#Villazón

[elchaqueno]

Precios de frutas y verduras bajan en mercado de Tarija

El mercado Campesino de Tarija registró un descenso en el precio de algunas frutas y verduras, como el tomate, la haba, la cebolla y la remolacha. Sin embargo, la arveja sigue siendo escasa y se mantiene a un precio de 50 bolivianos la cuartilla. El Gobierno recomienda no comprar a precios altos para evitar la especulación. Además, en la fronteriza Villazón se incautaron dos camionetas con…

[the-tenth-arcanum]

happy valentine's this is my current favourite operatic love duet and I love it a normal amount

[salvadorbonaparte]

Yesterday I watched Rolando Villazón in a quiz against a child guessing classical music just based on lights and one of them was the Jupiter Symphony by Mozart which coincidentally is also the symphony Mick explains to John Singer in the film adaptation of the Heart is a Lonely Hunter. This is entirely useless knowledge but the parallel amused me.

[cassipedia]

Review of Cabrini (2024)

Hey, Cassipedia, what're you watching?

My first viewing of Cabrini was during National Women's Day, as the story is a dramatic retelling of the Catholic missionary Francesca Cabrini as she travels from Italy to America in 1889 to help impoverished and suffering, Italian orphan children while living in the depths of a dangerous city of poor working conditions and cutthroat criminals, and an ambivalent upper class.

Do you recommend watching it?

It’s absolutely a recommended watch. It has beautiful visuals and immersing acting that handles this dark topic with respectful seriousness and dignity. It also stirred my heart in desiring to further bridging the gap between people.

What's the story like?

It is based on a real-life figure and series of events, but it is told as a story rather than a biography. It is 1889 and we are introduced to Mother Cabrini, a woman who suffered from a severe lung disease and was told as a young girl that she would be bedridden, only for her to grow up, very much able to walk and make a journey to the Vatican to have her proposal for orphanages in China to be turned down by a cardinal. But her persistence brings her an audience with the Pope, whom recognizes her zeal and provides a counter-offer; he approves her missionary work, but only if she starts in New York, where it’s apparent that Italian immigrants are suffering, ignored by the higher classes and those whom had not learned their language. She is faced with challenges of a grim reality of giving an abused orphan and taste of lovingly-made food, a safe place to sleep and hope only to hear news of that same child’s life being claimed due to the violent and unstable conditions of the surrounding community. It is a story of unrelenting love and determination under immense pressure. This movie does not shy away from showing the darkness and danger of the world, in all its intensities, and it’s all the more gratifying when a glimmer of hope begins to come through.

What does the movie look like?

It's gorgeous, even painting a masterful but tragic picture of poverty. I recall the way that rays of sunlight practically glowed like white gold when they filtered into rooms choked by dust as rats scattered across the floors. The nighttime was black oily, glinting with barely contained fire in metal barrels and the flashes of moonlight and pocket knives. The sewers below were dingy and people scurried like rodents yet it had a floor of water that created a mirror world of those passing through, with a surreal beauty despite the horrible situation. There was darkness in the quiet, early morning, easing into purple then broken open by a silent yet brilliant orange-golden sunrise. The nuns and their black habits and capes gave them an unmistakable silhouette in every scene, as if they were a mysterious ghost. It was beautiful and memorable from the cheery and hopeful scenes to even the tragic and uncertain times.

How are the actors and actresses?

It’s safe to say that the actors and actresses did exceedingly well. Cristiana Dell'Anna as Francesca Cabrini was very compelling in her strength and dignity, as well as displaying her caged anger. Yet she frightened me terribly when the movie went silent and all you see and hear were Cabrini’s wheezing, pained coughs of her lung disease, leaving me wondering if this burning fire of determination was going to snuff out, alone in her room. At the core of this story, it is not a battle against starvation or neglect, but a battle of the heart, to stir the residents of New York whose hearts have gone cold and blackened, ignoring the cries of orphans while their parents die of sickness in their arms. Federico Ielapi as Paolo and Rolando Villazón as DiSalvo were amazing as these children in need, not just there to be objects of suffering, but active individuals, as lost children desperately reaching out for comfort in their broken ways. But we see how the presence of Cabrini and her sisters starts to change hearts, especially in the case of Romana Maggiora Vergano as Vittoria, a prostitute who slowly finds herself hoping for better and wanting change while the oily hands of her old life reach out and threaten to drag her back. We see the hearts stirred of the Italian immigrants, whom had grown hopeless and complacent to their situation. And one of the many powerful scenes in the movie was when Jeremy Bobb as New York Times reporter Theodore Calloway narrated a chilling news story after Cabrini opened his eyes to the suffering of his neighbors, right beneath his feet. I enjoyed also clever touches, like how the characters switch between speaking Italian and English, and they generally switch to English as a sign of commitment to Cabrini and her sisters from her order choosing to stay, despite everyone else trying to repel them from making any changes. This movie is rife with thoughtful decisions.

