#Tina Scala

[opera-ghosts]

Ernestina Poli was born in Ferrara, Italy on 3 April 1879, and she studied for only a few years before making her debut at Bergamo in 1902 as Amelia in Un Ballo in Maschera. She had a huge success and was retained for another dozen performances in Il Trovatore and the then very popular Salvator Rosa. She ended the year at Massa. At this point, despite her success, she retreated from the stage for another year of training, after which she debuted at Messina in Andrea Chenier with the tenor Ruggero Randaccio. On 17 Jan, 1904 she sang Micaela for the only time in her career, again with Randaccio as her stage partner. It was not long before the couple announced that they were to be joined in life, and in the summer of 1904, shortly before a tour to South America, they were married. She immediately changed her stage name to Tina Poli Randaccio, and there are interesting and amusing confusions in some South American reviews during the tour of 1904, in which she is listed as the tenor, he the soprano. Poli was assumed to be his first name and Ruggera, hers. 

The tour took the couple to Sao Paolo and Rio de Janeiro where Tina appeared as Mimi, the Trovatore Leonora, Desdemona, Aida, Maddalena di Coigny, Gioconda and Santuzza. He sang in Boheme, Andrea Chenier and Cavalleria Rusticana. The year ended at Sao Paolo with an opera called Cristo alla Festa di Purim, after which she added La Forza del Destino, Ballo in Maschera and Ernani to her assignments in Brazil. The couple traveled with the company to Manaus and Pernambuco, then returned to Europe where Ruggero announced his retirement from the stage. They decided that he would be her manager and coach, and from about this point his name was never seen on a billboard again. 

On 2 December 1904 Tina debuted at Milan's Teatro Dal Verme in an opera called Jana with Bergamasco and Schiavazzi conducted by Serafin and from there she went to Oporto where she sang in Aida, Il Trovatore, Don Carlo, Pagliacci, Un Ballo in Maschera and Cavalleria Rusticana. After a short respite, the couple sailed for Mexico, and in September 1905 Tina appeared at the capitol in Les Huguenots (in Italian), Aida, Germania, Un Ballo in Maschera and Giordano's recently produced opera Siberia. The company included Virginia Guerrini, Alice Zeppilli, De Marchi and Magini Coletti, and it is not surprising, given those names, that the tour extended for four months and included visits to Guadalajara. 

Turin welcomed her back to Italy when she appeared at the Teatro Vittorio Emanuele as Gioconda in January of 1907. A tour to Bucharest was arranged by Randaccio and on 11 November Tina debuted as Aida in a cast that included De Angelo, Angioletti and Bellat. On the 18th, she sang in Ernani with Angioletti, Titta Ruffo and Torres de Luna. Her season continued into the middle of December with Un Ballo in Maschera and Il Trovatore, both with Ruffo, Les Huguenots, and La Gioconda. A visit was made to Kiev and Odessa, but I have no record of her roles. 

Tina debuted at Parma's Teatro Regio on 6 January 1908 in Mascagni's brand new opera, Amica and after singing in Red Roses and Damnation of Faust, she undertook a four month tour of Italy with the new work, under Mascagni's direction. The cities visited included, Firenze, Bologna, Modena, Verona, Treviso, Trieste, Ravenna, Ancona, Cesena and Forli, where she received a thunderous welcome and was hailed as the greatest soprano seen there in a generation. At Livorno she sang in the composer's Le Maschere and Iris and the tour ended at Rome's Teatro Adriano, where Tina sang eleven performances of Amica and several of Le Maschere, the latter with Juanita Caracciolo and Carlo Galeffi. 

On 26 December, Tina made a much heralded debut at Venice's Teatro la Fenice as Aida with Ladislava Hotkowska and Henderson. The revival was so well received that a scheduled three performances became six. At Fiume, in April, she sang in Ernani and La Gioconda and in October she returned to the Adriano for Tosca, Aida and the world premiere of Raffaelo,by De Lunghi. 

In February 1910 Tina debuted at Madrid's Teatro Real as Gioconda in a cast that included Flora Perini, Giuseppe Taccani and Ruffo, after which she sang ten performances of Aida and six of Loreley at Catania's Masimo Bellini. The spring found the Randaccios back in Brazil, where, at Rio de Janeiro, on 27 May, Tina sang Isolde for the only time in her career, though it was a moderate, if not overwhelming success. At Rio, she also sang in Il Trovatore, La Gioconda, Loreley, Tosca, Aida, and Germania, and at Sao Paolo, she added another new work, Boscaiuola. Tina's tour partners included Anna Gramegna, Krismer, Giraldoni and Viglione-Borghese, and, as had been the case in Mexico, this starry roster resulted in an extended season both in Rio and in Sao Paolo. 

The most important moment of her career had arrived. On 17 December 1910 Tina debuted at La Scala as the Siegfried Brunnhilde, with the inimitable Giuseppe Borgatti in the title role. There were a dozen performances, and the production was a complete success. Fanny Anitua was an unforgettable Erda according to contemporary reviews, and the hero and heroine received memorable ovations every evening. Though hers would not be a major career in the most important of all Italian theaters, it continued at intervals for a good number of years, and included several world premiers. 

In February 1911 Tina returned to Parma for La Gioconda and then took a well needed break from performing. During the summer, she learned the role of Minnie in La Fanciulla del West, and on 10 September, at Puccini's invitation, she sang the first of thirteen performances at Lucca's Teatro del Giglio with Taccani as Dick Johnson. Her success was enormous, in fact, greater than her predecessor, Eugenia Burzio, who had sung in the Italian premiere earlier in the season. Poli was immediately engaged to repeat the opera at Naples' San Carlo with Martinelli and Viglione-Borghese and at Bari's Teatro Petruzzelli with Corti and Mariano Stabile. After a debut at Palermo's Massimo as Gioconda in March 1912, she sang Minnie at Monte Carlo, again with Martinelli and Viglione-Borghese, and in late May she debuted at the Paris Opera as Minnie in a gala performance with Enrico Caruso.

In November, Tina sang in La Gioconda at Genoa and then prepared for the Scala premiere of Fanciulla. There were many sopranos who had vied for the honor, whose partisans had lobbied intensely for them, and the uncertainty had been a major story in Italian newspapers. Burzio reigned at Scala, but it was not to be. Tina's reputation as Minnie was by now so secure that both Scala's management and the composer agreed that she deserved the honor. On 29 December, before a star studded audience, the Milan theater presented La Fanciulla del West for the first time with Poli Randaccio, Martinelli and Galeffi. Tullio Serafin was on the podium, and the clamor was so enormous that the opera was repeated fourteen times.

Tina repeated Minnie at Monte Carlo in February 1913 with Martinelli and George Baklanov, after which she sang the role at the site of its Italian premiere, the Costanzi of Rome. In the spring there were concerts at Modena in honor of the centenary of Verdi's birth and on 15 December, Tina sang in the world premiere of Mascagni's Parisina at La Scala under the composer's baton. The cast included Luisa Garibaldi, Hipolito Lazaro and Galeffi, and there were twelve performances. 

On 10 February 1914 Poli sang in the world premiere of Smareglia's Abisso and on 2 April in the world premiere of Alfano's Ombra di Don Giovanni, both at La Scala. In May she sang in Tosca at Milan's Teatro Carcano with Garbin and Viglione-Borghese and in October Tina participated in one of this century's most important stage debuts, that of Beniamino Gigli as Enzo, at Rovigo, on 15 October. It was the scene of veritable riots; a star had truly been born, and there were thirteen performances. Tina's year ended with Un Ballo in Maschera at Piacenza, a revival shared with the equally celebrated Celestina Boninsegna. 

Rome's Costanzi welcomed Tina back as Gioconda, Tosca and Minnie in the winter of 1915, and after Gioconda at Naples and Aida at Firenze, she sailed for South America and her debut at the Teatro Colon of Buenos Aires. On 25 May, Poli debuted as Gioconda in a cast that included Perini, Lazaro, and Riccardo Stracciari. La Prensa referred to her as "a major talent whose voice can send shivers down one's spine, so present and immediate is the reaction". On 6 June she sang Santuzza and on the 17th, she sang in a concert with Caruso, Bernardo de Muro, Mario Sammarco and Lazaro. The season ended with Tosca and had included performances with the company at Cordoba and Rosario, where she sang Tosca and Santuzza, and at Tucuman, where she sang Santuzza.

Tina traveled from Argentina to Santiago, Chile, and on 27 August, she opened the season at the Teatro Municipal in La Fanciulla del West. The work was so well received that an additional performance was added; it was the only opera to be seen as many as four times. She stayed at Santiago for two months, singing Tosca, Aida, Gioconda, Santuzza, the Trovatore Leonora and Maddalena di Coigny and appeared as Aida, Tosca, Gioconda and the Trovatore Leonora at Valparaiso. Tina returned to Buenos Aires in late October where, at the Teatro Coliseo, she sang all of her Chilean roles except for Maddalena, and after a brief rest, she undertook a long tour of the Caribbean Basin. World War I was in its most intense period and the safety of the Western Hemisphere certainly seemed more attractive than the dangers of Europe.

On 29 January 1916 Tina debuted at Havana as Aida, and later sang in Tosca, Il Trovatore, Cavalleria Rusticana, Iris, La Gioconda, Les Huguenots, and La Fanciulla del West. Her tenor partners were Lazaro and Zinoviev; Enrico Roggio carried most of the baritone weight and Amelita Galli-Curci appeared with Poli in Les Huguenots (in Italian). The company stayed at the Cuban capitol for nearly two months, then toured to Cienfuegos, Camaguey, Santiago de Cuba, Mananzas and in the late spring, to Costa Rica.

In November Tina returned to Italy for Tosca at Bologna with Aureliano Pertile and Jose Segura-Tallien and in January 1917 she sang at Milan's Dal Verme in a gala concert, including act 3 of Aida and act 4 of La Gioconda. At La Spezia she sang Aida, and in June Tina debuted at Zurich as Tosca with Gubellini and Sammarco. After singing Santuzza at the Swiss theater, she returned to the Dal Verme for Aida and at Genoa, she sang in La Gioconda with Vita Ferluga, Folco-Bottaro and Galeffi. 

