAND

Women: Because if you didn’t, they definitely wouldn’t. Now they have...a chance.

Men: Can’t they just read their program books?

Women: When has anyone ever read the program book? ***

Men: Touché.

Is there going to be any more of this quasi-metatheatrical, break-the-fourth-wall exposition-type thing?

Women: As far as we know, no.

Men: Good.

Women: HERE THE FAMILY COMES NOW THEY ALL LOOK SO HAPPY

Men: BUT PAGANO STILL LOOKS LIKE HE’S FILLED WITH TERROR

Everyone: YEAH HIS EYES ARE STILL HOLLOW AND HE STILL LOOKS LIKE HE’S TORMENTED LIKE ALL THOSE YEARS AGO 

I mean, we’re not saying it’s impossible to change, but really: it’s very rare for fury like a wolf’s to turn into peace like a lamb’s.

*Pagano, Arvino, Viclinda, Giselda, and Pirro appear, preceded by Priors of the City of Milan and servants with torches. Pagano kneels.*

Pagano: Because this is the scene of my attempted crime, it is only fitting that this is the place where I, humble and repentant, ask forgiveness of all of you, the world, and God.

Arvino: Come here! Let me seal your forgiveness with a kiss.

*They kiss each other on the cheek and embrace.*

People: LONG LIVE ARVINO HE’S SUCH A GREAT PERSON

Viclinda, Giselda, Pirro, and People: And now, let there be peace!

Pagano: (What shame I feel!)

Giselda: Dad, are you alright? What’s the matter? You’re shaking, you’re turning pale...this should be a happy moment! I’m so happy our whole family is finally back together for the first time in my life; are you not happy too?

Arvino: (For a moment, I trusted him, I could have shared anything with him, but one look at the fury in his eyes and my whole heart froze up and now I’m suspicious...)

Pagano: (Pirro, you understand me. Not even Heaven itself will protect them from me! They dared to hurt me when I loved her all those years ago, and now they want me to play nice and make peace with them! Not happening!)

Pirro: (Pagano, whatever order you give me will be exactly what I do. I know a lot of people who would be more than happy to assist you; we can all meet up tonight to plan.)

Viclinda: I’m just happy that things seem to be looking up...my love, are you not happy too?

People: THEY’VE RECONCILED BUT STILL LET’S ALL HOPE THIS ISN’T LIKE THE KISS WITH WHICH JUDAS BETRAYED JESUS BECAUSE WE ALL STILL HAVE A LITTLE BIT OF A BAD FEELING ABOUT THIS

*One of the Priors of the City of Milan steps forward.*

The Prior: AND NOW FOR AN ANNOUNCEMENT

People: ooh we like announcements

The Prior: PETER THE HERMIT HAS BEEN GETTING EVERYONE SUPER-EXCITED ABOUT THE FIRST CRUSADE AND WELL LONG STORY SHORT THE PEOPLE OF THE CITY HAVE DECIDED THAT ARVINO WILL COMMAND THE LOMBARD CRUSADERS ****

Everyone: HOORAY

Arvino: I accept this challenge and I look forward to fulfilling my task even to bloodshed and beyond. 

Pagano, today just got even better! Let’s vow to remain faithful to one another forever!

Arvino and Pagano: LET’S FORGET ALL THE HATRED BETWEEN US AND FIGHT TOGETHER AGAINST THE ENEMY

Everyone Else: MAY SHAME AND DISHONOR STRIKE ANYONE WHO BREAKS THEIR SACRED OATH AND IF ANYONE KILLS ANYONE ELSE MAY THE KILLER NEVER KNOW A MOMENT OF PEACE ON THIS EARTH

*Everyone leaves. A chorus of nuns begins to sing from offstage.* *****

Nuns: THE NIGHT IS DARK AND FULL OF TERRORS SO HYMN TIME

Dear God, please let us have sweet dreams and bring peace to the world and foil the plots of those who want to violate their sacred word and betray others...and in return, we will sing even more joyfully tomorrow!

*Pagano and Pirro enter.*

Pagano: hahahahahahahaha that’s hilarious that you really think that your prayers will be heeded because I myself about to do the exact thing y’all are praying won’t happen and I am not going to fuck it up

Pirro, I need you to understand something: I’m not inherently a bad person; IT’S LOVE’S FAULT I’M LIKE THIS BECAUSE LOVE COULD HAVE EITHER MADE ME THE BEST AND MOST PIOUS PERSON ALIVE OR MADE ME ACT LIKE THIS AND LOOK WHAT IT PICKED

Nuns: Bring peace to the world...

Pagano: And as for you, Viclinda, did you really believe I could forget you? While you’ve been off being happy, I’ve only been hurting because MY LOVE FOR YOU HAS ONLY GROWN WITH TIME IT’S LIKE A VOLCANO

I’M NEVER GONNA GIVE YOU UP NEVER GONNA LET YOU DOWN NEVER GONNA RUN AROUND OR DESERT YOOOOOOOOOOOOOOOOOU

Pirro: Hey, I’ve gotten a bunch of men together. You can rely on them to help you, just say the word.

Pagano: Let me see them.

*Pirro points to some nearby bushes, where the hired assassins are hidden.*

They need to set the palace on fire.

*The assassins come out of the bushes.*

It’s a very dangerous job I’m asking you to do: Arvino has lots of servants and guards. However, anyone who does their job well will be richly rewarded for their efforts.

Assassins: WE’RE NOT AFRAID WE DO THIS ALL THE TIME AND WE’RE REALLY GOOD AT OUR JOB AND WE LOVE IT LIKE WE CAN JUST GO KILL SOMEONE AND THEN GRAB A BITE TO EAT RIGHT AFTERWARDS IT’S GREAT

Nuns: Foil the plots of those who want to violate their sacred word and betray others...

Pagano: AT LAST MY REVENGE IS WITHIN SIGHT AFTER SO MANY YEARS OF BEING OBSESSIVELY IN LOVE AND OBSESSED WITH GETTING THIS ONE WOMAN AT ALL COSTS I DON’T CARE ABOUT ANYTHING ELSE JUST THAT ONCE UPON OF TIME I WOULD HAVE EVEN GLADLY SPILLED MY BLOOD IF IT MEANT WINNING HER BUT NOW I’LL WIN HER AND THE ONLY PERSON SPILLING BLOOD WILL BE ARVINO

Pirro and Assassins: JUST TELL US WHAT TO DO AND WE WILL DO IT

*They all leave.*

Scene 2:

A large passageway in the Folco family’s palace, which leads to Arvino’s rooms on the left and another set of rooms on the right. A single lamp lights the way. Viclinda enters, visibly worried.

Viclinda: I’m trembling all over, even in the depths of my soul...no. I don’t think he’s truly sorry for what he tried to do to Arvino and me. His face...that was a look of anger, not of repentance. 

*Giselda enters.*

There you are, Giselda! Come here. This whole situation, it just feels so dangerous, and I’m willing to do just about anything to keep that danger away...so you and I, let us make a vow right here before God: if He protects Arvino tonight, you and I will go barefoot to the Holy Sepulchre and pray there. ******

*Arvino emerges from his rooms.*

Arvino: Viclinda, dear, take Giselda with you and go into my rooms, but do not go to bed just yet.

Giselda: Oh God! What’s happening? I don’t understand, what’s this danger everyone’s afraid of?

Arvino: My father will be staying with you two in my rooms for the night. I’ll go investigate—I think I hear people running around, here, in the middle of the night! To be fair, it could just be me being paranoid what with Pagano being back and all, but it never hurt anyone to check and make sure everything’s okay. You two, turn in for the night.

*He leaves.*

Giselda: Holy Virgin, hear my prayer...

*Giselda and Viclinda kneel.*

Hail Mary, full of grace, the Lord is with you. Blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Virgin, Mother of God, pray for us sinners, that He may look upon us in mercy at the hour of our death. Amen.

*They rise and go into Arvino’s rooms, leaving the passageway empty. After a few moments, Pagano and Pirro enter.*

Pirro: Come, the time is right: the coast is clear, and a servant told me that Arvino is already sound asleep in his room.

Pagano: Excellent! Put out that lamp. In just a minute, there will be plenty of light because THE FLAMES WILL BE LIT TO SIGNAL THE TRIUMPH OF MY VENGEANCE

Anyway, wait here.

*He cautiously enters Arvino’s rooms. Moments later, fire appears elsewhere in the palace.*

Pirro: THE HIRED MEN ARE SETTING EVERYTHING ON FIRE AND ALSO I HEAR SWORDS LET’S GO

*He draws his sword and runs off. Giselda runs out of Arvino’s rooms and off to find her father. Shortly after this Pagano enters, holding Viclinda at dagger point.*

Viclinda: OH MY GOD PAGANO YOU HORRIBLE MAN ARVINO HELP ME

Pagano: ASKING ME AT DAGGER POINT TO RELEASE YOU DOES NOT MAKE IT ANY MORE LIKELY THAT I WILL RELEASE YOU SO SHUT UP AND COME WITH ME

Viclinda: I WOULD RATHER DIE AT YOUR FEET

Pagano: WELL I’M NOT GOING TO LET YOU DIE BECAUSE I WANT YOU OH AND WHO EXACTLY IS GOING TO SAVE YOU FROM ME???

