#Jorge Rodríguez-Norton

[joaquimblog]

BAYREUTH 2023: TANNHÄUSER (Vogt-Eiche-Groissböck-Teige-Gubanova; Stutzmann)

La en altre temps reconeguda contralt francesa Nathalie Stutzmann, que al Liceu en prou feines vàrem intuir en un Fiodor d’un luxós Boris Godunov i des de fa ja uns quants anys, reconeguda directora musical, ha trencat l’hegemonia masculina al capdavant de la nòmina de directors musicals del festival de Bayreuth, que des d’aquell llunyà 1876 només havien dirigit il·lustres homenots. Katharina…

[eddycurrents]

For the week of 9 April 2018

Quick Bits:

Animosity: Evolution #5 gets to the heart of the criminal enterprise undermining Wintermute’s authority, operating the black market, and what they’ve been trying to accomplish. This arc has definitely been interesting so far, showing that the animal organizations aren’t really all too different from their human counterparts.

| Published by AfterShock

Avengers #688 raises the stakes higher as we speed towards the conclusion of “No Surrender”. While the Challenger flips the table on the game, this issue takes its perspective from Quicksilver, setting up the next stage for his forthcoming Quicksilver: No Surrender limited series.

| Published by Marvel

Barbarella #5 tosses in some more weird science as Barbarella and Vix go prospecting for RUST.

| Published by Dynamite

Bloodshot Salvation #8 begins to marry up the timelines, such that the present is becoming the “soon” timeline that began in the first issue, as Bloodshot travels through the Deadside and we find out how he got tossed into the future. It’s interesting to see how Jeff Lemire’s non-linear threads have been playing out through the story.

| Published by Valiant

Brothers Dracul #1 reunites the team of Cullen Bunn and Mirko Colak, having recently completed the Unholy Grail series, here for an interesting take on the Vlad Tepes story and the Dracula myth. Bunn takes a different approach to the myth, rooting it in much of the recorded history of Vald, his family, and Wallachia under Ottoman rule and it results in a much more grounded story. At least for the first issue. The art from Colak, with colours by Maria Santaolalla, is also great.

| Published by AfterShock

Captain America #700 is Chris Samnee’s last issue on the series, and the last of his work at Marvel for the time being, and he sure does go out with a bang. Samnee and Mark Waid stitch up a conclusion to the Cap in the future arc, although there are some interesting ramifications of the story to unpack, including presenting an idea of the futility of hope. That’s probably bleaker than the creative team necessarily intended it to be read as.

| Published by Marvel

Champions #19 begins the next chapter in the team’s chronicles, with Jim Zub and Sean Izaakse taking over as the new creative team. The art from Izaakse and colourist Marcio Menyz is wonderful throughout, including some great character designs. It’s also interesting to see how Zub has the team approaching new recruits like Ironheart as they try to figure out how the new pieces fit.

| Published by Marvel

Cold War #3 dives into the past of two survivors this time, giving us a look into the history and personalities of LQ and Johnny. Even as the latter fights for relevance and control in the present, seemingly unable to accept the leadership of Vinh or her attempts to protect everyone remaining. Then Christopher Sebela drops another bomb on us as to the state of this future.

| Published by AfterShock

Crude #1 is an interesting beginning, setting up a bit of a mystery involving the death of the son of a former Russian agent, as he gets dragged back into a seedy, harsh existence to hunt down his son’s murderers. Steve Orlando begins this first issue mostly as set-up, flashing back through both Piotr and, his son, Kiril’s lives before getting us to the main plot and arrival at the setting, and source for the title.

| Published by Image / Skybound

The Dead Hand #1 is an impressive debut, capturing perfectly the intrigue and action of a Cold War thriller, matched with the bleakness of more modern interpretations of Russia and a twist that you’ll never see coming. Kyle Higgins’ Image outings tend to be wonderful reads, like COWL and Hadrian’s Wall, and this series seems no different so far. It’s also great to see Stephen Mooney providing the line art here, his style is perfectly suited to spy and thriller stories, especially as coloured here by Jordie Bellaire.

| Published by Image

Deadly Class #33 continues to tear everything down, blow everything up, or beat it into a bloody pulp. Nothing seems to be safe. Rick Remender and Wes Craig seem intent on putting everyone through the wringer, and Craig (with colours from Jordan Boyd) is reminding everyone why he’s one of the best artists working in comics today.

| Published by Image / Giant Generator

Doctor Strange #388 is another integral part of the Damnation event, diving into Strange’s possession and what’s going on with the other fallen heroes current plaguing Vegas at Mephisto’s behest. The story from Donny Cates is good, weird, and has Niko Henrichon at the very top of his game.