Tina decided that the climate in Europe was not what the doctor ordered, and in fact, work was difficult to find for nearly everyone in 1917. Many of Italy's most important theaters were closed, and those that remained open presented very shortened seasons. Havana again beckoned and Tina returned in December for Aida, La Fanciulla del West, Les Huguenots, Tosca, La Gioconda, L'Africaine, La Boheme and a new opera, Doreya. Her colleagues included the tenor, Jose Palet, Edith Mason, Maria Barrientos and the basses, Nicoletti-Korman and Virgilio Lazzari. The tour again included Camaguey, Cienfuegos and Santiago. In mid March 1918, the company moved to San Juan and Ponce for a two month season in Puerto Rico. Poli sang the same roles and added Amelia in Un Ballo in Maschera. In June, at Caracas, Venezuela she sang in Aida, Tosca, Les Huguenots, La Gioconda and Cavalleria Rusticana. 

The Great War was over and Tina returned to the safety of a victorious Italy for La Gioconda at Bologna, Milan's Teatro Lirico and Firenze's La Pergola. On 18 December she reappeared in glory for the first of eleven performances of Aida at La Scala. The next few months were spent at Turin with Cavalleria Rusticana and Aida. It was during the revival of Aida that Tancredi Pasero made his absolute opera debut as Il Re, substituting for an indisposed colleague. It is with some pride that the author acknowledges this event, since Pasero's debut has always been listed as at Vicenza in La Sonnambula much later in the year. And with pleasure, I also acknowledge that this information was kindly provided by Robert Tuggle of the Metropolitan Opera Archives. 

After La Fanciulla del West at Trieste's Teatro Rossetti, in late November, Tina debuted as Aida at Barcelona's Liceo and in December she completed her engagement as Gioconda. In January 1920 Tina sang thirteen performances of Aida at Trieste's Teatro Verdi with the stellar cast of Giuseppina Zinetti, Miguel Fleta and Carmelo Maugeri. Rome's Costanzi welcomed Poli back with seven performances of La Gioconda and Genoa saw her as Santuzza in March. May was spent at the Fenice of Venice, where Tina sang in Suor Angelica with Elvira Casazza and in Aida. In June, she traveled to London for a debut at Covent Garden in Tosca with Fernand Ansseau and Dinh Ghilly and was very poorly received by both public and press who recoiled from her strong vibrato and melodramatic impersonations. Tina left London after one performance, never to return.

However, on 31 July she was welcomed with an enormous ovation at the Verona Arena when she sang in Aida with Zinetti and Pertile. After La Gioconda at Turin's Teatro Chiarella, Tina returned for a very long season at Barcelona, appearing in Aida, La Gioconda, Un Ballo in Maschera, Lucrezia Borgia, Cavalleria Rusticana and Ernani, as well as in act two of Tosca during a gala benefit. Her reviews were nothing short of magnificent and in Gioconda, she was heralded by several critics as the greatest that the city had ever seen or heard. The Liceo and Tina Poli Randaccio would continue their love affair over several more seasons. 

In 1921, Tina appeared at Brescia and Trieste for La Gioconda, Palermo for La Gioconda and La Fanciulla del West, Rome for Aida, the Milan Arena for La Gioconda, Vicenza for La Fanciulla del West with Ismaele Voltolini and Stabile, Venice for La Gioconda and at Parma on 29 December in a stellar revival of the Ponchielli work with Giannina Arangi Lombardi as Laura, Irene Minghini Cattaneo as La Cieca, Voltolini as Enzo, Noto as Barnaba and Bruno Carmassi as Alvise. 

The new year found her in revivals of La Fanciulla del West at Naples, Milan's Carcano and at Turin where she was joined by Voltolini and Apollo Granforte. The Dal Verme hosted Tina in Il Trovatore with Zinetti, John O'Sullivan and Benvenuto Franci in October, and after eleven performances of Les Huguenots at Bologna with O'Sullivan, Poli returned to Barcelona for Aida with Aurora Buades and Lazaro, Tosca with Lazaro and Les Huguenots with Cassini and Lazaro.

Tina debuted at Cairo on 27 January 1923 as Gioconda and continued her season as Minnie and Santuzza, after which she repeated all three roles at Alexandria. Santuzza was the role of her return to Milan's Teatro Lirico in May and on 11 August she appeared at Venice's Lido di San Nicola in Aida with the riveting Gabriella Besanzoni. In November, Trieste saw Poli as Gioconda and on the 22nd, she sang in a gala performance of Aida at Rome's Costanzi in honor of the King and Queen of Spain. Zinetti, De Muro and Enrico Molinari completed the stellar cast and the conductor was Mascagni. Tina's year ended at Mantua with four performances of Tosca, after which she appeared at Brescia's Teatro Grande in Loreley. Neapolitan audiences appreciated her Trovatore Leonora and Romans admired her in L'Africaine with Pasini, Giulio Crimi, Molinari and Pasero and in Tosca with Crimi and Stracciari.

In the summer Tina debuted at Vienna as Aida with Maria Gay, Giovanni Zenatello and Viglione-Borghese, a revival that had to be repeated sixteeen times before moving to Kaiserdam, Germany in September. Berlin saw her Santuzza before she returned to Barcelona in November for another daunting season. This time Tina sang in Aida, Les Huguenots, L'Africaine and a new work, Suor Beatrice. Though Tina Poli Randaccio is primarily remembered in Italy as the quintessential Italian dramatic soprano, she had by now appeared in twenty countries, and with the singular exception of England, had been rapturously received in all. There would be a twenty first. 

1925 began at Naples with L'Africaine and on 30 January, Tina returned to the Costanzi for La Fanciulla del West with Crimi and Parvis. After further performances of Tosca and Aida at the San Carlo in February, she returned to Rome for Il Trovatore and Aida. The Lido di San Nicola at Venice feted Tina to a serata di gala on 1 August as the prelude to an engagement as Aida at the Fenice, after which she sang in Tosca at Rimini with Pertile and Viglione-Borghese. In October, she returned to Genoa for La Gioconda, and on Christmas Night 1925, at Bari's Teatro Piccinni, she sang Norma for the first time. Though she sang six performances, it was not a great critical success, and she decided to drop plans for several other planned engagements in the role.

Trieste's Teatro Verdi hosted Tina in Abisso and Il Trovatore at the outset of 1926, after which she sang in La Fanciulla del West at Genoa's Carlo Felice, in Aida and a Benefit Concert at Rome's Costanzi, and in Il Trovatore at Naples' San Carlo, the last with Ebe Stignani. Poli had been singing for a quarter century and it had been an enormously intense and successful twenty five years, but Father Time, as he will, began to play his inevitable role. After Naples, it was not until September that Tina again appeared on a stage, when she debuted at the Athens Arena in Aida with Franco Battaglia. And so, her year ended.

La Scala beckoned one more time, and, on 9 March 1927, Tina sang in the world premiere of Guarino's Madame de Challant with Francesco Merli and Carlo Morelli, and with these three performances she said farewell to the theater that had presented her as its first Minnie, and in four world premieres. 

Naples again welcomed Tina for Il Trovatore and Aida, and she debuted at Modena's Teatro Comunale in April as Gioconda, and, a week later she unveiled the role of Turandot at the Comunale. At Milan's Carcano she sang in Isabeau and at year's end she returned to Barcelona for the last time, appearing in Aida and La Gioconda, with identical casts, Zinetti, Aroldo Lindi, Granforte and Vela. 

In February of 1928 Tina sang in Turandot at the San Carlo and in February, she bade farewell to Naples as Gioconda. In April she returned to Rome, where, at the newly named Teatro Reale, she sang for the last time, when she appeared in Il Trovatore. Her last engagement of 1928 was as Isabeau at Livorno in a revival conducted by Mascagni. 

In 1929, Tina sang Gioconda and Santuzza at Milan's Lirico, Turandot at Nice, which is listed in the program as the French premiere of the Puccini opera, Aida at La Spezia and Tosca at Firenze's Teatro Verdi. In 1930, her only Italian engagements were at Genoa where she sang Isabeau, Aida, and Santuzza, after which she sailed to Caracas for a season as Gioconda, Tosca, Maddalena di Coigny, Santuzza and Elena in Mefistofele. There would be no further engagements outside of Italy, and few enough in her homeland though she continued to appear for another six years. 

In 1931, she sang Santuzza at Bergamo, Gioconda for Italian Radio both at Rome and Turin, Gioconda in Palermo's Teatro Garibaldi, Nedda at Isola, and Aida at Biela and at Rome's Teatro Adriano. In 1932 she sang in Gioconda at Crema and in Tosca at Milan's Teatro Puccini and at Brescia. 1933 found her again at the Puccini for Isabeau, at the Adriano for Minnie and Aida, and at Milan's Politeama for Santuzza.

In 1934 she returned to Norma, which had played so minor a role in her career, and she sang it at both Monza and the Lido of Pesaro. At Pesaro she also sang Santuzza, a role repeated at Milan's Arena. At year's end she sang Aida at Milan's Nazionale and at the Puccini she sang in La Forza del Destino, a role repeated at Foggia in early 1935. At Foggia she also sang Santuzza. The end came in early 1936, where at Asti and finally at Modena Tina Poli Randaccio sang her opera farwell as Santuzza. The career had encompassed nearly fifty roles, and had presented her on the stages of the World over fifteen hundred times, a monumental parade of memories for nearly two generations of opera goers.

After retiring from the stage, Tina abandoned musical life almost entirely, and died at Milan on 10 February 1956.

[poirott]

More filming on location for A Haunting in Venice

Kenneth Branagh, Tina Fey and Riccardo Scamarcio were spotted January 8 - 9 2023 on location in Venice, Italy, while shooting the 3rd Hercule Poirot film.

They've been filming at Campo San Samuele, the Clock Tower and the island of San Giorgio, for the past few days. A night-time scene had Branagh's Poirot cruising on a gondola driven by gondoliers wearing white Venetian masks. Another scene was a market in the churchyard of the island of San Giorgio, with stalls, straw baskets, milk cans, vegetable baskets, crates of soft drinks, and wine flasks. Despite the cold and drizzly weather, the set attracted curious onlookers visiting an art exhibition nearby.

JAMIE DORNAN, JUDE HILL, KELLY REILLY, ARRIVING SOON Italian media (via Italy24 and la Nuova Venezia) is reporting that "filming will continue in the next few days with the arrival of the other cast members, including Riccardo Scamarcio, Jamie Dornan (formerly Mr. Gray in 'Fifty Shades of Gray'), the French actress Camille Cottin, Tina Fey, Jude Hill, Ali Khan, Emma Laird, Kelly Reilly."

