#léon weber

[frenchcurious]

La Halle Bointon à Villefranche-sur-Saône, France, ex piscine conçue en 1935 par l’architecte suisse Léon Weber (1892-1972), transformée en 1985 en établissement sportif. Crédit photo Le Patriote Beaujolais - source Cristina Ardelean.

[andresylupin]

813 is one of my favourite Lupin stories for many reasons, one of these being that it's one of the only stories where Lupin has such an entourage, both with the law and outside of the law (even more so when you check the text originally published in the paper).

The Doudeville brothers, Marco, Jérôme, Charolais, Octave, etc vs. the Doudeville brothers (so funny having double agents playing both sides, and it's actually the same side lmao), Gourel, Formerie, Weber, Valenglay, etc... Interestingly, his relationships with representatives of the law are usually more developed (or at least depicted) than the ones with his accomplices. There's this moment with Valenglay at the end of the book that I especially love, right after Lupin learned the execution of Léon Massier :

Lupin faints in front of the Président du Conseil, he's at his most vulnerable, and Valenglay does this??? I do believe that he does it mostly for political reasons and out of fear of a scandal, but idk, it's so interesting to me the way Leblanc wrote this; Valenglay was a fan of Lenormand, and not particularly hostile towards Lupin either, and he sees this broken man before him, and decides to just. take control. Get him back on his feet, but it almost reads like one of these instances where Lupin quasi-hypnotises people with his iron will except this time he's at the receiving end of it.

+ the way Lupin deals with police throughout the book is so flippant (as per usual mdr (except Gourel, rip)), mocking them at every turn and in the end it comes down to this... "I'm counting on you" seems very ambiguous to me, kinda condescending in a way? But also trusting. It just feels like Valenglay is sending one of his dogs to get the job done, which is downright humiliating for Lupin, but also he could have had him arrested right there and then so yknow 🤷

[brookstonalmanac]

Birthdays 5.11

Beer Birthdays

John Moffat (1766)

Gilbert Greenall (1806)

Stephen Weber (1822)

Christian Weyland (1826)

Dietrich Knabe (1842)

John Rowling (1940)

Jack McAuliffe (1945)

Derek Smith (1975)

Five Favorite Birthdays

Eric Burdon; rock singer (1941)

Salvador Dali; artist (1904)

Richard Feynman; physicist (1918)

Martha Quinn; V.J. (1959)

Baron von Munchausen; storyteller, soldier (1720)

Famous Birthdays

Anawrahta; king of Burma and founder of the Pagan Empire (1014)

Anne of Bohemia (1366)

Rose Ausländer; Ukrainian-English poet (1901)

Irving Berlin; composer (1888)

Tim Blake-Nelson; actor (1964)

Carla Bley; pianist (1936)

Foster Brooks; comedian (1912)

Chang and Eng Bunker, Thai-American conjoined twins (1811)

Jean-Baptiste Carpeaux; French artist (1827)

Laetitia Casta; model (1978)

Gladys Rockmore Davis; painter (1901)

Edsger W. Dijkstra; Dutch computer scientist (1930)

Stanley Elkin; writer (1930)

Charles W. Fairbanks; journalist and politician (1852)

Louis Farrakhan; Islamic leader (1933)

Bernard Fox; British actor (1927)

Jean-Léon Gérôme; French artist (1824)

Walter Goodman; English artist (1838)

Martha Graham; dancer, choreographer (1894)

Antony Hewish; English astronomer (1924)

Robert Jarvik; artificial heart inventor (1946)

John Lowell, Jr.; businessman and philanthropist (1799)

Doug McClure; actor (1935)

Paul Nash; British painter (1889)

Cam Newton; football player (1989)

Peter North; porn actor (1957)

King Oliver; jazz trumpeter, bandleader (1885)

Denver Pyle; actor (1920)

Harriet Quimby; pilot and screenwriter (1875)

Natasha Richardson; actor (1963)

Margaret Rutherford; actor (1892)

Mort Sahl; comedian (1927)

Frank Schlesinger; astronomer (1871)

Phil Silvers; comedian, actor (1911)

Holly Valance; Australian actor (1983)

Doodles Weaver; actor (1911)

[signals-noise]

Transcriptions ③ /// Nikolai Berdyaev on the Bourgeois

"The bourgeois lives in the finite, he is afraid of the expanse of the infinite." (Nikolai Berdyaev)

The next entry in our series of transcriptions is excerpted from Nikolai Berdyaev’s Slavery and Freedom, translated from the Russian by Reginald Michael (R. M.) French. Berdyaev’s philosophical work, largely descended from the Christian existentialism of Kierkegaard and Dostoevsky, is relatively unappreciated today but was influential on many of his contemporaries within and beyond his native…