| Published by Marvel

Domino #1 is damn great. In some ways, it feels like old home week, as Gail Simone brings back some of the characters and stylistic quirks from her time writing Deadpool and Agent X, complete with the humour, action, and absurdity, but at the same time, this feels fresh. It’s not as over the top as the other two outings and it makes for what feels to me like a better story. It also makes the humour pop a bit more as it feels natural. Also, the art from David Baldeón and Jesus Aburtov is gorgeous. Baldeón surprised me with how great his art has become on Spirits of Vengeance and here he’s bringing it to an even higher level. This first issue is fun and comes very recommended.

| Published by Marvel

Dry County #2 sets up the mystery. After being embroiled in Janet’s life as a kind of sad sack saviour in the first issue, Lou gets his hopes dashed by her kidnapping this issue. If it follows traditional Miami Noir themes, I have my suspicions about it, but here Rich Tommaso plays it straight and uses it to start Lou down the path to find out what happened to her.

| Published by Image

Exiles #1 begins a gathering the team arc, as Blink is drafted back into the multiverse-saving business by the reappearance of the Tallus and the Unseen’s premonitions of the white fire of nothingness caused by the Time Eater. Saladin Ahmed does a great job of playing with Exiles history and Marvel ephemera in constructing this first issue, but the real star is the artwork. Javier Rodríguez is one of Marvel’s underrated talents who really should be heralded as a superstar. Here, he, Álvaro López, and Jordie Bellaire make this issue one of the most visually interesting on the stands, with great page layouts, interesting panel transitions, phenomenal use of page for storytelling effect, and unique character designs. This is a great start and I’m dying to see more.  

| Published by Marvel

Gideon Falls #2 continues a slow burn through the story, focusing on both Norton and Father Fred’s experiences with the black barn, and the world beyond them not believing their respective stories. It’s a common horror and mystery thread, but it’s still interesting how Jeff Lemire is framing the narrative and building the characters through the dialogue. Also, the art from Andrea Sorrentino and Dave Stewart continues to be amazing. 

| Published by Image

Ninja-K #6 plays with a number of the messes that have yet to be cleaned up across the Valiant universe. It’s interesting to see Christos Gage play with the toys, with visceral art from Juan José Ryp and Jordie Bellaire.

| Published by Valiant

No. 1 With a Bullet #6 is a brilliant end to what has been an excellent series. Jacob Semahn, Jorge Coello, and Jen Hickman have a story here that is relevant in today’s society obsessed with social media, and delves deep into what can happen when that obsession turns deadly and debilitating. There’s one last twist this issue and the art, especially as it simulates the current state of Nash’s eyesight, is amazing. I highly recommend this series.

| Published by Image

Oblivion Song #2 fleshes out a bit more what happened from Earth’s perspective on the day that parts of Philadelphia fell into Oblivion. It’s interesting to see it unfold, especially in relation to the two recent survivors who came back. It’s slow going, and there are oblique character moments, but it’s enthralling.

| Published by Image

The October Faction: Supernatural Dreams #2 sees the summoned demon wandering around, causing havoc, raising hell. Oh, and Geoff and Vivian get their butts handed to them.

| Published by IDW

Prism Stalker #2, like the first issue, is very, very strange. On the one hand, it’s presented and illustrated by Sloane Leong as this surrealist weird comic that almost defies classification. Kind of like some of the silent indie comics out there that are more experienced than “read”. On the other hand, the story Leong presents is fairly mundane, one of coming of age in what appears to be an oppressive alien society. I’m not really sure what to make of it still, but it has my attention.

| Published by Image

ROM & The Micronauts #4 gets the full band back together in our world as the final battle against Baron Karza and the Dire Wraiths looms on the horizon. Christos Gage waxes philosophical on physical and emotional change, and how love will find a way in strange cases, but what’s really pushing us towards the final battle is the promise of raising the Lovecraftian monstrosity at the heart of the Earth.

| Published by IDW

Sleepless #5 works further on the intrigue going on, revealing that some of the plots may not have been put into motion by who we may have be led to believe previously.

| Published by Image

Sword of Ages #3 has the crap hit the fan. Some of the political machinations come to a head and it’s all pretty glorious. Gabriel Rodríguez is telling an incredible story here, adapting Arthurian legend in a very unique way.

| Published by IDW

Teenage Mutant Ninja Turtles #81 is a densely packed narrative, picking up on the threads from the recently concluded Triceratons arc, the running undercurrent of Splinter’s ideas for the Foot Clan, while also spilling out the return of the Rat King after TMNT Universe #19. There’s a lot going on, but I’d argue that Kevin Eastman, Bobby Curnow, and Tom Waltz make it accessible and interesting. Aiding in that effort is phenomenal art from Dave Wachter and Ronda Pattison.

