#anita lasker

[too-antigonish]

Something the darkness couldn't take from you...

I ran across this article while browsing my usual morning news outlets and it just gutted me. Today marks 80 years since the liberation of Auschwitz-Birkenau, but this account of Anita Lasker's experiences—including her time playing in the Women's Orchestra at Auschwitz—makes it feel very immediate.

She was only nineteen at the end of the war. As someone who has also played cello from a young age, I couldn't help but try to picture myself at that same age and in her place—wondering what I would have done. When I try to consider it coldly, practically, I honestly can't imagine myself surviving.

But I'm not sure she expected to survive. Like so many, she endured because of immense strength. But if strength was all it took, so many others would have made it through. What made the difference for her was luck and being on the receiving end of so many kindnesses, both big and small.

Still, I think the thing that amazes me most is that from what I can tell, she didn't let any of this touch her love for her instrument or music. She didn't let them take that from her.

She went on to become a founding member of the English Chamber Orchestra. Her son is a well-known cellist in his own right. She is now ninety-nine and by all accounts thriving.

And as silly as it might be to bring up in this context, it brought me right back to my favorite piece of dialogue from Endeavour:

MORSE: How do you do it? Leave it at the front door? THURSDAY: Because I have to. Case like this'll tear the heart right out of a man. Find something worth defending. MORSE: I thought I had... found something. THURSDAY: Music? I suppose music is as good as anything. Go home, put your best record on, loud as it'll play, and with every note, you remember... that's something that the darkness couldn't take from you.

-S1E2: Fugue

[matteocorradini]

Generazione Ofelia

  Una ragazza fa il bagno nel Golfo Persico, in Qatar. Fotografia di Tanya Habjouqa. C’è una ragazza abbandonata sul mare. Il mare è grigio, lei guarda il cielo. Sullo sfondo, lo skyline di una città che non conosciamo. La ragazza ha le braccia aperte. È come l’Ofelia di Millais. Ma lei non è morta. È una ragazza palestinese in Qatar. Il Wall Street Journal ha pubblicato qualche giorno fa un…

[dogmalilith]

The Last Musician of Auschwitz: Lasker-Wallfisch in Belsen in autumn 1945, after the liberation of the camp, waiting for her application to travel to England after the war.

Photograph: Copyright Anita Lasker-Wallfisch/BBC/Two Rivers Media

[buzzbeat]

'It was an escape into excellence': How music saved the life of a teenage Jewish cellist in Auschwitz

When I first arrived Auschwitz On the unloading platform known as the Ramp, her casual comment that she played the cello was enough to change the direction of her life. “Music was played to accompany the most terrible things,” she said. Anita Lasker barely spoke German in public again for 50 years after World War II, but when she was growing up, her hometown of Breslau was part of Germany. Now…

[guddysmith]

Heute ist der 80. Jahrestag der Befreiung der Lager Monowitz, Auschwitz und Auschwitz-Birkenau am 27. Januar 1945. Aus diesem Anlass wird der #HolocaustMemorialDay begangen. Die Fotos stammen von einer Reise nach Wrocław und Oświęcim, die wir vor 10 Jahren unternommen haben, um Lebens- und Leidensstationen von Anita Lasker-Wallfisch zu besuchen. Anita Lasker-Wallfisch wurde 1925 in Breslau geboren und überlebte die Konzentrationslager Auschwitz-Birkenau und Bergen-Belsen. Seit ihrer Befreiung lebt sie in London, war Mitglied des English Chamber Orchestra und ist heute - 99jährig - die letzte Überlebende des Mädchenorchesters von Auschwitz-Birkenau. Heute Abend sendet die BBC eine Dokumentation über sie. #WeRemember

[the-garbanzo-annex-jr]

'Antisemitism is more open, more brazen and more shameless in Britain, whereas in Germany it's still there, but it's not in public discourse.