[gorbigorbi]

Photographer Mark Olich Марк Олич

Ekaterina Osmolkina (Mariinsky Ballet) as The Young Girl, “Le Spectre de la Rose”, choreography by Mikhail Fokine (1911), music by Carl Maria von Weber ("Afforderung zum Tanz"), libretto by Jean-Louis Vaudoyer based on the poem “Le Spectre de la Rose” by Théophile Gautier, costume by Léon Bakst, 130th Anniversary of Vaslav Nijinsky, 2019 Dance.Dance.Dance., Tovstonogov Bolshoi Drama Theater, Saint Petersburg, Russia (October 14, 2019)

Photographer Mark Olich

[harvardfineartslib]

Dance, dance, dance! Today is International Dance Day. The first image is a design by Léon Bakst for a costume for Vaslav Nijinsky as the Rose in Le Spectre de la Rose. The second image shows dancers Nijinsky and Tamara Karsavina in costume for the Ballets Russes production in 1911.

Le Spectre de la rose (The Spirit of the Rose) is a short ballet about a young girl who dreams of dancing with the spirit of a rose, a keepsake from her first ball. Written by Jean-Louis Vaudoyer, the ballet is based on a verse by Théophile Gautier and used the music of Carl Maria von Weber's piano piece Aufforderung zum Tanz(Invitation to the Dance). The Ballets Russes premiered Le Spectre de la rose with Nijinsky as the Rose and Karsavina as the Young Girl in Monte Carlo on April 19, 1911. (from Wikipedia.)

Spectre de la Rose: Costume design for Vaslav Nijinsky as the Rose Bakst, Leon, 1866-1924, Russian [artist]Graphite, watercolor and/or tempera, silver paint and purple glaze on paper Russian Nijinsky, Waslaw, 1890-1950 [subject] 1911 Repository: Wadsworth Atheneum, Hartford, Connecticut, United States 1933.394 HOLLIS number: 8000980706

Vaslav Nijinsky and Tamara Karsavina in Le Spectre de la Rose Roosen, L., French [photographer] French Nijinsky, Waslaw, 1890-1950 [subject] Karsavina, Tamara, 1885-1978, Russian [subject] 1911 HOLLIS number: olvwork432984

[historyofid]

Summary, Week 5

Lecture 5 Art Déco The hardships and gruesome realities of WW1 left the world ready for a new start, and eager to interpret this new beginning with a new, modern style.  The Great Depression brought ten years of SERIOUS hardship, and prohibition made alcohol consumption illegal. As a result, the world was hungry for escapism and fantasy. Hollywood provided that in abundance, and the world was introduced to Art Déco through the movies, and the Art Déco theaters they watched them in. 

The world was obsessed with speed and travel, much of which was made possible by technological advances achieved during the war. Ships, trains, planes, and cars all got designed to better suit the new age. Transportation design was a new frontier, as designers began to create the visual language of travel, turning machinery into iconic visual statements. 

Advances in technology and materials (plastic! chrome!) allowed new products to celebrate a new form language. Radios, record players, cameras, and cosmetic packaging all celebrated the technology, the materials, and the new style of the Art Déco period. The 1925 Paris Expo inspired the world to embrace Art Déco, and American department stores and museums organized exhibits to spread the style in America. In order to stimulate sales in economic hard times, manufacturers began turning to designers to style products and diversify product ranges. The early Industrial Designers launched their careers and design firms to meet these challenges. Using market research and interviews, designers began to incorporate user-focused design into their design process. People you really should know about: Walter Dorwin Teague Donald Deskey Norman Bel Geddes Raymond Loewy (more on him in a few weeks) Henry Dreyfuss (more on him in a few weeks) People you would probably like to know about: Émile-Jacques Ruhlmann Paul Frankl  Renée Lalique Edgar Brandt Kem Weber Lurelle Guild Egmont Arens John Vassos Hugh Ferris (architectural renderings) Reuben Haley Erik Magnussen Dominique Wells Coates Pier Castiglioni Luigi Dominioni Jean Heiberg George Lum Peter Müller-Munk Russel Wright (more on him in a few weeks)  Gilbert Rohde (more on him in a few weeks)  Harold Van Doren (more on him in a few weeks)  Josephine Baker (not a designer but you want to remember her anyway)

More obscure designers included in case you are insatiable: Lajos Kozma Jean Goulden Cassandre (poster design) Also Mazza (poster design) Léon Jallot Clarence Karlstadt René Coulon Denham Maclaren Louis Dierra Reginald Mitchell (Supermarine plane) Wally Byam (Air Stream) Jean Otis Reinecke Jean Puiforcat Carl Breer John Morgan Aileen Bushnell Hour-Lavigne