UPCOMING FILMING LOCATIONS include Palazzo Pisani, now home of the "Benedetto Marcello" Conservatory of Music, Scala del Bovolo, the most impressive spiral staircase in Venice, the church of Miracoli and the area of ​​the canals between campiello Widmann and Rio dei Mendicanti in campo dei Santi Giovanni e Paolo, and Palazzo Malipiero which also overlooks the Grand Canal.

Il Gazzettino reports group scenes will be filmed featuring "young protagonists: seven gondolas with about twenty extras are mobilized for the scenes, passing from the Miracles to the Rio which overlooks the back of the Malibran Theater."

Shooting in Venice will continue until January 13 2023.

Source: Italy24, SiViaggia, Corriere del Veneto, DM, GettyImages.com (photographer Stefano Mazzola)

[weaversweek]

Fear of Music index post

This is an index post for the #FearOfMu21c exercise.

In it, I'm listing the best 50 singles - in my opinion, in no particular order - released from 2000 to September 2023. It's the follow-up to #Uncool50 last year.

See also - the top 450 from which my top 50 was derived.

"Reach" and "Over the rainbow" (S Club 7 and Eva Cassidy) ELF "The middle" (Jimmy Eat World) "Someone to you" and "Mourir demain" (Banners and Natasha St Pier & Pascal Obispo) "Chewing gum" and "On your head" (Annie and Tiffany Page) "Take me to church" and "Take me out" (Hozier and Franz Ferdinand) "My star" and "IDGAF" (Brainstorm and Dua Lipa) ELF "Bulletproof" (La Roux) "About you now" and "Aimer jusqu'a l'impossible" (Sugababes and Tina Arena) "Anti-hero" (Taylor Swift) "The climb" (Miley Cyrus) "Fallin'" and "Not my soul" (Alicia Keys and Destiny Chukenyere) "If you love someone" and "Sk8er boi" (The Veronicas and Avril Lavigne) "Say you love me" (Voodoo Hussy) "Summer girl" and "Turn off the light" (Haim and Nelly Furtado) "This is the life" and "Bring me to life" (Amy MacDonald and Evanescence) "The fear" and "Grace Kelly" (Lily Allen and Mika) DOUZE POINT "Snap" (Rosa Linn) "You're the storm", "First day of my life", "Tonight and the rest of my life" (The Cardigans, Melanie C, Nina Gordon) ELF "With or without you" (Scala and Kolacny brothers) "3sex" (Indochine & Christine and the Queens) "Drops of Jupiter" and "Blank Space" (Train and Taylor Swift) "Toxic" and "Can't stop the feeling!" (Britney Spears and Justin Timberlake) "Anyone I want to be" and "Chained to the rhythm" (Roxie Węgiel and Katy Perry) "Bad romance" and "Royals" (Lady Gaga and Lorde) "Vampire" and "No degree of separation" (Olivia Rodrigo and Francesca Michielin) "Baby shark" (Pinkfong) "When we were wolves" and "Portions for foxes" (My Latest Novel and Rilo Kiley) ELF "New Americana" (Halsey) "Closer" and "Year 3000" (Tegan & Sara and Busted) "Downtown" (Saw Doctors and Petula Clark)

The top 50 is not ordered; however there are bonuses to be given. One bonus point to the four ELF singles, and two bonus marks to the best single of all - the DOUZE POINT.

I was not surprised to find nobody else nominated "With or without you", and only mildly surprised that "New Americana" had no other lovers. There was one other nomination for "Snap", which failed to make the top 250.

The final top 250.

During September, Billboard magazine published their top 500 of all time. I've pulled a hypothetical top 50 from the current century.

In November, WXPN in Philadelphia listed their top 885 songs sung by women. Again, a hypothetical top 50 from the 21st century is available. (WXPN is a non-commercial indie-leaning station, quite close in playlist to BBC 6 Music, which in turn seems to be the station of choice for Fear of Mu21c posters.)

[m2024a]

Chiara Ferragni messa ko da Fedez? La sua sparizione dai social dopo quella presunta litigata al telefono. Cosa si sono detti Spunta una nuova notizia che arriva dai meandri del web e dal folto corridoio di gossip che, passando dai social e facendosi strade nel più antico passaparola, fa riferimento al fatto che Chiara Ferragni sia stata in qualche modo "messa ko" dall'ex marito Fedez dopo una presunta litigata al telefono che ha portato alla sua "sparizione" dai social delle ultime ore. Ma cosa si sono detti gli ex Ferragnez? E quanto c'entrano davvero i nuovi problemi di salute del rapper? Quanto invece si tratta di una serie di recriminazioni tra ex? Non ci resta che andare a scoprire insieme tutto quello che sembra essere successo. Litigata telefonica tra Fedez e Chiara Ferragni: cosa è successo? Andiamo con ordine e partiamo dal principio. La pagina di gossip VeryInutilPeople ha annunciato che, a quanto pare, durante l'ultimo ricovero in ospedale di Fedez c'è stata una litigata telefonica tra il rapper e Chiara Ferragni. Federico - lo ricordiamo - è stato trattenuto in ricovero per un'emorragia interna. Poi, in un'altra storia, la pagina precisa che pare che Fedez abbia accusato Chiara di non essere andata a trovarlo in ospedale… Insomma, la situazione sembra ripetersi e la frattura tra i due si fa sempre più incolmabile. Che il litigio sia avvenuto davvero? A quanto pare ci sarebbero dei testimoni… Quel che è certo è che Chiara è "sparita" dai social da qualche giorno. C'entrerà la situazione con il suo ex? Il video di Tik Tok di Chiara Ferragni che ha fatto perdere la pazienza a Fedez: 'Non mi è mai piaciuto'. Il video 'incriminato' con l'amica Veronica Intanto, storie sulla litigata con Fedez a parte, sui social spopola un video della fine di giungo, nel quale Chiara Ferragni è insieme all'amica Veronica Ferraro e sembra lanciare una vera e propria frecciatina all'ex marito. Con la didascalia "Quando quell'amico si rivela per quello che è", le due usano le parole di Tina Cipollari: "Da quando è sceso da quella scala che non mi è mai piaciuto". "E io l'ho pure difeso, io ci credevo", dice poi Chiara usando le parole di Gianni Sperti. E quindi ancora Veronica con la voce di Tina: "E tu poi? Capirai, di chi stamo a parlà. Tu credi pure alla befana!".

[lamilanomagazine]

Natale 2023: illuminato in piazza Duomo l'albero dedicato ai giochi olimpici e paralimpici invernali.

Natale 2023: illuminato in piazza Duomo l'albero dedicato ai giochi olimpici e paralimpici invernali. L'Albero dei Giochi di Milano Cortina 2026 illumina la magia del Natale milanese in piazza Duomo. Ieri pomeriggio, con la sua accensione, il Comune di Milano e il Comitato Organizzatore dei Giochi Olimpici e Paralimpici del 2026 hanno dato avvio simbolicamente alle celebrazioni delle festività in città. Alla cerimonia di accensione dell'albero, realizzato anche grazie al supporto e al coinvolgimento di Esselunga, Partner del Comitato Organizzatore dei Giochi Olimpici e Paralimpici del 2026, sono intervenuti il Sindaco di Milano Giuseppe Sala, il Presidente della Regione Lombardia Attilio Fontana, il Presidente della Fondazione Milano Cortina 2026 Giovanni Malagò, il presidente del Comitato italiano Paralimpico Luca Pancalli, la Presidente Esecutiva di Esselunga Marina Caprotti e l'Amministratore Delegato del Comitato Organizzatore Andrea Varnier. L'Albero dei Giochi di Milano Cortina 2026, un maestoso abete nordmanniana proveniente dalla vicina Provincia di Varese, accoglie alla base una hall of fame per omaggiare i 221 medagliati italiani nella storia delle Olimpiadi e delle Paralimpiadi Invernali. A decorare i 28 metri d'altezza dell'albero circa 300 sfere natalizie argentee e rosse che si intrecciano con medaglie decorative d'oro, d'argento e di bronzo: un omaggio alle straordinarie imprese delle campionesse e dei campioni italiani ai Giochi Olimpici e Paralimpici Invernali. Ad illuminare il tutto le luci ambrate di circa 100mila microled culminanti su una cima allestita con uno sfavillante fiocco di neve. La magia sta arrivando: Magic is coming. A seguito dell'accensione dell'abete di piazza Duomo, si sono accesi anche gli altri alberi - abeti e installazioni - che quest'anno danno forma al "Natale degli Alberi", il concept nato da un'idea di Marco Balich e donato alla Fondazione Bracco al Comune. Ecco dove trovare tutti i progetti del "Natale degli Alberi": piazza Duomo (Milano Cortina 2026), Galleria Vittorio Emanuele II e volta dell'Ottagono (Gucci); piazza della Scala e piazza Remo Cantoni (Sephora); piazza San Babila, piazza Belloveso e piazzale Corvetto (Dils); piazza dei Mercanti (Baci Perugina); piazza San Carlo (IG); Galleria del Corso e piazza Berlinguer (Victoria's Secret); via Croce Rossa (Xerjoff); piazza Tina Modotti (Lendlease/MSG); corso Garibaldi (A2A); piazza XXV aprile (Jo Malone London); piazza Cordusio, piazza Enzo Paci e piazza Anita Garibaldi (Boscolo); piazza del Carmine (Banca Investis); piazza Duca d'Aosta (Grandi Stazioni Retail con Plenitude); piazza Gae Aulenti (Portanuova powered by Warner Music Italy) e piazza Elsa Morante, a City Life (Atlante).... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[silveredsound]

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[tina-aumont]

Tina Aumont and director Tinto Brass during a break while filming “L’Urlo”.

First photo from listal.

Second photo from: http://www.scalarchives.com/web/index.asp

[thewidowstanton]

The Widow’s Best of 2017

To steal the title of a Piano Magic track, The Nightmare Goes On. Well, we remember saying last year had been a bit grim, and, let’s face it, this one has been even worse. But hey, there are always shows to see and find solace in. 2017 has provided some great ones, and thrown up a surprise in our Best Show category. All shows are in London – that’s where we live – and here’s what we think.