NO ONE WILL FREE YOU FROM ME AND THE ONLY PEOPLE WHO WILL ANSWER YOUR CRIES AND YOUR SCREAMING ARE MY HIRED ASSASSINS SO DON’T YOU EVEN THINK ABOUT RESISTING

*The fire within the palace is extinguished.*

ONCE AGAIN THERE IS NO ONE TO HEAR YOU

*Enter Arvino with Giselda, Pirro, servants, and other people.*

Arvino: ACTUALLY I’M HERE AND I HEAR HER

Pagano: (WHAT?! ARVINO?!?! HE’S SUPPOSED TO BE DEAD!!!)

Arvino: Well, I’m still very much alive and unharmed, thank you. ALSO WHAT THE FUCK ARE YOU DOING

Pagano: Wait...but I stabbed someone...I thought I killed you...and my sword is covered in blood...

So if I didn’t stab you at all, let alone kill you...then who did I kill?

Giselda and Viclinda: THAT WAS YOUR FATHER

Pagano: I KILLED WHO NOW?!?!?!?!

Everyone Else: WAIT OH MY GOD WHAT THE FUCK

*Pagano drops his dagger.*

Everyone Except Pagano: PAGANO YOU ARE A MONSTER FROM HELL AND WHY CAN’T THE EARTH JUST SWALLOW YOU UP OR GOD STRIKE YOU DOWN WITH LIGHTNING RIGHT NOW BECAUSE HEAVEN RECOILS FROM YOU IN HORROR

Pagano: CAN THE EARTH JUST SWALLOW ME UP OR GOD STRIKE ME DOWN WITH LIGHTNING RIGHT NOW BECAUSE THIS WENT REALLY, REALLY WRONG AND NOW HEAVEN RECOILS FROM ME IN HORROR

Arvino: MOTHERFUCKER YOU MURDERED YOUR OWN FATHER SO NOW I’M GOING TO MURDER YOU BECAUSE FAIR IS FAIR AND THIS IS DEFINITELY NOT HYPOCRITICAL AT ALL AND YOU’LL DIE UPON THE CORPSE OF THE FATHER YOU MURDERED

*He makes to stab Pagano but Giselda intervenes.*

Giselda: EVERYONE PLEASE STOP TRYING TO MURDER EACH OTHER BECAUSE TWO WRONGS DON’T MAKE A RIGHT AND ALSO IT’S NOT GOING TO RESOLVE ANYTHING IT’LL JUST MAKE EVERYTHING WORSE

Pagano: OH SO ARVINO NOW YOU’RE HESITATING??? LOOK I’LL JUST TAKE MY OWN LIFE THEN SO ALL’S AVENGED

*He grabs his sword and attempts to kill himself, but the guards prevent him.*

The People: YOUR PUNISHMENT WILL BE TO LIVE WITH YOUR GUILT IN EXILE BECAUSE THAT’LL BE MORE OF A TORMENT TO YOU THAN DEATH

Pagano: GOD HAS STRUCK ME WITH THE MARK OF CAIN BECAUSE I ACCIDENTALLY KILLED MY OWN FATHER AND NOW I’LL HAVE TO LIVE WITH MY TERROR UNTIL I DIE AND NO MATTER WHERE I GO I WILL NEVER KNOW ANY PEACE BECAUSE MY DEMONS WILL ALWAYS BE THERE

Everyone Else: GOD HAS STRUCK YOU WITH THE MARK OF CAIN AND TERROR WILL CONSUME YOU EVEN MORE THAN ALL THE TORMENTS OF HELL AND NO MATTER WHERE YOU GO YOU WILL NEVER KNOW ANY PEACE BECAUSE YOUR DEMONS WILL ALWAYS BE THERE

Notes

ACT II: L’uomo della caverna (The Man of the Cave)

Because Solera apparently thought it would be a great idea to scatter a bunch of exposition in a rather confusing manner throughout Act II, here’s a roundup of most of the major stuff that happened in between acts.

Scene 1:

A hall in Acciano’s palace in Antioch, 1098. Acciano is seated on his throne; before him stand ambassadors, soldiers, and people.

Ambassadors: SO ALL OF THESE THINGS YOU’RE SAYING ARE TRUE?!?!

Acciano: ...Yup. I saw them and their weapons with my own two eyeballs.

Ambassadors: THE SHEER AUDACITY THEY HAVE TO THINK THAT THEY CAN JUST UP AND LEAVE THEIR HOMES AND RUN ALL OVER OURS BUT THEY WILL BE STRUCK DOWN BY THE PROPHET MOHAMMED’S THUNDERBOLTS

Acciano: They’re cruel and mean and ruthless! All they do is rape and pillage and murder and all they leave behind is destruction!

Everyone: ALLAH WE ARE UNDER ATTACK SO COME DOWN AND HELP FIGHT FOR US AND PUNISH THE ENEMY AND THAT WILL MAKE US EVEN BRAVER 

WE SWEAR TO PUT ASIDE OUR DIFFERENCES AND RIVALRIES SO WE CAN RISE AS ONE AND DO OUR BEST SO WITH YOUR HELP THEY WON’T BE ABLE TO ESCAPE

*They exit. Oronte and Sofia, the latter veiled, meet up.*

Oronte: Mom, what’s Giselda doing? How is she?

Sofia: The bad news: she’s still pretty much the same—she’s still sighing, weeping, crying out for her family...poor girl. The good news: she loves you.

Oronte: YAAAAAAAAAAAAAAAAAAAY THERE IS NO ONE ON EARTH HAPPIER THAN ME BECAUSE I LOVE HER SO MUCH

Sofia: (Dear God, please let this be a way to touch my son’s mind and heart!)

Oronte: If only I could make her as happy as I am! If only I could use my love to make the universe even more harmonious and beautiful, especially for her! If only we could go to Heaven together and fly where no other mortals can go and try to keep us apart!

Sofia: About that last thing you said...You do know that you cannot marry her if one of you doesn’t convert, and it would be better if you were the one to convert to her faith.

Oronte: Oh, I completely agree with you!

Sofia: Thank God!

Oronte: You know, I keep thinking that she must be right and that her God must be the true God!

I mean, think about it: how could Heaven create such a wonderful, lovely angel of a woman and not grant her divine truth? Please, take me to her, let me see her, let me find comfort for my mind and heart with her!

Sofia: AN ANGEL HAS GRANTED YOU THIS LOVE IN ORDER TO SAVE YOU

Oronte: HOW COULD SHE BE WRONG LET ME SEE HER AND FIND COMFORT WITH HER

*They leave.*

Scene 2:

A mountain overhang outside of Antioch, which has the opening to a cave; June 2, 1098. A hermit emerges from the cave. **

The Hermit: Still nothing...absolutely nothing! WHEN WILL THE CRUSADERS EVER GET HERE??? WILL I NEVER GET THE CHANCE TO REDEEM MYSELF BY FIGHTING AGAINST THOSE WICKED MUSLIMS???

Still nothing...absolutely nothing! When will I ever have peace? But really, that is folly to even think about—I do not deserve peace. But God alone is just, and may He bless grief and suffering.

And yet...when I hear the Crusaders cry “God wills it!”, when I see their crosses shine...MY HEART WILL COME ALIVE AND I’LL TAKE MY SWORD AND FIGHT AND WIN FORGIVENESS

*He sees a figure in the distance.*

Wait, who’s coming here?...He’s dressed in Muslim garb; I need to get inside my refuge!

*He turns to retreat into the cave as Pirro enters.*

Pirro: DON’T LEAVE HAVE MERCY ON ME EVERYONE’S SAYING YOU’RE THE ONE TO COME TO WITH SPIRITUAL MATTERS AND SUCH BECAUSE YOU’RE SO HOLY AND I NEED ABSOLUTION

*He kneels before the Hermit.*

Okay, so: my name is Pirro. I’m originally from Lombardy but I assisted in what turned out to be a patricide, so I fled here and renounced my faith, but I feel HORRIBLE about that so PLEASE FORGIVE ME

The Hermit: Get up! Take heart! It’s not too late for you.

Pirro: If it's relevant at all, I’m also in charge of the gates of Antioch.

*Loud noises and military music can be heard in the distance.*

The Hermit: What’s that noise?

Pirro: Those are the Crusaders.

The Hermit: DID YOU SAY THOSE ARE THE CRUSADERS ARE YOU TELLING ME THE TRUTH

*Pirro nods.*

WELL THEN WE CAN BOTH FIND FORGIVENESS WITH THE CRUSADE THANKS BE TO GOD THERE IS NO LIMIT TO HIS MERCY

Pirro, I will grant you full forgiveness of your sins if you open the gates of that wicked city to the Crusaders and let them in and give the city over to Heaven!

*The military music is now much closer.*

Pirro: I SWEAR THAT I MYSELF WILL OPEN THE GATES OF ANTIOCH TO THE CRUSADERS TONIGHT

The Hermit: THEY’RE ALMOST HERE HALLELUJAH

*The Crusaders begin to arrive at the hermitage.*

OH MY GOD THEY’RE LOMBARDS

Pirro: AND I’M STILL IN HOT WATER WITH THEM

The Hermit: Go, claim sanctuary in my cave.

*The two of them go into the cave. The Hermit quickly reemerges with a sword and donning a helmet as the Lombard Crusaders, led by Arvino, enter.*

NOW I CAN USE YOU AND BE A WARRIOR AGAIN MY WONDERFUL SWORD AND HELMET

Arvino: Are you the hermit who lives here?

The Hermit: Yes, that would be me. What do you ask of me?

Arvino: Your prayers, so we do not have any chance of being struck with God’s wrath. You’re the only one who can intercede with God to prevent that!

The Hermit: ...Do you know who I am?

