#Elena Borin

[tonisemitoni]

Cinque Maggio: Messa da Requiem a Santa Maria dei Servi

La vita musicale nella Bologna dei Lumi era intensissima paragonabile a quella veneziana. La maggior parte di bolognesi questo non lo sa, nemmeno gli assidui frequentatori dei teatri. Recuperando bei libri usati, si apprende che Bologna arrivò, prima che spirasse il primo quarto di secolo del ’700, ad avere, incendi permettendo, quattro grandi teatri pubblici funzionanti per circa settantamila…

[lamilanomagazine]

Alla Basilica di Santa Maria dei Servi il Requiem di Mozart

Alla Basilica di Santa Maria dei Servi il Requiem di Mozart. Bologna. Ad aprire le iniziative dedicate al 25 novembre, la Giornata internazionale per l’eliminazione della violenza contro le donne, giovedì 16 novembre, alle 21, nella Basilica di Santa Maria dei Servi in Strada Maggiore 43, si terrà la serata “L’armonia è vita, è donna. Dedicato alle vittime di femminicidio”. La Cappella Musicale Arcivescovile di Santa Maria dei Servi produce un concerto commemorativo speciale in apertura delle manifestazioni cittadine contro la violenza sulle donne. È stato scelto il celebre ed incompiuto Requiem di Mozart, un classico del repertorio della Cappella Musicale più volte eseguito nella Basilica di Strada Maggiore. Questa pagina musicale di bellezza travolgente e significato profondo, verrà eseguita soprattutto per riaccendere i riflettori riguardo alla tragedia quotidiana di femminicidi che solo nel 2023 sono saliti a 100, in media una donna ogni tre giorni, ed informare la cittadinanza sulla rete di servizi a disposizione delle donne e delle iniziative in tale ambito promosse dalle istituzioni per prevenzione e tutela. Il Requiem di Mozart dedicato alle vittime di femminicidio sarà eseguito dal coro e strumentisti della Cappella musicale Santa Maria dei Servi e diretto da  Lorenzo Bizzarri. Le voci sono quelle di Elena Borin (soprano), Claudia Marchi (mezzosoprano), Rocco Speranza (tenore), Carlo Colombara (basso). All’organo  Roberto Cavrini. In apertura interverranno: Emily Clancy, vicesindaca del Comune di Bologna;  Simona Lembi, Piano per l’uguaglianza della Città metropolitana di Bologna;  Marilena Pillati, Assemblea Legislativa della Regione Emilia-Romagna; Loretta Michelini di Mondo Donna Onlus; la direttrice di produzione�� Giorgia Busti e Piero Mioli, presidente della Cappella Musicale. La serata nasce infatti in collaborazione con Comune di Bologna, Piano per l’Uguaglianza della Città metropolitana di Bologna, Regione Emilia-Romagna e il centro antiviolenza ChiamachiAma dell’associazione MondoDonna onlus. Il centro è attivo a Bologna in Piazza San Francesco 8 e, con 13 sportelli, in tutta l'area metropolitana. Le donne che si rivolgono al centro antiviolenza e agli sportelli ricevono gratuitamente accoglienza ed orientamento, sostegno psicologico e consulenza legale. Alla serata collabora Silvana Fusari di PMG-Italia, che si adopera quotidianamente per i diritti delle donne disabili. A ricordare le vittime di femminicidio nella Basilica sarà allestita un’installazione di Scarpette rosse, il simbolo della lotta per i diritti delle donne e contro la violenza di genere a cura del Liceo Artistico “Francesco Arcangeli” di Bologna, in particolare delle classi 3Q e 5E1 indirizzo scultura, grazie alle insegnanti Barbara Burgio e Maria Savoldi e alla preside Maria Grazia Diana. Per informazioni, prenotazioni e acquisto del biglietto: 3395464514 - info@musicaiservi.it In occasione del concerto, è consentita la sosta nella piazzetta dei Servi ai soli veicoli muniti di contrassegno per disabili che parteciperanno al concerto.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[devilreno]

@blondeturk​ said: Smooches into his cheek several times and then moves her arms around his neck from behind . ' I miss you . ' She admitted to him as she moved her fingers through his red hair.