| Published by IDW

Thanos #18 concludes “Thanos Wins” and with it this chapter of the Mad Titan’s adventures (apart from a forthcoming annual in a couple of weeks). This issue is big and epic and has a very interesting ending. Donny Cates, Geoff Shaw, and Antonio Fabela have outdone themselves.

| Published by Marvel

Vs. #3 gets a look at the ruling class in this world, trying to figure out why Flynn’s ratings remain high despite him continuing to suffer losses. It’s a little dry, but it does set up some further conflict between Flynn and Devi, and continues to draw some beautiful art from Esad Ribić.

| Published by Image

X-Men Blue #25 gives us a main story with Magneto’s confrontation of Miss Sinister and her allies, while Polaris and the other remaining X-Men lick their wounds in Madripoor. There’s also a back-up that serves as a bridge between the “Poison X” and Venomized stories for the original five and Venom, with some really nice art by Mike Perkins and Andy Troy.

| Published by Marvel

X-Men Red #3 gives some more oblique hints at what’s really going on, as anti-mutant hysteria begins reaching critical mass and attacks, protests, and riots begin to spill over. Tom Taylor is aptly using parallels to current events across America and the world here and it makes it a bit scarier.

| Published by Marvel

Other Highlights: Algeria is Beautiful Like America, The Archies #6, Astonisher #6, The Beauty #21, Ben Reilly: The Scarlet Spider #17, The Despicable Deadpool #298, DuckTales #8, Eternal Empire #8, Falcon #7, Ghost Money #9, James Bond: Casino Royale, Minky Woodcock: The Girl Who Handcuffed Houdini #4, Old Man Logan #38, Planets of the Apes: Ursus #4, Resident Alien: An Alien in New York #1, Rick Veitch’s The One #3, Rose #10, Shock, Spider-Man vs. Deadpool #31, Star Wars: Darth Vader #14, Star Wars: Thrawn #3, Tomb Raider: Survivor’s Crusade #4, The Unbeatable Squirrel Girl #31, Venomized #2

Recommended Collections: Aliens/Predator/Prometheus: Fire & Stone, Cable - Volume 2: Newer Mutants, Clover Honey, Coyotes - Volume 1, Deadpool vs. Old Man Logan, DuckTales: Mysteries and Mallards, Family Trade - Volume 1, Jean Grey - Volume 2: Final Fight, Lazarus X+66, Peter Parker: The Spectacular Spider-Man - Volume 2: Most Wanted, Rock Candy Mountain - Volume 2, Spider-Man/Deadpool - Volume 5: Arms Race, TMNT/Usagi Yojimbo - Expanded Edition, Transformers: Till All Are One - Volume 3, The Unbelievable Gwenpool - Volume 5: Lost in the Plot, Underwhere

d. emerson eddy tried to make a souffle a few days ago. It fell.

[dando-la-nota-tormentito]

Una pica en el Artxanda

Fecha: 15-II-2020. Lugar: Palacio Euskalduna, Bilbao. Programa: La fanciulla del West, ópera en tres actos de Giacomo Puccini. Protagonistas: Oksana Dyka (Minnie), Marco Berti (Dick Johnson, alias Ramerrez), Claudio Sgura (Jack Race), Francisco Vas (Nick), Manel Esteve (Sonora), Paolo Battaglia (Ashby), Manuel de Diego (Trin), Isaac Galán (Sid), Carlos Daza (Bello), Jorge Rodríguez-Norton (Harry), Gerardo López (Joe), José Manuel Díaz (Happy), Fernando Latorre (Larkens), Cristian Díaz (Billy Jackrabbit / José Castro), Itxaro Mentxaka (Wowkle), David Lagares (Jake Wallace), Santiago Ibáñez (Postiglione). Coro: Ópera de Bilbao. Orquesta: Sinfónica de Euskadi. Director de escena: Hugo de Ana. Director musical y maestro concertador: Josep Caballé Domenech. Producción: ABAO Bilbao Ópera y Teatro San Carlo di Napoli.

La expresión de ‘poner una pica en Flandes’ se utiliza para indicar que se ha realizado algo muy complejo y además constituye todo un éxito. Pues bien, en esta ocasión, con la puesta en escena de la ópera pucciniana La fanciulla del West -raramente representada, salvo en USA- por parte de ABAO Ópera Bilbao se ha puesto una pica en el Artxanda; monte que abraza a la Villa de don Diego de Haro por el noreste. Bien puede ser considerado como un importante evento musical a nivel nacional.