CIRCUS ARTIST OF THE YEAR: Hula-hooper and contortionist Emi Vauthey. We’ve been entranced by her since we first saw her in Cirque Eloize’s iD. Now she’s touring with the 7 Fingers’ show Réversible but, lucky London, between runs she appeared in BMT & Friends cabaret at the Albany, so everyone could marvel at her sublime skills close-to.

BEST SHOW: James Thierrée’s The Toad Knew at Sadler’s Wells took us by surprise. Having strayed into tedious territories in his last couple of shows, The Toad – weird title – was a brilliant return to form for La Compagnie du Hanneton and avoided many of Thierrée’s familiar tropes. You can read our interview with one of the performers, waacking pioneer Sonia Bel Hadj Brahim. Did her uncanny resemblance to Thierrée influence her casting in a role formerly played by the contortionist Valérie Doucet? The show also tied for BEST SET, especially for its towering gauzy backdrops and ingenious giant ‘lily pads’, which moved up and down and tilted eerily.

BEST FIRST SHOW: Alula Cyr’s Hyena, seen during the Underbelly Festival at the Southbank. Quite a long time in the making; well worth the wait.

BEST CIRCUS CABARET: BMT & Friends at the Albany. You rarely see a cabaret where every act is top class, but Barely Methodical have some extremely talented friends to add to their own outstanding skills. They also created new duo and trio acts and there was a rare chance to see the startling and chilling Bert & Fred (pictured) in the UK. Pic: Jonah Samyn

BEST SKILLS: Unicylist Sam Goodburn in Dumbstruck at Jacksons Lane.

BEST WORK-IN-PROGRESS: Lumo Company's startling and unusal Lola. Read our interviews with its stars, Hanna Moisala and Heidi Niemi. Can’t wait to see the finished show.

BEST MAGIC TRICK: Anything by veteran close-up magician Bernard Bilis as seen on Le Plus Grand Cabaret du Monde on France 2. After two years at the top, Ali Cook’s Find the Pea is runner-up this year.

BEST AERIALIST: Black Cat Cabaret’s Katharine Arnold/Korri Aulakh.

BEST CABARET: The effortlessly classy Lady Rizo in Red, White and Indigo at Soho Theatre. The voice, the chit-chat, and, most importantly, the gowns! And – you had to be there –  who wouldn’t want to snog this amazing woman?

MOMENT OF WONDER: The glitter shower that fell as Lady Rizo removed her black satin glove; also, the Game of Thrones’ dragons!

BEST NEW ACT: The gorgeously athletic tumbling number – in outsize jumpers – by Alula Cyr’s Fiona Thornhill and Barely Methodical Troupe’s Beren D’Amico in BMT & Friends cabaret.

BEST ACT: Gina and Jacquie of Las Chicas Morales on rolling globes at Gandey's Circus/Lj Marles on his very own ‘Marles’ tension straps in La Soirée.

MOST READ WIDOW INTERVIEW: Romy Bauer from Phillip and Carol Gandey’s charity show Circus Starr.

BEST THEATRE SHOW: Robert Lepage’s 887 at the Barbican, which is our joint winner for BEST SET. All Lepage sets are stellar, and this one was no exception.

BEST TV SHOW: The Handmaid’s Tale on Channel 4/Hey Duggee on CBeebies.

FAVOURITE SQUIRREL: Squirrels, we love you all but it has to be ROLY!! Is he getting his Bubble Badge? Pic: Studio AKA.

BEST SHOWBIZ ROYALTY: The one and only Miss Fenella Fielding reading from her memoirs at the Crazy Coqs/Live at the Zedel.

MOST INNOVATIVE SHOW: Wayne McGregor’s motorised floating spheres in +/- HUMAN, which interacted with dancers from his own company and the Royal Ballet at the Roundhouse.

MOST FUN NIGHT: La Soirée at the Aldwych Theatre. Good to see some new faces this year, including London’s own Lj Marles.

BEST MONOLOGUE: Paul Zenon’s wonderful autobiographical Linking Rings at the Secret Cellar. Attention bookers: This deserves a theatre tour!

OH NO, HE’S DRAGGING ME ONSTAGE… AGAIN!: Thank you, Mr Sean Kempton, during his great solo show, Stuff, at Jacksons Lane.

BEST CHRISTMAS SHOW: Clementine, the Living Fashion Doll’s Christmas Special at the Crazy Coqs/Live at the Zedel. Pic: Martin Barber.

BEST COSTUME: Anything worn by Clementine, the Living Fashion Doll/Alfie Ordinary in Dracula mode.

BEST VARIETY SHOW: Slightly Fat Features’ Slightly Fat Show at Leicester Square Theatre. Hoping to see more of Wayne Marvell and his doves next time…

BEST CONCERT: Alex Mendham and His Orchestra at St Martin-in-the-Fields with the gorgeous singers Serena and Hannah Dunlop.

BEST PANTO: Charles Court Opera’s King Tut: A Pyramid Panto at the King’s Head.

BEST ONGOING PRODUCTION: Cirque Le Roux’s The Elephant in the Room, which has been touring France all year and is back at Bobino in Paris. Read about Lolita Costet and Philip Rosenberg.

BEST GIG: The goddess known on earth as Sevdaliza at Omeara.

BEST DANCERS: Tango duo Rocío de los Santos and Luciano Capparelli from Tanguera at Sadler’s Wells. Thanks for the tango class! MOST STYLISH LOOK: Bishi (below left)

MOST GLAMOROUS LOOK: Lili La Scala (above right)

BEST MC: Calixte de Nigremont.

BEST CIRCUS PICTURE: Circus Harmony alumna Elliana Grace, who started early! Yes, that’s her on the left!

MOST WELCOME RETURN FROM INJURY: Louis Gift, who returned to Barely Methodical Troupe for BMT & Friends, and will appear in Bromance in New York City and in BMT’s new show Shift, which premieres during the Norfolk & Norwich Festival in May next year. We’re there!

SIMPLY THE BEST: Tina T’urner Tea Lady.

MOST MISSED: The heaven-sent voices of Glen Campbell and Sharon Jones.

MOST MOVING TRIBUTE: Patti Smith writing about her friend Sam Shepard in the New Yorker.

BEST NEWS FOR 2018: The return to Soho Theatre of the madly bonkers and inimitable DIna Martina with her new show, Crème de la Dregs.

And that’s it! See you in 2018… which we’ll be kicking off by interviewing an amazing artist who is celebrating 40 years in the circus next year…

[soul-matter]

Right. Right.

I just finished watching the Kingdom Hearts 20th Anniversary trailer compilation, and I have things to say.

First off, Dark Road:

FUCKING. FINALLY!

It has been so fucking long, and now it's coming to a head on August! We finally find out how Xehanort and Eraqus' upperclassmen look like! And Master Odin (Is that his name? I kinda forgot it) is hiding something. And we will finally see the event that led to the graveyard scene, and the first Xehanort Vs Eraqus. Can't wait.

Next up, Missing Link:

Ahem.

3D Kingdom Hearts game with a possibly customizable mc-

Excuse me, I am suffering excitement overload. We finally see Scala Ad Caelum at its height, and quite possibly find out what exactly happened to Blaine. I. WANT. IT.

And finally. The cherry on the top. The main event.

Kingdom. Hearts. Four.

It's in Quadratum, as expected. It looks gorgeous. Sora in particular. AND STRELITZIA IS BACK!

And what the hell is that huge as fuck Heartless I want to fistfight it-

God fucking dammit, I am so fucking excited for the series' future right now.

@sekhmet-rye @tina-nina Thank you for bringing this up to my attention with your reblogs. Now if you excuse me, I am supposed to be asleep, not ranting about Kingdom Hearts.

[soulstreamingitagratis]

Soul film completo streaming + scaricare film ita

Soul Guardare - https://soul-ita.blogspot.com/

Sembra che Pixar abbia prestato attenzione a tutto ciò che esiste: giocattoli, automobili, robot e persino emozioni. Ma non hanno ancora finito e stanno dando alle anime umane una mente propria con il loro nuovo film "Soul". Questo era un altro film che avrebbe dovuto uscire nelle sale, ma sfortunatamente è stato perso a causa della pandemia. Quindi, ha ottenuto un posto nel servizio di streaming della Disney. "Soul" vede Jamie Foxx nei panni di Joe Gardner, un residente di New York che ha la possibilità di suonare in una famosa band jazz. Ma, dopo che muore improvvisamente, deve trovare un modo per tornare al suo corpo prima dell'inizio del concerto ed evitare di andare al Great Beyond. Lungo la strada, fa amicizia con un'anima dispettosa, 22 (doppiata da Tina Fey) che rifiuta di trasferirsi sulla Terra. La Pixar brillerà ancora una volta con la sua ultima entrata, e spero che venga ripubblicata una volta che i cinema riapriranno. È un film adorabile e commovente. Jamie Foxx offre una voce fantastica recitando come l'insegnante che viene continuamente rifiutato da vari gruppi jazz in cui vuole disperatamente suonare, per incontrare la sua fine prematura una volta che arriva la sua grande occasione. È subito piacevole e le sue motivazioni sono del tutto comprensibili. Anche 22 è carino, ma per un motivo diverso: è sfacciato e trasporta la maggior parte dell'umorismo quando racconta i suoi precedenti mentori, tra cui Abraham Lincoln e Madre Teresa. Più avanti nel film, molte delle battute sono buffonate, e questo funziona anche a causa delle personalità opposte. Joe è così disperato di tornare sulla Terra mentre 22 non ha alcun interesse. Tuttavia, il duo funziona perfettamente. Qualcosa di cui parlo raramente quando parlo di un film è la diversità. Tuttavia, questo dovrebbe essere menzionato. La maggior parte del cast è nera o di lingua spagnola, cosa che ammiro. Mostra che la Pixar vuole essere più diversificata con ogni film che realizza; il suo ultimo film è stato il messicano "Coco", che è ancora il mio film Pixar preferito. E, come "Coco", anche la colonna sonora è importante per la storia; È ciò che guida Joe Gardner nella vita. Pertanto, non dovrebbe essere solo buono, ma anche significativo. "Soul" ha sicuramente la colonna sonora più interessante, con un mix di soft jazz e musica elettronica. Questi generi sono usati per separare il mondo reale e il mondo degli spiriti, dando al mondo già sognante un senso di meraviglia rispetto al mondo reale più radicato. Come accennato all'inizio, mi aspetto che "Soul" venga rilasciato di nuovo nelle sale per un solo motivo: le immagini. La divisione tra la Terra e il mondo degli spiriti è chiara, non solo attraverso la sua musica ma anche attraverso le immagini: The Great Before sembra sognante e liscio per adattarsi alla natura delle anime non nate, mentre che la scala per il Grande Al di là è meravigliosa e rara, dandole un'aura misteriosa. Questa scena in particolare era la mia preferita, così come le linee di schizzo in bianco e nero dell'autunno tra le due grandi aree. Il mix di stili di animazione impressionanti è meraviglioso da guardare e rende questo film visivamente unico. Anche l'animazione dei personaggi è interessante e unica; Mentre la Pixar ha iniziato a clonare Andy più volte come un modo per rallegrare i suoi amici in "Toy Story", questo film mostra davvero quanto sia arrivata la società da allora in termini di animazione delle persone. Nessuno ha lo stesso aspetto qui e ognuno ha il proprio aspetto e le proprie peculiarità. E le anime sembrano ultraterrene ma ancora identificabili; puoi dire chi erano quando vivevano sulla Terra. Nel complesso, la Pixar ha realizzato un altro classico animato con "Soul". Era un film che originariamente non mi interessava, ma sono contento di averlo visto. La musica e l'animazione rendono questo film Pixar unico e spero davvero che venga girato al cinema quando sarà il momento, perché questo è un film che merita di essere visto sul grande schermo. Non solo, ma è chiaro che la Pixar sta diventando culturalmente diversificata con le loro recenti voci e questo è qualcosa che ammiro davvero e spero che continuino a fare in futuro. L'ultima animazione della Pixar sembra un compagno ideale del suo precedente successo esistenziale Inside Out. Soul segue il musicista jazz e insegnante Joe Gardner (Jamie Foxx), che ha trascorso gran parte della sua vita insegnando agli studenti come abbracciare il potere della musica mentre desideravano il successo della propria carriera jazz.