Other people included: Tamara de Lempicka (painter) Charles Lindbergh (pilot) Jean Dupas (Normandie murals) Frederick Preiss (Revere staff designer) Frances Resor Waite (wife #2 of and designer for and business partner of Norman Bel Geddes)

[manon-britel]

J’ai le plaisir de vous annoncer l’ouverture officielle de mon nouveau cabinet, situé 39 rue Léon Weber 69400 Villefranche-sur-Saône. Pour prendre rendez-vous : Doctolib :  https://www.doctolib.fr/psychologue/lyon/manon-britel?pid=practice-233989  Téléphone : 06 09 24 81 74  Mail :  cabinet.britelm@gmail.com

Au plaisir de vous y recevoir

[bspolink1348]

Nouvelles acquisitions de la BSPO (04/06/18)

À la une : Marketing du sport : une vision internationale / Michel Desbordes, André Richelieu

Cote de rangement : GV 716 D 255859 / Domaine : Marketing

« Quels sont les nouveaux leviers marketing à la disposition des organisations sportives? L'ouvrage fait le point sur les dernières recherches dans le domaine en matière de gestion de la marque, d'événementiel sportif et de management des enceintes sportives.

Dans un contexte de concurrence accrue – où la visibilité et la différenciation sont les maîtres mots –, il est plus que nécessaire de connaître les dernières techniques adaptées à ce contexte particulier qu’est le spectacle sportif. C’est pourquoi Marketing du sport présente une approche originale de cette discipline récente qu’est le marketing du sport. En associant deux compétences reconnues au niveau international (le Français Michel Desbordes et le Canadien André Richelieu), l’ouvrage offre une vision européenne et nord-américaine et fait le point sur les dernières recherches dans le domaine en matière de gestion de la marque, d’événementiel sportif et de management des enceintes sportives.

Les auteurs sont des enseignants-chercheurs, mais également des consultants régulièrement sollicités par des entreprises privées ou des médias. C’est pourquoi l’approche de ce livre intéressera tant le monde académique (professeurs et étudiants) que les professionnels (agences de marketing ou de communication, équipementiers sportifs, organisateurs d’événements sportifs, fédérations, ligues) désireux de se mettre à la page en utilisant les outils marketing les plus récents dans la discipline.

Michel Desbordes est professeur de marketing du sport à l'Université Paris-Sud. Auteur de 30 livres de référence dans le domaine, il est l'éditeur de l'International Journal of Sports Marketing and Sponsorship depuis 2009. Très impliqué à l'international, il est professeur associé à la Shanghai University of Sport (Chine) et est professeur invité dans de nombreux pays. » - Quatrième de couverture

Gestion

L'entreprise et l'Évangile : une histoire des patrons chrétiens / Marie-Émmanuelle Chessel, Nicolas de Bremond d'Ars, André Grelon

Cote de rangement : BX 1795 C 255861

Métamorphose des managers : à l'ère du numérique et de l'intelligence artificielle / Cécile Dejoux et Emmanuelle Léon

Cote de rangement : HD 30 .2 D 255856

Les dirigeants face à l'information : traitement, appropriation, décision / Pascal Junghans

Cote de rangement : HD 30 .2 J 255858

Les nouvelles frontières du digital : quelles tendances pour la révolution digitale ? / sous la direction de Jean-Michel Huet et d'Adeline Simon

Cote de rangement : HD 30 .2 N 255857

Les décisions absurdes. 3, L'enfer des règles / Christian Morel

Cote de rangement : HD 30 .23 M 255862

Business Models pour les équipes : voyez comment votre organisation fonctionne vraiment et quelle y est la place de chacun / Tim Clark et Bruce Hazen

Cote de rangement : HD 58 .9 C 255850

Le gestionnaire et les états financiers / D.-Claude Laroche, Sophie Marmousez, Zoffirath Dissou

Cote de rangement : HF 5657 .4 L 255855

Le modèle Toyota : 14 principes qui feront la réussite de votre entreprise / Jeffrey Liker

Cote de rangement : TL 278 L 255847

Sociologie

Weber : sociologist of empire / Kieran Allen

Cote de rangement : HM 479 .W42 A 255863

Sexual harassment online : shaming and silencing women in the digital age / Tania G. Levey

Cote de rangement : HQ 1237 L 255860

Erving Goffman et le travail social / sous la direction de Stéphanie Garneau et Dahlia Namian