Se nos presenta una composición lírica arto compleja desde el punto de vista de estructura orquestal, en la que Puccini rompe con todos los moldes líricos precedentes y subsiguientes, desbrozando arias, recitativos, concertantes canoros, y dejando un enramado que bien pudiera constituir, en esta época, una ópera muy apta para sensibilidad musical de las jóvenes generaciones. En las construcciones armónicas aparecen colores que recuerdan a su Manon Lescaut, La Bohéme o Madama Butterfly, y nos adelantan otros que florecen en Turandot, pero que es rompedora y abre cauces nuevos de expresividad melódica. Bien podría decirse, sin ánimo de ofender a nadie, que La fanciulla del West es la menos pucciniana de todas las que compuso Giacomo Antonio Domenico Michele Secondo Maria Puccini, a la par que la más rica en orquestación.

El entramado escénico resultó interesante, máxime sabiendo lo detallista que es Hugo de Ana, presente en el saludo final pese a encontrarse en una acentuada situación febril; empero no resultó el lujo que de él siempre se espera, dada una excesiva deambulación de personas en el primer acto y errores ambientales en la proyección de imágenes sobre el ciclorama de fondo, salvo la de la escena final colocando el tramondo rosso sobre las calcáreas tierras desérticas de Arizona. Por lo demás, a nivel genérico, cuidadosa toda de la ambientación, sobresaliendo el carruaje de la Wells Fargo. Una producción escénica digna de verse y de ser viajada.

En el foso y ante semejante complejidad de partitura se estaba la batuta de Caballé Domenech que hizo una labor digna de todo elogio, domeñando a una importante formación orquestal, cual es la Sinfónica de Euskadi, a la que tuvo que embridar constantemente, sobre todo en la primera fase el acto I, para que el volumen que sale de abajo no fuera una muralla sónica de difícil traspaso para las voces. A partir de esos instantes todo discurrió, musicalmente hablando, con la precisión de un reloj suizo, dejando lucir las dinámicas, los buenos colores de las secciones y controlando en todo momento la complejidad que supone concertar tantas voces que interviene de seguido. No ha de olvidarse que en reducido número de compases hay diez los solistas que cantan distintos textos. A todo eso - ¡casi nada! -  Caballé Domenech dio la respuesta cabal y exquisita.

En el terreno vocal merece cita especial el buen hacer del coro y el de las voces de todos los comprimarios, destacando la categoría, en el segundo acto, de la lekeitioarra Mentxaka como la india Wowkle. No estuvo a la altura de lo esperado el tenor italiano Berti, con una tesitura aguda un tanto remisa, trabajando el canto legato en modo rudo. El resultado de famosa y esperada aria Ch’ella mi creda libero e lontano, fue de lo más simple, carente de expresión y de sentido, casi plana. Buen perfil vocal tiene el barítono pugliense Sgura con una presencia corpórea importante, administrado bien todo el esfuerzo que le supone desarrollar, durante tres intensos actos su papel de sheriff celoso y bravucón. Descubrir a una soprano di forza, como es la ucraniana Dyka, de estructura impactante, fue la sorpresa de la velada. Un buen fichaje de ABAO Opera Bilbao. Su Minnie, quitando los primeros minutos de indecisión en la emisión que le dieron un vibrato incómodo, fue todo un portento de poder y de conocimiento del personaje, sobre todo en sus dos recitativos, tenso con dúo hermoso el primero, y tierno el segundo, que acomete en los actos II y III, respectivamente. No es de extrañar que, dada la presencia en el evento de algunos agentes artísticos, pronto la veamos triunfando en coliseos españoles, como lo hizo en el Maestranza dando voz a la Princesa Turandot.

Manuel Cabrera

 P.D. Esta critica ha sido publicada, con fecha 18 de febrero de 2020, en la revista digital Beckmesser,com cuya general consulta se recomienda desde este blog. ¡Gracias!

[andanadadesol]

Juanjo Mena dirigirá en la Zarzuela de Madrid una poética versión

El Teatro de la Zarzuela comenzará su temporada 19/20 con el estreno el próximo 3 de octubre de ‘El caserío’ en una «poética» versión de la obra de Jesús Guridi que dirigirá el también vitoriano Juanjo Mena, con Raquel Lojendio, Carmen Solís, Ángel Ódena, Jorge Rodríguez-Norton y Andeka Gorrotxategui en los principales papeles. Con dirección […]

La entrada Juanjo Mena dirigirá en la Zarzuela de Madrid una poética versión aparece primero en Norte Exprés | Noticias de Vitoria-Gasteiz y Álava..

from Norte Exprés | Noticias de Vitoria-Gasteiz y Álava.

[juliandmouton30]

Ecosistema Urbano envisions bioclimatic domes for West Palm Beach

Madrid studio Ecosistema Urbano has won first place in a competition to revamp the waterfront of Florida's West Palm Beach, with a proposal for domed spaces that house an array of functions, from an aquarium to a yoga and meditation zone.

Called Open Shore, the scheme is the winner of the Shore to Core competition organised by New York think tank Van Alen Institute and the West Palm Beach Community Redevelopment Agency.