Arvino: YEAH YOU’RE THE SUPER-EFFECTIVE HERMIT EVERYONE IN THE AREA TOLD US ABOUT THEY SAID THAT GOD HIMSELF APPEARS TO YOU

Anyway, I have a bit of a problem on my hands: my daughter Giselda was kidnapped by a band of Muslims. I tried to pursue them and get her back, but they were too fast for us, so as far as I know she’s being held prisoner in Antioch. And also this is definitely the only thing I’m worried about right now and her safety and well-being are definitely my top priority and this is definitely the only reason we’re trying to get into Antioch.

The Hermit: Tell me one thing: do you have a large and strong army?

Arvino: Yes.

The Hermit: Alright, then you should be seeing your beloved daughter very soon.

Arvino: I’m just going to completely ignore you saying that and instead show you the AMAZING army we’ve put together!

*He leads the Hermit to a lookout point.*

See that? That’s all of Europe right there, all gathered under Godfrey of Bouillon and ready to strike! ***

The Hermit: THAT’S THE MOST BEAUTIFUL THING I’VE EVER SEEN IN MY LIFE but anyway it’s starting to get dark so we need to get a move on

FOLLOW ME BECAUSE I SWEAR TO YOU THAT TONIGHT YOU WILL BE WITHIN THE WALLS OF ANTIOCH AND THIS IS DEFINITELY DIVINE INTERVENTION AND MY SUPER-STRONG FAITH AND I’M NOT SAYING THAT BECAUSE I JUST GOT INTEL OR ANYTHING

Arvino: YOU’VE CALLED US TO GLORY AND WE ARE BURNING WITH HOLY ZEAL READY TO FIGHT

Everyone: STUPID ALLAH OUR WRATH WILL FALL UPON YOU AND WE WILL WIPE ISLAM OFF THE FACE OF THE EARTH SO THE HOLY WORD OF OUR GOD WILL RESOUND EVERYWHERE

THE CROSS IS ALREADY SHINING WITH LIGHT THAT LOOKS LIKE THE BLOOD WE’LL SHED WHEN WE TRIUMPH OVER THE BARBARIC INFIDELS AND KILL THEM ****

*They all leave.*

Scene 3:

Inside the harem of Acciano’s palace in Antioch, later the same day. Giselda is dejectedly sitting on a sofa; the other women of the harem are scattered around the room, gossiping about her.

Women: LOOK AT THE BEAUTIFUL FOREIGN GIRL WHO CAPTURES EVERYONE’S HEARTS LET’S ALL DANCE AROUND HER

Why is she always crying when she has the best of everything and Oronte only loves her? Hmm, why did you leave your family and your home behind? Was it perhaps because you couldn’t find a lover to suit your whims and thought you’d have better luck here? 

Look at those splendid eyes...oh, what does the foreign beauty desire? We’ll definitely do it for her! Such a foolish and proud girl—she’ll soon see her family and people be beaten and die!

Alright, let’s go, she’s too depressed, perhaps she wants to be alone and pray again...what a strange girl, this foreign beauty!

*They run off, leaving Giselda alone.*

Giselda: MOM I KNOW YOU’RE NOT HERE ANYMORE BUT PLEASE I NEED YOU MY PEACE IS GONE AND I’M SUFFERING

Why did you leave me? Now I’m here, alone, in a strange land trying to figure my life out for the first time...and I’m in love with someone my faith says I should not love, which only makes me feel worse...PLEASE HELP ME

I’ve prayed that you will miraculously be returned to me, but if such prayers are useless and you cannot come back from Heaven, then let me die and join you! All I can see in my future is endless suffering...why can I not just die? Let me die and see you again!

Women: *from offstage* WHO WILL SAVE US

Giselda: WHAT’S GOING ON

Women: *still offstage* EVERYONE OUT RUN FOR YOUR LIVES

Crusaders: *also offstage* KILL THEM ALL

*Turkish soldiers, Crusaders, and women of the harem all run onstage in confusion.*

Women: WHO WILL SAVE US FROM THESE BARBARIANS IF THE PROPHET HAS ABANDONED US

Giselda: THE CRUSADERS ARE HERE?!?!

*Sofia runs onstage in a state of panic.*

Sofia: GISELDA A TRAITOR OPENED THE GATES TO THE CRUSADERS AND NOW THEY’RE MASSACRING AND PILLAGING EVERYONE AND EVERYTHING AND ALSO THEY KILLED BOTH MY HUSBAND AND MY SON

Giselda: WAIT WHAT THE FUCK

*Arvino enters with the Hermit and more Crusaders. Sofia points to him.*

Sofia: THERE’S THE MAN WHO KILLED THEM BOTH

Giselda: MY FATHER?!?!?!?! MY OWN FATHER?!?!?!?!?!?!

The Hermit: *pointing to Giselda* As promised, here she is, safe and sound.

Arvino: GISELDA LET ME EMBRACE YOU AGAIN

Giselda: *recoiling from him* ABSOLUTELY FUCKING NOT YOU ARE COVERED IN HUMAN BLOOD

Sofia: What grief I feel...

Giselda: No!...No!

IT IS NOT THE JUST CAUSE OF GOD TO DROWN THE EARTH IN HUMAN BLOOD THIS IS INSANITY AND YOU ALL JUST WANT THE WEALTH OF THE MUSLIMS AND YOU’RE USING RELIGION AS A COVER BECAUSE HEAVEN NEVER WANTED THIS

No! God does not will it. GOD DOES NOT WILL IT

Arvino and the Crusaders: WHAT AM I HEARING?!?!?!?!?!?!

The Hermit and Sofia: (Oh, poor girl!)

Giselda: GOD HAS LIFTED THE BLINDFOLD FROM MY EYES THE VANQUISHED WILL RISE AND THEY WILL HAVE THEIR REVENGE AND IT WILL BE TERRIBLE AND NONE OF YOU WILL DIE IN YOUR HOMELAND

YOU HAVE SLAUGHTERED INNOCENT HUMAN BEINGS AND SUCH SLAUGHTER HAS ALWAYS OFFENDED GOD BECAUSE HE CARES ABOUT ALL HUMANKIND

Arvino: YOU ARE COMMITTING BLASPHEMY AND SACRILEGE

Giselda: YOUR HEADS WILL BECOME THE PLAYTHINGS OF THE WIND AND WHAT YOU HAVE DONE TO THE PEOPLE OF THIS REGION THE PEOPLE OF THIS REGION WILL DO TO ALL EUROPE BECAUSE IT WAS NEVER THE WORD OF GOD FOR HUMAN BLOOD TO BE SHED LIKE THIS

NO GOD DOES NOT WILL THIS HE ONLY CAME DOWN TO EARTH TO SPEAK OF PEACE HE DOES NOT WILL THIS

The Hermit: (GISELDA SHUT UP YOU’RE BEING RASH AND THIS WILL NOT GO OVER WELL FOR YOU)

Arvino: *drawing his dagger* MAY YOUR DEATH WIPE THOSE BLASPHEMOUS OBSCENE WORDS FROM YOUR LIPS 

Giselda: STRIKE ME AND KILL ME THEN I DON’T FUCKING CARE ANYMORE IF ANYTHING IT WILL ONLY PROVE MY POINT

*Arvino attempts to stab Giselda but is stopped by the Hermit.*

The Hermit, Sofia, the Crusaders, and the Women: WHAT THE ACTUAL FUCK ARE YOU DOING CAN’T YOU SEE THAT SHE’S LOST HER MIND

Arvino: FIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIINE I GUESS THAT’S FAIR

Giselda: I HAVEN’T LOST MY MIND STRIKE ME DOWN I DON’T FUCKING CARE ANYMORE

*The scene descends into mass confusion.*

Notes

 ACT III: La conversione (The Conversion)

Scene 1:

The Kidron Valley, in which are scattered several hills, of which the most important is the Mount of Olives. Jerusalem can be seen in the distance; an unspecified but presumably significant amount of time (although no more than a year) after the previous act. Crusaders and pilgrims cross the scene. **

Crusaders and Pilgrims: JERUSALEM THE PROMISED CITY WE ARE ALMOST THERE WE’VE SHED SO MUCH BLOOD ALREADY IN THE NAME OF GOD AND OUR PALM GARLANDS ARE READY FOR WHEN WE ARRIVE

Women: WE LOVE SEEING THESE HOLY PLACES AND WEEPING AT THEM AND WE HOPE TO BE ABLE TO DIE HERE AND THEN OUR SOULS WILL FLY TO GOD 

Men: HERE ARE ALL THE HOLY PLACES OF CHRIST’S FINAL DAYS AND DEATH AND RESURRECTION

Crusaders and Pilgrims: WE HOPE TO BE ABLE TO DIE HERE AND THEN OUR SOULS WILL FLY TO GOD 

THIS LAND IS SUCH A BEAUTIFUL AND SACRED PLACE AND THE LIVING GOD WILL COME HERE AND BE TERROR TO THE INFIDELS

*They go out singing.*

JERUSALEM!!!...Jerusalem...

*Giselda wanders in.*

Giselda: I’m wandering alone...where am I? I had to get out of there, I felt like I was being suffocated in my father’s tent...I need air, free air; here everything is open, free desert...there’s no sounds, not even song...

My mind cannot bring itself to think about God...I can think of nothing but love...

*During these last words, Oronte, still very much alive, enters.*

Oronte: GISELDA IT’S YOU

Giselda: *seeing him* OH MY GOD I MUST BE LOSING MY MARBLES

Oronte: NO YOU’RE NOT I’M HERE WITH YOU YOU’RE IN MY ARMS

Giselda: No...this has to be a dream...

*She starts sobbing.*

But my tears are bathing your forehead, so this must be real...