Who would like this movie most?

Though I am no history buff nor anything close of an expert, I think it is a kind of movie that those whom are fascinated by the era of the early 1900’s and depiction of the trials of the Industrial Revolution era would be interested in. It is not a film for younger audiences with the heavy topics it tackles, but it is a good movie for young adults and up.

Where can I watch it?

Cabrini is still available in some theaters and it is definitely worth the watch on the big screen. It is likely set to be available for streaming afterwards on places like Roku.

Final thoughts?

It remains in my memory. It was released on National Women’s Day, but I don’t think it would be fair to limit it to simply women, as that I think would defeat the point of its message. It’s a homage to how a particular person in time changed history in a way we still feel. It is a movie that doesn’t shy away from darkness in order to shed light on it and reflect that onto ourselves and ask, “What will you do now?” It's a good movie for those looking for something that challenges you to examine your heart towards others, like it did for me.

[lesser-known-composers]

Amilcare Ponchielli : Il figliuol prodigo - "Il padre!" - "Tenda natal" ·

Rolando Villazón ·

Orchestra Sinfonica di Milano Giuseppe Verdi · Daniele Callegari

[itsnothingbutluck]

‘A toast to the pleasures of life!’ – so sings Violetta, her new admirer Alfredo and her party guests in the opening scene of Giuseppe Verdi’s La traviata. But beneath the surface glamour of Violetta’s Parisian life run darker undercurrents: her doomed love for Alfredo and the tensions the lovers encounter when they break society’s conventions. La traviata, based on Alexandre Dumas fils’s play La Dame aux camélias, is one of Verdi’s most popular operas, combining drama, profound emotion and wonderful melodies.

Richard Eyre’s classic production conveys the indulgent social whirl of 19th-century Paris. It provides a vivid setting for Verdi’s tuneful score, which includes such favourites as Violetta’s introspective ‘Ah fors’è lui’ and ecstatic ‘Sempre libera’; the duet ‘Pura siccome un angelo’ as Giorgio Germont begs Violetta to leave Alfredo; and ‘Parigi, o cara’, in which the lovers poignantly imagine a life that will never be theirs. The role of Violetta (the ‘fallen woman’ of the title) is one of Verdi’s most complex and enduring characters.

[noticlick]

Los trabajadores de salud bloquean el Puente Internacional de Villazón

Los trabajadores de salud pública de Tupiza y Atocha, en el departamento de Potosí, se encuentran en cuarto día de protesta en el Puente Internacional de Villazón, exigiendo la destitución del director del Servicio Departamental de Salud Potosí (Sedes). Debido a un presunto incumplimiento de compromisos, los manifestantes también denuncian una intromisión en la designación de cargos. Esta…

[portalvallenato]

El cantante Iván Villazón, será homenajeado en el 57° Festival de la Leyenda Vallenata

En la ceremonia de premiación del 56° Festival de la Leyenda Vallenata en homenaje al juglar Luis Enrique Martínez, donde se entregaron a los ganadores más de 364 millones de pesos, Rodolfo Molina Araújo, presidente de la Fundación Festival de la Leyenda Vallenata, hizo el anuncio sobre el homenajeado del 57° Festival de la Leyenda Vallenata del año 2024, recayendo esa designación en el cantante…

[manessha545]

Terminal de Autobuses, Villazon, Bolivia: Nueva Terminal de Buses is a bus station in Villazón, Modesto Omiste, Potosí Department. Villazón is a town in southern Bolivia, on the border with Argentina. It sits directly across La Quiaca River from La Quiaca in Argentina. The town is a busy trading hub, with large quantities of goods flowing north. - Wikipedia

[elchaqueno]

Colegio de Abogados de Villazón continúa su cuarto día de manifestaciones

Después de cuatro días, los profesionales de derecho de Villazón continúan su movilización para exigir la designación de un juez titular para la provincia. Se realizarán también militarzas por mejores condiciones de trabajo del sector, como la mejora de los trámites en Catastro y el porcentaje de cobertura para un médico forense. La falta de un juez ha retrasado y complicado las tareas procesales…

[princesssarisa]

Opera on YouTube

I've shared links to complete opera performances before, but I love to share them, so I thought I'd make a few masterposts.