      There’s this little buzz something akin to a good feeling forming on the inside, accompanied by warmth that comes from Elena’s lips fluttering against his cheek. Reno’s lips stretch into a teeny smile and his expression falls content as the blonde loops her arms around his neck.

      “C’mere,” he carefully shifts his position so he has her perfectly where he could embrace her to his taller frame and plant a chaste kiss to her forehead.

      “I miss ya too. It’s pretty borin’ without cha.”

      He reaches to grip her hand and give the pad of her palm a gentle squeeze with his thumb as he displays a brief pout before grinning.

      “Y’got a minute? I wanna spend some time together.”

[turkoftheslums]

➰

Send ➰ and my muse will tell yours about one of their scars.

Reno expected to remain alone while using the rings at the gym, it was his day off after all and he did work out occasionally just so you know. So hearing Elena’s voice call to him out of nowhere while he was holding himself up startled him enough to lose his posture, yet his grip remained on the rings.

“What the hell, Elena? I nearly died.”

At her question about a scar, he looked down on himself. He hadn’t noticed his vest ride up in the commotion, revealing a small line of silver on the right side of his stomach. He clicked his tongue in dissatisfaction before letting go of the rings and landing.

“If ya want the excitin’ version, I lost a fight against a body part.” He moved towards his water bottle and drank some of its contents before continuing. “Borin’ version, my appendix was removed a few years back.”

[joaquimblog]

La temporada de l’Arena de Verona de l’estiu del 2017 es va inaugurar amb una nova producció de Nabucco, una òpera que després de l’Aida deu ser de les més representades en l’imponent amfiteatre romà, on des de fa 95 anys es repeteixen en massa assiduïtat els mateixos títols, aquells que poden fer possible que nit rere nit s’omplin les seves majestuoses grades d’aficionats i tours operators que farceixen les seves ofertes turístics amb la visita obligada al festival on quan no és una Carmen, és una Turandot, o si no l’esperada Aida o el Rigoletto, La Bohème o Il Trovatore, títols que garanteixin la venda d’un  taquillatge forçosament poc exigent i amant dels grans espectacles, quelcom que no vol dir que durant molts anys en el cartellone no hi figuressin  els noms més desitjats de qualsevol dels millors teatres.

En els darrers anys la decadència s’ha evidenciat en el cartellone i també en la implantació de mesures tan decebedores com l’amplificació de les veus, quelcom que els anys havien demostrat que no era necessari, i altres que sortosament per ara no han tingut el vist-i-plau, com la coberta de l’amfiteatre per evitar cancel·lar funcions en els dies que la pluja fa acte de presència.

Verona és una manera poc rigorosa d’anar a l’òpera. La immensitat del marc invita a la dispersió i al pur espectacle, el que no vol dir que al llarg de les 95 edicions no s’hagin viscuts nits excepcionals. Calia anar a l’Arena al menys una vegada a la vida, però ara amb l’amplificació acceptada sense contemplacions per a tothom, jo crec que ha perdut l’interès, si bé l’espectacle de veure les graderies plenes de gent, el cel normalment estelat i l’impacte de la música, les veus i la grandiloqüència de la representació és una experiència bonica. Si parlem seriosament d’òpera, segurament no tant.

A Verona s’han fet intents aïllats d’adaptar-se als temps moderns proposant posades en escena més trencadores, però els intents no han funcionat, i la darrera Aida sota l’avorrida i repetitiva proposta de La Fura dels Baus n’és el més recent exemple.