'And if it does raise its head, it's very quickly shouted down by people who know what they're talking about. In the UK we think it means nothing can touch us because we're the good guys,' he argued.

Mr Wallfisch spoke to the paper ahead of his performance in Total Immersion Day: Music for the End of Time, which is on January 23 at the Barbican, London.

The day-long commemorative event reflects on Theresienstadt ghetto, a labour camp and transit route to the extermination centres.

Mr Wallfisch had vowed never to return to the country that murdered his grandmother's parents and six million other Jews.

But more than 70 years after the Holocaust, Brexit prompted Mr Wallfisch and others to apply for German citizenship.

'In order to remain European I've taken the European citizenship,' previously said Mr Wallfisch, who received his German passport in October 2018.

[jerseydeanne]

Holocaust survivor: Prince William ‘concerned’ with Shoah lessons, Prince Harry didn’t take it ‘seriously’

[aus-dem-fruehwerk]

Unter jungen Leuten

Ich muss jetzt natürlich noch nachliefern. Die Gespräche von jungen Menschen, also, gestern Morgen erstes Seminar, man bespricht "Y penser sans cesse" von Marie Ndiaye, eine Ich-Erzählerin verknüpft darin ihre Gegenwart als dunkelhäutige Person in Berlin mit der Vergangenheit einer jüdischen Familie, die in den 30er Jahren in derselben Wohnung lebte wie sie heute, bevor die Familie deportiert und ermordet wurde.

An welche anderen Bücher erinnerte uns die Lektüre?, fragten die Dozenten.

Erstmal an Filme. "La vita e bella" oder "The boy in the striped pyjama" wurden genannt. Dann auch die Wortmeldung einer Kommilitonin: daran, wie eine Holocaust-Überlebende einmal bei ihr in die Schule kam und von ihren Erlebnissen im KZ erzählte.

Dann Pause, man raucht draussen und spricht über die Sonne im Herbst.

Ich gehe zur Kommilitonin.

"Hiess die Frau, die zu Dir in die Schule kam, zufällig Anita Lasker-Wallfisch, weil sie ist die Grossmutter eines Freundes..." (Simon, dem Sänger, mit dem ich einen unschuldigen Sommer verbrachte, davon habe ich schon berichtet)

"Ich weiss nicht mehr, wie sie hiess. Aber es war so beeindruckend, krass. Ja, voll". Dann geht sie weiter.

Später dann im Seminar. Der Dozent fragt nach der Mündlichkeit oder Schriftlichkeit des Textes.

Eine Studentin meldet sich. "Der Text ist eher "gedanklich", würde ich sagen, weder schriftlich noch mündlich. Nur so Assoziationen, man denkt fast, die Erzählerin sei wahnsinnig, wie sie nicht mehr zwischen Vergangenheit und Gegenwart unterscheiden kann."

Eine zweite Studentin: "Ich glaube nicht, dass das Wahnsinn ist. Eher wie ein Gedankenstrom, und die Frau denkt halt assoziativ. Deshalb fehlen auch die Satzzeichen, einfach ein Gedanke nach dem anderen."

Der Dozent versucht es nochmal, sanft: "Mich haben die fehlenden Satzzeichen eher auf die Schriftlichkeit hingewiesen, gerade weil man sie nicht spricht."

Ein Student: "Nein, das sind einfach Gedanken. Wenn man nachdenkt, denkt man ja auch kein Komma oder Punkt."

Die zweite Studentin: "Genau, also ich denke ähnlich wie sie, sehr assoziativ, ohne Punkt und Komma, und das wäre also auch schwierig nachzuvollziehen, erscheint vielleicht wahnsinnig, wenn jetzt alle meine Gedanken nachlesen könnten, weil Ihr seid ja nicht ich."

Später dann vor dem Institut, das Seminar ist zu Ende. Nachbesprechung des Seminars. Sie sagt:

"Also ich habe mich einfach nicht getraut, mich zu melden, weil ich immer denke, es ist dumm, was ich sage."