Cote de rangement : HV 40 E 255844

Vegan order : des éco-warriors au business de la radicalité / Marianne Celka

Cote de rangement : HV 4708 C 255848

Écologie

Sentir-penser avec la terre : l'écologie au-delà de l'Occident / Arturo Escobar

Cote de rangement : HC 125 E 255864

Sciences du travail

Les cellules de reconversion en Wallonie : politiques de l'emploi et restructurations d'entreprises / Aline Bingen

Cote de rangement : HD 5715 .5 B 255854

Finance

Créer une monnaie complémentaire : manuel à l'usage des citoyen-ne-s / Bernard Lietaer

Cote de rangement : HD 3430 L 255852

Introduction à la finance de marché : 15 principes / Stéphane Reverre

Cote de rangement : HG 4523 R 255853

Informatique

Data science / John D. Kelleher and Brendan Tierney

Cote de rangement : QA 76 .9.B45 K 255851

Religion

Le mythe : une introduction / Robert A. Segal

Cote de rangement : BL 304 S 255849

Économie

Cultural economics and theory : the evolutionary economics of David Hamilton / David Hamilton e.a.

Cote de rangement : HB 97 .3 C 255846

The cultural and political economy of recovery : social learning in a post-disaster environment / Emily Chamlee-Wright

Cote de rangement : HV 636 C 255845

Sciences sociales

Analyse des données : méthodes et outils statistiques, applications à la prise de décision, cas d'entreprise détaillés / Daniel Caumont, Silvester Ivanaj

Cote de rangement : HA 29 .5 C 255843

Tous ces ouvrages sont exposés sur le présentoir des nouveautés de la BSPO. Ceux-ci pourront être empruntés à domicile à partir du 18 juin 2018.

[thnkaboutt]

Livres lus en 2020

Fabrice Bak, la précocité dans tous ses états

Gaël Brustier, a demain gramsci

Benjamin Constant, Adolphe

Pierre Ducrozet, l’invention des corps

Jérôme Fourquet, l’archipel français

Michel Houellebecq, plateforme

Michel Houellebecq, soumission

Geoffroy de Lagasnerie, sortir de notre impuissance politique

Bruno Latour, où atterir ?

Pierre-Olivier Léchot, la réforme (1517 - 1564)

Pierre Lemaitre, au revoir la haut

Frédéric Lordon, les affects de la politique

Andreas Malm, comment saboter un pipeline

Karl Marx, les luttes de classes en France

Maupassant, le horla

Thibaut de Montaigu, la grâce

Quentin Meillassoux, après la finitude (2è lecture)

Luuk von Middelaar, le passage à l’Europe

Nietzsche, par delà bien et mal

Vincent Peillon, une religion pour la république

Daniel Quinn, Ishmael

Jean Paul Sartre, la transcendance de l’égo

Stephen Smith, la ruée vers l’Europe

Léon Trotsky, la révolution permanente

Léon Trotsky, programme de transition

Max Weber, l’éthique protestante et l’esprit du capitalisme

Alice Zeniter, l’art de perdre

Alice Zeniter, comme un empire dans un empire

[opera-ghosts]

Thérèse Carolina Johanne Alexandra Tietjens (17 July 1831, Hamburg – 3 October 1877, London) was a leading opera and oratorio soprano. She made her career chiefly in London during the 1860s and 1870s, but her sequence of musical triumphs in the British capital was terminated by cancer.