The competition called for forward-thinking and flexible designs that would strengthen the connection between the city's urban core and its waterfront, and would make the space a year-round destination.

While the city is a popular vacation spot during the winter, it draws smaller crowds during other parts of the year due to rain, humidity and hurricanes.

Ecosistema Urbano, a Madrid-based multidisciplinary studio, beat over 40 international teams with its proposal, which "envisions a healthier and more resilient downtown and waterfront for West Palm Beach".

The scheme incorporates an array of new public spaces and outdoor activities that increase opportunities to interact with the water. "This new urban environment blurs the line between the city and the water, bringing the nature of the Lagoon back to the city centre while adapting to rise of the sea level," the team said.

A key component of the design is a series of bioclimatic domes, which would provide comfortable spaces throughout the year. The structures – described as "the first bioclimatic domes in the US" – would enclose or cover a variety of spaces, dubbed plazas. Each would have a distinct function.

The Cloud Forest Habitat Plaza would be adorned with hanging gardens, while the Aquarium Plaza would house local marine flora and fauna.

The Mindfulness Plaza would accommodate yoga and meditation, and the Playscape Plaza would be a fun area for children and adults. The scheme also features plazas dedicated to sporting activities and the display of art in a forest-like setting, among other functions.

The team has oriented the plazas so that they would allow for breezes to pass through to the urban core.

"By coordinating natural elements and bioclimatic devices, each space will be characterised by a specific microclimate matched to the activities that will take place there," the designers said. "This will also help reconnect people to nature and to the uniqueness of the Lake Worth Lagoon."

Ecosistema Urbano also provides ideas for how to deal with an existing parking garage, which it has named the Banyan Hub. It envisions converting the structure into a mixed-use facility filled with plants and artwork. A green, permeable facade would be created, along with two large courtyards.

Possible uses for the site include a farmers market, co-working spaces and skyline viewing platforms.

"The Banyan Garage is conceived as a new beacon for activities in downtown," the team said. "It becomes a true part of the city from the ground floor to the public roof terrace."

The plan also calls for the creation of a great lawn and amphitheatre, along with the revamping of alleyways.

"The project takes into consideration the needs of youth and elders alike in order to make a positive impact on the city as a whole and create a healthier living environment for all residents and visitors," the team said.

The runner-up in the design competition was Perkins + Will, with its proposal Adapt to Thrive. The US firm's scheme calls for a continuous waterfront park, an extended great lawn and the conversion of the Banyan Garage into a civic space.

In addition to design concepts, the Shore to Core competition asked for research proposals that identified opportunities to create healthier and more inclusive cities.

The winner, Happier by Design, focused on how tactile spaces can increase a sense of well-being, and conducted a pilot study analysing the health benefits of more complex and engaging urban landscapes.

Other proposals for West Palm Beach include a buoyant public space off the coast of the city's Currie Park, conceived by architecture office Carlo Ratti Associati. A new wing for the city's Norton Museum, designed by Foster + Partners, is currently under construction.

Project credits:

Ecosistema Urbano principals: Belinda Tato and Jose Luis Vallejo Ecosistema Urbano team members:  Marco Rizzetto, Carlos León, Antonella Milano, Luisa Zancada, Jorge Toledo, Marta Muñoz, Pablo Santacana, Lola Pouchin, Maria Vittoria Tesei, Andrea Bertrán, Ana Patricia Maté, Lucía De Retes Cascales, Cristina Rodríguez, Elizabeth Kelleher, Lorena Tselemegkou, Luana Scarpel, Silvia Sangriso, Daniela Menendez, Julia Casado, Constantino Hurtado, Andrés Walliser Consultants: Sasaki; Simpson Gumpertz & Heger; Cosentini; Transsolar; Langan

Related story

Carlo Ratti proposes floating plaza for Florida waterfront

The post Ecosistema Urbano envisions bioclimatic domes for West Palm Beach appeared first on Dezeen.

from ifttt-furniture https://www.dezeen.com/2017/05/05/ecosistema-urbano-envisions-open-shore-bioclimatic-domes-west-palm-beach-florida-competition-van-alen-institute/

[jeniferdlanceau]

Ecosistema Urbano envisions bioclimatic domes for West Palm Beach

Madrid studio Ecosistema Urbano has won first place in a competition to revamp the waterfront of Florida's West Palm Beach, with a proposal for domed spaces that house an array of functions, from an aquarium to a yoga and meditation zone.

Called Open Shore, the scheme is the winner of the Shore to Core competition organised by New York think tank Van Alen Institute and the West Palm Beach Community Redevelopment Agency.

The competition called for forward-thinking and flexible designs that would strengthen the connection between the city's urban core and its waterfront, and would make the space a year-round destination.