Oronte: GISELDA YOU DIDN’T FORGET ME

Giselda: OF COURSE NOT I’VE SPENT ALL MY TIME MOURNING YOU BECAUSE I THOUGHT YOU WERE DEAD

Oronte: Well, when the Crusaders attacked, I was just thrown down and hurt. I wanted to see you again more than anything, so I fled and I’ve been wandering around here ever since, trying to find you...I found these garments that look a little more like what your people wear and put them on, just so I might have a better chance of seeing you one more time...that’s all I wanted: to see you one more time and then die!

Giselda: NO YOU WON’T DIE 

Oronte: I’ve lost everything: my family, my home, my throne, my friends, and any chance at life with you!

Giselda: YOU HAVEN’T LOST THAT CHANCE I WILL RUN AWAY WITH YOU

Oronte: Giselda, you really want to do that?

Giselda: YES I LOVE YOU

Oronte: Giselda, I love you too and that’s exactly why I would encourage you to not do that.

Listen: my life is cursed—I have virtually nothing to offer you. Like I said, I’ve lost everything and now I live by wandering. I shelter in caves when I can but sometimes I simply must face storms all alone in the open. If we were to somehow marry, your wedding bed would be the desert sands and you would only have the hyenas to sing to you. This poor life and my love are all I can offer you. Are you sure you would be willing to live like this?

Giselda: WHAT ARE WE WAITING FOR LET’S GO WE DON’T HAVE MUCH TIME

Oronte: Are you sure about this?

Giselda: I LOVE YOU AND THAT’S WHAT MATTERS

Oronte: I LOVE YOU TOO LET US DEFY EVERYTHING ON EARTH TOGETHER

Giselda: YOU’RE EVERYTHING TO ME 

Oronte: YOU ARE WORTH MORE THAN THE KINGDOM I LOST

Giselda: Wait! One more look. Goodbye. Goodbye world. Goodbye, Lombard tents. Goodbye to breezes like the ones from home....and everything I’ve ever known. Something better and more beautiful and more divine is waiting for me. Mother up in Heaven, forgive me...this is such a great love, and it will redeem us...

Oronte: You’re leaving your entire world behind for me...and I am for you...we will weep together and love each other like we have one heart! And the God you worship—I will worship the very same God!

Crusaders: *nearby* TO ARMS

Oronte: WHAT’S THAT NOISE

Giselda: The Lombards...their camp is nearby...they’re probably going to pursue us...I’m afraid for you...

Crusaders: TO ARMS

Giselda and Oronte: ALRIGHT LET’S GO NOTHING IN HEAVEN OR ON EARTH CAN DIVIDE US EXCEPT DEATH 

Crusaders: TO ARMS TO ARMS TO ARMS

*Giselda and Oronte run off together.*

Scene 2:

Arvino’s tent in the Lombards’ camp, near the Kidron Valley. Arvino is alone.

Arvino: WHAT THE ACTUAL HELL DID I JUST SEE?!?!?!?!

So horrible, so disgraceful—I am simply paralyzed with rage and terror...to review: my daughter ran off with a Muslim prince, a man DAMNED BY GOD—I CANNOT BELIEVE IT!!!!!!!!!!!!!!!

At least the Hermit and a bunch of my men went chasing after them, I guess.

GISELDA YOU WICKED IMPIOUS DISGRACEFUL WHORE AND DISHONOR TO MY NAME I WISH YOU HAD DIED IN YOUR CRADLE BECAUSE THAT WOULD HAVE BEEN BETTER THAN YOU GROWING UP TO BE A SACRILIGEOUS WICKED EVIL WOMAN AND I ALSO WISH THAT YOU HAD NEVER BEEN BORN AT ALL 

*Several Crusaders enter.*

What’s going on?

Crusaders: There have been multiple confirmed sightings of Pagano lurking around our tents—

Arvino: OH MY GOD YOU HAVE GOT TO BE KIDDING ME

Crusaders: WHY IS HE HERE OBVIOUSLY THIS HAS SOMETHING TO DO WITH THE WRATH OF GOD STRIKING US WITH SO MANY MISFORTUNES SO WE ALL NEED TO GET TOGETHER AND PUNISH HIM BECAUSE HE CANNOT ESCAPE ALL OF US

Arvino: WELL OBVIOUSLY HEAVEN AND I HAVE BOTH MADE A MISTAKE BY NOT PUNISHING HIM BUT I AM ALREADY SO READY TO KILL THAT WICKED BASTARD AND EVEN IF HE WERE HIDDEN IN HELL ITSELF HE COULDN’T ESCAPE ME

*They all leave together.*

Scene 3:

This scene begins with a mini violin concerto because why not. It’s gorgeous.

The interior of a grotto. Through an opening in the rear can be seen the banks of the Jordan River. Giselda enters, supporting Oronte, who has been mortally wounded.

Giselda: Here...rest here...

*She lays him down on a boulder.*

What a horrible wound those cruel men gave you!

Oronte: Giselda...I’m dying...

Giselda: (I am disgusted, I am revolted, I dedicate my entire life to our Lord and Savior Jesus Christ, and this is the thanks I get?!)

Oronte: GISELDA I’M DYING

Giselda: I KNOW FOR MERCY’S SAKE I LOVE YOU AND PLEASE BE QUIET BECAUSE SHOUTING WILL ONLY MAKE IT WORSE

You’ll recover...you have to...I’ve already bound up and closed your wound...

Oronte: Giselda, you are so kind, but it’s useless...

Giselda: ALRIGHT GOD MY FAMILY AND I HAVE ALL WORSHIPPED YOU BUT I HAVE SOME CHOICE WORDS TO SAY TO YOU

YOU TOOK MY MOM FROM ME AND LEFT ME ON EARTH IN MY SORROW AND THEN I FOUND TRUE LOVE AND NOW YOU’RE TAKING HIM FROM ME TOO BECAUSE YOU ARE CRUEL AND—

*The Hermit enters.*

The Hermit: WHO HERE IS BLASPHEMING AND CHALLENGING GOD

*He takes one look at Giselda and Oronte.*

This love is a sinful one.

Giselda: ...Why do I suddenly feel really awful?

The Hermit: That’s Catholic guilt for you.

Oronte: Who are you?

The Hermit: I am a man who can bring you new life if you turn to our faith.

Giselda: God inspires him...

Oronte: Giselda, at last, you’ve really done it...I’ve wished for this many times that it would be able to happen...and now, thanks to you, it is...sir, you are a man of God...come here...

The Hermit: You do not call upon Heaven in vain—in this moment, it shows you its glories!

*He retrieves some water from a spring in the cave connected to the Jordan.*

May the holy waters of the River Jordan grant you new life. While you are at the point of death, I baptize you in the name of the Father, and of the Son, and of the Holy Spirit. Amen.

*And as such, he baptizes Oronte.*

Giselda: Now no one, not even Heaven itself, can honestly say our love is a sin...

ORONTE I’M BEGGING YOU PLEASE LIVE

Oronte: I suddenly feel new vigor, new life flowing through me...through all my veins...and it feels so wonderful...help me, Giselda! I can barely see you anymore!

Giselda: No...Oronte, please don’t die...wait for me...we’ve lived through so much together already, so it’s only fair that we should die together...not have it be like this...

The Hermit: He’s dying; take this moment seriously. Both of you, turn your heads and fix your gazes, your whole beings upon God!

Giselda: Why are you leaving me behind when I love you so much? Why won’t the angels let me go to Heaven with you right now?

The Hermit: Young lady, your love here on earth may have been rewarded with nothing but sorrow, but take heart! One day, among the angels, your love will be rewarded with bliss! Have hope!

Oronte: Giselda...come here...let me feel your tears...

You have opened Heaven up to me, Giselda, and I will wait for you...I’m dying...I will wait for you in Heaven!

*He dies.*

ACT IV: Il Santo Sepolcro (The Holy Sepulchre)

Scene 1:

A cave near Jerusalem. Giselda is sleeping alone inside when she begins to have a vision of celestial spirits. Summer 1099.

Celestial Spirits: GISELDA REJOICE THANKS TO YOU A SOUL HAS BEEN REDEEMED AND IS COMING INTO PARADISE AND YOU DESERVE SOME OF THAT HEAVENLY JOY SO COME...COME!!!

*Giselda rises, but is still dreaming.*

Giselda: The cave is shining with these ethereal spirits...yes! yes! I beg you, let me die, let me see the eternal dawn, let me join those I love in Heaven...

Oronte? Are you there among the angels? Why aren’t you saying anything? LET ME SEE HIM LET HIM TALK TO ME

*Her prayer is summarily granted and Oronte’s soul appears.*

Oronte: Thanks to you, Giselda, I’m in Heaven and God has already accepted my prayers...I must tell you something.

Giselda, your people are dying of thirst in the desert and they are losing all hope. Run to them, tell them to have hope, and tell them that the fountain of Siloam will be gushing fresh water for them! ***

Oronte and the Celestial Spirits: Come, Giselda, for your share of heavenly joy...come...

*The vision disappears and Giselda fully awakens.*

Giselda: A miracle...a cave changed into Heaven and then back again...no, it must have been a dream! But suddenly I feel so much strength in my heart...no, it was not a dream!