Soul streaming ita Soul film online gratis Soul film gratis Soul vedere Soul vedere film Soul guardare online Soul guardare online gratis Soul guardare il film per intero Soul film streaming gratis

[opera-ghosts]

Verdi - Un Ballo in Maschera - Re dell'abisso - Irene Minghini-Cattaneo (1930)

Orchestra e Coro del Teatro alla Scala di Milano Carlo Sabajno, conductor HMV, 1930

Irene Minghini Boschi was born at Lugo, Italy on 12 April, 1892 and was encouraged at the age of fourteen to pursue a musical career. Her studies continued for a number of years but were curtailed by the outbreak of World War I. In 1918 Irene made her debut at Savona in “Il Trovatore” and later in the season she appeared at Brescia in “Isabeau” and at Rome’s Teatro Adriano as the Countess in “Andrea Chenier”. She was dissatisfied with her own abilities and decided to move to Milan, where she was accepted as a student by Ettore Cattaneo, who was not only an eminent musicologist and conductor, but was the senior director of the house of Ricordi. 

After a very brief period of study, Cattaneo announced that his protégé was ready, and in March of 1919 Irene debuted at Milan’s Teatro Carcano as Madelon in “Chenier” and a short time later, as Amneris. The Verdi opera was the subject of superb notices and before the year was out, she had also sung the Egyptian princess at Carrara and had appeared at Mestre. 

Irene had, from the beginning, dropped her family name and appeared only as Irene Minghini, for reasons never explained. On 22 March, 1920 she married Maestro Cattaneo and immediately assumed his name for professional as well as personal reasons. After a very brief honeymoon, she appeared at Empoli on 6 April as La Cieca and in the summer she appeared at Siena in “Rigoletto” and later in “Aida” with Eva Pacetti. She returned to the Carcano in December for “Il Trovatore” with Ester Mazzoleni, Giovannoni and Francesco Maria Bonini and at year’s end in “Aida” with Oliva Petrella. 

January of 1921 afforded her a very important debut, Preziosilla at the Teatro Petruzzelli of Bari and in the spring she appeared in “Il Trovatore” at Ravenna, Cesena and Forli. Milan’s Arena offered a contract for la Cieca and at Macerata she appeared as Amneris. The very prestigious Dal Verme of Milan presented Irene in “Il Trovatore” in October and on 29 December she debuted as la Cieca at Parma’s Teatro Regio with Tina Poli Randaccio, the young mezzo, Giannina Arangi Lombardi, Ismael Voltolini, Giuseppe Noto and Bruno Carmassi. There were ten performances and they served as Irene’s entry into the mainstream of Italian operatic life. 

1922 was a very important year in her career, beginning at Spezia in “La Favorita” and continuing at Piacenza as Quickly in “Falstaff” with Mariano Stabile as well as la Cieca with Fidela Campigna, Arangi Lombardi, Francesco Merli and Vincenzo Guiccardi. At Florence, she appeared in “Falstaff”, at Palermo in “Aida” and at the Dal Verme, she again sang in “Il Trovatore” as well as with Alessandro Bonci in “Un Ballo in Maschera”. At Rome’s Teatro Augusteo in December she sang in the Manzoni Requiem with Mazzoleni, Bonci and Nazzareno De Angelis, and her name became headline news at the Italian capital, though she would never be engaged at that city’s premiere opera house. In 1923 Irene returned to Florence for “Falstaff” and sang at Cremona for the first time in “La Gioconda” and “Falstaff”. At Ancona in March she sang in “Falstaff” and in April she sang at the Naples Teatro San Carlo in the Manzoni Requiem. They would turn out to be her only appearances at that august theater. In May Irene returned to Ravenna for “Falstaff” after which she took an eight month sabbatical, reportedly for a pregnancy, though my research has uncovered no definitive information. 

On 1 February 1924 Irene returned to the stage with appearances as Amneris at Cremona and a month later she debuted at Genoa’s Carlo Felice as Quickly in a cast that included Linda Cannetti, and Luigi Montesanto. At Vicenza she sang in the Manzoni Requiem with Lucia Crestani, Giuseppi Taccani and De Angelis, conducted by Sergio Failoni, and the engagement as so successful that all the soloists were immediately engaged for performances at Verona during the summer. Two performances were given at the Arena and two were moved to the Teatro Filarmonico when violent thunderstorms threatened Berrettoni conducted and Isora Rinolfi shared soprano honors with Crestani. The year also included performances of “Il Trovatore” at the Dal Verme, at Nice and at Genoa, “Aida” at Trieste’s Teatro Rossetti and the Manzoni Requiem at the Augusteo with Bianca Scacciati, Franco Lo Giudice and Bettoni. 

Minghini Cattaneo returned to Genoa for additional performances of “Falstaff” in January 1925 and to the Augusteo for Beethoven’s Symphony #9 at the Augusteo in April. In May, at Pavia, she sang Dalila for the first time and in July she appeared in “La Gioconda” at the Verona Arena. Arangi Lombardi had graduated to the title role and Irene to the role of Laura for the first time. Bergamo heard her as Leonora de Guzman, Reggio Emilia was the scene of her first Adalgisas, partnered by Arangi Lombardi, and at Parma, she sang in “Tristan und Isolde” with Gina de Zorzi, Lavarello and Carlo Tagliabue and in “Norma” with Vera Amerighi Rutili, Renato Zanelli and Umberto De Lelio.

1926 began with performances of “Un Ballo in Maschera” at Parma and continued with “Norma” with Amerighi Rutili at Cremona, “Falstaff” at Modena, “Il Trovatore” at Como, and in March an extended stay at Catania’s Teatro Massimo Bellini. She debuted in “Norma” on 6 March with Amerighi Rutili, Cingolani and Manfrini, and on the 20th, she sang in “Aida” with Arangi Lombardi, Nicola Fusati, Armando Borgioli and Manfrini. At Ravenna, she sang Brangaene to the Isolde of Maria Llacer and Amneris to the Aida of Maria Carena and later in the season, Irene appeared in seven performances of “Il Trovatore” at Verona’s Arena. In the autumn, the Teatro Comunale of Modena offered a gala, extra season revival of “Norma” with Amerighi Rutili and at Bologna, Minghini appeared at Bologna in “Lohengrin” with Giuseppina Cobelli, Beniamino Gigli and Borgioli, in “Il Trovatore” with Arangi Lombardi, Aureliano Pertile and Borgioli and in “Aida” with Stani Zawaska, Merli and Angelo Pilotto. The year ended with eleven performances of “Il Trovatore” at Brescia’s Teatro Grande. 

Her first engagement in 1927 was a stellar revival of “Aida” at Turin’s Teatro Regio. Eva Turner and Maria Carena shared the soprano role and Pertile sang Radames under the baton of Gino Marinuzzi. At Nice, Irene appeared in “Il Trovatore” with Llacer, Pedro Mirassou and Apollo Granforte and in “Aida” with Llacer, and Mirassou. In May, she sang in “Il Trovatore” with Arangi Lombardi, Merli and Gaetano Viviani at Florence. and while there, sang in two concert performances of the Beethoven Ninth Symphony. She was now the reigning mezzo at Verona and her season included eleven performances of “Aida” with Arangi Lombardi, Antonio Cortis and Viviani and two performances of the Beethoven Ninth. 

The musicologist and commentator, Dr. Garcia Montes, reported of “Aida” in Record Collector: “What a wonderful voice and temperament that woman (Cattaneo) had. I will always remember her duet with Arangi Lombardi in the second act and her scene with Antonio Cortis in the last act. There existed some sort of rivalry or competition between the admirers of Arangi Lombardi and Minghini Cattaneo (both singers were good friends, though) and the storms of applause after each passage sung by the said singers lasted for minutes.”

At Cesena she appeared in the Manzoni Requiem and at Bologna she appeared in six performances of “La Gioconda”, again singing Laura. Those who attended the revival read in the program that Irene Minghini Cattaneo had been engaged to join the Melba-Williamson company on a six month tour to Australia in the spring of 1928, and that she would be joined by Giannina Arangi Lombardi, Toti dal Monte, Francesco Merli, Apollo Granforte and other Italian artists of the first rank in the most ambitious operatic undertaking in that continent’s history. The best laid plans! 