While the city is a popular vacation spot during the winter, it draws smaller crowds during other parts of the year due to rain, humidity and hurricanes.

Ecosistema Urbano, a Madrid-based multidisciplinary studio, beat over 40 international teams with its proposal, which "envisions a healthier and more resilient downtown and waterfront for West Palm Beach".

The scheme incorporates an array of new public spaces and outdoor activities that increase opportunities to interact with the water. "This new urban environment blurs the line between the city and the water, bringing the nature of the Lagoon back to the city centre while adapting to rise of the sea level," the team said.

A key component of the design is a series of bioclimatic domes, which would provide comfortable spaces throughout the year. The structures – described as "the first bioclimatic domes in the US" – would enclose or cover a variety of spaces, dubbed plazas. Each would have a distinct function.

The Cloud Forest Habitat Plaza would be adorned with hanging gardens, while the Aquarium Plaza would house local marine flora and fauna.

The Mindfulness Plaza would accommodate yoga and meditation, and the Playscape Plaza would be a fun area for children and adults. The scheme also features plazas dedicated to sporting activities and the display of art in a forest-like setting, among other functions.

The team has oriented the plazas so that they would allow for breezes to pass through to the urban core.

"By coordinating natural elements and bioclimatic devices, each space will be characterised by a specific microclimate matched to the activities that will take place there," the designers said. "This will also help reconnect people to nature and to the uniqueness of the Lake Worth Lagoon."

Ecosistema Urbano also provides ideas for how to deal with an existing parking garage, which it has named the Banyan Hub. It envisions converting the structure into a mixed-use facility filled with plants and artwork. A green, permeable facade would be created, along with two large courtyards.

Possible uses for the site include a farmers market, co-working spaces and skyline viewing platforms.

"The Banyan Garage is conceived as a new beacon for activities in downtown," the team said. "It becomes a true part of the city from the ground floor to the public roof terrace."

The plan also calls for the creation of a great lawn and amphitheatre, along with the revamping of alleyways.

"The project takes into consideration the needs of youth and elders alike in order to make a positive impact on the city as a whole and create a healthier living environment for all residents and visitors," the team said.

In addition to design concepts, the Shore to Core competition asked for research proposals that identified opportunities to create healthier and more inclusive cities.

The winner, Happier by Design, focused on how tactile spaces can increase a sense of well-being, and conducted a pilot study analysing the health benefits of more complex and engaging urban landscapes.

Other proposals for West Palm Beach include a buoyant public space off the coast of the city's Currie Park, conceived by architecture office Carlo Ratti Associati. A new wing for the city's Norton Museum, designed by Foster + Partners, is currently under construction.

Project credits:

Ecosistema Urbano principals: Belinda Tato and Jose Luis Vallejo Ecosistema Urbano team members:  Marco Rizzetto, Carlos León, Antonella Milano, Luisa Zancada, Jorge Toledo, Marta Muñoz, Pablo Santacana, Lola Pouchin, Maria Vittoria Tesei, Andrea Bertrán, Ana Patricia Maté, Lucía De Retes Cascales, Cristina Rodríguez, Elizabeth Kelleher, Lorena Tselemegkou, Luana Scarpel, Silvia Sangriso, Daniela Menendez, Julia Casado, Constantino Hurtado, Andrés Walliser Consultants: Sasaki; Simpson Gumpertz & Heger; Cosentini; Transsolar; Langan

Related story

Carlo Ratti proposes floating plaza for Florida waterfront

The post Ecosistema Urbano envisions bioclimatic domes for West Palm Beach appeared first on Dezeen.

from RSSMix.com Mix ID 8217598 https://www.dezeen.com/2017/05/05/ecosistema-urbano-envisions-open-shore-bioclimatic-domes-west-palm-beach-florida-competition-van-alen-institute/

[joaquimblog]

BAYREUTH 2022: TRISTAN UND ISOLDE (GOULD-FOSTER-GUBANOVA-EICHE-ZEPPENFELD;POSCHNER)

Aquest any i jo no recordo cap altra any de ma vida operística que això hagués passat, Radio Clásica de Radio Nacional ens ha deixat orfes de la inaugural cita wagneriana de tots els estius, i no ha retransmés, almenys en directe com era habitual, la retransmissió del Festival de Bayreuth. No hi ha explicació possible i serveixi aquest inici d’apunt per fer la més enèrgica protesta contra…

[joaquimblog]

LICEU 2021/22: ARIADNE AUF NAXOS (VÄRËLA-HANKEY-SANCHO-SCHUKOFF-APP;MICHAEL-PONS)