IT WASN’T A DREAM I CAN STILL HEAR HIS VOICE AND SEE THAT VISION OF HIM HOLDING THE PALM LEAVES OF THE BLESSED SOULS SO I’LL GO TELL THEM ABOUT THE FOUNTAIN LET’S GO EVERYONE THE WATER WILL REVIVE YOU

*She runs off.*

Scene 2:

The Lombard camp, in the desert near the tomb of Rachel outside of Bethlehem; July 15, 1099. The Crusaders and pilgrims are exhausted and dehydrated. ****

Crusaders and Pilgrims: Dear God, we have followed Your will here on this Crusade, but we’re fighting a losing battle, we’re exhausted, we’re on the brink of death by thirst...O Lord, do not let us become fodder for mockery by the enemy!

Lombardy is such a beautiful place...don’t you remember the breezes and waters and vineyards of home? GREAT NOW THAT THOUGHT JUST MAKES OUR CURRENT CONDITIONS SEEM EVEN WORSE AND ALSO WE’RE MASSIVELY HOMESICK NOW

Giselda, Arvino, and the Hermit: *in the distance* EVERYONE GO TO THE FOUNTAIN OF SILOAM

Crusaders and Pilgrims: WHAT IS IT

*Giselda, Arvino, and the Hermit run in.*

Giselda: HEAVEN HAS HEARD YOUR PRAYERS THE FOUNTAIN OF SILOAM IS GUSHING FRESH WATER

Crusaders and Pilgrims: THIS IS THE BEST NEWS EVER

Arvino: ALRIGHT EVERYONE LAST TIME Y’ALL ABANDONED THE PROJECT BECAUSE YOU WERE EXHAUSTED COWARDS BUT I KNOW THAT NOW YOU HAVE WATER YOU WON’T FUCK THIS UP AGAIN SO LET’S GO STRIKE DOWN SOME INFIDELS

Y’ALL HEAR THOSE TRUMPETS GODFREY OF BOUILLON IS GIVING US THE SIGNAL AND TODAY THE HOLY LAND WILL BE OURS

Everyone: IT’S WARTIME EVERYONE LET’S GO

Arvino and the Hermit: OUR HOLY BANNERS ARE GLEAMING WITH BLOOD AND TERROR AND WE WILL HAVE VICTORY

Everyone: LET’S FLY LIKE THE WIND LET’S GO TO WAR

*Everyone rushes off.*

*In between scenes, the Crusaders capture the city of Jerusalem. In the process, the Hermit is mortally wounded. This scene is normally just implied during the interlude, but it is sometimes staged, as in the video linked here.*

Scene 3:

The Lombard camp, in the desert outside of Jerusalem. Early morning, July 16, 1099. The Hermit enters, supported by Giselda and Arvino on either side.

Arvino: Here’s my tent; you can rest here. But why aren’t you talking?

Giselda: He’s horribly wounded! He was the first man to scale the walls.

Arvino: ...That didn’t answer my question.

The Hermit: GO AWAY actually wait who are you?

Arvino: Don’t you know me? We’ve met and fought together before. I’m the commander of the Lombard forces, Arvino.

The Hermit: *looking at his hands* ARVINO?!?!?!?! NO BE QUIET I HAVE YOUR BLOOD ON MY HANDS HELL OPEN BENEATH ME I AM COVERED IN OUR FATHER’S BLOOD

Arvino: Wait, what?

Giselda: Be calm...you’re safe here...near me. Remember me? You saved my life once.

The Hermit: That voice...it feels like my heart is opening...you’re an angel...an angel of forgiveness!

Arvino: Wait...who are you?

The Hermit: I am Pagano!

Giselda and Arvino: WAIT WHAT

Pagano: I’m going to die...I only have a little time left, I can feel it...

Arvino, my brother, my soul is about to appear before God! I HAVE DONE WHAT I CAN TO ATONE AND REDEEM MYSELF PLEASE DO NOT CONDEMN ME

Giselda: Father, he really has done what he could...God has forgiven him, so forgive him too...

Pagano: My brother, forgive me...

Arvino: *embracing him* Very well, you’ve won...

Giselda and Arvino: The rest of us will all forgive you too.

Pagano: I’m so happy...now grant me...before I die...one last look...at Jerusalem!

*The sun rises, revealing Jerusalem in the distance.*

Crusaders: O LORD WE PRAISE YOU FOR VICTORY AND SALVATION AND GLORY

Pagano: Thanks be to God that I was able to live long enough to see this moment come...and that in my last moments He has mercy on me and remembers this man the world once recoiled from in horror!

Arvino: As I forgive you, intercede with God for me so my sins may be forgiven...

Giselda: Go in peace! You will join my mother and my true love in Heaven...when you get there, all three of you, pray to God that I will be allowed to die soon and join you!

Everyone: O LORD WE PRAISE YOU FOR VICTORY AND SALVATION AND GLORY AMEN

*Pagano dies.*

Notes

THE END

[gramilano]

Pavarotti to have a Star on the Hollywood Walk of Fame

There will be a new Star on the Hollywood Walk of Fame for Luciano Pavarotti, who died in 2007 at 71.

Luciano Pavarotti – photo Primo Gnani, 1987 There will be a new Star on the Hollywood Walk of Fame for Luciano Pavarotti, who died in 2007 at 71. The laying ceremony will be on 24 August 2022 at 11.30 am (Los Angeles time) at 7065 Hollywood Boulevard and will be transmitted live on walkoffame.com. The tenor’s daughter Cristina Pavarotti will be present to receive the award, also on behalf of…

[mozart2006]

Dodici anni dopo: Luciano Pavarotti ricordato da Cristina Barbieri

Dodici anni dopo: Luciano Pavarotti ricordato da Cristina Barbieri

Cristina Barbieri con Luciano Pavarotti. Modena 1992

Dopo il mio post di analisi sulla vocalità di Luciano Pavarotti, voglio aggiungere una testimonianza diretta di Cristina Barbieri, (more…)

[persinsala]

Vocazione

Al Teatro Biblioteca Quarticciolo di Roma, è andato in scena Vocazione, il sommesso e disperato urlo di un artista che teme di non essere più ascoltato. (more…)

[joaquimblog]

Després d’una llarga i complicada gestació, de canvis d’idioma no prevists, de nervis, i angoixes habituals en els processos de gestació creativa, de suports i ajudes diverses, de crowdfunders incondicionals i prèvies parcials a l’auditorio nacional de Madrid i a l’audotori Axa de Barcelona cloent la temporada de les quatres estacions vivaldianes 2016/2017, el Festival de Peralada 2017 va estrenar dijous a l’església del Carme, “La Straordinaria vita de Sugar Blood” la darrera òpera d’Alberto García Demestres, amb llibret de Cristina Pavarotti.

Que un festival privat aposti després de l’excel·lent WOW! estrenada l’any 2013 al claustre de l’església, per tornar a incloure en la seva programació una altra estrena absoluta d’Alberto García Demestres, mentre el Liceu com a principal equipament artístic (al menys per pressupost) de Catalunya mira cap a una altra banda (Cristina Scheppelmann directora artística del teatre va assistir a l’estrena), és quelcom ben simptomàtic de la nostra política cultural i de la poca destresa de les institucions culturals catalanes, des de la conselleria fins lògicament el Liceu, incapaç de donar acollida als compositors del país. El FIMCP (Festival Internacional de Música Castell de Peralada) posa en canvi, tot el que té al seu abast, bàsicament GANES, i va tornar a fer possible que una nova òpera veiés la llum. Bravo!

Malauradament l’òpera es va haver d’estrenar en forma de concert i sense l’orquestració desitjada, per tant donem l’oportunitat d’esmenar l’error inicial i confiem que el Liceu acabi fent pujar aquesta magnífica òpera al seu escenari i pugui dir en un futur no gaire llunyà, que va fer possible l’estrena teatral i en la versió orquestral definitiva i desitjada.

El llibret de Cristina Pavarotti sota l’idea de Demestres, és planer, quotidià, amb dosis de surrealisme embogit i d’un lirisme molt propici a ser musicat. L’òpera que originalment s’havia de cantar en anglès ha acabat sent en italià, per allò de donar més possibilitats a la seva programació internacional.

Per l’ocasió i sota la direcció del propi compositor, es va comptar amb el pianista Ricardo Estrada que va fer l’ingent tasca d’acompanyar una obra complexa. Demestres mai va en contra dels musics i cantants, mai, però també és cert que els exigeix molt i no els hi posa res fàcil. Estrada va mantenir amb brillantor tot el pes “orquestral”, malauradament inexistent, amb l’ajut dels sempre suggeridors acompanyaments tímbrics de sonoritats encisadores a càrrec de membres del propi Cor Vivaldi, i de caire a voltes inquietants a voltes misteriós, a voltes encisador, hipnòtic i irreal i embolcallants gràcies a l’exotisme sonor que ofereixen els bols tibetans, els bols de cristall, els pals de pluja altre cops decisius com en la memorable aportació en el bellíssim Stabat Mater del compositor, sempre a la recerca de la sorpresa sonora. Demestres arriba a explorar l’efecte sonor de l’explosió de les boletes d’aire del paper d’embalatge que més d’una vegada haureu fet explotar en un atac irrefrenable, compulsiu i anti estresant que provoca entre els dits aquest embalatge temptador. Tot si val en la creativitat indòmita de Demestres per aconseguir atrapar-nos en el seu món creatiu farcit de troballes innovadores sense renunciar mai al gran bagatge del passat operístic, a la melodia i al cant assequible i comprensible per arribar al públic, quelcom que tants compositors contemporanis han oblidat i motiu per el qual les òperes s’estrenen i no es tornen a representar, en un exercici d’onanisme estèril que decep i avorreix i sense cap mena de dubte l’allunya de qui hauria d’anar destinat. Com que Demestres estima molt l’òpera i coneix els secrets i les claus per enganxar al públic, els utilitza amb destresa, enginy i sapiència, i tot i no comptar amb tots els mitjans idonis per fer arribar la seva obra de la manera desitjada, és capaç d’emocionar i captivar, amb un llenguatge directa, sincer, emotiu i gens pedant o críptic, que és per on s’acostumen a agafar els compositors contemporanis incapaços de connectar amb el públic i desconeixedors del tractament vocal..