These list are by no means the only complete filmed performances of these operas on YouTube, but I decided that ten links for each opera was enough for now.

By the way, some of the subtitles are just a part of the video, while others require you to click CC to see them.

Die Zauberflöte (The Magic Flute)

Hamburg Philharmonic State Opera, 1971 (Nicolai Gedda, Edith Mathis, William Workman, Christina Deutekom, Hans Sotin; conducted by Horst Stein; English subtitles)

Ingmar Bergman film, 1975 (Josef Köstlinger, Irma Urrila, Håkan Hagegård, Birgit Nordin, Ulrik Cold; conducted by Eric Ericson; sung in Swedish; English subtitles)

Salzburg Festival, 1982 (Peter Schreier, Ileana Cotrubas, Christian Bösch, Edita Gruberova, Martti Talvela; conducted by James Levine; Japanese subtitles)

Bavarian State Opera, 1983 (Francisco Araiza, Lucia Popp, Wolfgang Brendel, Edita Gruberova, Kurt Moll; conducted by Wolfgang Sawallisch; English subtitles)

Metropolitan Opera, 1991 (Francisco Araiza, Kathleen Battle, Manfred Hemm, Luciana Serra, Kurt Moll; conducted by James Levine; English subtitles)

Paris Opera, 2001 (Piotr Beczala, Dorothea Röschmann, Detlef Roth, Desirée Rancatore, Matti Salminen; conducted by Ivan Fischer; no subtitles)

Royal Opera House, Covent Garden, 2003 (Will Hartman, Dorothea Röschmann, Simon Keenlyside, Diana Damrau, Franz Josef Selig; conducted by Colin Davis; no subtitles) – Act I, Act II

La Monnaie, Brussels, 2005 (Topi Lehtipuu, Sophie Karthäuser, Stephan Loger, Ana Camelia Stefanescu, Harry Peeters; conducted by René Jacobs; French subtitles)

Kenneth Branagh film, 2006 (Joseph Kaiser, Amy Carson, Benjamin Jay Davis, Lyubov Petrova, René Pape; conducted by James Conlon; sung in English)

San Francisco Opera, 2010 (Piotr Beczala, Dina Kuznetsoca, Christopher Maltman, Erika Miklósa, Georg Zeppenfeld; conducted by Donald Runnicles; English subtitles)

La Traviata

Mario Lanfrachi studio film, 1968 (Anna Moffo, Franco Bonisolli, Gino Bechi; conducted by Giuseppe Patané; English subtitles)

Glyndebourne Festival Opera, 1987 (Marie McLaughlin, Walter MacNeil, Brent Ellis; conducted by Bernard Haitink; Italian and Portuguese subtitles)

Teatro alla Scala, 1992 (Tiziana Fabbricini, Roberto Alagna, Paolo Coni; conducted by Riccardo Muti; English subtitles)

Royal Opera House, Covent Garden, 1994 (Angela Gheorghiu, Frank Lopardo, Leo Nucci; conducted by Georg Solti; Spanish subtitles)

Teatro Giuseppe Verdi, 2003 (Stefania Bonfadelli, Scott Piper, Renato Bruson; conducted by Plácido Domingo; Spanish subtitles)

Salzburg Festival, 2005 (Anna Netrebko, Rolando Villazón, Thomas Hampson; conducted by Carlo Rizzi; no subtitles)

Los Angeles Opera, 2006 (Renée Fleming, Rolando Villazón, Renato Bruson; conducted by James Conlon; English subtitles)

Opera Festival St. Margarethen, 2008 (Kristiane Kaiser, Jean-Francois Borras, Georg Tichy; conducted by Ernst Märzendorfer; English subtitles)

Teatro Real di Madrid, 2015 (Ermonela Jaho, Francesco Demuro, Juan Jesús Rodríguez; conducted by Renato Palumbo; English subtitles)

Teatro Massimo, 2023 (Nino Machiadze, Saimir Pirgu, Roberto Frontali; conducted by Carlo Goldstein; no subtitles)

Carmen

Herbert von Karajan studio film, 1967 (Grace Bumbry, Jon Vickers; conducted by Herbert von Karajan; English subtitles)

Vienna State Opera, 1978 (Elena Obraztsova, Plácido Domingo; conducted by Carlos Kleiber; English Subtitles)

Francisco Rosi film, 1982 (Julia Migenes, Plácido Domingo; conducted by Lorin Maazel; English subtitles)

Metropolitan Opera, 1987 (Agnes Baltsa, José Carreras; conducted by James Levine; English subtitles)

London Earls Court Arena, 1989 (Maria Ewing, Jacque Trussel; conducted by Jaques Delacote; English subtitles)

