#George Tsypin

[balletthebestphotographs]

April Daly and Fabrice Calmels

April Daly as “Desdemona” and Fabrice Calmels as “Othello”, “Othello”, choreo by Lar Lubovitch, music by Elliot Goldenthal, scenic design by George Tsypin, costumes by Ann Hould-Ward, 2016 Chicago Dancing Festival, Harris Theater for Music and Dance, Chicago, Illinois, USA.

Source and moreinfo at: Photographer Cheryl Mann Website Photographer Cheryl Mann on Flickr Photographer Cheryl Mann on Facebook Photographer Cheryl Mann on Instagram

via Frabrice Calmels on Instagram

Note I: This blog is open to receiving and considering any suggestions, contributions, and/or criticisms that may help correct mistakes or improve its content. Comments are available to any visitor.

Note II: Original quality of photographs might be affected by compression algorithm of the website where they are hosted.

[gorbigorbi]

Alessandra Ferri as Desdemona and Marcelo Gomes as Othello, "Othello", choreography by Lar Lubovitch, music by Elliot Goldenthal, scenic design by George Tsypin, costumes by Ann Hould-Ward, American Ballet Theatre, The Metropolitan Opera, New York City, USA (2007)

Photographer Gene Schiavone

[persinsala]

Ti vedo, ti sento, mi perdo

Salvatore Sciarrino torna al Teatro alla Scala e lo fa chiudendo un’intensa stagione operistica. Ti vedo, ti sento, mi perdo si muove tra omaggio e poesia, elisione ed evocazione, lavorando là dove il focus dell’azione, il compositore barocco Alessandro Stradella, diviene impalpabile e frammentario. Una scelta coraggiosa che convince

(more…)

[nyphil]

The New York Philharmonic wrapped up its 16th annual residency at @bravovail. 1) Bass Trombone George Curran warms up in the beautiful little garden behind the brass and percussion. 2) The Gerald R. Ford amphitheater is nestled at the base of Vail Mountain. This year we performed to capacity crowds on gorgeous nights like this! 🌄 3) Hans Graf (left), Concertmaster Frank Huang, and Louis Lortie share a moment backstage before they took the stage for Ravel’s Piano Concerto for the Left Hand. 4) Very Young Composers of Vail culminated their 10-day workshop with two performances of the participants’ new pieces. Philharmonic violist Peter Kenote and trumpet Thomas Smith along with musicians from the area helped bring the composers’ pieces to life! 5) @joshuaweilerstein led sister @alisaweilerstein in a stellar performance of Elgar’s Cello Concerto. 6) As is tradition we ended the final concert of our residency wishing retiring musicians well. This year we say goodbye and thank you to Vladimir Tsypin after 35 years with the Philharmonic. #nyphilharmonic #nyphil #trombone #composers #piano #cello #orchestra #violin #nypvail (at Gerald R. Ford Amphitheater)

[demoura]

COVID 19 DIÁRIO DO DIA 22 DE MAIO , ANIVERSÁRIO DE RICHARD WAGNER UM ENCONTRO DE IRMÃOS E UMA VISITA AO CHIADO : todos os dias celebro o momento em que há 207 anos Richard Wagner nasceu num quarto do segundo andar de uma estalagem no Brhül de Leipzig , todos os dias são dias do seu aniversário .Wagner gcom a sua música intoxicante foi o principal timoneiro na travessia do confinamento da Maria Zaza e meu .No fim darei conta como os ébrios, das óperas que consumimos ...

Mas ontem foi também o regresso a uma “normalidade possível “ com um encontro familiar Sem o ver há mais de dois meses convidei o meu irmão Miguel para almoçar e fazer compras no Chiado! .Vencidas resistências familiares vivemos uma manhã encantadora .Com tantos anos de vida nunca tinha visto o Chiado assim .Despojado das hordas turísticas ( necessárias ) dos TUC TUC , dos mendigos com os cães, ( reforço da súplica ) , silencioso era uma miragem lembrando os tempos da minha primeira consulta privada no consultorio da Rua Ivens por cima da Jalco ...Entramos primeiro na Bertrand onde comprei a “ A arte de Jorge de Sena” uma antologia e o Miguel “Inventário “ de José Cutileiro . Depois um aperitivo na esplanada da Bernard quase deserta com atendimento cortês de pessoal de viseira, máscara e luvas .Ao contrário dos comércios locais dos nossos bairros segurança máxima ! Almoçamos o prato do dia uma carne de porco à alentejana (média ) e de sobremesa um pudim de ovos (bom) . Pela canícula bebemos um branco Planalto reserva. Fomos depois tomar café a Brasileira .Com os muitos anos que tenho nunca tinha tirado uma fotografia com o autor do” Livro do Dessassosego » Considerava essa prática um acto de mau gosto . Mas hoje vesti esse momento kitsch .. “Considero a vida uma estalagem onde tenho que me demorar até que chegue a diligência do abismo. Não sei onde me levará, porque não sei nada.” A caminho do Rossio parei na Instanta para fazer as fotografias necessárias à renovação da carta enquanto o Miguel comprava doces na Alcoa .Finalmente uma última compra para o neto mais pequeno o querubim Mateus .E là fomos depois descendo lentamente a rua do Carmo tão deserta como o Rossio que fomos encontrar florido pelos jacarandás .