Ariadne auf Naxos és una òpera bellíssima, gens fàcil pel gran públic i per tant una veritable gosadia representar-la per inaugurar la temporada, sobretot tenint en compte que és una que malgrat la seva reconeguda vàlua artística és poc coneguda a casa nostra, ja que només s’ha representat en 5 edicions (24 funcions des del 14 de gener de 1943 que es va estrenar al Liceu fins el 12 de novembre de…

[joaquimblog]

LICEU 2017/18: RETORN A TRISTAN UND ISOLDE

Strefan Vinke (Tristan) i Iréne Theorin (Isolde) Foto®A Bofill Avui no tenia previst parlar-vos de la representació de Tristan und Isolde (la cinquena de les nou previstes) que va tenir lloc ahir diumenge per la tarda al Gran Teatre del Liceu, però l’ocasió s’ho val perquè va ser millor que la del primer dia, ja comentada a IFL: Liceu 2017/2018: Tristan und Isolde…

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Iréne Theorin (Isolde) i Stefan Vinke (Isolde) Fotografia ®A Bofill

Albert Dohmen (Marke) Fotografia ®A Bofill

Vinke (tristan) -Grimsley (Kurnewal) Fotografia ®A Bofill

Connolly-Vinke-Theorin-Dohmen Fotografia ®A Bofill

Tristan und Isolde ACte 2 producció Àlex Ollé Fotografia ®A Bofill

Tan de bo m’erri perquè voldrà dir que el que en el que ens queda de temporada superarem el nivell d’aquest Tristan und Isolde, però em sembla que les representacions del títol wagnerià significaran el punt més alt de la 2017/2018 ja que trobar un equip vocal tan bo i unes direccions millorables però tan interessants ho trobo francament difícil.

Segurament si la programació d’aquest títol hagués estat més avançat el calendari de  la temporada, l’orquestra hagués estat millor, com també posaria la ma al foc que la representació del dia 15 de desembre (la darrere) estarà orquestralment millor que la d’ahir, això ja és un clàssic no només en el nostre teatre.

M’ha agradat la direcció del mestre Josep Pons, tot i que potser en algun moment m’ha semblat massa accelerada, com també en algun moment m’ha semblat que exagerava la intensitat decibèlica respecte a les veus, tot i que en aquest aspecte i pel que fa al balanç entre fossat i escenari caldria saber si l’espectacular escenografia d’Alfons Flores no perjudica i beneficia als cantants depenent de com es situen en l’escena.

La resposta orquestral ha estat irregular, amb una corda cohesionada, amb bons moments d’intens fraseig i amb un so pulcre, però amb unes fustes no del tot càlides i uns metalls desafortunats de qualitat i amb més d’una pífia que ha fet que la sensació global fos millorable. L’orquestra fa temps que clama inversions però incomprensiblement  sembla que això no sigui prioritari. El mestre, que sortosament no ha estat protestat com succeïa temporades enrere i l’orquestra, han rebut una resposta cortès per part d’un públic que volia premiar les veus. No hagués estat malament una mica més de reconeixement pel mestre Pons, perquè hi ha un concepte interessant tot i que el públic acostuma a associar resposta orquestral amb la direcció, i no sempre és ben bé així.

Orquestralment el millor ho vaig trobar en els moments pràcticament impressionistes de la gran escena d’amor del segon acte i el preludi del tercer, mentre que el més dolorós l’he trobat a l’inici del segon acte amb unes intervencions internes caòtiques i atropellades.

Pel que fa a la intervenció coral del primer acte, el cor masculí també comença a evidenciar, com el clam orquestral, que manquen inversions perquè algunes veus comencen a mostrar un cert esgotament. Fins l’any passat el cor d’homes mantenia una compacte solidesa, aquest any ja no.

L’equip vocal és molt sòlid, de primeríssim nivell i envejable de qualsevol gran teatre de primer nivell.

Stefan Vinke mostra unes facultats prodigioses, fins i tot excessives en la seva agonia, on es fa difícil creure que un home a punt de morir sigui capaç de llençar aquells clams tan enèrgics i punyents., En el seu favor cal dir que fa veritables i lloables esforços per arreplegar el so en la gran escena d’amor però els intents no sempre han estat feliçment resolts perquè aquest replegament vocal ha posat l’afinació en risc. No fa patir i vista la precarietat vocal de heldentenors el situa com una de les garanties de la corda, ja sigui per l’excel·lent projecció, per la solidesa de tota l’extensió de registre i la resistència, amb un bon control del legato. Amb una mica més de sentit tràgic i agudesa dramàtica, alhora que ajustant l’afinació en els passatges més lírics, el seu Tristan seria excel·lent en lloc de notable, però de bon pa fas rossegons, que deia ma mare.