"Haha, und ich habe, nachdem ich mich gemeldet hatte, sofort gedacht, dass es dumm war, was ich sagte."

"Nein, nein, ich dachte immer, wenn Du sprachst: Sprich noch mehr."

"Danke."

Gemeinsames Lächeln.

"Mir hilft halt der Austausch sehr hier, also mit den anderen darüber zu sprechen, was mir Angst macht, wo man unsicher ist. Also zum Beispiel erzählte mir gestern jemand aus dem zweiten Jahr, dass sie den ganzen Sommer über nicht schreiben konnte und das sei voll ok gewesen. Das hat mich beruhigt."

"Mhm, ja, ja."

Dann Mittagessen. Man schöpft aus einem Topf, und ich esse nicht mit, weil ich mich vor Corona fürchte, sage aber, ich hätte zu Hause noch etwas zu essen. Die eine Studentin schöpft. Die andere schaut auf den Topf und wie die Kelle ihre Schüssel füllt. "Nicht so viel bitte", sie macht mich nervös, weil ihr Körper sich währenddessen anspannt, und ich gehe nach Hause.

Ne nous fais pas peur, steht auf der Strasse, die zu meinem Haus führt.

[thatswhywelovegermany]

Holocaust Remembrance Day in Germany

Every year on January 27, the day when the concentration camp of Auschwitz was liberated by the Red Army, Germany commemorates all the victims of National Socialism with an hour of commemoration of the German parliament, the Bundestag (Federal Diet). Speakers including survivors of concentration and death camps, contemporary witnesses, historians, politicians, and publicists talk in front of the members of parliament, and the ceremony is broadcast live on public TV. This year, Prof. Dr. Saul Friedländer, holocaust survivor and historian, held the speech. Ceremonies were also held at the sites of concentration and death camps throughout the country. The selection of films and documentaries in many TV stations also centers around the topic.

Notable speakers in the past were Anita Lasker-Wallfisch (survivor and cellist, last known member of the women’s orchestra of Auschwitz), Marcel Reich-Ranicki (survivor and literature critic), Zoni Weisz (Sinto survivor), Shimon Peres (State President of Israel), Imre Kertész (survivor and Literature Nobel Prize recipient), Elie Wiesel (survivor and publicist), and Jorge Semprún (survivor and writer).

Since 1996, the day is an official remembrance day in Germany. In 2005, the UN made it an international remembrance day.

In the recent time, concerns are voiced in Germany that as the generation of survivors and eyewitnesses dies out, the memory of the organized racist mass murders will fade away and the awareness of dangerous developments will wane. The societal consensus to never let it happen again seems to soften as there is disturbingly little resistance against attempts from the extreme political right to stifle the national German culture of remembrance. The question how the upcoming generations can learn from the historical events if they cannot hear first-hand reports from survivors and eyewitnesses any more and how they can be sensitized to the dangers of nationalism and racism in the future is becoming more and more relevant. Discussions how to transfer that knowledge are just about to start.

[a-darla-ble]

Music, Maestro!

You, Darla fans, remember that one publication I made about the non-orchestral songs for the film Shazam!, right? Well, here are now the full orchestral songs of that same film, conducted by Londoner Benjamin Wallfisch. But first, here is his bio:

Born August 7, 1979 as Benjamin Mark Lasker Wallfisch, the son of Elizabeth Wallfisch (née Hunt), an Australian Baroque violinist, and Raphael Wallfisch, a British cellist. He is the eldest of their three children. His paternal grandparents are pianist Peter Wallfisch and cellist Anita Lasker-Wallfisch, who was a member of the Women's Orchestra of Auschwitz. They were Jewish emigrants from Breslau, Poland.