During her prime, her powerful yet agile voice was said to span seamlessly a range of three octaves. Many opera historians consider her to have been the finest dramatic soprano of the second half of the 19th century. Tietjens received her vocal training in Hamburg and in Vienna. She studied with Heinrich Proch, who was also the teacher of Mme Peschka-Leutner and other prime donne. She made a successful debut at Hamburg in 1849 as Lucrezia Borgia in Donizetti's opera, a work with which she was particularly associated all her professional life.  She sang in Frankfurt from 1850 to 1856 and in Vienna from 1856–1859. Tietjens made her first appearance in London in 1858, as Valentine in Les Huguenots.   She continued to sing opera regularly at Her Majesty's Theatre, the Drury Lane and Covent Garden until her untimely death in 1877. She was equally fine in oratorio, and became a leading dramatic soprano in England, during the 1860s and early 1870s on both stage and platform. The early part of her London career coincided with the heyday of the tenor  Antonio Giuglini (1827–1865), a student of Cellini, who made his debut at Her Majesty's in 1857 as Fernando in La Favorita. In July 1859, Tietjens created the first London Elena in  Les vêpres siciliennes of Verdi (four years after the original Paris production) at Drury Lane, opposite Giuglini's Arrigo. On 15 June 1861, Tietjens was the first London Amelia, opposite Giuglini's Riccardo, and the Renato of Enrico Delle Sedie (a singer of great style, musicianship and talent but limited vocal range) in the original Lyceum Un ballo in maschera for Mapleson. The year 1863 saw the first performance of Gounod's Faust in England, at London's Her Majesty's Theatre, with Tietjens as Marguerite, Giuglini (as Faust), Charles Santley (as Valentin), Edouard Gassier (as Mephistopheles) and Trebelli (as Siebel). This production was transferred to the theatre at Covent Garden and was performed in every successive season until 1911. In the same season Tietjens created the role of Selvaggia in Niccolo de' Lapi by Francesco Schira (conductor at Drury Lane), also with Trebelli, Giuglini and Santley (Niccolo). (This work was revived with far greater success as Selvaggia in Milan 1875.) There was more Il trovatore, a Norma (one of Tietjens's finest roles) with Désirée Artôt (making her debut that year also as Violetta and Marie) (mezzo) as Adalgisa, and Weber's Oberon with Sims Reeves (Huon), Marietta Alboni (Fatima), Trebelli (Puck), the tenor Alessandro Bettini (Oberon), Gassier (Babekan) and Santley (Scherasmin). That autumn she went with the Mapleson tour to Dublin to appear in Faust with Reeves, Trebelli and Santley, and for herself also made a tour in Paris. In 1867 he was a soloist in the premiere of the Sacred Cantata Woman of Samaria by William Sterndale Bennett at the 1867 Birmingham Music Festival conducted by the composer. Otto Nicolai's 1849 opera The Merry Wives of Windsor had its English premiere in May 1864 with Tietjens and Caroline Bettelheim as the wives, Gassier (Page) and Santley the husbands, Junca (who also replaced Gassier in Faust) as Falstaff, Giuglini as Fenton, Giuseppina Vitali (Anne), Manfredi (Slender) and Mazzetti (Dr Caius). Santley describes the fun he and Tietjens had in the scene turning out the linen basket and pelting each other with linen. Tietjens, Santley, Giuglini, Mayerhofer and Pauline Lucca gave a Buckingham Palace concert before Queen Victoria in May 1864: Tietjens was then singing Gluck (Armide), Bellini (I puritani), Rossini and Meyerbeer (Robert le diable). On 5 July 1864 Titiens created Mireille (opposite Giuglini's Vincent) in the first production in England of Gounod's opera, which in its original five-act form had been premiered in Paris in March. Léon Carvalho, Director of the Opéra-Comique, Paris, and his brother-in-law Miolon personally supervised the later rehearsals. Santley thought this role didn't suit her. The 1864 production of Beethoven's Fidelio, however, more fully established Tietjens as a London successor in the repertoire of Wilhelmine Schröder-Devrient. On 6 June 1865 Tietjens lead the cast in the first England performance Cherubini's 1797 opera Médée, a new version with recitatives by Luigi Arditi. Later that year she toured in Manchester with Santley in Don Giovanni, and in October in London they appeared together in Weber's Der Freischütz. In 1866, she assisted at the unsuccessful return of Giulia Grisi in Norma and Don Giovanni: her own appearances were however very successful, not least as Iphigenie in Gluck's Iphigénie en Tauride, with Gardoni (Pilade), Santley (Oreste) and Gassier (Thoas). Two private performances were given for the Earl of Dudley, supported by Sims Reeves, the baritone Giovanni Battista Belletti, and Santley. The same season saw her Elvira in an Ernani revival with Tasca, Gassier and Santley, and an Il Seraglio with Mme Sinico, and Messrs Gunz, a new tenor Rokitanski, and the Irish bass Signor Foli. In 1867, the tenor Pietro Mongini took the role of Alvaro opposite Santley's Vargas and Tietjens's Leonora in the first England La forza del destino (Verdi) on 22 June, with Gassier as Fra Melitone. At this time