Depois da sesta foi tempo de continuar a assistir ao ANEL DOS NIBELUNGOS da Opera Holandesa com a extraordinária produção de Die Walkure . Quer a produção de Audi quer a direção de Haenchen fazem dela um marco histórico .

Um dos pontos fortes desta é o cenário gigantesco envolvente de George Tsypin, que abraça a orquestra colocada no palco cobre o fosso e avança sobre o auditório. Isso cria uma intimidade quase conspiratória entre os cantores e seu público e, com os músicos por trás deles, nunca precisam de se forçar a anular a orquestra. Em momentos cruciais como o "Wälse!" de Siegmund , Audi dá-lhes uma estatura heróica, colocando-as no alto de uma ponte enferrujada, uma construção dominante .Nos momentos mais dramáticos, efeitos deslumbrantes de iluminação e fogo transformam o palco num campo de batalha elementar.Absorvente e cada vez me surpreende mais a criatividade do libanês amigo de Saatchi ...

Quanto aos números Portugal tem 12 mortes e 1138 recuperados nas últimas 24 horas. Mais de 30 mil casos confirmados desde o início do surto

tão deserta como o Rossio que fomos encontrar florido pelos jacarandás .

Depois da sesta foi tempo de continuar a assistir ao ANEL DOS NIBELUNGOS da Opera Holandesa com a extraordinária produção de Die Walkure . Quer a produção de Audi quer a direção de Haenchen fazem dela um marco histórico .

Um dos pontos fortes desta é o cenário gigantesco envolvente de George Tsypin, que abraça a orquestra colocada no palco cobre o fosso e avança sobre o auditório. Isso cria uma intimidade quase conspiratória entre os cantores e seu público e, com os músicos por trás deles, nunca precisam de se forçar a anular a orquestra. Em momentos cruciais como o "Wälse!" de Siegmund , Audi dá-lhes uma estatura heróica, colocando-as no alto de uma ponte enferrujada, uma construção dominante .Nos momentos mais dramáticos, efeitos deslumbrantes de iluminação e fogo transformam o palco num campo de batalha elementar.Absorvente e cada vez me surpreende mais a criatividade do libanês amigo de Saatchi ...

Quanto aos números Portugal tem 12 mortes e 1138 recuperados nas últimas 24 horas. Mais de 30 mil casos confirmados desde o início do surto

Portugal registou nesta sexta-feira mais 12 mortes por covid-19, um aumento de 0,9%, que eleva para 1289 o total de vítimas mortais. Nas últimas 24 horas, foram detectadas mais 288 pessoas infectadas, o que corresponde a uma taxa de crescimento de 1,0% com (

30.200 casos identificados desde o início . Casos internados em UCI 84 (0,3 % dos infectados Recuperados: 7590 (+17,6 % do que ontem .

[nywhiteandblack]