Somewhere between Bologna and Australia, the Cattaneos made a very sharp turn. On 3 March 1928 Irene Minghini Cattaneo debuted at La Scala in “Il Trovatore” with Arangi Lombardi, Merli, Galeffi and Baccaloni under Ettore Panizza’s baton. On 16 May, as Arangi and Merli were singing at Melbourne before sold out houses, Cattaneo was engaged in the World Premiere of Pizzetti’s “Fra Gherardo” at La Scala with Florica Cristoforeanu, Trantoul and Baccaloni under Arturo Toscanini’s direction. Irene, at her husband’s urging, had accepted a contract to debut at London’s Covent Garden, and the Australian contract was dismissed. There were very serious and negative implications to this decision, and as we shall later see, though she remained attached to the Milan theater at intervals, her career at Italy’s important venues was pretty much at an end. On 15 June, Irene appeared at Covent Garden for the first time, singing in “Aida” with Dusolina Giannini, Pertile, Borgioli and Manfrini under the leadership of Vincenzo Bellezza. Her reviews were more than respectful. “Amneris was played with much dignity…by Madame Cattaneo” – Daily Telegraph. On the 28th, she sang Marina in a revival of “Boris Guduonov” with Feodor Chaliapin and her reviews were less kind, complaining of a much too broad Italianate approach. “It required Chaliapin to restore balance” – Daily Telegraph. In August Cattaneo appeared at Rimini in “Il Trovatore” with Carena and Giacomo Lauri Volpi and on Christmas Night, she returned to Parma for “La Gioconda” with Arangi Lombardi, Luigi Marini, Borgioli and Contini.

La Scala welcomed Irene for three important revivals in 1929: “Lohengrin” with Rosetta Pampanini, Pertile and Galeffi, “Un Ballo in Maschera” with Scacciati, Carosio, Pertile and Galeffi and “Aida” with Arangi Lombardi, Pertile and Galeffi. Elizabeth Rethberg appeared as “Aida” in several performances. When Toscanini brought the Scala company to Vienna and Berlin later in the spring, Cattaneo was not invited to perform, to the surprise of many. She was a difficult colleague, and the resentments over her failure to honor contracts were reaping their unhappy rewards. She did have a contract for Covent Garden, where she appeared in “Norma” and “La Gioconda” with Rosa Ponselle and as Marina with Chaliapin. Her reviews in the two Italian operas were quite exceptional. The Times: “In Madame Cattaneo was found a mezzo soprano whose rich tones could both contrast and combine with those of Ponselle.” They, however, did not get along at all and there were skirmishes behind the curtain as well as unpleasant exchanges at the footlights. 

In late June, Irene returned to Italy, to a very long “vacation”. It was not until December that she appeared on stage. On 26 December Novarra’s Teatro Coccia presented her in “Samson et Dalila”. The career was a shambles. The winter of 1930 provided her with only one engagement in Italy, “Il Trovatore” at Padua. On 2 May, Ettore died at Milan and Irene observed a fifteen day mourning period before returning to Covent Garden for “Norma” with Ponselle and “Aida” with Turner. This time, bridled anger became open hostility. Ponselle received a number of reviews that commented on intonation problems in softer passages while the vocalism of Minghini Cattaneo was lavishly praised. There were very ugly scenes between the two divas, and though the revival was completely sold out, there were only two performances. With this engagement, Cattaneo’s career in London came to an end. In September, she traveled to Zurich for the Manzoni Requiem with Arangi Lombardi, Roberto d’Alessio and Antonio Righetti and in December she appeared at Pavia as La Gioconda for the only time in her career. It was not a success. On New Year’s Eve, Irene sang Azucena at Bologna’s Teatro Duse. It was in 1930 that she recorded “Il Trovatore”, a defining performance which clearly shows that her problems upon the stages of the world had nothing to do with diminished vocal resources. As a compensation, it was known that Maestro Cattaneo, through his connections to Ricordi, had left Irene a great deal of money, an estate that allowed her to maintain an opulent villa at Rimini, where she would spend most of her time. 

In April 1931, Irene appeared at the Duse in “Norma” and in May, she joined Amerighi Rutili in a spectacularly received revival of the Bellini opera at Forli. There were three performances and not a ticket was to be found. Cattaneo, in particular, was singled out for superlatives; Il Corriere Padano commented on “her commanding stage image, her gorgeous voice and her perfect intonation.” In June, she continued her succession of engagements as Italy’s minor theaters with “Il Trovatore” at Siena, and in August she returned in glory to Verona’s Arena for Elena in “Mefistofele” with Scacciati, Angelo Mighetti and De Angelis. Again, she decided after five performances that the role really had too high a tessitura, and she never again attempted it. In the autumn, Irene, appeared at Pistoia and at Athens in “Lohengrin”, and on 26 December she closed out the year at Catania in “Norma” with Campigna, Jesus de Gaviria and Antonio Righetti.

The winter of 1932 was spent at Cairo and Alexandria in “Aida”, “La Gioconda” and “Samson et Dalila” and in March she sang in “Norma” at Livorno with her nearly constant partner, Amerighi Rutili. It was not until December that she returned to the stage when she sang Ulrica at La Scala, partnered by Carena, Carosio, Pertile and Galeffi. There were five performances. 

1933 was somewhat better for the nearly neglected mezzo. Parma hosted her in “Aida” and “La Gioconda”, Genoa’s Carlo Felice welcomed her back in “La Gioconda” with Gina Cigna, Alessandro Ziliani, Cesare Formichi and Corrado Zambelli, Pistoia offered Cattaneo and Cigna in “Norma”, and at Cagliari, in December, Irene sang in “Aida” with Amerighi Rutili, Luigi Marletta and Granforte. In January 1934 the ensemble brought the Verdi work to Sassari. 

Piacenza engaged Cattaneo for “Aida” and “Il Trovatore, both with Arangi Lombardi, in February and in March there was a revival of “Il Trovatore” at Turin’s Regio with Carena, Lauri Volpi and Carlo Morelli. A long summer tour throughout Italy’s provinces took Irene’s time from the middle of June until September. The opera was “Norma”, the title role was shared by Amerighi Rutili and Maria Pedrini, and the towns visited were, Civitavecchia, Grosseto, Livorno, Siena, Montemarchi, Foligno, Frosinone, L’Aquila, Pescara, Foggia, Lecce, Avellino and four hugely applauded performances at Rome.

In September she returned to Bari for “Aida” with Pacetti and Giovanni Martinelli, who was making one of his very rare appearances in Italy, and in December she closed the year at Bologna’s Corso in “Lohengrin”. Where was the Rome Costanzi, where was the Naples San Carlo, why had Scala shunned her in the great mezzo roles for six years? Where were the Barcelona Liceo, the Lisbon Sao Carlo, the major German and Austrian theaters, where was Paris? 

In fact, Paris was her next stop, but it did not happen until July of 1935. Tullio Serafin conducted a celebrated revival of “Falstaff” with Cattaneo, Ines Alfani Tellini, Pia Tassinari, Nino Ederle, Stabile and Ernesto Badini. In October she traveled to Venice, where, at the Palazzo Ducale she participated in the Manzoni Requiem with Margherita Grandi, Alessandro Granda and the bass, Ferrari. In November she finally sang at her birthplace, Lugo, in “Il Trovatore” with Pedrini, Breviario and Viviani. 1936 found Irene at only two theaters, Padua’s Verdi for “Aida” and Modena’s Comunale for “Lohengrin” with Licia Albanese, Pablo Civil, Viviani and Mongelli. 

In 1937 she sang in “L’Arlesiana” and “Un Ballo in Maschera” at Como, in “Il Trovatore” at Modena and in the Manzoni Requiem at Trieste’s Teatro Verdi. 1938 included her only attempt at the Walkuere Brunnhilde, which was presented at Ravenna, “Aida” at Milan, Ostiglia, Genoa’s Piazza Vittoria, Catania and Ventimiglia, all outdoors. She also sang in “Norma” at Pesaro with Cigna, Ettore Parmeggiani and Flamini.

1939 was a rather interesting year for Irene. She sang in “L’Arlesiana” at Trieste with Tito Schipa, in “Re Hassan” at Venice’s Fenice with Cloe Elmo and Tancredi Pasero and in “Adriana Lecouvreur” for the first and only times in her career when she joined Pacetti, Galliano Masini and Gino Vanelli at Livorno’s Teatro Goldoni. “Il Trovatore” at Bologna and “Un Ballo in Maschera” at Milan’s Castello Sforzesco completed her season. 

!940 saw her at only two cities; Pavia, where she sang in Vittadini’s “Anima Allegra” and “La Gioconda” when she returned to the role of La Cieca, and later in the year, Bolzano for additional performances as Cieca. Her farewell was assumed for many years to have been as La Cieca at La Scala in February of 1941, but she is known to have sung at San Sebastian, Spain in September of 1942. “Il Trovatore” was presented with Cigna, Irene and Lauri Volpi.

It was Lauri Volpi, in his “Voci Parallele” who wondered why Irene Minghini Cattaneo had achieved so little with such a prodigious talent. He praised her physical form, her acting abilities, and, most of all, her remarkable vocal talents. To leave this discussion with only a comment that she was the victim of an unpleasant disposition and bad decisions in the early years is not reasonable. Certainly, others were far more difficult, and they are among the giants of the twentieth century. No singer made unfailingly wise choices in unfolding their careers. I do not have an answer, except perhaps, that she knew best what she wanted from her career and her life, and that the picture is the one that she chose to paint. 

It should be noted that, despite the fact that every previous biographical sketch has declared that she sang in South America, and that she did so with great success, neither statement is true.

Irene Minghini Cattaneo was found dead at her villa on 24 March 1944, the victim of a bombing attack by Allied forces just before the final surrender of the Italians.

[glassprism]

hi glass! this is kind of specific but do you happen to know who were the poto las vegas principal cast in october 2009? my programme tells me nothing, unfortunately. 😳

According to the Deserted Phans “who played when” list, your cast would probably have been: Anthony Crivello as the Phantom, Kristi Holden as Christine (or Kristen Hertzenberg, who was alternate), and Andrew Ragone as Raoul. There’s a bit of a question about Carlotta, as it lists Joan Sobel, but from looking at my audios and reviews from around that time, I think it’s more like it was Elena Jeanne Batman as Carlotta, with Lawson Scala as M. Firmin, John Leslie Wolfe as M. Andre, Tina Walsh as Madame Giry, Larry Wayne Morbitt as Piangi, and Brianne Kelly Morgan as Meg.