Royal Opera House, Covent Garden, 1991 (Maria Ewing, Luis Lima; conducted by Zubin Mehta; English subtitles) – Acts I and II, Acts III and IV

Arena di Verona, 2003 (Marina Domashenko, Marco Berti; conducted by Alain Lombard; Italian subtitles)

Royal Opera House, Covent Garden, 2006 (Anna Caterina Antonacci, Jonas Kaufmann; conducted by Antonio Pappano; English subtitles) – Acts I and II, Acts III and IV

Metropolitan Opera, 2010 (Elina Garanca, Roberto Alagna; conducted by Yannick Nézet-Séguin; English subtitles) – Acts I and II, Acts III and IV

Opéra-Comique, 2023 (Gaëlle Arquez, Frédéric Antoun; conducted by Louis Langrée; English subtitles)

La Bohéme

Franco Zeffirelli studio film, 1965 (Mirella Freni, Gianni Raimondi; conducted by Herbert von Karajan; English subtitles)

Metropolitan Opera, 1977 (Renata Scotto, Luciano Pavarotti; conducted by James Levine; no subtitles)

Teatro alla Scala, 1979 (Ileana Cotrubas, Luciano Pavarotti; conducted by Carlos Kleiber; no subtitles)

Opera Australia, 1993 (Cheryl Barker, David Hobson; conducted by Julian Smith; Brazilian Portuguese subtitles)

Teatro Regio di Torino, 1996 (Mirella Freni, Luciano Pavarotti; conducted by Daniel Oren; Italian subtitles)

Teatro alla Scala, 2003 (Cristina Gallardo-Domâs, Marcelo Alvarez; conducted by Bruno Bartoletti; Spanish subtitles)

Zürich Opera House, 2005 (Cristina Gallardo-Domâs, Marcello Giordani; conducted by Franz Welser-Möst; no subtitles)

Robert Dornhelm film, 2009 (Anna Netrebko, Rolando Villazón; conducted by Bertrand de Billy; no subtitles)

Opera Australia, 2011 (Takesha Meshé Kizart, Ji-Min Park; Shao-Chia Lü; no subtitles)

Sigulda Opera Festival, 2022 (Maija Kovalevska, Mihail Mihaylov; conducted by Vladimir Kiradjiev; English subtitles)

[thelostdreamsthings]

Rolando Villazón & Xavier de Maistre – La Llorona (anon.)

[espejomonastico]

Dichterliebe de Schumann es muy importante para mí. Entre las cientos de versiones que uno puede hallar, YouTube cuenta con una protagonizada por Hélène Grimaud y Rolando Villazón. Ambos entran en la sala de conciertos de la Berliner sin público alguno y con solo un piano en el centro de ella. Sobre la tapa, hay una ejemplar de la Dichterliebe. Grimaud y Villazón improvisan dos de sus números consecutivos: Im Rhein, im heiligen Strome e Ich grolle nicht (todos con texto de Heine).

El segundo de ellos es uno de mis favoritos del ciclo. Se trata de una canción breve, de estructura A-A y que gira sobre un centro tonal de do mayor. En la primera exposición, Grimaud y Villazón abordan el antecedente con el ímpetu necesario para imprimir el carácter rabioso del lied. En la segunda, sin embargo, Grimaud se retrae y le da el paso a la expresión más intimista de Villazón, quien además recita un muy doliente pasaje de Heine.

Ich sah dich ja im Traume (te vi entre los sueños)

und sah die Nacht in deines Herzens Raume (y vi la noche en el lugar de tu corazón)

und sah die Schlang', die dir am Herzen frißt, (y vi la serpiente que lo devora)

Ich sah, mein Lieb, wie sehr du elend bist (y vi, mi amor, cuán impasible eres).

Villazón culmina el pasaje con un luminoso la de tenor y Grimaud ríe. Su sonrisa es todo lo que podría reconstruir mi corazón cuando alguna vez vuelva a romperse.

[johnmyersart]

OPERA PLANET Anna Netrebko Rolando Villazón "O Soave Fanciulla" La Bohèm...

[operacomments]

screenshot of Rolando Villazón and Dwayne Croft as Don Carlo and Rodrigo. they are both wearing white costumes in renaissance cuts (aka doublets and puffy shorts over tights). Comment, from Wilmer Velez, reads:  “sounds good buth they look like Humpty Dumpty”

[lesser-known-composers]

Gaetano Donizetti (1797–1848) - L'amor funesto ·

Rolando Villazón ·

Orchestra del Maggio Musicale Fiorentino · Marco Armiliato