🐠 𝗦𝗲𝗮𝗚𝗹𝗮𝘀𝘀 𝗖𝗮𝗿𝗼𝘂𝘀𝗲𝗹 🐠 . 📍#facts . English (Spanish below) ———————————————————— 🗝 The SeaGlass Carousel is a fish-themed carousel in Battery Park at the southern tip of Manhattan Island in New York City. The carousel opened to the public on August 20, 2015. . 🤝The project to build a carousel was created by Warrie Price, founding president of the Battery Park Conservancy. . 🔎 City officials described the carousel's opening as a symbol of recovery in the area, which suffered damage from Hurricane Sandy in 2012. . 🙋🏻‍♀️ Part of a plan to redevelop the park,it cost $16 million to build; $8 million of this money was paid for by the city and the Lower Manhattan Development Corporation.Design and construction took nearly a decade. . 🎼 The carousel is the work of New York architectural firm WXY and artist George Tsypin.Music for the ride was created by Teddy Zambetti, a composer and music executive for SiriusXM, who adapted familiar classical themes by Debussy, Mozart, Prokofiev, Ravel, and Saint-Saëns into contemporary styles. . Spanish ———————————————————— 🗝SeaGlass Carousel es un carrusel con temas de peces en Battery Park en el extremo sur de la isla de Manhattan en la ciudad de Nueva York. El carrusel se abrió al público el 20 de agosto de 2015. . 🤝El proyecto para construir un carrusel fue creado por Warrie Price, presidente fundador de Battery Park Conservancy. . 🔎 Funcionarios de la ciudad describieron la apertura del carrusel como un símbolo de recuperación en el área, que sufrió daños por el huracán Sandy en 2012. . 🙋🏻‍♀️ Fue parte de un plan para reconstruir el parque, su construcción costó $ 16 millones; $ 8 millones de este dinero fueron pagados por la ciudad y la Corporación de Desarrollo del Bajo Manhattan. El diseño y la construcción tomaron casi una década. . 🎼El carrusel es obra del estudio de arquitectura de Nueva York WXY y el artista George Tsypin. La música para el viaje fue creada por Teddy Zambetti, un compositor y ejecutivo musical de SiriusXM, quien adaptó temas clásicos familiares de Debussy, Mozart, Prokofiev, Ravel y Saint-Saëns en estilos contemporáneos. . #carousel #seaglass #seaglasscarousel #ny (at SeaGlass Carousel at The Battery) https://www.instagram.com/p/B3ZwMZ3hlnd/?igshid=zgsfjonn3931

[twolionss]

Listening to La Clemenza di Tito from the Salzburger Festspiele:

CREATIVE TEAM

Teodor Currentzis, Conductor Peter Sellars, Director George Tsypin, Sets Robby Duiveman, Costumes James F. Ingalls, Lighting Antonio Cuenca Ruiz, Dramaturgy

CAST

Russell Thomas, Tito  Vespasiano Golda Schultz, Vitellia Christina Gansch, Servilia Marianne Crebassa, Sesto Jeanine De Bique, Annio Willard White, Publio

Dat Currentzis style is unmistakeable. I didn’t know it was him conducting and yet I recognized his “on acid” rendition, like, right away. Can’t say I fully agree with the addition just before Sesto’s intro to the 1st Act Finale though. It slowed the whole thing down, why would you slow down that part?

[loosealcina]

SALVATORE SCIARRINO’S TI VEDO, TI SENTO, MI PERDO AT LA SCALA, NOVEMBER 24, 2017

Rome. The Baroque age at its height. A great hall in a great palace, swarming with quirky figures. There's a special electricity in the air: a cantata is going to be performed. The musicians (and most notably, a Cantatrice) are rehearsing; the men in charge (a Letterato and a Musico) are disputing; servants with funny names (Pasquozza, Chiappina, Solfetto, Finocchio, Minchiello) are trading fuzzy lines. Everybody is waiting for Alessandro Stradella, the star composer who has promised to bring a new aria for the upcoming concert. Ti vedo, ti sento, mi perdo—the first world première at La Scala since Giorgio Battistelli's CO2, which made its début back in 2015—is really centered on Alessandro Stradella. Little is known about his music (even if the Alessandro Stradella Baroque Festival of Viterbo and Nepi is trying to do something to change that for the better). Little is known about his life too. The legend seems to depict a mysterious combination of Don Giovanni (with more than a touch of Cherubino still in him), Caravaggio, and… Ziggy Stardust? Possibly. To Salvatore Sciarrino, he's both supernatural—and therefore invisible, à la Godot or l’Arlésienne—and perfectly real. He embodies art in general and music in particular, and this is what Ti vedo, ti sento, mi perdo is about: describing the very nature of music. (Describing and celebrating. It's an opera on opera that does express love for opera; in this respect, it's reminiscent of François Truffaut's La nuit américaine. [Or—if you prefer a 17th-century item—of Johannes Vermeer's The Art of Painting]. It also proclaims the unparalleled power of music, through a consistent set of images and myths: Orpheus and Eurydice, Ulysses and the Sirens, «L'isola delle voci»…).