He has composed and contributed to music for over 60 feature films since the mid-2000s. Asides Shazam!, his compositions include original scores for A Cure For Wellness, Hidden Figures, Lights Out, Desert Dancer, It (2017 version) and Blade Runner 2049. In 2017, he was jointly nominated with Pharrell Williams and Hans Zimmer for Best Original Score at the 74th Golden Globe Awards for his work on Hidden Figures, and a BAFTA Award and Grammy Award for Blade Runner 2049.

In 2014, Wallfisch was appointed an Associate of the Royal Academy of Music, London. He is also a member of Remote Control Productions, a company by Hans Zimmer.

Wallfisch resides in Los Angeles, California with his wife Missy and daughter Lola.

Here is the YouTube link to the soundtrack available to hear: https://www.youtube.com/playlist…

Music 1 - The Shazam! theme is played during the end credits, right after the mid-credits scene.

Music 2 - In a flashback scene from 1974, young Thaddeus Sivana (Ethan Pugiotto), while riding with his father and older brother in Upstate New York on Christmas Eve to his grand-parents' mansion, got suddenly transported, alone, to a place called the Rock of Eternity where he would meet this mysterious wizard as this latter was looking for a pure-hearted champion to replace him. However, after being tempted by the Seven Deadly Sins, trapped in statues, to take the Eye of Sin for power, the wizard reconsidered and sends him back to 1974. This piece was heard during that scene.

Music 3 - This score was played while the Shazam! Wizard, growing weaker, uses his seeking spell to continue looking for a champion, no matter how long it takes. It would finally pay-off in the year 2019 in Philadelphia - to a street boy named Billy Batson.

Music 4 - Billy Batson, age 14, kept on searching for his long lost mother since a decade ago from place to place, until he found one hoping this would be it, This piece was heard while he reminisced about how he lost his mother at a carnival. We see little Billy, age 4 (David Kohlsmith), with his mother (Caroline Palmer) as she was trying to pop the balloons with darts to win a prize for her son.

Music 5 - The once young Thaddeus Sivana has eventually grown up and becomes Dr. Sivana, who had never forgotten his encountering in 1974 and vowed to return to the Rock of Eternity and gain power from the Eye of Sin. While we hear this score, Sivana figured out, through interviewed witnesses from around the world, that there were seven symbols needed being written seven times. A skeptical Dr. Lynn Crosby (Lotta Losten) didn't believe it until the door in Sivana's office activated the passage to the cave - and in the process reducing Dr. Crosby to dust, but her glasses.

Music 6 - Returning at last to the Rock of Eternity after all these years, Dr. Sivana confronts the Shazam! Wizard (Djimon Hounsou) to take the Eye and gain power, which he finally did and got the best over the wizard while this score is playing along.

Music 7 - Billy Batson (Asher Angel) is being chased by the Breyer twins (Carson MacCormac & Evan Marsh), in the background, from Fawcett Central School to the nearest subway station after rescuing his foster brother Freddy from their bullying. This incident was perhaps fate as the following event will occur, changing his life forever. This music was played throughout.

Music 8 - While this music is played, Billy meets the wizard choosing him as the new champion. By saying the magic word and touching his staff, the wizard can at last transfer his powers to the new champion, Shazam!, giving him: - The Wisdom of Solomon - The Strength of Hercules - The Stamina of Atlas - The Power of Zeus - The Courage of Achilles - And the Speed of Mercury The wizard then vanishes into dust, leaving Billy with his new adult body and super-strength.

Music 9 - Knowing that his new brother, superhero fanboy Freddy (Jack Dylan Grazer), might help him with his new identity, Shazam! (Zachary Levi) lets him in on his secret. Together, they found that he was indeed "stacked" with super-powers.

Music 10 - Revenge can be sweet, whether for good or bad, as we see Dr. Sivana, after killing his brother Sid along with the other members of a board meeting at Sivana Industries, confronting his father (John Glover) to make him see that he gained power, with the help of his allies, the Seven Deadly Sins - and killing him as well afterwards.