Potser per aquest motiu, la “gosadia” feta per Arnaud Bernard, director de la producció escènica d’aquest “nou” Nabucco, de voler explicar el Risorgimento amb Nabucco, Abigaille, Zaccaria, Ismaele i Femena disfressats de Franz Mahler, Livia Serpieri, Roberto Ussoni, Il conte Serpieri i companyia de la viscontiana Senso, no és altra cosa que un intent de modernitzar la proposta però oferint un espectacle visual ben distret i cal dir que ben realitzat, sense importar gaire si el Verdi que es canta és genuí, ben i adequadament cantat i amb els millors cantants possibles, perquè sembla com si fos més important el plantejament escènic i escenogràfic que no pas les veus , ja dic que poc adequades del coneguts Gagnidze i Siwek o la desconeguda per a mi, senyora Branchini.

Són els signes dels temps, res de nou.

El moviment escènic de les masses, l’ambientació de l’acció en els cinc dies famosos de la revolució milanesa l’any 1847, l’escenografia giratòria que ens presenta la façana de la Scala, o l’interior de la sala, en un efecte teatral d’impacte que s’emmirallà en l’escena inicial de la pel·lícula de Visconti, així com el disseny de vestuari del propi Bernard, configuren un embolcall atractiu que fa encabir la trama del llibret original amb calçador. És obvi que el “Va pensiero” ho pot justificar quasi tot i que al seu voltant la trama babilònica pot arribar a grinyolar, amb una Abigaille que no han sabut transformar correctament, però el que se’ns proposa és in plantejament escènic vell, mil vegades vist o si ho voleu més moderat clàssic. Agradarà molt a tots aquells que les transgressions escèniques els treuen de polleguera, perquè Arnaud Bernard, per sobre de voler dir-nos coses diferents o si més no de manera diferent, ens diu el de sempre i d’una manera absolutament digerible, és una producció amb la voluntat de ser estèticament bonica per sobre de qualsevol altra denúncia de repressió. ÉS clar que el risorgimento és molt agraït i enarborar la tricolori sempre té aixecar la febre patriòtica, tot i que la majoria d’assistents siguin guiris.

Hi ha un excés molest de trets i canonades que contaminen l’espai acústic que hauria d’estar destinat exclusivament per la música ii el cant, però noi crec que això acabi sent molest per a tots aquells que quedaran bocabadats davant del desplegament humà i animal, amb soldats a cavall, calesses i una munió de personatges que farceixen  l’interminable espai escènic per garantir que el públic no s’avorreixi.

I es poden avorrir? Doncs si per sobre de tot això busques les veus, l’orquestra i el cor que et facin gaudir de valent, doncs si, perquè Gagnidze no és un prodigi de cant verdià, te una veu baritonal aprofitable, però el seu grau d’interpretació és més aviat escàs i no té la grandesa vocal necessària, com tampoc la té la soprano lírica Susanna Branchini, que algú ha mal aconsellat en fer de dramàtica encara que això suposi canviar tres o quatre vegades de veu per anar dels precisos aguts, ben col·locats i emesos, a una zona greu inexistent de natural i per tant resolta mitjançant l’emissió gutural i sorda d’unes notes parlades que no tenen cap projecció natural a no ser que es forci en un quasi “parlando” grotesc que ara els micròfons deuen fer audibles. Com a soprano lírica de ben segur que tindria possibilitats, però dubto que cantant rols com aquest ho arribem a saber mai.

El Zaccaria de Rafal Siwek és d’una insuficiència descoratjadora. Escolteu a Giaiotti, per no citar els de sempre, i us adonareu del gran pas enrere, és exactament igual que això del canvi climàtic. Estem condemnats,

Bé Nino Surguladze com a Fenena i descoratjador l’Ismaele de Rubens Pelizzari, d’una insuficiència de tot, alarmant.

Daniel Oren ha fet del Nabucco la seva raó de viure. Se la sap de memòria i en treu resultats brillants de l’orquestra i no tant del cor, que tot i així bisa el “Va pensiero” (quelcom habitual com la vendetta de Nucci) ja que segurament els micròfons de la transmissió televisada els perjudiquen més que els beneficien.