Aquesta, si no vaig mal comptat, és la tercera vegada que gaudeixo de lréne Theorin cantant Isolde al teatre (Berlín i Liceu) i aquesta tercera ha estat la que m’ha agradat menys, tot i que m’ha agradat molt, però no moltíssim. Malgrat que la veu és gran en molts moments del segon acte no és que apianés, és que xiuxiuejava per no dir que parlava fluixet, sobretot en tota l’escena inicial del segon acte amb Brangäne mentre espera l’arribada de Tristan. Semblava com si es reservés després d’un primer acte pletòric de força i facultats, amb una intensitat admirable que la situa al capdavant de les sopranos que interpreten aquest rol avui en dia, i no crec que n’hi hagi cap que faci una narració tan airada, intensa i incisiva. Potser és per això que sorprèn aquest canvi de registre tan sobtat en el segon acte, on la veu desapareixia o s’amagava no sé si amb la intenció de reposar de l’admirable esforç del primer acte o per causa d’un problema físic, en qualsevol cas no anunciat. Canta el Libestod de manera absolutament colpidora, amb una graduació de matisos que no s’acostuma a escoltar, amb un inici i final en pianissím veritablement d’impacte emocional. Ella ha estat la que més aplaudiments ha obtingut, tot i que no ha estat la que més m’ha agradat.

Qui  m’ha agradat més de tot l’excel·lent cast ha estat Albert Dohmen cantant el Rei Marke. No es pot fer millor, no es pot dir el text amb més  sentit musical i dramàtic. no es pot ser més intens, natural, noble i auster del que ho ha estat el baix baríton alemany, tant en el colpidor primer monòleg com en el més curt però tràgic del tercer . No té la veu rotunda dels grans baixos que han deixat petjada en aquest preciós rol, però el centre noble, l’agut sa i un bon i ben col·locat greu, fan que la veu es projecti amb grandesa sense necessitat d’entubar, engolar o falsejar-la per voler semblar el que no és. He vist Markes molt bons, i el de Dohmen està a la seva alçada. Fantàstic!

També ha estat a un gran nivell el Kurnewal d’un altre baix baríton, aquest nord-americà, Greer Grimsley. Si bé ha començat una mica cridaner, ràpidament s’ha posat a to i en el tercer acte ha donat el millor acompanyant l’agonia de Tristan amb tràgica convicció i un cant veritablement emotiu.

Sarah Connolly és una cantant molt distingida i reconeguda en el repertori barroc (el seu Giulio Cesare és sensacional), però com a Brangäne no m’ha deixat especial petjada. Canta bé òbviament, però no ha estat capaç de colpir-me en un mo ment fàcilment colpidor. Els seus advertiments han passat una mica sense pena ni glòria.

Molt bé els quatre rols menors a càrrec d’un sonor Melot de Francisco Vas, Jorge Rodríguez Norton com a jove mariner i pastor, i Germán Olvera com a Timoner, arrodonint de la millor manera un cast de gran nivell.

La producció provinent de l’Opéra de Lyon i deguda a Àlex Ollé (La fura dels Baus) és bona i a moments esplèndida, sempre sota un punt de vista més estètic que dramàtic.. Té un aire d’austeritat a la manera dels famosos muntatges de Wieland Wagner, però compta amb una escenografia potent d’Alfons Flórez  presidida per un espai esfèric, com si fos una gran vela de vaixell que es desplega en el primer acte, un absis de gran efecte en el segon, mentre en el tercer sembla una mena de refugi o torra de vigia a dalt d’un espadat, que amb una quasi sempre encertades projeccions aconsegueix uns efectes volumètrics molt suggeridors i climàtics, en l’escena d’amor del segon acte potser massa

La proposta en realitat és més estètica que dramàtica i hi ha alguns detalls que amb una mica més de sensibilitat operística per part del Sr Ollé  s’haguessin pogut evitar, sobretot en un dels moments musicals més bells de la gran escena d’amor, mentre hom suposa que Tristan i Isolda han d’estar en un dels moments preliminars al coit, se’ls fa pujar una espectacular i empinada escala per tornar-la a baixar després d’escoltar els advertiments de Brangäne. és un moment ridícul, teatralment buit i només justificable davant del temor que el director d’escena pugui tenir per l’estaticisme d’una acció dramàtica pràcticament nul·la, provoqui somnolència al públic, quelcom que òbviament diu poc del qui pensi així perquè la música i el cant són precisament en aquest moment, sublims.

Una nit important, amb una producció important, curosa en tots eld detalls i que en les properes representacions millorarà.

No us ho podeu perdre

LICEU 2017/2018: TRISTAN UND ISOLDE (VINKE-THEORIN-DOHMEN-GRIMSLEY-CONNOLLY;OLLÉ-PONS) Tan de bo m'erri perquè voldrà dir que el que en el que ens queda de temporada superarem el nivell d'aquest…