the illustrious Swedish soprano Christine Nilsson also became a regular performer at Her Majesty's, and there was a Don Giovanni with Tietjens and Nilsson, Mme Sinico, Gardoni and Rokitanski. Tietjens sang again for the Royal Philharmonic Society in 1868. In the following year, when there was an attempt to form a union of the Her Majesty's and Covent Garden companies, the Italian season opened with Norma, Tietjens in the title role, with Sinico, Mongini and Foli. She also sang with Reeves and Santley in the premiere of Arthur Sullivan's The Prodigal Son in 1869. In 1870 Gassier retired (he died in 1872). The English première of Rossini's Messe Solennelle occurred with Tietjens, Sofia Scalchi, Mongini and Santley: and in 1871, Mme Tietjens was awarded the Gold Medal of the Philharmonic Society. In this first year of the award ten medals were given, and thereafter seldom more than one in any one year. When the Gye and Mapleson companies were successfully merged, in 1871, Tietjens was the one principal artist not re-engaged by George Wood. However, Lucrezia had remained a staple of her repertoire throughout the 1860s, and in May 1872 she again led a cast, on this occasion at Drury Lane, for the London debut of the tenor Italo Campanini (as Gennaro), with Trebelli as Orsino and the French baritone Jean-Baptiste Faure as Alfonso, under the baton of Sir Michael Costa. She also took the solos in Sullivan's Festival Te Deum at The Crystal Palace. Campanini was at once (but rather prematurely) acclaimed as the successor of Mario and Giuglini. But in the next years, it was with Campanini as Lohengrin, for Mapleson at Her Majesty's, that Tietjens attempted her only Wagnerian role, Ortrud; and in June 1874, in company with Christine Nilsson and Campanini, she created a lead in the posthumous first production of Michael Balfe's Il Talismano. A minor role in that production was created by a young baritone Giovanni de Reschi, who in the same year made his English debuts at Drury Lane in La favorita (Alfonso), as Don Giovanni, as Valentine (Faust), and as Count Almaviva. Returning to his vocal studies, he reappeared in Paris as a tenor in 1884, and became known to the world as Jean de Reszke. Until 1872, she and "Madame Rudersdorff" had been the joint 'queens' of the English oratorio platform, but in that year her friend and rival left to continue her career in the United States. Tietjens then reigned alone. In 1876, however, she visited North America, among other things performing the part of Lucrezia Borgia at the Astor Opera House in New York City opposite the tenor Pasquale Brignoli. This was to prove the last major episode in her extraordinary career. Her great roles had been Lucrezia, Leonora, Norma, Medea, and Donna Anna. In addition to other parts mentioned, she sang Fides in Le prophète and the eponymous lead in Semiramide. The great Adelina Patti (to lyric sopranos what Tietjens was to the dramatic variety) would refrain from adding Semiramide to own repertoire until after the death of Tietjens, out of respect for her immense distinction in the role. Late in her life Mme Tietjens developed cancer, which caused her much pain, and she died at the age of 46. By this stage, she had become a sort of British institution, and under Sir Michael Costa she sang many performances of Handel's Messiah and Mendelssohn's Elijah—both works dear to the taste of London concert-goers. She also grew extremely large: in 1920, the veteran American baritone David Bispham could recall her appearance but not her voice. Shaw, in 1892, remembered how her performances of Lucrezia, of Semiramide, Valentine, Pamina and her Countess had established a sort of belief that all these characters must have been extremely overweight. Despite her bearing, her intelligence, her great art and her goodhearted grace, he remembered a voice that had become stale and a genius that had ceased to be creative. The public had got used to going to see her, not the roles she performed. She had become loved for her private virtues as much as for her artistic gifts. Herman Klein, who always retained his high opinion of Tietjens and her art, attended her last performance. It was Lucrezia at Her Majesty's on 19 May 1877. Among her achievements, she had introduced London to Gounod's Faust and Mireille, Verdi's Un ballo in maschera, Les vêpres siciliennes and La forza del destino, and Nicolai's Die lustigen Weiber von Windsor, while maintaining for almost 20 years a repertoire that also embraced Oberon, Der Freischütz, Fidelio, Médée, Die Zauberflöte, Il Seraglio, The Marriage of Figaro and, of course, her signature part of Lucrezia Borgia—and many other roles besides, such as Ortrud. 'Her voice was a dramatic soprano of magnificent quality, and her powers as an actress were supreme. The great volume and purity of her voice and her sympathetic and dignified acting combined to make her famous in strong dramatic parts. Michael Scott suggests that Emma Albani attempted, unsuccessfully, to 'inherit the mantle' of Tietjens, but that Lillian Nordica and Lilli Lehmann (both of whom can be heard on recordings made in the early 1900s) were more natural successors to her vocal tradition.