L’obra està estructurada en dos actes, sis escenes, tres videomissatges i una trucada telefònica. Aquesta mena de descripció 5.0 de l’estructura del llibret, és només una manera amb la qual Demestres i Pavarotti cerquen amb encert d’apropar-nos l’obra utilitzant els llenguatges actuals sense per això haver de prescindir de l’estructura musical clàssica, que fins i tot inclou números tancats degudament dissimulats però clarament perceptibles, com àries, duos o passatges concertants que beuen amb encert de la tradició operística italiana.

La història és senzilla, però serveix per posar sobre la taula la malaltia tan estesa de la diabetis,.que pateix el propi Demestres i que en l’òpera és Sugar, una adolescent filla d’una cantant d’òpera i un agent secret (parella tan impossible com absurda) qui ha de fer front a la malaltia.  La història dels 5 aniversaris que van dels 10 als 15 anys servirà al compositor per donar més visibilitat a una malaltia entre escenes còmiques i altres molt dramàtiques. Que el pare, interpretat per l’actor Pere Ponce, sigui un agent secret que volta pel món d’incògnita, dóna peu a introduir uns missatges en forma de vídeo i de caire més aviat còmic, mentre que la mare sigui una cantant d’òpera dóna peu a Demestres a jugar amb melodies estimades, moments estel·lars de l’òpera de tota la vida (Rigoletto, Boheme, l’exilir una altra vegada després de la divertida “El màgic Elixir” estrenada l’any 2015 a Sarrià o Il barbiere rossinià), ja sigui amagades o descaradament desenvolupades (Bella figlia de l’amore).

La música genuïna de Demestres és complexa, rica, molt inspirada i conté moments bellíssims com l’ària de la Sugar més adulta (magnífica Núria Prats) o les escenes amb la mare (duo meravellós entre Ariadna Ruiz i Sara Blanch) o la intervenció inicial de l’avi Sesto (inspiradíssim Antoni Comas, el tenor oficial de Demestres capaç de fer-ho  tot).

Hi ha un moment especialment colpidor, el Ictus Day, quan el cor a cappella (estratosfèric Cor Vivaldi) dóna vida a la traumàtica experiència viscuda pel mateix Demestres quan va patir un Ictus feliçment superat i que el va inspirar per aquest moment d’altissima intensitat musical i d’una complexitat i dificultat tècnica només a prova de formacions tan excel·lent com el Vivaldi, el veritable protagonista de l’òpera, ja sigui com part activa de la trama, com de recolzament sonor a escenes dels solistes.

Pel que fa a les interpretacions individuals cal destacar a les tres Sugar, interpretades per Lisa Campos, Ariadna Ruiz i Núria Prats, totes elles membres del Cor Vivaldi i totes tres assolint amb brillantor els diferents aniversaris, amb tractaments vocals diferenciats i exigències més extenses del que habitualment assoleixen en el cor. Són veus formades de projecció i tècnica fermes, amb possibilitats futures en el camp del cant, notables.

En els rols adults, cal saludar amb exultant alegria la consolidació de la gran Sara Blanch, en constant evolució vocal i que sense deixar de meravellar amb els portentosos sobreaguts, ja sigui en forte, com en els eteris i flotants pianissims, està ampliant el centre amb unes tonalitats més fosques altament gratificants. Per a la jove Blanch tots els meus encesos elogis per una interpretació virtuosística, sí, però també dramàticament molt intensa i treballada. BRAVA és poc.

Genial, com acostuma, l’aportació del tenor Antoni Comas, com l’avi Sesto, amb un control vocal extraordinari i uns detalls de gust, sensibilitat i musicalitat admirables. El rol és agraït i aparentment no tan extenuant com el de l’Eclipsi o Wow!

En una intervenció més curta, però també bellíssima trobem a Neus Roig, interpretant el primer noviet de Sugar, Matteo. No s’acaba d’entendre, seguint la tradició operística, que Demestres no escollís una mezzosoprano lírica, a la manera de Cherubino o Octavian, en lloc d’una soprano lírica de veu més prima que la Sugar més adulta. En qualsevol va estar esplèndida en les dolces intervencions amb les que Demestres tracta el personatge.

La mezzosoprano Mireia Pintó, interpreta a Mariuccia en el primer acte i a una infermera en el segon, amb fermesa vocal lluint un bon registre greu que donava caràcter i personalitat a les seves intervencions.

El Cor Vivaldi en el seu conjunt, així com algunes de les seves components assolint petites parts solistes, van estar a l’alçada del que s’espera d’una formació que no deixa mai de sorprendre per els nivells que pot arribar a assolir, reptes sense límits. Si bé en la primer part van mostrar alguns dubtes, potser per manca d’assaigs. En el segon i amb el absolutament impactant Ictus Day cantat des de el fons de l’església i per tant creant un efecte sonor molt dramàtic, bellíssim i quasi irreal, van assolir una cota de fascinació sonora, canora i interpretativa, sorprenent i mestrívola, en una demostració més de fa pensar que aquesta és una formació en permanent creixement i que sembla no té límits.

A la mitja part i aprofitant que el finale primo és un somni de la Sugar en 13è aniversari de Sugar, hi ha una escena onírica amb un suculent pastís/gelat sense sucre, el celler de Can Roca va oferir als assistents el pastís/gelat que Jordi Roca ha fet per l’ocasió inspirant-se en l’acció, en una acció solidari més al voltant d’aquesta òpera que tantes complicitats ha creat al seu voltant. Juntament amb una pàgina de la partitura de l’òpera mengívola, que s’incluïa en el programa de ma, van suposar dues de les sorpreses no musicals, d’una nit feliç d’estrena a l’entorn màgic del FIMCP.

L’enhorabona a tots sense exclusió. Va ser un triomf sincer i merescut i esperem retornar a aquesta òpera el dia que pugui representar-se allà on s’ha de representar sempre una òpera, a l’escenari d’un teatre.

PERALADA 2017: LA STRAORDINARIA VITA DI SUGAR BLOOD DE DEMESTRES Després d'una llarga i complicada gestació, de canvis d'idioma no prevists, de nervis, i angoixes habituals en els processos de gestació creativa, de suports i ajudes diverses, de crowdfunders incondicionals i prèvies parcials a l'auditorio nacional de Madrid i a l'audotori Axa de Barcelona cloent la temporada de les quatres estacions vivaldianes 2016/2017, el…

[techdex]

Pavarotti honoured with star on the Hollywood Walk of Fame

https://echoingwalls.com/blog/pavarotti-honoured-with-star-on-the-hollywood-walk-of-fame/

Pavarotti honoured with star on the Hollywood Walk of Fame

The laying ceremony at 7065 Hollywood Boulevard took place on 24 August 2022 and attendees included his daughter Cristina Pavarotti …

[lamilanomagazine]

Modena, una cesta di girasoli per commemorare Pavarotti

Modena, una cesta di girasoli per commemorare Pavarotti. In occasione del 15esimo anniversario della scomparsa di Luciano Pavarotti, avvenuta il 6 settembre 2007, il sindaco di Modena Gian Carlo Muzzarelli ha reso omaggio ieri alla tomba del Maestro nel cimitero di Montale Rangone. Al momento commemorativo hanno preso parte anche il sindaco di Castelnuovo Rangone Massimo Paradisi, le figlie del Maestro Giuliana e Cristina con la madre Adua Veroni, e la cugina Carla Pantaleoni. A nome delle città di Modena e Castelnuovo, i due sindaci hanno deposto una cesta di girasoli, i fiori preferiti del tenore, ai piedi della tomba, nella cappella di famiglia. Prima di recarsi al cimitero di Montale, il sindaco ha partecipato alla messa celebrata per il tenore nella chiesa di San Faustino a Modena. Al maestro Pavarotti è stato dedicato, in serata, il "Rigoletto", in scena al Teatro Comunale. Il capolavoro di Giuseppe Verdi è stato rappresentato con la partecipazione dell'Orchestra Senzaspine, diretta dal Matteo Parmeggiani. Gli appuntamenti per onorare la memoria di Pavarotti, organizzati da Modena Città del Belcanto, proseguiranno sabato 8 ottobre, con il concerto tributo della Corale Rossini (alle 20.30, nella chiesa di Sant'Agostino), e mercoledì 12 ottobre, giorno della nascita del tenore, con il concerto lirico sinfonico dei solisti di Modena Città del Belcanto, in programma alle 21 al Teatro Comunale, nel quale si esibiranno i migliori allievi usciti dai corsi di formazione del Teatro Comunale e dalla masterclass di Raina Kabaivanska, insieme all'Ensemble dell'Orchestra giovanile della Via Emilia diretta da Giovanni Di Stefano. Venerdì 28 ottobre (con repliche il 29 e il 30), la rappresentazione di "Madama Butterfly" di Giacomo Puccino proseguirà, nell'ambito della stagione lirica del Comunale e nel contesto di Modena Città del Belcanto, il ciclo dei titoli interpretati da Luciano Pavarotti, in ordine di debutto, iniziato con "La Bohème" nell'autunno 2019.... Read the full article

[culturizando]

#UnDíaComoHoy: 5 de diciembre en la historia

El 5 de diciembre es el día 339º día del año. Quedan 26 días para finalizar el año. Estos son algunos de los eventos más destacados que ocurrieron un día como hoy 5 de diciembre.