Giuseppe Verdi NABUCCO Llibret de Temistocle Solera

George Gagnidze (Nabucco) Rubens Pelizzari (Ismaele) Rafal Siwek (Zaccaria) Susanna Branchini (Abigaille) Nino Surguladze (Fenena) Elena Borin (Anna) Paolo Antognetti (Abdallo) Nicolò Ceriani (Gran Sacerdote di Belo)

Orchestra e Coro dell’Arena di Verona Direcció musical:Daniel Oren Direction de chœur :Vito Lombardo

Direcció d’escena: Arnaud Bernard Escenografia: Alessandro Camera Disseny de vestuari: Arnaud Bernard Disseny de llums: Paolo Mazzon

Arena de Verona, 26 d’agost de 2017.

Aquí ens calia un apunt de Verona per fer un repàs a tots els festivals estiuencs. Agradarà o no, però calia passar-hi.

VERONA 2017: NABUCCO (GANIDZE- La temporada de l'Arena de Verona de l'estiu del 2017 es va inaugurar amb una nova producció de…

[imnevergonnagiveyouup]

"Cloud!" The blonde-haired 'rookie' (although she'd been a Turk for years, she seemed to be cursed with the title) winced at the over-enthusiasm in her voice, then stopped and smiled. "Glad you made it home safe." She winced again; 'Stop being so damn friendly, Elena!' She mused angrily, groaning at Cloud's face. "... Anyway. We Turks have been keeping our eyes on you, and we noticed you've been down. So... here." She held out handful of lillies, freshly picked. "T-This is from the others too!"

@rookie-turk

   Can the day feel any longer than it actually has to be? Universe don’t answer that. Cloud paces through the streets of Edge without a destination in mind, an aimless limbo without conclusion, prisoner to his thoughts once more. It gets tiring listening to the same song over and over again—it gets overplayed, it gets on the nerves, quirks up some rage—it’s what happens when the mind is the one with the most control instead of it being the other way around. Visually, one can easily come to the assumption that sleep’s not been very kind to Cloud as of late, it hasn’t been his best friend or a friend at all in the first place. The lack of sleep is obvious by just looking at his eyes, his less than lax posture, and the way his footing seems uneven. For the most part it’s purposeful, a state of his own design by will and choice alone even if it didn’t initially start that way. Nightmares haunt him in the dream realm, in a reality that mocks this one but it’s different with him. Sometimes there’s difficulties, sometimes he can’t tell the difference. He can’t tell apart if the blood on his hands is real, if the corpse of his friend is what it is because he’s chosen to strike them down at will, he can’t tell if he’s to break free of those shackles will he still be the one in control? Or will it be someone else who’s not there? It’s headache. ‘Fuck..’ An inward curse as he comes to a stop and rests a hand on his forehead, feeling how its pulse is far more intense than it should be. Maybe he should tell someone, talk to someone-

Nah.

   Well, that immediately gets voted out without as much of a second thought. It’s something he should attempt however, and of that he’s more than aware of. But, the sound of his name being yelled from a distance away dictates that it’ll be something he could look into later. His disconnect isn’t as strong anymore so that’s comforting at least. “…?” The name of the bearer escapes for a moment, but it is a voice he recognizes, there’s a joyous hop to it.

   “Elena?” It’s like a swig when he catches flight of her after looking behind him. It’s sure been a while. He doesn’t even want to wonder what she might want because chances are it’s at the instruction of Rufus so he’s going to nip it at the bud before she continues. Sweet talk is just that after all, mere sweet talk. “I’m not interested. Tell Rufus to look for someone else.” He’s no one’s dirty laundry handler, let alone SHINRA’s or- well, what’s currently left of them as they try to build back that glory of theirs. She trails off with something he’s already vaguely aware of, but why they’d keep prints of his workings goes beyond him. He doesn’t do anything special, he’s just a delivery boy now. He wants normalcy and some smooth sailing for a change. “..Must be borin’.” He interjects without amusement and shaking his head. However as she continues things seem to take a turn given that what he’s come to assume isn’t a truth so it sparks some interest. ‘Noticed I’ve been..down?’ He wonders. Just how close have these suited fellows been keeping an eye on him anyway? His tired eyes widen slightly at the sight of the flowers and what looks like to be what the turks had been dishing up for him. “Flowers?” He questions, staring at them before he takes them from her hands. For some reason he has a difficult time believing this is a delivery from all of them but..regardless of the source the gesture in itself is kind and of that he acknowledges without a fault. This ordeal makes an end of his lip lift up into what can quality as a smile. “Thanks, I guess.” Not something that happens everyday, but he’ll take it whatever it is.