Music 11 - While showing off his new lightning powers to the people outside the Philadelphia Museum of Art, Shazam! accidentally struck a bus's front tire, driving it to the edge. After his awkward attempt to use an old mattress in hoping it would soften the fall, our new hero had to catch the enormous vehicle - with a satisfying result, saving everyone inside it.

Music 12 - Dr. Sivana finally meets this new champion and demands him to hand his powers over to him immediately. This battle with a super-villain was Billy's ultimate test. Sivana however got the best of him, as our new hero couldn't fly yet, by grabbing him and bringing him up high in the atmosphere and lets him go to a dooming fall.

Music 13 - After his dooming fall, Billy halted to a close shave as he could finally fly and had to deal with this new foe in black in a new definition of street-brawling, all under the watchful eye of Freddy.

Music 14 - The brawl between Shazam! and Dr. Sivana went on as they ended up in the mall and in a toy store. After being slammed by Sivana through the store window, Shazam! had to get away from him by flying inside the mall before being struck by Sivana. Having no choice, Shazam! transformed back to Billy in order to blend in with the panicking crowd.

Music 15 - Seeing that Freddy was looking for Billy, and realizing the latter would supposedly be the new hero according to the bus rescue news report on the TVs at the mall, Sivana forced the crippled fanboy to tell him where he lives, which would put the other kids in danger as well.

Music 16 - At long last! Billy, thanks to Eugene's search online, has finally found his long-lost mother, Marilyn, who has moved on and remarried while his real father, C.C., was in prison in Florida for ten years. Billy found out that she has abandoned him on purpose because she couldn't afford to keep him since she was too young. Billy then tells her that he too had to move on to his new family.

Music 17 - After his reunion with his real mother, Billy received a call from Freddy's phone by Dr. Sivana, letting him know that he holds his foster siblings hostage and demands that he comes home immediately.

Music 18 - Forcing to return home to save the others, Billy was ordered by Dr. Sivana to relinquish his powers to him after their arrival to the Rock of Eternity and will let them go, or else they will die. In tears, Darla (Faithe Herman) pleaded Billy not to go and stay with them, but Billy tells our bespectacled beauty that that's what good big brothers would do.

Music 19 - Following Billy and Dr. Sivana to the Rock of Eternity, Darla, Eugene (Ian Chen), Freddy, Pedro (Jovan Armand) and Mary (Grace Fulton) found whatever they salvaged from home and decided to take head on against Sivana and his "big fat ugly-eyed head, " as Darla would put it bravely, until he lets Billy go.

Music 20 - Here, we see Mary being such a great big sister watching over Darla as they watched Dr. Sivana blasting out through the roof of The Booty Trap strip club. The kids have no time to waste and ran to the nearby carnival in hoping to lose themselves inside the crowd. Protect our little Darla, Mary. We love her so much.

Music 21 - In a divide and conquer method, Mary would hope that Sivana would not be able to follow all of them. However, the dangerous doctor sends his Seven Deadly Sins after them, and succeeded.

Music 22 - Billy managed to escape from the clutches of Dr. Sivana, but the latter has the others hostage, yet again, inside the big tent. When he threatened of having Darla killed by Greed (YOU MONSTER!!!), Billy had no choice but to give in.

Music 23 - While Billy had to relinquish his super-powers to Dr. Sivana, he remembered what the wizard told him about sharing his power with the others by simply touching the staff. Not giving up yet, he managed to defeat Sivana and taking the staff away from him, with enough time to share his powers with his new family, becoming superheroes themselves.

Music 24 - It is done - the kids, thanks to Billy, have now become superheroes with their own unique abilities, including Freddy who can now fly as Super Hero Freddy (Adam Brody, in blue) with full joy.

Music 25 - While our new family of superheroes fight against the Seven Deadly Sins, Shazam! and Dr. Sivana face-off for what may be a final showdown in the Philadelphia skyline.