[journaljunkpage]

UN SONGE REVISITÉ

Sandrine CHATELIER / © Gleb Makhnev

CHRISTINE HASSID 

La chorégraphe en résidence à Bruges a créé trois lectures du Spectre de la rose régulièrement dansées sur scène, dont une version pensée pour et avec la compagnie russe Tanstheatr.

Il y a toujours un moment où l’on doit se frotter à une relecture d’une oeuvre, explique Christine Hassid, dont deux chorégraphies seront dansées le 12 février, à Saint-Pée-sur-Nivelle, par la compagnie russe Tanstheatr, après Instinct de Gilschamber. On voit alors la qualité d’un créateur, ceux qui ont un imaginaire développé et ceux qui n’ont pas d’idées. Car on ne part que de la contrainte. Que peut-on apporter d’autre ? J’ai toujours adoré la musique du Spectre de la rose. J’ai toujours eu envie d’en faire ma relecture, d’autant qu’aucune femme n’en a jamais fait. » Le Spectre de la rose originel, créé pour les Ballets russes de Diaghilev en 1911, ne réunit que de grands noms : Michel Fokine à la chorégraphie ; le livret de Jean-Louis Vaudoyer s’inspire d’un poème de Théophile Gautier (1838) ; la musique, signée Carl Maria von Weber, est orchestrée par Berlioz. Léon Bakst conçoit décors et costumes. À sa création, à Monte-Carlo, deux stars de la danse : Tamara Karsavina et Vaslav Nijinski. L’argument ? Une jeune fille, rentrée de son premier bal, est endormie dans un fauteuil. Elle rêve du souvenir d’une rose.

Pour faire sa relecture, Christine Hassid veut un danseur classique de haut niveau. En 2014, elle voit danser Aurélien Houette de l’Opéra de Paris. C’est le déclic ! « Je me suis dit : “Mon dieu, c’est un danseur fantastique, contacte-le !” C’était comme si je le voyais autrement que ce que j’avais sous les yeux ; comme si je voyais un énorme potentiel que je pouvais amener autre part ! » Sa première relecture du Spectre, coproduit par Dantzaz, voit le jour en janvier 2017. Les rôles sont inversés : le spectre est une femme ; la personne endormie, un homme. « La pièce évoque la force d’évocation d’un parfum, le romantisme et la place de la beauté dans notre société. Le propos du ballet est intemporel. » « J’écoute beaucoup d’émissions musicales. Je trouve super intéressant d’entendre la même oeuvre jouée par différents chefs d’orchestre, différents pianistes, etc. Et si on faisait pareil pour la danse ? » Ce qui permettrait aussi de proposer différentes formules de spectacles. Sa deuxième relecture est contemporaine, avec deux danseurs masculins, l’un classique, l’autre urbain. Le spectre, déshumanisé, est un effluve. Le parfum d’une rose rappelle le souvenir d’une femme à un homme endormi. Enivré par ces émanations personnifiées par un autre danseur, il est entraîné dans une valse envoûtante. Après avoir vu ces deux versions, Oleg Petrov, directeur de la compagnie Tanstheatr, passe commande d’une troisième pour cinq danseurs. Deux garçons et deux filles, qui représentent les quatre éléments, interprètent le spectre ; un danseur masculin, la personne endormie. « Lorsqu’on met les quatre éléments ensemble, on touche l’extraordinaire, le rêve ; l’impalpable et l’impossible aussi ; c’est le paradis. » La première a eu lieu le 28 novembre 2017 au festival international Nagrani, le plus grand festival de danse contemporaine de l’Oural. « Ce fut un pur bonheur ! » Pourtant, ça n’était pas gagné d’avance : « À la différence des Français, les Russes connaissent tous Le Spectre de la rose par coeur : la musique, l’histoire et tous les détails du ballet ! »

Répétition publique dans le cadre de la saison Danse Biarritz, réinterprétation du Spectre de la rose, mardi 5 février, 19 h, Nouveau Studio gare du Midi, Biarritz (64200). Entrée libre sur réservation : 05 59 24 67 19 ccn@malandain.com

Instinct I, Le Spectre de la rose et cetera, Cie Gilschamber et Tanstheatr dance company, mardi 12 février, 20 h, espace culturel Larreko, Saint-Pée-sur-Nivelle (64310). larreko.fr

[startup-punk]