[puroalgarete]

Holiday Survey 2021; TASK

Eggnog, hot chocolate, or something else?

Hot chocolate and coquito, for sure. One for the warmth and the other to get fucked up.

Does Santa wrap presents or just sit them under the tree?

Man just sits them under the tree. He got his elves for all that other shit.

Colored lights or white lights?

Colored. 'Cause you wants borin' ass white lights. Tell me. Who?

Do you hang mistletoe?

Nope, my sister does. 'Cause she's sneaky af, thinkin' she can get me to pay for her boyfriend comin' out here anddddd 'cause apparently, she likes Win and wants me to knock her up so they can be knocked up together.

When do you hang up your holiday decorations?

Whenever I got the time. Usually I used to do it all the time with Maria-Elena back in PR. This year, we had our brother Miguel help sort it out.

What’s your favorite holiday dish?

Pernil y arroz con gandules and some kind of dessert, with several drinks of coquito. Don't need much else.

What’s your favorite holiday dessert?

Dominican cake. Hands down, one of the most delicious cakes on earth.

Favorite holiday memory as a child?

The first one I had with my grandparents, 'cause I realized what Christmas was kinda supposed to be like.

What is on your wish list this year?

To make it to next year without shit goin' south and I wanna get to know my brother more, help my sister get her shit together for when she has the baby and to have more memories with, Win.

Do you open gifts on Christmas Eve?

Just one. 'Cause of tradition, the rest get opened on Christmas Day and then on three kings day.

Snow – love it, or dread it?

Love watchin' it fall. Dread walkin' or drivin' in it when I have to.

Real tree or fake tree?

I'd rather a fake one. Save the environment and all that.

What’s your favorite gift you’ve ever received?

Gettin' back the memories of people in my life that love and care about me. 'Cause otherwise I'd feel more alone than I do now.

What’s the most important thing about the holidays to you?

Bein' with the people you care about. I don't need gifts. Just the right people with the right vibes.

What is your favorite tradition?

Decoratin' the tree with the fam.

What tops your tree?

An Angel tree topper. 'Cause we outdid the star.

Do you prefer giving or receiving gifts more?

Giving gifts. 'Cause I'm a giver. Their presence is more than enough for me.

What is your favorite holiday song?

"Sleigh Ride," and "All I Want for Christmas," by TLC; because they're not your typical overplayed Christmas songs.

Candy canes – yuck or yum?

Definite yum. You can find me with one of them in my mouth all throughout the holidays.

Favorite holiday movie?

A Christmas Story, Die Hard and Home Alone. They're classics and they're all I need to watch around Christmas time.

What do you/did you leave out for Santa?

Coquito, a joint and some cookies. What? Is it supposed to be somethin' else?

Do you have a Christmas morning tradition?

Yeah, open all the damn presents and then eat. What more tradition do you need? I mean, for real.

Do you prefer to shop online or in person?

These days, online. Ain't nobody wanna wait on a line anymore to get shit you can buy online. Just sayin'.

Holiday letter or holiday card?

Card. Keep that shit hella short. 🤣

[ladywinsomes]

themarquessofislay​:

The falter in her smile did not escape Kenneth. Kenneth was thinking the same. Malcolm’s birth was the best day of his life and the worst. His mind began to shift away from the present. Elena would always sing a lullaby to their unborn child. ‘The child should know to be familiar with the tune. I swear they move when I start singing.’ She was a superstitious lass. A dejected smile across his lips. He couldn’t dwell on unpleasant memories any longer.