In the universe of Ti vedo, ti sento, mi perdo, music comes with a number of interesting qualities. First, it's not a community thing; it's more of a strictly individual trip/escape into another dimension. More than anything else, it's an experience that involves your mind. In fact, it makes no difference whether you write, play, or merely listen to music. The chance to escape your ordinary existence—or the chance to fall victim to some inexplicable spell, if you want to say it that way—will be the same for everyone. (Sciarrino identifies with Stradella, and asks you to do the same). The opera as a whole displayed a philosophical vision with accuracy and coherence. The libretto (written by Sciarrino himself) came off as an elegant, concise, and imaginative narrative. Yet, despite his obvious interest in (and impressive talent for) words, Sciarrino the musician seemed to get somewhat less inspired when dealing with a sung text. Whereas the orchestra conducted by Maxime Pascal was often able to sound eerie, unknown, and to move on the edge of silence like a sensational dancer would, the singers were not. (There were Alessandro Stradella's original bits that Sciarrino interpolated here and there, but that's a different story). The production—created by Jürgen Flimm, with George Tsypin, Ursula Kudrna, and Olaf Freese as set/costume/light designer respectively—was rather stubborn in its refusal to try anything but conventional illustration. (It just provided the action with a flat, and positively predictable Alice's Adventures in Wonderland atmosphere. I suspect that the actual presence of the composer might take away from the director some of the freedom he/she [just like any other artist] desperately needs. Anyway, I think a work as rich and complex as Ti vedo, ti sento, mi perdo would have benefited from a more daring approach).

[jaeame-blog]

A New Google Doodle Celebrates the Work of Japanese Designer Eiko Ishioka | Eiko Ishioka

The maiden issue of Arts Illustrated focuses on neo-surrelism, and the first Fabric of Cinema column is about that master of costume surrealism, Eiko Ishioka. The world's most recognizable Super Hero leaps off the. Today's Google Doodle celebrates the life of Eiko Ishioka, the Japanese designer whose work graced the likes of movie stars, opera singers, Olympic athletes, and Cirque du Soleil performers. He also collaborated on designs for the 2002 Olympics in Salt Lake City.

With a great costume comes a great place to put it on display. Japanese designer Eiko Ishioka, whose work across different mediums won multiple accolades, is the subject of Google's special Doodle on Wednesday, which would've been her 79th birthday. Ernest Borgnine, Michael Clarke Duncan, Best Costume Oscar nominee Eiko Ishioka and Ray Bradbury made the Oscars 'In Memoriam' reel but there was no place for Michael Winner or Larry Hagman.She would be celebrating her 79th birthday today. The Oscars cover their bases with a supplementary.

This also serves as a fitting tribute to our incredible costume designer Eiko Ishioka." SPIDER-MAN Turn Off The Dark is currently the 16th highest grossing Broadway production of all time, having taken in more than $200 million at the box office. Today's Google Doodle celebrates the life of Eiko Ishioka, the Japanese designer whose work graced the likes of movie stars, opera singers, Olympic athletes, and Cirque du Soleil performers.Scenic Designer George Tsypin and Costume Designer Eiko Ishioka are winners of Outer Critics Circle Awards and were nominated for Tony Awards for their work on Spider-Man Turn Off the Dark.

[nofomoartworld]

A Gothic, Apocalyptic Opera Releases the Demons of Black Collective Consciousness

Funeral Doom Spiritual. All photos by Jill Steinberg, courtesy of M. Lamar and Prototype Festival

There’s opera, there’s blues, and then there’s an opera done by a “negrogothic, devil-worshipping, free black man in the blues tradition.” This is the self-constructed description of performer M. Lamar’s contribution to Prototype Festival, a Brooklyn celebration of operatic performance that just finished its 2017 run this past Sunday. Dubbed Funeral Doom Spiritual, Lamar filled a two-floor performance room at National Sawdust with a black-veiled orchestra, a wooden coffin, and harrowing projected footage of breathless black bodies, while the artist himself played piano and sung a narrative of torment in his chilling soprano voice for 75 minutes.

Funeral Doom Spiritual began at a slow but intriguing pace. At the very start, only the orchestra was on the stage, playing harsh, arrhythmic sounds while a black and white fire projected on the wall behind them. Dressed in all-black, hooded executioner garb, the orchestra seemed like inverted Klansmen (reminiscent of the figures shown at the start of Kanye West’s "BLKKK SKKKN HEAD" music video). As they droned on, Lamar slowly approached the stage, donned in a flowing outfit that could only be described as Hood By Air meets Medieval garb. After a platform lifted himself and the coffin to the main level, Lamar slowly crossed the stage, stopping to gesticulate in synchrony with the music, until reaching an unoccupied grand piano. Now the funeral had begun.