Max Weber has spoken of   ‘pariah capitalism’ (elaborated by the Belgian revolutionary Marxist, Abram Léon during the second world war)  and this was up to a point ‘pariah socialism’, the bold project of the isolated urban proletariat and the impoverished, uprooted intellectuals whose largely imaginary world was rounded off by the myth of the advanced West of which more later.  Many memoirs on the Eastern left report that the parliamentary socialists in the distant Reichstag in Berlin or in Vienna had been the object of an adulation quite unsuspected in those imperial capitals: Bebel, Liebknecht, Adler, Renner, Bauer were regarded as latter-day saints, people who have got the respect and dignity denied to their less fortunate Oriental brethren, rather like the Rastafarians in the Caribbean admired Haile Selassie, a black man who was emperor and  the Lion of Judah. Proletarians and déclassé intellectuals in the East, surrounded by a sea of incomprehensible archaic peasantry (and don’t  forget, while the city spoke Polish, the countryside spoke Ukrainian, another city spoke Hungarian, but the village sang in Rumanian, the civil servants corresponded in French and German, but their subjects stammered in some Slavonic patois,  and even the official and highly artificial Hochdeutsch was not understood by many, not even by most ethnic Germans), the ‘red’ cities and districts (Presnya, Floridsdorf, Csepel, Grivitza) were strangers in more ways than one. When in the courses of  adult education run by the social democrats in Vienna, Pest, Cracow, Czernowitz people talked about the same topics as people in the Fabian Society or at the Cooper Union, the upper classes did not read anything or if at all, the Mme de Sévigné, and the poor,  illiterate and pious peasants believed in witches, charms and – until after 1945 – could not  read a clockface and might not have heard yet that the earth was round. Documentary writers in the 1930s tell us that most peasants do not use the coin of the realm in years and they do not realy believe that Franz Joseph is not any longer on the throne and they themselves are now the citizens of some new-fangled ‘successor state’.  Trade union seminars were on a higher level than the Royal Academies of Science. Radical magazines discussed Nietzsche and Baudelaire in St Petersburg and Pest earlier than in London. Mr Pulitzer exported the mass-readership popular press from Hungary to New York and not vice versa. At the same time, feudal caste society was more alive and more terrible thanin early eighteenth-century France. But at least the philosophes of the French Enlightenment were French – who would have dreamed  of calling Voltaire or Diderot unFrench?  However, East European socialists from Lenin and Martov to Otto Bauer and Lukács to Luxemburg and Eisner to Dobrogeanu-Gherea and Marchlewski-Karski  had been citizens only of a future republic and regarded as such. The great Russian radical writer, Korolenko, declared that his country  was not Russia but the Russian literature. I cannot say that I have never experienced such a feeling.

TGM - Capitalism, Pure and Simple

[brookstonalmanac]

Birthdays 5.11

Beer Birthdays

John Moffat (1766)

Gilbert Greenall (1806)

Stephen Weber (1822)

Christian Weyland (1826)

Dietrich Knabe (1842)

John Rowling (1940)

Jack McAuliffe (1945)

Derek Smith (1975)

Five Favorite Birthdays

Eric Burdon; rock singer (1941)

Salvador Dali; artist (1904)

Richard Feynman; physicist (1918)

Martha Quinn; V.J. (1959)

Baron von Munchausen; storyteller, soldier (1720)

Famous Birthdays

Anawrahta; king of Burma and founder of the Pagan Empire (1014)

Anne of Bohemia (1366)

Rose Ausländer; Ukrainian-English poet (1901)

Irving Berlin; composer (1888)

Tim Blake-Nelson; actor (1964)

Carla Bley; pianist (1936)

Foster Brooks; comedian (1912)

Chang and Eng Bunker, Thai-American conjoined twins (1811)

Jean-Baptiste Carpeaux; French artist (1827)

Laetitia Casta; model (1978)

Gladys Rockmore Davis; painter (1901)

Edsger W. Dijkstra; Dutch computer scientist (1930)

Stanley Elkin; writer (1930)

Charles W. Fairbanks; journalist and politician (1852)

Louis Farrakhan; Islamic leader (1933)

Bernard Fox; British actor (1927)

Jean-Léon Gérôme; French artist (1824)

Walter Goodman; English artist (1838)

Martha Graham; dancer, choreographer (1894)

Antony Hewish; English astronomer (1924)

Robert Jarvik; artificial heart inventor (1946)

John Lowell, Jr.; businessman and philanthropist (1799)

Doug McClure; actor (1935)

Paul Nash; British painter (1889)

Cam Newton; football player (1989)

Peter North; porn actor (1957)

King Oliver; jazz trumpeter, bandleader (1885)

Denver Pyle; actor (1920)

Harriet Quimby; pilot and screenwriter (1875)

Natasha Richardson; actor (1963)

Margaret Rutherford; actor (1892)

Mort Sahl; comedian (1927)

Frank Schlesinger; astronomer (1871)

Phil Silvers; comedian, actor (1911)

Holly Valance; Australian actor (1983)

Doodles Weaver; actor (1911)

[alainlesourd-14]

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Léon XIII - Le Musée des Souverains : [estampe] : album en couleur / reproduction des aquarelles de C. Léandre ; Jean Weber ; Eug. Cadel - 1898 ⠀ ⠀ => https://c.bnf.fr/Ix0⠀

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[adngold]

Lumière sur Alice Guy, cette femme méconnue qui a révolutionné le cinéma

Lumière sur Alice Guy, cette femme méconnue qui a révolutionné le cinéma Lorsque l’on évoque la naissance du cinéma, l’on pense tout de suite aux frères Lumières, Léon Gaumont ou Georges Méliès. Qui se souvient de figures majeures comme Alice Guy ou Lois Weber ayant œuvré dans les années ...