“Aye, babies can become a raither borin’ topic,” Kenneth spoke seriously yet his playful smirk betrayed him. Seeing Lydia take his hand, he shared in her smirk. “Guid thin’, I’m leadin’ ‘en.” The musicians struck up a lively tune as Kenneth lead Lydia to the dance floor. A Cotillion dance began. Kenneth stepped fluidly through each move, eyes never leaving his partner’s. He pulled her close before spinning her away, then back to him. “Ye dance quite weel, mah lady. Aam shocked ye huvnae danced since lest season.” Kenneth laughed. He couldn’t remember the last time he danced. The movements and tune were familiar, but enjoying the motions was something he was becoming accustomed to.

The sudden stop of the music brought a frown to his face. Why must it finish so soon? Kenneth bowed to his partner before leading her back to the edge of the room. “Ah do hope Ah have not exhausted ye.” Kenneth’s smile faltered when he noticed the host of the evening heading their way. “I’m afraid Ah need tae take mah leave, mah lady. Ah am not suppose tae be haur, an’ would prefer not tar be throon out. Perhaps, Ah may call upon ye soon.”

“I — I see.” Oh, how she wished he could stay and offer his company just a little bit longer. “But yes, please, I would so enjoy another visit.”

Without breaking eye contact, Lydia bobbed a curtsy. “Well, I wouldn’t want to keep you. Give Malcolm my love.” She said before she could stop herself. “Erm, you know what I mean.”

Lydia watched him sweep through the crowd and disappear out the doors. Something akin to joy pinged through her and for the first time that night, she felt welcomed.

[end.]

[ppwbm-blog]

Exception culturelle et diffusion musicale, le document complet. Sarah Jacqueline Lang a achevé une thèse professionnelle, dirigée par Elena Borin à la Burgundy School of Business (BSB), sur l’impact des politiques d’exception culturelle française, dans un contexte d’évolution technologique.

[gramilano]

Wiener Staatsballet, Sylvia, photo Ashley Taylor

This morning, Frédéric Olivieri, director of La Scala’s ballet company, announced the theatre’s 2019-2020 season:

Sylvia

14 December 2019 – 14 January 2020

Music: Léo Delibes Choreography: Manuel Legris based on Louis Mérante and others Story and libretto: Manuel Legris and Jean-François Vazelle based on Jules Barbier and Jacques de Reinach Sets and costumes: Luisa Spinatelli Assistant for sets and costumes: Monia Torchia Lighting: Jacques Giovanangeli

Conductor: Kevin Rhodes

New production Teatro alla Scala; Coproduction with Wiener Staatsballett

Wiener Staatsballet, Sylvia, photo Ashley Taylor 01

Wiener Staatsballet, Sylvia, photo Ashley Taylor 02

The ballet first appeared on the stage of the Paris Opera in 1876. Continuing in the French tradition, Manuel Legris created in his version in 2018 for the Vienna State Ballet, coproduced with La Scala. It will be the ballet that opens the season on 14 December with a preview performance for young people, followed by the official opening on 17 December 2019. The production is designed by Luisa Spinatelli who designed La Scala’s new production of Le Corsaire.

Sarcasmen, Het Nationale Ballet, photo Hans Gerritsen

Serata van Manen – Petit

24 January – 8 February 2020

Adagio Hammerklavier

Music: Ludwig van Beethoven, Adagio from Piano Sonata No. 29 Choreography: Hans van Manen Sets and costumes: Jean-Paul Vroom Lighting: Jan Hofstra

Kammerballett

Music: Kara Karayev, John Cage, Domenico Scarlatti Choreography: Hans van Manen Sets and costumes: Keso Dekker Lighting: Joop Caboort

Sarcasmen

Music: Sergei Prokofiev, Sarcasmes Op. 17 Choreography and costumes: Hans van Manen Lighting: Jan Hofstra New production