Music 26 - Shazam and the rest of the Shazamily finally won against Sivana and saved the city from destruction. And at the same time, they gained fandom from the cheers and applause of Philadelphians, resembling very much of a big stage play.

Music 27 - Returning back to the Rock of Eternity and placing the Eye of Sin back to its rightful place, thus imprisoning the Seven Deadly Sins back in statues, they realize along the way that they have something else - a lair. They have their own lair - something Billy and Freddy were looking for during the film, even by asking a real estate agent about one.

Music 28 - The following Christmas morning, the whole family gathered for breakfast and Billy told them that he finally found a new family - them - and how much he is very grateful for that.

Music 29 - In a mid-credits scene, when we hear this musical score, an imprisoned Thaddeus Sivana, still looking for a magic formula by writing on the walls, is approached by this talking caterpillar, going by the name Mr. Mind, who proposes an alliance between the two and there are alternate ways in discovering magic.

[ivanstarenkome-blog]

Post #15

1. I think we should be able to appreciate Wagner’s music while still acknowledging his shortcomings as a person-- those don’t have to be mutually exclusive. One shouldn’t have to be friends with someone to be able to appreciate their art, although there’s certainly a line that should be drawn there. Wagner had extremely problematic views, but these views weren’t reflected in his art and I don’t think he caused the world such harm that his art can’t be enjoyed. If the likes of Hitler made art, then I wouldn’t be interested in supporting that in any way. Wagner’s art should be able to be enjoyed, but people have to come to terms with his Antisemitism with that. I think we grow as a society from both of those initiatives, and making Wagner’s work taboo removes the opportunity for either. Professor HaCohen, from the Hebrew University of Israel, outlined this when she spoke to the Times of Israel, saying, “when it is performed in public, it always needs to be embedded in a framework that critically discusses the worldview of its composer in relation to the works performed and their reception and impact.” The other controversial issue surrounding Wagner’s works is their appropriation by Hitler. Although that is an unfortunate part of their history that should absolutely be reckoned with, I think Wagner’s works are much larger than only that aspect. Daniel Barenboim writes in “Wagner, Israel and the Palestinians,” “ When one continues to uphold the Wagner taboo today in Israel, it means in a certain respect that we are giving Hitler the last word.” The legacy of Wagner’s works belongs to the world now and I don’t think we should let that end with Hitler.

1. In the documentary “Wagner and Me,” Wagner’s Antisemitism is discussed by the academics and musicians that Steven Fry talks to. Professor Chris Walton, for instance, voices the notion that Wagner seemed to need an enemy or some disturbance to motivate his art and that this makes confronting Wagner very unpleasant and far from easy. Still, he says that this doesn’t take away the greatness of Wagner’s music. Valery Gergiev, Artistic and General Director at the Mariinsky Theatre in Saint Petersburg, says that Wagner is an international artist and his stories are stories of the world with themes larger than any single country. The Ring shouldn’t simply be associated with the Nazis and, if it can be performed in Saint Petersburg aftter WWII, then it could be performed anywhere. Stephen Fry says Wagner was very important to Hitler’s vision for the world but Hitler only saw one side of Wagner and that that’s the side that most people look at today as well. It’s also Wagner’s descendants’, like his daughter-in-law Winifred, welcoming and revering Hitler (long before the rest of Germany) which taints Wagner for many today. His remaining descendants today, however, are launching an independent investigation into their family’s links with Hitler to settle the matter. A recent production of “Parsifal” at Bayreuth also adapted the story to incorporate the Holocaust. Finally, Steven Fry talks to Anita Lasker-Wallfisch, who survived Auschwitz at the age of 18 because she was a gifted cellist who performed Wagner for Dr. Mengele. Still, music is holy to her and this experience didn’t ruin Wagner for her.