-Hoy se conmemora el Día Internacional de los Voluntarios. Este día ofrece una oportunidad para que las organizaciones de voluntarios y los propios voluntarios hagan visibles sus contribuciones a la consecución de los Objetivos de Desarrollo del Milenio (ODM), tanto en el ámbito local y nacional como internacional. El Programa de Voluntarios de las Naciones Unidas, además de movilizar miles de voluntarios cada año, trabaja en estrecha colaboración con asociados y gobiernos para establecer programas nacionales y crear estructuras que fomenten y mantengan el voluntariado local en los países.

-1484: Roma, el papa Inocencio VIII ordena a la Inquisición perseguir a las brujas en el mundo conocido.

-1492: Cristóbal Colón se convierte en el primer europeo en poner pie en la isla de La Española (hoy Haití y República Dominicana).

-1791: muere Wolfgang Amadeus Mozart, compositor y pianista austriaco, maestro del Clasicismo, considerado como uno de los músicos más influyentes y destacados de la historia. La obra mozartiana abarca todos los géneros musicales de su época y alcanza más de seiscientas creaciones, en su mayoría reconocidas como obras maestras de la música sinfónica, concertante, de cámara, para piano, operística y coral, logrando una popularidad y difusión universales.

-1870: muere Alejandro Dumas -padre-, novelista y dramaturgo francés, cuyas obras llevan la impronta inconfundible de su genio personal y su inventiva. Sus Obras más destacadas son: Los Tres Mosqueteros (1844), El conde de Montecristo (1845), Cristina (1830), Antonio (1831), La Torre de Nesles (1832), Kean o Desorden y genio (1836).Fue padre del también escritor Alejandro Dumas (hijo).

-1901: nace Walt Disney, dibujante y cineasta estadounidense, fundador de The Walt Disney Company . Figura capital de la historia del cine de animación infantil, está considerado un ícono internacional gracias a sus importantes contribuciones a la industria del entretenimiento durante gran parte del siglo XX, famoso por personajes como el Pato Donald o Mickey Mouse. Fundó junto a su hermano Roy O. Disney la compañía Walt Disney Productions, que años después se convirtió en la más célebre productora del campo de la animación y en la actualidad es la mayor compañía de medios de comunicación y entretenimiento del mundo.

-1930: La Real Academia Española de la Lengua aprueba el uso femenino de los sustantivos que indiquen profesiones o cargos.

-1932: nace Little Richard, cantante, compositor y pianista afroamericano de rock and roll de los Estados Unidos. Sus primeras grabaciones en los años 50 eran una mezcla de blues y rhythm and blues, con una fuerte influencia del gospel, pero con una habilidad tal que marcaron decididamente una nueva clase de música. De sí mismo ha dicho que se consideraba como el “arquitecto” del rock and roll, pero que el color de su piel le apartó de la gloria acaparada, entre otros, por Elvis. Además, se autodenomina “El Predicante Rey del Rock & Roll, Rythm & Blues y Soul”. Algunos de sus trabajos más conocidos son Tutti Frutti y Long Tall Sally.

-1933: en Estados Unidos se deroga la “Ley Seca” con la aprobación de la Enmienda 21 a la Constitución, lo que puso fin a la prohibición de fabricar bebidas alcohólicas. Fue a principios de 1919 cuando otra Enmienda, la 18 prohibió la fabricación, venta y transporte de licores en los Estados Unidos, dando pie al veloz desarrollo del crimen organizado. La prohibición se mostró totalmente ineficaz y la presión popular logró que finalmente se derogara.

-1945: 5 bombarderos TBM Avenger de EE.UU. se pierden en el Triángulo de las Bermudas, el famoso caso del Vuelo 19. Después de despegar de Florida para un vuelo de entrenamiento, cinco bombarderos estadounidenses, con una tripulación total de 14 personas, desaparecieron de la faz de la tierra sin dejar rastro. Desde ese momento, el hecho pasó a ser conocido como “el misterio del vuelo 19”. Aquel día, las condiciones meteorológicas eran ideales para el vuelo, por lo cual cualquier problema o accidente era inimaginable. Durante el entrenamiento, el instructor se contactó con la base de Fort Lauderdale para informar que sus brújulas no funcionaban. El piloto comunicó la ubicación en la que creía que estaban, pero, al ser errónea, la base desvió a los aviones hacia el Océano Atlántico. Luego de una segunda comunicación, dos aviones fueron al rescate de los bombarderos. Estos también desaparecieron sin dejar rastro. Posteriormente se realizaron numerosas operaciones de rastreo en la zona, pero nunca se encontraron evidencias de los bombarderos, de los aviones de rescate ni de los cuerpos de los desaparecidos. Desde aquel momento, la zona marítima situada entre Florida, Bermudas y Puerto Rico comenzó a ser conocida como el “Triángulo de las Bermudas”, y los rumores sobre las misteriosas e inexplicables desapariciones se extendieron por todo el mundo.

-1946: nace José Carreras, tenor español. Es conocido por sus interpretaciones en obras de Verdi y de Puccini, además de por formar parte del trío Los tres tenores, junto al italiano Luciano Pavarotti y al madrileño Plácido Domingo. En 1988 creó la Fundació Internacional Josep Carreras per a la lluita contra la leucèmia, dedicada a la cura de dicha enfermedad, que él mismo padeció. Fue galardonado con la Medalla de Oro de la Generalidad de Cataluña en 1984 y con el Premio Príncipe de Asturias de las Artes en 1991.

-1962: Estados Unidos y la URSS llegan a un acuerdo sobre la utilización pacífica del espacio.

-1965: nace John Rzeznik, músico estadounidense, conocido por ser parte de Goo Goo Dolls.

-2008: el equipo Honda decide retirarse de la Fórmula 1.

-2009: un incendio en una discoteca de la localidad rusa de Perm provoca 107 muertos y 200 heridos.

-2012:  en Río de Janeiro, muere a los 104 años el arquitecto Óscar Niemeyer, uno de los padres de la modernista ciudad de Brasilia, paradigma de la arquitectura del siglo XX. En 1956, junto al urbanista Lucio Costa, proyectó una ciudad entera (Brasilia) en papel y pudo verla construida cuatro años más tarde.

-2013: muere Nelson Mandela, líder del antiapartheid, abogado, político y primer presidente de Sudáfrica elegido democráticamente mediante sufragio universal, de 1994 a 1999. En la época más dura del segregacionismo fue dirigente del “Umkhonto we Sizwe”, el brazo armado del Congreso Nacional Africano (CNA). Pasó 27 años en la cárcel. Por su labor y lucha por los derechos humanos, recibió más de 250 premios y reconocimientos internacionales durante cuatro décadas, así como el Premio Nobel de la Paz en 1993.

La entrada #UnDíaComoHoy: 5 de diciembre en la historia aparece primero en culturizando.com | Alimenta tu Mente.

[italianaradio]

GERACE Domani concerto alla chiesa di San Francesco con il tenore Alessandro Mariani e la pianista Anna Lucia Trimboli

Nuovo post su italianaradio https://www.italianaradio.it/index.php/gerace-domani-concerto-alla-chiesa-di-san-francesco-con-il-tenore-alessandro-mariani-e-la-pianista-anna-lucia-trimboli/

GERACE Domani concerto alla chiesa di San Francesco con il tenore Alessandro Mariani e la pianista Anna Lucia Trimboli

GERACE Domani concerto alla chiesa di San Francesco con il tenore Alessandro Mariani e la pianista Anna Lucia Trimboli

R. & P.

Domani mercoledì 7 agosto 2019 alle ore 21,00, presso la Chiesa di San Francesco, avrà luogo un concerto tenuto dal tenore Aleandro Mariani (nella foto) accompagnato al pianoforte da Anna Lucia Trimboli.

La manifestazione rientra fra gli eventi promossi da AMA Calabria con il sostegno del Fondo Unico dello Spettacolo del MiBAC Direzione Generale dello Spettacolo, con il cofinanziamento della Regione Calabria – Assessorato alla Cultura nell’ambito del piano di Azione e Coesione 2014/2020 Asse 6.7.1 TRIENNIO 2017/2019 Azione 1° Grandi Festival ed Eventi Internazionali e della Città metropolitana di Reggio Calabria.

Importante sul territorio la collaborazione che AMA Calabria realizza, ormai da anni con l’Accademia di Musica lettere e Arti Senocrito di Gerace.

–

Aleandro Mariani, nato il 24 settembre 1989 ad Avezzano (AQ), in Italia, si è diplomato al corso istituzionale nel 2016 in canto lirico presso il Conservatorio di Santa Cecilia a Roma. Nel novembre del 2012, guidato dal M ° Renata Scotto, ha frequentato il corso di alto perfezionamento all’Accademia di Santa Cecilia in Roma. Ha frequentato l’accademia Lirica di Osimo, ha frequentato il progetto Fabbrica del teatro dell’opera di Roma, frequenta l’opera School di Bologna. Ha frequentato masterclass con: Rocwell Blake e Mariella Devia, Carlo Barricelli e Patrizia Orciani.

Ha collaborato con: Dario Lucantoni, Giuseppe Lanzetta, Bruno Aprea, Leo Nucci, Rolando Nicolosi, Donato Renzetti, Andrea Griminelli, Jader Bignamini, Michele Gamba, Vladimir Ovodok, Cristina Mazzavillani Muti.