Le combat des anges

Music: Gabriel Fauré, Elégie Op. 24 for cello and piano From Roland Petit’s ballet Proust, ou les intermittences du coeur pas de deux Morel et Saint Loup Remounted by Luigi Bonino

Le jeune homme et la mort

Music: J S Bach, Passacaglia in C minor  582 Choreography: Roland Petit Remounted by Luigi Bonino Story by Jean Cocteau Sets: Georges Wakhevitch Costumes: Karinska Lighting: Jean-Michel Désiré

Étoile Roberto Bolle (24, 25, 28, 31 January)

Adagio Hammerklavier, Het Nationale Ballet, photo Hans Gerritsen

Hans van Manen photo Erwin Olaf

Le combat des anges, photo Brescia e Amisano, Teatro alla Scala

Roland Petit at La Scala, photo Marco Brescia, Teatro alla Scala

Continuing the project of chamber ballets at La Scala is this programme with five pieces by Hans van Manen and Roland Petit. Sarcasmen and Kammerballett are being performed at La Scala for the first time.

  Madina

22 March – 16 April 2020

Music: Fabio Vacchi Story by Emmanuelle de Villepin taken from her book La ragazza che non voleva morire Choreography: Mauro Bigonzetti Lighting and sets: Carlo Cerri Costumes: Maurizio Millenotti

Étoile Roberto Bolle (22, 24 March; 1, 2, 16 April 2020)

Conductor: Michele Gamba

Narrator: Filippo Timi

World premiere Teatro alla Scala

Fabio Vacchi

Mauro Bigonzetti

Madina is a new musical and choreographic creation on universal themes, rarely touched on in ballet. With choreography by Mauro Bigonzetti and a specially written score by Fabio Vacchi based on Emmanuelle de Villepin’s novel The Girl Who Did Not Want to Die.

The young Madina, a kamikaze but not by choice, chooses not to kill and does not want to die. A work abundant with mixed feelings and hope for change, of ancestral impulses, symbolic places, and the perverse dynamics of violence that kills itself, where good and evil are opposed but continue to mingle.

Timofej Andrijashenko in Romeo and Juliet, photo by Brescia e Amisano, Teatro alla Scala 2016

  Romeo and Juliet

29 April – 15 May 2020

Music: Sergei Prokofiev Choreography: Kenneth MacMillan Sets: Mauro Carosi Costumes: Odette Nicoletti Lighting: Marco Filibeck Conductor: Felix Korobov

Kenneth MacMillan’s Romeo and Juliet returns in the production created for La Scala in 2010 by Mauro Carosi and Odette Nicoletti. It will be accompanied by the Orchestra of the La Scala Academy conducted by Felix Korobov.

Presentation, Scuola di Ballo Accademia Teatro alla Scala, photo Ilaria Elena Borin

Performance by the Ballet School of the La Scala Academy

28 May – 21 June 2020

Présentation Music: Wolfgang Amadeus Mozart, Piano Concerto No. 23 From an idea by Frédéric Olivieri

Prometeo Music: Ludwig Van Beethoven, The Creatures of Prometheus (Die Geschöpfe des Prometheus), Op. 43 Choreography: Heinz Spoerli World premiere Teatro alla Scala Conductor: Theodor Guschlbauer

The 200-year-old ballet school brings to La Scala’s stage a new work by Heinz Spoerli to the only ballet Beethoven wrote, Die Geschöpfe des Prometheus. 2020 marks the 250 anniversary of the composer’s birth.

Swan Lake, photo Brescia e Amisano, Teatro alla Scala

Swan Lake

24 June – 9 July 2020

Music: Pyotr Ilyich Tchaikovsky Choreography: Rudolf Nureyev from Marius Petipa and Lev Ivanov Sets: Ezio Frigerio Costumes: Franca Squarciapino Conductor: Michail Jurowski

With the French director, Frédéric Olivieri, back at the helm of La Scala’s corps de ballet, it’s out with the Alexei Ratmansky and a return to Nureyev’s production. It is to be hoped that both productions can coexist. This version was first mounted at La Scala in 1990.