Centered around the trauma of a lost love, Lamar’s performance shifted between wailing screeches to woeful laments. “Sixteen times the gun cried…This state sanctioned genocide,” Lamar cries out. “Your death has become my life!” The artist enacts the role of a perpetually mourning, supernatural being, whose friend, family member, or lover (it’s never quite clear), has reached a demise at the hand at the “US white supremacist empire.” As footage of the man he mourns lying dead in the coffin is projected onto the wall, Lamar mourns further, “Oh your soul, oh my soul…I can’t lay this body down...O star fall, sweet graveyard…raise des bodies up!”

The lamentation never seems to end, and Lamar becomes increasingly distraught as the opera goes on. At one point, trumpets are introduced to the mix, with scattered off-stage performers blowing their instruments without warning. As the performance near its finale, it becomes increasingly aggressive and haunting. “Scarecrow Jim Crow!” Lamar bellows. “We are demons coming at you to end it all! We will end it all!”

At its grand finale, all of the performers in Funeral Doom Spiritual gain what feels like supernaturally frenetic, uncontrollable energy. The screen turns black and suddenly Lamar yells out “Destruction!” Lights begin to flash in an almost epileptic manner. The screen’s clear visuals suddenly become pixelated and noisy as if receiving some kind of otherworldly interference. The orchestra starts playing faster and faster in a less rhythmic but much more primal manner. Lamar screams and gags as if possessed by a demon of black rage and vengeance, while the word guilty flashes in and out of the screen. The artist’s words “None of you will make it out alive!” are the last sounds you hear before the sound suddenly stops and the stage lights turn off, instilling a lasting sensation of haunting uneasiness that carries the performance into an after-life of its own.

While my senses were deeply affected by the performance, I’m not entirely sure what to think as it ends, beyond the tragedy that pervades black collective memory. But perhaps this is the point of the show. “Funeral Doom Spiritual is a song of mourning for what Anthony Paul Farley calls ‘the motionless movement of death through slavery, segregation, and neo-segregation,” Lamar states in the performance’s press release. To mourn is to have an attunement with one’s feelings and perhaps to overanalyze these sensations on an intellectual level takes away from the raw, emotional aspect of lamentation.

Funeral Doom Spiritual was incarnated in four performances at Williamsburg’s National Sawdust, as part of the Prototype Festival. For more info on the show and the rest of the festival’s performances, click here. Check out documentation of M. Lamar’s work on his website.

Related:

'Breaking the Waves' of a New Kind of Opera

Music in Prisons, Homeless Shelters, and Refugee Camps Could Change the World

Master Set Designer George Tsypin Gives a Peek Inside His Process

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[fierth]

New on FIERTH.com !!

NEW!! http://fierth.com/2014/02/sochi-olympics-opening-ceremony-designed-nycs-5pointz-2/

Sochi Olympics Opening Ceremony Designed at NYC'S 5POINTZ

[hannasworkinprogress]

The more objective you get, the less people react.

George Tsypin

[jaeame-blog]

A New Google Doodle Celebrates the Work of Japanese Designer Eiko Ishioka | Eiko Ishioka

With a great costume comes a great place to put it on display. The world's most recognizable Super Hero leaps off the. Scenic Designer George Tsypin and Costume Designer Eiko Ishioka are winners of Outer Critics Circle Awards and were nominated for Tony Awards for their work on Spider-Man Turn Off the Dark. Ernest Borgnine, Michael Clarke Duncan, Best Costume Oscar nominee Eiko Ishioka and Ray Bradbury made the Oscars 'In Memoriam' reel but there was no place for Michael Winner or Larry Hagman.

Whether it was print ads, album covers or even movie costumes, Ishioka had a way of stealing the spotlight with her sensual, surreal designs. He also collaborated on designs for the 2002 Olympics in Salt Lake City. The maiden issue of Arts Illustrated focuses on neo-surrelism, and the first Fabric of Cinema column is about that master of costume surrealism, Eiko Ishioka.Today's Google Doodle celebrates the life of Eiko Ishioka, the Japanese designer whose work graced the likes of movie stars, opera singers, Olympic athletes, and Cirque du Soleil performers. This also serves as a fitting tribute to our incredible costume designer Eiko Ishioka." SPIDER-MAN Turn Off The Dark is currently the 16th highest grossing Broadway production of all time, having taken in more than $200 million at the box office.

She would be celebrating her 79th birthday today. Eiko Ishioka, the Oscar-winning costume designer, is the subject of the July 12 Google Doodle.Japanese designer Eiko Ishioka, whose work across different mediums won multiple accolades, is the subject of Google's special Doodle on Wednesday, which would've been her 79th birthday.

[cosbe]

George Tsypin

[everythingscenic]

West Side Story. Bregenz Festival. George Tsypin.

[scenicdesign]

“Oedipus Rex” Scale Model

George Tsypin