Nel 2012 è il vincitore assoluto della competizione TIM (Torney International of Music) e nel 2013 ottiene il 1 ° premio del Concorso Rolando Nicolosi che gli consente di tenere un tour in Cina con il celebre Rolando Nicolosi. Nel 2013 ha cantato a Panama per il Ministero degli Affari Esteri d’Italia, inaugurando la nascita dell’Orchestra Italiano-Panamense. Nel 2014 Mariani ha tenuto il Concert for Peace a Tyro, in Libano, per conto dell’ONU. Nel 2015 ha debuttato in Amico Fritz di Pietro Mascagni, diretto da Donato Renzetti e Leo Nucci, al Teatro dell’Opera di Piacenza, Pavarotti di Modena, Alighieri di Ravenna. Nel 2015 ha tenuto il concerto di chiusura del Padiglione Italia a Milano EXPO 2015. Nel 2016 ha vinto come unico Tenore il concorso Young Artist Program del Teatro dell’Opera di Roma. Nel 2016 debutta in Rigoletto e Trovatore al teatro dell’opera di Roma.

Nel 2017 ha debuttato, come protagonista, (Turiddu) in Cavalleria Rusticana di Pietro Mascagni diretto da V. Ovodok, regia di C. Mazzavillani Muti. Nel 2018 ha cantato come ospite d’onore per il capodanno cinese  in diretta nazionale sulla tv nazionale la cctv.

Anna Lucia Trimboli, diplomata con lode in pianoforte presso il Conservatorio di Reggio Calabria sin da giovane ha vinto diversi Concorsi come il 6° Concorso Nazionale di Musica Danilo Cipolla di Cetraro, il 12° Concorso Musicale dell’Adriatico di Loreto o il Concorso Internazionale di Esecuzione Musicale di Castel Ritaldi. Ha iniziato una brillante attività concertistica sia come solista che con Orchestra esibendosi in prestigiosi contesti come la Sala Accademia del Conservatorio Santa Cecilia di Roma. Attualmente frequenta il Biennio di Pianoforte presso il Conservatorio Santa Cecilia di Roma. Ha partecipato a Master class tenute da Roberto Cappello, Carlo Guaitoli, Boris Berman e Andrea Lucchesini. Insegna Pianoforte nei corsi pre-accademici dell’Associazione Musica Insieme in convenzione con il Conservatorio di Vibo Valentia.

Il programma di assoluto interesse musicale e di godibile ascolto comprende di Schumann/Liszt Widmung, di Franz Schubert Standchen, di Francesco Paolo Tosti Non t’amo piu, L’alba separa dalla luce l’ombra, di Pietro Mascagni dalla Cavalleria Rusticana Intermezzo Sinfonico (arr per piano solo), di Giuseppe Verdi da “il Trovatore” Ah si, ben mio, da “Machbet” Oh figli miei, di Giacomo Puccini  da “Tosca”E Lucean le stelle, di Jules Massenet da “Thais” Meditation (arr. per piano solo), di Eduardo di Capua O sole mio, di Salvatore Cardillo Core n’grato, di Ernesto de Curtis Torna a Surriento.

    R. & P. Domani mercoledì 7 agosto 2019 alle ore 21,00, presso la Chiesa di San Francesco, avrà luogo un concerto tenuto dal tenore Aleandro Mariani (nella foto) accompagnato al pianoforte da Anna Lucia Trimboli. La manifestazione rientra fra gli eventi promossi da AMA Calabria con il sostegno del Fondo Unico dello Spettacolo del MiBAC

Francesca Cusumano

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Il sindaco di Modena Muzzarelli ha deposto per il Maestro, a nome della città, una cesta dei fiori che amava. C’era Cristina, figlia del tenore, e il sindaco di Castelnuovo Paradisi https://ift.tt/2ZR12kP

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[Interview] Luciano Pavarotti’s daughter talks about life with the King of the High Cs

Cristina Pavarotti talks about her opera-singer father before positioning his star on the Hollywood Walk of Fame next week,

Luciano Pavarotti – recital at La Scala 1988 Cristina Pavarotti, 58, is Luciano Pavarotti’s second child, and will be in Los Angeles on 24 August for the positioning her father’s star on the Hollywood Walk of Fame and the accompanying projections, including a restored video of Verdi’s Messa da Requiem from 1970 conducted by Claudio Abbado with Pavarotti, Renata Scotto, Marilyn Horne, and Nicolai…

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CIVITANOVA MARCHE – Dopo un’estate dedicata al cinema, con il Cecchetti sempre aperto, l’Azienda dei Teatri lancia la sua proposta autunnale caratterizzata dall’arte, dall’opera e dalle rassegne tematiche. 

“Abbiamo riaperto il Rossini la settimana scorsa registrando subito il successo de Il Re Leone – afferma il presidente TDiC durante la conferenza stampa che vede anche la presenza del vice-presidente Michela Gattafoni, della consigliera Roberta Aggarbati, della direttrice Cristina Gentili, della presidente dell’Associazione culturale Arte Anna Donati e dall’assessore comunale Pierpaolo Borroni – e nel frattempo prosegue ottimamente la campagna abbonamenti della stagione teatrale che ci fa capire come il pubblico gradisca molto la nostra proposta”.

Michela Gattafoni scende nel dettaglio dei nuovi progetti. “Da oggi riparte la programmazione settimanale del Cecchetti con The Rider, diretto da Chloé Zhao, sulla storia di un giovane cowboy. Con questa pellicola sarà proposta l’iniziativa soddisfatti o rimborsati: se uno spettatore non la gradirà, fino al 2 settembre, può lasciare la sala durante la proiezione e riceverà un biglietto gratuito per un’altra serata. Poi si parte subito con la grande arte al cinema Cecchetti: cinque film in programmazione fino al 27 novembre”. 

Il 3 e 4 settembre si inaugura il ciclo con Christo – Walking on water, documentario diretto da Andrey Paounov che racconta della genesi di Floating Piers, la gigantesca installazione artistica del 2016 che, per settimane, ha permesso a decine di migliaia di persone di “camminare” sul lago d’Iseo. 

Segue il 16, 17, 18 settembre Van Gogh e il Giappone, diretto da David Bickerstaff: un viaggio tra le bellezze della Provenza, l’enigma del Giappone e le sale della mostra ospitata nel 2018 al Van Gogh Museum di Amsterdam. 

Quindi l’appuntamento del 21, 22, 23 ottobre quando arriverà sul grande schermo Ermitage – Il Potere dell’arte, diretto da Michele Mally. Il docufilm, realizzato in stretta collaborazione con il Museo Statale Ermitage di San Pietroburgo, racconta le grandi storie che sono passate per i corridoi del museo e per le strade della città

Il 5 e 6 novembre ci sarà Escher. Viaggio nell’infinito, la storia dell’artista grafico olandese M.C. Escher, famoso in tutto il mondo. La pellicola guarda all’eredità e al modo in cui il suo lavoro, ancora oggi, ispira fumetti, pubblicità, film e richiama numerosi visitatori in tutto il mondo alle mostre sulla sua arte.

Il 25, 26, 27 novembre sarà invece il momento di Frida-Viva la vida, un documentario che mette in luce le due anime di Frida Kahlo: da una parte l’icona, pioniera del femminismo contemporaneo, tormentata dal dolore fisico, e dall’altra l’artista libera dalle costrizioni di un corpo martoriato. Per la rassegna della grande arte, con due spettacoli in programma (ore 18.30 e 21), il prezzo del biglietto è di 8 euro, ridotto per tutti.

Le prossime settimane vedranno in programmazione anche degli eventi speciali, sempre al Cecchetti: Apollo 11 il 10 e 11 settembre, Diego Maradona il 24 e 25 settembre, Il sindaco del rione sanità l’1 e 2 ottobre per concludere con Pavarotti il 28 e 29 ottobre. Anche in questo caso biglietto a 8 euro e doppio spettacolo alle ore 18.30 e 21.

Quindi l’opera con ben 12 appuntamenti al cine-teatro Rossini con dirette dai maggiori teatri d’Europa: Parigi, Salisburgo e Londra. In cartellone dal 24 settembre al 28 maggio 2020 La traviata, Don Giovanni, Il flauto magico, Coppelia, Lo schiaccianoci, Giselle, Macbeth, Manon, Il lago dei cigni, Cavalleria Rusticana – Pagliacci, Aida e in prima assoluta mondiale The Dante Project. Biglietto a 10 euro con unico spettacolo serale.

Infine un nuovo progetto teatrale con la rappresentazione di Andrea Scanzi, in programma il 25 settembre al Rossini, co-organizzato con l’associazione Arte: E pensare che c’era Giorgio Gaber. Diretto da Simone Rota, è uno spettacolo unico pensato da Scanzi, gaberiano doc, sul Gaber teatrale che ha avuto il coraggio di uscire dalla tv ed entrare con Sandro Luporini nella storia.

Scanzi conosceva Gaber, che di lui amava dire: “Ma perché questo ventenne sa tutto di me?” La presenza scenica, la mimica, la lucidità̀ profetica, il gusto anarcoide per la provocazione e il coraggio (a volte brutale) di “buttare lì qualcosa”, l’avere anticipato così drammaticamente i tempi, fanno del pensiero di Gaber-Luporini, oggi più̀ che mai, un attualissimo riferimento per personaggi della politica, dello spettacolo, della cultura, del nostro sociale quotidiano.

“Abbiamo scelto Scanzi – conclude Donati – per approfondire il pensiero contemporaneo. L’ingresso è gratuito perché il nostro obiettivo è promuovere la cultura”.