La Dame aux Camélias, with Svetlana Zakharova, photo by Brescia e Amisano, Teatro alla Scala 2017

La Dame aux camélias

18 – 30 September 2020

Music: Frédéric Chopin Choreography: John Neumeier Sets and costumes: Jürgen Rose (Staatsoper Stuttgart 1978) Lighting: John Neumeier Étoiles Svetlana Zakharova and Roberto Bolle (18, 23, 26, 29 September 2020) Conductor: Theodor Guschlbauer

La Dame aux camélias with Roberto Bolle, photo by Brescia, Teatro alla Scala

La Dame aux Camélias, with Roberto Bolle and Svetlana Zakharova, photo by Brescia e Amisano, Teatro alla Scala 2017

La Dame aux Camélias, with Timofej Andrijashenko and Nicoletta Manni, photo by Brescia e Amisano, Teatro alla Scala 2017

La Dame aux camélias with Svetlana Zakharova

One of John Neumeier’s most representative pieces, La Dame aux Camélias, shows his fondness for the narrative ballet. On the podium, Theodor Guschlbauer, an expert in the French repertoire, returns to conduct the Orchestra of the La Scala Academy.

George Balanchine’s The Nutcracker®, Act 1 snowscene, photo by Brescia e Amisano, Teatro alla Scala 2018

The Nutcracker

3 – 20 October 2020

Music: Pyotr Ilyich Tchaikovsky Choreography: George Balanchine Sets and costumes: Margherita Palli Lighting: Marco Filibeck Conductor: Felix Korobov

George Balanchine’s The Nutcracker®, Nicoletta Manni and Timofej Andrijashenko, photo by Brescia e Amisano, Teatro alla Scala 2018 02

George Balanchine’s The Nutcracker®, Nicola Del Freo as Sugar Cane, photo by Brescia e Amisano, Teatro alla Scala 2018

George Balanchine’s The Nutcracker®, Samuele Berbenni as Mother Ginger, photo by Brescia e Amisano, Teatro alla Scala 2018

George Balanchine’s The Nutcracker®, Martina Arduino as Dewdrop, photo by Brescia e Amisano, Teatro alla Scala 2018

This new production of Balanchine’s The Nutcracker opened the current ballet season. Felix Korobov returns to the podium conducting the Orchestra of the La Scala Academy.

La Scala Ballet Season 2019 – 2020 This morning, Frédéric Olivieri, director of La Scala’s ballet company, announced the theatre's 2019-2020 season: Sylvia…

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Tiers-lieux, lieux intermédiaires, fabriques… Comment appréhender les espaces culturels émergents ?

See on Scoop.it - Tiers-lieux et nouveaux modes de travail

Aujourd’hui assistante chercheure pour le Centre des arts et du management culturel de la Burgundy School of Business (ancien ESC Dijon), Cassandre Jolivet a achevé une thèse professionnelle l’an dernier, dirigée par Elena Borin, sur les espaces culturels émergents, autrement appelés « espaces culturels intermédiaires ». Elle propose une synthèse de ses recherches dans une série d’articles publiés, à partir d’aujourd’hui, dans Profession Spectacle.

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FRANCE : LA POLITIQUE D’EXCEPTION CULTURELLE APPLIQUÉE AUX RADIOS MUSICALES

FRANCE : LA POLITIQUE D’EXCEPTION CULTURELLE APPLIQUÉE AUX RADIOS MUSICALES

Quel est l’impact des plates-formes de streaming sur la radio, canal historique de diffusion des œuvres musicales ? Une exception culturelle fondée sur l’établissement de quotas est-elle encore pertinente ? Tels sont notamment les enjeux de la recherche menée par Sarah Jacqueline Lang.

Sarah Jacqueline Lang a achevé une thèse professionnelle, dirigée par Elena Borin à la Burgundy School of…