Hopefully that’s all correct (there’s way more expert Vegas fans out there who might know of what cast members were on or off at specific dates, so let me know if there’s a mistake!), and as always, there may have been an understudy on, but there’s your principal cast at least!

[marquise-justine-de-sade]

FARE LA SPESA AI TEMPI DEL COVID

————————

La prima cosa che provi a fare è ordinarla online.

I siti erano talmente intasati che dopo un po’ m’appariva direttamente la scritta STOCAZZO.

All’inizio pensavo che fosse er nome della ditta de consegne, poi ho capito:

DOVEVO USCÌ.

Me comincio a preparà alle 10 pe uscì a mezzogiorno.

Quando ho finito la vestizione sembravo un incrocio tra Top Gun e no stagnaro de Chernobyl.

Orgoglioso e teso come un Sergente dei Marines che sta pe’ annà a conquistà er Vietnam, armato solo de na Bic coi cartoccetti a sputo, guardo la mia famiglia, cantiamo l’inno, ci abbracciamo piangendo e poi dico severo:

VADO ALL’ORA DE PRANZO, COSÌ C’È MENO GENTE.

Al supermercato, ad aspettarmi, il raduno nazionale dei furbi.

Nel frattempo m’hanno pure fermato i carabinieri:

- Buongiorno, dove va?

Io li guardo.

C’ho i guanti, ‘na mascherina, ‘na tuta ermetica e 50 buste del Conad.

Do cazzo sto a annà secondo te? A fa ‘na rapina a ‘na banca del seme?

Capiscono, e me mandano via.

Arrivo al supermercato, scendo, e me sento come Armstrong quando è sbarcato sulla luna.

Prendo il carrello, guardo la fila:

praticamente na puntata qualsiasi de Malattie Imbarazzanti.

Sembrava de sta ai provini pe’ le comparse de Star Wars.

M’avvio a piedi per arrivare alla fine della fila.

Nel tragitto guardo stupito sta mostra de mascherine: da quelle normali a quelle professionali, passando pe quelle fatte ar punto croce e un paio de maschere antigas della guerra del Golfo.

Qualcuno aveva pure foderato gli assorbenti co la carta forno.

Uno, che de sta storia dell’assorbenti non c’aveva capito un cazzo, girava co du tampax infilati nel naso.

Dopo 50 minuti a piedi, arrivo più o meno in provincia de Viterbo.

Me metto in fila.

Dopo 2 ore e 40 passate a pensà al senso della vita e a avecce paura de morì, arrivo all’entrata del supermercato e entro.

Me so fatto una lista, solo beni de prima necessità.

Poi mentre cammino pe’ gli scaffali me vengono in mente tutte le ricette de Fatto in casa da Benedetta e comincio a comprà cose a cazzo parlando in Marchigiano.

Dopo venti minuti er carrello era pieno de pasta sfoglia e ancora dovevo comincià la lista.

Nelle corsie se guardamo tutti male, tipo un qualsiasi film ambientato nel Bronx.

Se qualcuno fa un passo in più verso de te, mentalmente sei pronto a sgozzallo co la carta forno.

A fare da sottofondo a tutto ciò, si alza un coro unanime:

- SCUSI, C’È LA FARINA?

Alla decima domanda, un commesso ha sbroccato e ha cominciato a corre pe’ le corsie cantando “Somewhere over the rainbow” sventolando carta igienica rosa.

Finita la lista, passo davanti all’alcool, chiudo l’occhi, e butto dentro qualsiasi cosa c’avesse un tappo e n’etichetta metallizzata.

Arrivo in cassa.

So più sudato dello psicologo de Tina Cipollari.

Il primo istinto è quello di crollare emotivamente, tipo se vedi tu fija a Uomini e Donne.

‘Na disperazione profonda.

Poi te fai coraggio, perché affacciandoti da dietro il carrello, vedi in faccia la cassiera.

La cassiera c’ha l’espressione de Giletti in diarrea, c’ha l’occhi spenti, è inerme, la stanchezza ormai gliela misurano co la scala Mercalli.

Due cose ti dice.

La prima è : Ce l’ha la tessera?

La seconda è: Sono 1897€ e 37 centesimi.

Paghi con la carta, che appena la infili nel Pos, evapora.

Da qui comincia la ritirata.

Esci ormai nuotando nel tuo stesso sudore, nascosto da na montagna de buste.

Posi le buste in macchina, posi il carrello, butti i guanti, butti la mascherina, butti i vestiti, dai fuoco a tutto col Napalm, te fai la doccia nudo nel parcheggio co un secchio de Amuchina e risali in macchina.

Arrivi a casa che sono le quattro del pomeriggio e più o meno per le 18 hai portato tutto su.

In compenso te senti come se c’avessi il fisico di The Rock.

Te aprono la porta, te guardano e piangono perché sei tornato.

Non è sempre chiaro se è un bene o un male.

A quel punto te disinfettano dando fuoco a un secchio de candeggina che te tirano addosso, te raschiano co no scopettone da esterni e poi puoi entrare.

Iniziate a mettere a posto la spesa disinfettando ogni confezione.

Se tutto va bene, arrivi all’ultima busta in tempo pe’ la colazione del giorno dopo.

In quel momento però, un pensiero inizia a prendere forma.

Da pensiero, diventa certezza.

L’aria si fa pesante, le gambe non si muovono, il respiro è bloccato.

Gli sguardi degli astanti sono vitrei, rassegnati alla crudeltà dell’esistenza.

Lo stomaco ti si stringe, le labbra tremano lasciando intravedere la paura e una lacrima silenziosa segna il tuo viso come la pioggia segna la sabbia d’inverno.

Sì...

Sì...

Sì.

Te sei scordato er burro.

Di Luccisano Emiliano

PAGINA: Www.facebook.com/luccisanodicecose/

[lamilanomagazine]