2. Wagner was banished for being a left-wing nationalist revolutionary (he was liberal but Antisemitic) and lived on Lake Lucerne for 12 years, from when he was 35 to 47 from 1849 to 1861. It was here that he wrote about the Gesamtkunswerk, started writing the Ring, and wrote his Antisemitic essay on Jews in music. The Ring took over 20 years before it was finished and performed. Wagner’s Antisemitism may have been partially due to his jealousy of the success of Jewish composers like Mendelssohn and Meyerbeer.

Wagner’s forbidden love for the wife of his patron family, Mathilde Wesendonck, inspired his opera “Tristan und Isolde.” Wagner wrote and dedicated a song “Traeume” to Mathilde, which became the love duet in act II of “Tristan und Isolde.”

The Tristan Chord creates tension because it doesn’t perfectly resolve and it’s simultaneously uplifting and depressing, since some of the voices resolve upwards and others resolve down.

Wagner was the first composer to compose with his back to the audience. 

Hitler’s rallies in Nuremberg may have been inspired by a rally scene in the third act of Wagner’s opera “die Meistersinger von Nuremberg.” The music from the opera, which Hitler loved and would often whistle, was performed at the Nazi rallies.    

1. “Lohengrin” is loosely based off of events in 933 A.D., in which King Henry the Fowler of Saxony united various German principalities to defend their lands against Hungarian invaders. The opera, however, also includes fantasy tropes like an evil witch and a knight in shining armor saving a damsel in distress.

2. The description of Lohengrin as “an artist, somewhat above the world but not above needing love” certainly fits my impression of Wagner’s self image and I wouldn’t put it past him to depict himself in one of his operas as a holy knight in shining armor.  

3. An overture contains themes from the music of the opera, whereas a prelude doesn’t as much.

4. Elsa is accused of killing her brother Gottfried and for having a secret lover.

5. After being banished at the end of Act I, Telramund is in the courtyard of Antwerp Castle at the start of Act II.

6. Ortrud is Pagan and worships old Norse and Germanic gods like Woden and Freia. 

7. Elsa feels unworthy of being with Lohengrin and feels like he will leave her and go back to the holy and glorious place he’s from that she can’t compete with. Eventually she can’t help herself and she asks him his name.

8. Lohengrin kills Telramund when he attacks him in his honeymoon suite and Ortrud dies as Lohengrin’s swan transforms into Gottfried (?). Elsa dies from sadness (?) as Lohengrin sails away at the very end. 

9. eh.

10. Since, after Thomas Mann said the score to Lohengrin reminded him of blue and silver, it’s been a tradition for the production to be in blue and silver and I think that would be interesting to see. I hope Lohengrin’s entrance on the swan-drawn boat is as ridiculous as possible and that the costumes are really over-the-top and fantastical and not understated, more contemporary costumes that are sometimes used in recent opera productions. 

[bongorama]

Music in Nazi Germany - The maestro and the cellist of Auschwitz

Music in Nazi Germany – The maestro and the cellist of Auschwitz

Why was classical music so important to Hitler and Goebbels? The stories of Jewish cellist Anita Lasker-Wallfisch, who survived Auschwitz, and of star conductor Wilhelm Furtwängler, who worked with the Nazis, provide insight. The film centers around two people who represent musical culture during the Third Reich – albeit in very different ways. Wilhelm Furtwängler was a star conductor; Anita…

[tcaldas]

Como é lindo o poder da música #repost @dw.brasil ・・・ Sobrevivente do Holocausto "salva" pela música Por tocar violoncelo, Anita Lasker-Wallfisch não foi assassinada na câmera de gás em Auschwitz. Ela e outras meninas eram obrigadas a tocar no campo de extermínio: “Para alguns prisioneiros, a música era um insulto. Mas outros eram capazes de sonhar, por alguns minutos, que não estavam no inferno." Via #dwculture #dw_brasil #deutschewelle #holocausto #auschwitz #alemanha #AnitaLaskerWallfisch #historia #cultura (em Friedrichshafen) https://www.instagram.com/p/CZIMtqeoxsR/?utm_medium=tumblr