Natale a Milano 2023, la città si prepara alle feste

Natale a Milano 2023, la città si prepara alle feste Il più alto numero di alberi di Natale di sempre, con le novità dell'Albero dei Giochi di Milano Cortina 2026 in piazza Duomo e, per la prima volta, un albero realizzato da Gucci in Galleria Vittorio Emanuele II. Tante vie del centro e dei quartieri illuminate grazie alla collaborazione con privati e associazioni. La tradizionale fiera degli Oh Bej! Oh Bej! e i mercatini attorno a piazza Duomo. E ancora l'appuntamento con l'arte a Palazzo Marino, nelle biblioteche di zona e le mostre nei musei civici. Milano si prepara a celebrare le festività 2023-24 dando spazio a valori olimpici e paralimpici, sostenibilità, interattività, cultura e solidarietà. Nei prossimi giorni in città si accenderà l'atmosfera natalizia che regalerà a milanesi e turisti esperienze emozionanti. L'Albero dei Giochi e Il Natale degli Alberi. Questo sarà il Natale con più alberi in città: saranno in totale 22. Con l'Albero dei Giochi di Milano Cortina 2026, realizzato con il supporto di Esselunga, in piazza Duomo (accensione il 6 dicembre, alle ore 17), e con l'albero realizzato da Gucci, per la prima volta in Galleria Vittorio Emanuele II (accensione prevista per la sera del 4 dicembre), lo spirito delle feste raggiungerà tante piazze e vie della città, sviluppando così il format "Il Natale degli Alberi", ideato da Marco Balich e donato da Fondazione Bracco al Comune. Addobbati con luci led a basso consumo energetico e realizzati con materiali riutilizzabili, gli alberi di Milano risplenderanno per merito anche delle iniziative di solidarietà collegate alle esperienze proposte. Grazie alla collaborazione tra pubblico e privato saranno realizzati progetti coinvolgenti, in grado di valorizzare differenti luoghi e zone della città: alcuni sponsor hanno deciso di proporre più alberi e luminarie per portare gli auguri in più quartieri; altri di allestire insieme agli alberi anche delle piste di pattinaggio per regalare momenti di sport e relax durante i giorni di festa. Ecco dove trovarli: piazza Duomo (Milano Cortina 2026), Galleria Vittorio Emanuele II e volta dell'Ottagono (Gucci); piazza della Scala e piazza Remo Cantoni (Sephora); piazza San Babila, piazza Belloveso e piazzale Corvetto (Dils); piazza dei Mercanti (Baci Perugina); piazza San Carlo (IG); Galleria del Corso e piazza Berlinguer (Victoria's Secret); via Croce Rossa (Xerjoff); piazza Tina Modotti (Lendlease/MSG); corso Garibaldi (A2A); piazza XXV aprile (Jo Malone London); piazza Cordusio, piazza Enzo Paci e piazza Anita Garibaldi (Boscolo); piazza del Carmine (Banca Investis); piazza Duca d'Aosta (Grandi Stazioni Retail con Plenitude). Ai progetti realizzati nell'ambito del bando del Comune, si aggiungono altri due alberi che illumineranno due piazze simbolo della nuova Milano: piazza Gae Aulenti (Portanuova powered by Warner Music Italy) e piazza Elsa Morante, a City Life (Atlante). Nei prossimi giorni è prevista la partenza di due campagne di comunicazione: la campagna "Magic is coming", dedicata ai Giochi Olimpici e Paralimpici invernali del 2026, che avrà una diffusione outdoor sugli schermi in città e avrà una copertura digital e social, e la campagna relativa a "Il Natale degli Alberi", anche questa diffusa attraverso i canali outdoor, e sui canali digitali e social del Comune e di YesMilano. Le luci che illuminano la città - Filari di luci – con led ad alta efficienza energetica – e soggetti natalizi accenderanno di colore tante vie della città, sia nel cuore di Milano sia nell'aree decentrate, grazie alle proposte avanzate da diverse realtà imprenditoriali, tra cui alcune di quelle che hanno sponsorizzato anche gli alberi di Natale. In particolare, oltre ad allestire l'albero della Galleria, Gucci si occuperà di illuminare un chilometro di strade al Corvetto: viale Enrico Martini, via Giacinto Mompiani, via dei Panigarola e via dei Cinquecento. Inoltre, abbellirà gli ingressi di tre scuole del quartiere: IC Marcello Candia (via Polesine), IC Fabio Filzi (via Ravenna), scuola dell'infanzia di via Oglio. Il percorso che collega via Broletto, via Ponte Vetero e piazza del Carmine, in Brera, sarà impreziosito da 40 luminarie proposte da Banca Investis, che illuminerà anche le vie Rapisardi e Fulton, a Bruzzano, con iconiche stelle comete. La luce del Natale risplenderà in via Dante e in via Santa Rita da Cascia grazie a Boscolo, che porterà il suo messaggio di auguri anche tramite 4 totem posizionati lungo via Dante. Piazza Prealpi (Municipio 8) si illuminerà con i filari di Jo Malone London; il primo tratto di viale Padova (Municipio 2) si accenderà grazie alle luci di Baci Perugina. Sarà IG a realizzare le luminarie di viale Affori. Corso Vittorio Emanuele II sarà impreziosito dalle luci di Chanel. Corso Como, in centro, e via Don Giovanni Verità (Municipio 9) brilleranno con PlayStation. Grazie ad Enel risplenderanno in centro Corso Buenos Aires e i Caselli di Porta Venezia, che si illumineranno con energia sostenibile attraverso un sistema di pannelli solari, e a Quarto Oggiaro via Antona Traversi. Infine, via Lecco a Porta Venezia e via Pietro Crespi, vicino al Parco Trotter, saranno illuminate da Levi Strauss Italia. Oltre all'intervento degli sponsor, molte zone della città verranno illuminate grazie all'iniziativa delle Associazioni di negozianti delle vie, che collaborano all'organizzazione e al costo della realizzazione delle installazioni luminose, sostenute da un contributo di 3mila euro da parte dell'Amministrazione per ciascuna associazione. Tra i quartieri illuminati dai negozianti: Brera, Montenapoleone, Vercelli, Navigli, Isola, Porta Romana, Dergano, Bovisa, Affori, solo per citarne alcuni. La Fiera degli Oh Bej! Oh Bej! e i mercatini di Natale di piazza Duomo Immancabili i mercatini: tornano la 'Fiera degli Oh Bej! Oh Bej!', tradizionale appuntamento di apertura del periodo natalizio da giovedì 7 a domenica 10 dicembre tra piazza Castello, piazza del Cannone e via Minghetti con oltre 200 espositori e anche il Mercatino di Natale in Duomo, dal 1° dicembre al 6 gennaio 2024, con 78 casette espositive. "Il Battesimo di Cristo" del Perugino in mostra in Sala Alessi Il tradizionale appuntamento natalizio con l'arte a Palazzo Marino quest'anno è dedicato a Pietro Vannucci, detto il Perugino, e al suo capolavoro "Il Battesimo di Cristo", realizzato nei primi anni del Cinquecento per essere la tavola maestosa e centrale del polittico della chiesa di Sant'Agostino a Perugia. L'opera è arrivata ieri a Palazzo Marino (vedi link alle foto). "Il Battesimo di Cristo" è una tavola di grandi dimensioni (265 x 147,5 cm), realizzata a tempera e a olio: intorno al dipinto si dispiegavano originariamente molti altri pannelli, con figure di santi e storie sacre chiamate a evidenziare la centralità del Battesimo nella vita di un cristiano. Grazie ad aggiornati studi storici, tecnici e documentali, e attraverso uno scenografico allestimento in digitale, in Sala Alessi sarà riprodotta integralmente l'originaria struttura del polittico, così che i visitatori e le visitatrici potranno ammirare non solo il capolavoro di Perugino dal vivo, ma anche la ricostruzione animata dell'intero polittico. La mostra è a ingresso libero ed è aperta tutti i giorni dal 5 dicembre al 14 gennaio 2024. I visitatori e le visitatrici saranno ammessi in gruppi e accolti da storici dell'arte che faranno da guida nel percorso espositivo. Negli altri otto municipi, le biblioteche di zona ospiteranno dall'11 dicembre al 5 gennaio altrettante importanti opere dell'Ottocento e del Novecento provenienti dalla Galleria d'Arte Moderna e dal Museo del Novecento di Milano, legate tra loro dal tema dell'infanzia. Le opere in mostra sono "La Vergine" di Francesco Hayez, "La Madonna col Bambino" e "San Giovannino" di Bertel Thorvaldsen, "Due Figure" di Carlo Carrà, "Sacra Famiglia" di Giovanni Carnovali, "Amore Materno" di Angelo Dall'Oca Bianca, "Adorazione dei Magi" di Adolfo Monticelli, "Maternità" di Gaetano Previati e "Ritratto di bambina" di Achille Funi. A Natale regala cultura con la "Milano Museo Card" È già disponibile la nuova "Milano Museo Card", l'abbonamento che consente l'ingresso illimitato per un anno a tutti i musei civici milanesi e uno sconto del 20% alle mostre di Palazzo Reale, PAC Padiglione d'Arte Contemporanea e Fabbrica del Vapore. Il costo è di 15 euro, equivalente a tre ingressi nei musei civici a pagamento, e può essere acquistata per sé o per un'altra persona sia online, su https://museicivicimilano.vivaticket.it/, sia nelle biglietterie dei musei civici. La Fanfara dei Carabinieri nei Municipi La Fanfara del 3° Reggimento Carabinieri "Lombardia" porterà nei nove Municipi di Milano un repertorio di marce militari e brani della tradizione per celebrare le festività. Il primo appuntamento è per oggi 30 novembre, alle ore 18, in via Montenapoleone (Municipio 1). Seguiranno: 2 dicembre ore 15, piazza delle Torri Bianche di via Saponaro (Municipio 5); 2 dicembre ore 16.30, piazza Tina Modotti (Municipio 4); 3 dicembre ore 15.30, piazza Frattini (Municipio 6); 4 dicembre ore 16, via Beroldo (Municipio 2); 6 dicembre ore 15, piazza Vigili del Fuoco (Municipio 3); 11 dicembre ore 16, piazza Selinunte (Municipio 7); 13 dicembre ore 11, piazza Prealpi (Municipio 8); 14 dicembre ore 11 Villa Litta Modignani (Municipio 9); 19 dicembre ore 18 corso Vittorio Emanuele (Municipio 1).... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[akadaniel]

film & tv & lit log Mar19

Fusion Gala Shorts: About A Short Film (Kevin Yee, 2018); Origin (Simone Lyles, 2019); Full Beat (Kase Pena, 2018); Engaged (David Scala, 2019); Military Dog (Pingwen Wang, 2018); Razor Tongue, Ep. 1: The Colonizer (Natalie Heltzel, 2019); Ponyboi (River Gallo & Sadé Clacken Joseph, 2019) [Outfest Fusion - Egyptian] Leaving Neverland: Michael Jackson and Me (Dan Reed, 2019) [HBO] United Skates (Dyana Winkler and Tina Brown, 2018) [HBO] High Flying Bird (Steven Soderbergh, 2019) [Netflix] Columbus (Kogonada, 2017) [Hulu] Field Niggas (Khalik Allah, 2015) [Grasshopper Film Transmission] Ocean’s 8 (Gary Ross, 2018) [HBO] The Boy Who Harnessed the Wind (Chiwetel Ejiofor, 2019) [Netflix] Inferno (Dario Argento, 1980) [Amazon] Dial M for Murder (Alfred Hitchcock, 1954) [Tubi] Blow Out (Brian De Palma, 1981) [Tubi] The Inventor: Out for Blood in Silicon Valley (Alex Gibney, 2019) [HBO] Climax (Gaspar Noé, 2018) [Century 16] Monsters and Men (Reinaldo Marcus Green, 2018) [Hulu] Abducted in Plain Sight (Skye Borgman, 2018) [Netflix] The Limey (Steven Soderbergh, 1999) [Hulu]

continued & finished High Maintenance (S3) [HBO] Oprah Winfrey Presents: After Neverland [HBO] started & finished PEN15 (S1) [Hulu] started & finished The Bisexual (S1) [Hulu] started & finished Castle Rock (S1) [Hulu] started & finished Barry (S1) [HBO] started Jane the Virgin (S5) [The CW] started Barry (S2) [HBO]

continued The Underground Railroad (Colson Whitehead, 2016)

[online-market]

Cum iti poti imbunatati activitatea firmei de distributie cu un sistem ERP?

Antreprenorii si managerii trebuie sa ia in considerare o multime de solutii care ar putea sa imbunatateasca activitatea firmei pe care o gestioneaza, astfel incat sa obtina rezultatele dorite.

Una dintre aceste solutii consta intr-un sistem ERP de distributie, util pentru orice companie care activeaza in distributie. Distributia este un domeniu complex si dificil de manageriat, daca nu exista un procedeu sigur care sa tina evidenta tuturor sarcinilor care trebuie sa fie indeplinite.

3 motive pentru care ai nevoie de un sistem ERP de distributie

Automatizarea cu succes a activitatilor solicitante

In aceasta epoca a vitezei, oamenii trebuie sa se ajute de procesul de automatizare la scala larga pentru a obtine rezultate rapide, exacte si clare in legatura cu activitatea pe care o desfasoara. De asemenea, automatizarea nu le permite erorilor umane sa se strecoare si sa impiedice finalizarea rapida a sarcinilor.

Generarea declaratiilor contabile si financiare

Cifrele dintr-o afacere pot fi cel mai ingrijorator aspect, pentru ca aici este cadrul perfect in care se strecoara diverse erori care pot afecta grav activitatea intregii firme. Astfel, acest soft de distributie asigura generarea unor declaratii contabile si financiare exacte, clare, ceea ce poate sa diminueze greselile provocate de neatentie sau oboseala.

Ridicarea nivelului de productivitate

In momentul in care angajatii au cele mai grele si dificile aspecte asigurate din cadrul distributiei, acestia au intreaga libertate de a se focusa pe munca lor, eficientizand-o si ducand-o la un nivel superior. Operatiunile automatizate sunt indeplinite cu succes, astfel ca si costurile care le vizeaza pe acestea scad vertiginos.

ERP de distributie | soft de distributie | AttoSoft.ro

Antreprenorii care vor sa-si automatizeze eficient activitatea desfasurata in cadrul companiei lor, pot folosi cu incredere un astfel de program de distributie prin intermediul AttoSoft.ro, un site care prezinta o oferta larga si generoasa de softuri de acest fel.

Prin urmare, cei care vor sa-si duca afacerea de distributie la un alt nivel si nu stiu care sunt solutiile pe care le pot aplica, au posibilitatea oricand de a lua in considerare un sistem ERP, care automatizeaza si optimizeaza sarcinile desfasurate in cadrul companiei.