#ricardo muti

[paul-archibald]

Sergei Prokofiev (1891-1953)

Prokofiev is regarded as one of the major composers of the 20th century. His works include such widely heard pieces as the March from The Love for Three Oranges, the suite Lieutenant Kijé, the ballet Romeo and Juliet and Peter and the Wolf. He created seven completed operas, seven symphonies, eight ballets, five piano concertos, two violin concertos, a cello concerto, a symphony-concerto for…

[brookstonalmanac]

Birthdays 7.28

Beer Birthdays

Sharon Vaughan, Miss Rheingold 1965 (1938)

Five Favorite Birthdays

Gerald Manley Hopkins; poet (1844)

Jake Johannsen; comedian (1960)

Beatrix Potter; English writer (1866)

Rachel Sweet; pop singer (1962)

Frankie Yankovic; accordionist, polka bandleader (1915)

Famous Birthdays

Natalie Babbitt; writer, illustrator (1932)

Elizabeth Berkley; actor (1972)

Michael Bloomfield; rock and blues guitarist (1943)

Vida Blue; Oakland A's P (1949)

Ignaz Bosendorfer; piano manufacturer (1796)

Bill Bradley; New York Knicks F/G, politician (1943)

Joe E. Brown; comedian, actor (1892)

George Cummings; rock guitarist (1938)

Jim Davis; cartoonist (1942)

Marcel Duchamp; French artist (1887)

Jonathan Edwards; pop musician, songwriter (1946)

Georgia Engel; actor (1948)

Thomas Heyward Jr.; signer of the Declaration of Independence (1746)

Lori Loughlin; actor (1964)

Ricardo Muti; classical conductor (1941)

Jacqueline Bouvier Kennedy Onassis; U.S. first lady (1929)

Karl Popper; philosopher (1902)

Phil Proctor; comedian, actor (1940)

Sally Struthers; actor (1948)

Earl Tupper; Tupperware inventor (1907)

Rudy Vallee; singer (1901)

William T. Vollmann; writer (1959)

Rick Wright; rock keyboardist (1943)

[gcorvetti]

Il futuro?

“Un'orchestra sinfonica oggi costa meno di un calciatore, quale eredità ci aspettiamo di lasciare ai nostri figli? La cultura non esiste per fare profitto, ma per educare. Se questo non cambia, nelle generazioni future prevarranno persone superficiali e molto pericolose”.

Ricardo Muti

Questa frase del maestro Muti è solo un esempio di lucidità su cui si dovrebbe riflettere, ma la società in cui viviamo, non solo in Italia, è sull'orlo del fallimento a livello umano perché si tende a valorizzare il superfluo e l'inutile. Ancora non siamo alla deriva totale, ma non manca molto, la frase che spesso scrivo come commento a comportamenti da primitivi è "Stiamo scivolando su un piano inclinato verso Idiocrazy", avete presente quel film geniale dove una coppia uomo/donna vengono ibernati per un esperimento militare di un anno ma si risvegliano dopo 500 anni, perché l'ufficiale in capo all'esperimento si fa coinvolgere in un giro di prostituzione e viene arrestato e l'esperimento chiuso ma loro vengono dimenticati? Il film è apparentemente demenziale a tratti molto divertente ma quello che traspare in realtà è che la società sta involvendo sempre di più, questo è reale non un film di fantasia se pur geniale. Ci sono vari aspetti che riconducono alla pellicola, come prima cosa l'impoverimento del linguaggio nelle nuove generazioni, per fare un esempio negli stati uniti (se vedi i tweet dei ragazzi americani ti rendi conto) si usano una infinità di acronimi, loro sono abituati a ridurre tutto per risparmiare tempo, ma facendo così si perde a lungo andare la proprietà delle parole; questa pratica oramai è di uso comune anche in Europa tra i giovani, anche in Italia. Premetto che non è tutto così e che ci sono giovani con la testa sulle spalle che fanno buon uso del linguaggio, ne conosco parecchi. La superficialità di cui parla Muti è segno della mancanza di interesse verso qualcuno o qualcosa, che è spesso figlia della competizione perché nello sminuire il prossimo per passare per più bravi si usano le scorciatoie del cervello, anche perché così sottovaluti il tuo avversario pratica già di per se sbagliata perché si può ritorcere contro di te quando si evidenzia il fatto che le tue sono solo parole e non fatti. La pericolosità invece l'abbiamo vista sullo stupro di gruppo a Palermo, quei bravi ragazzi non hanno empatia e per loro era un gioco, ho letto che uno diceva nella loro chat privata che cose del genere le aveva viste solo sui pornazzi, non demonizzo internet ma purtroppo quando si ha una tecnologia così potente e la si usa male può causare distorsioni mentali, appunto come quella. Ci si interroga sugli errori e si inizia a puntare il dito contro le famiglie, ma siamo sicuri che i loro genitori siano colpevoli quanto loro? Cioè non sappiamo neanche che tipo di situazione sti trogloditi hanno in casa, ma subito i giornali tutti a prendersela con mamma e papà che magari si fanno un mazzo così per dare a sti idioti un futuro migliore, di sicuro c'è altro oltre al nucleo familiare, ma non voglio scendere in particolari visto che la vicenda è abbastanza pesante, dico solo che in una nazione dove non si hanno punizioni esemplari per chi viola le leggi, non solo in questo caso, è ovvio che chiunque si prende la briga di delinquere sapendo che non gli accadrà nulla, il berlusca starà ridendo pensando di aver fatto un buon lavoro. Questo discorso è lungo e intricato, la società si è trasformata in qualcosa di completamente lontano da quello che era negli anni 80 e 90, secondo me regredendo, per via di comportamenti sempre meno umani, la competizione è l'inizio di una guerra, la disgregazione di quel tessuto sociale che ci univa attraverso la separazione sempre più piccole categorie ci ha allontanati e sappiamo che per i potenti più siamo divisi meglio è perché l'unione fa la forza, chiedetelo a Maria Antonietta. E ci sarebbe molto ma molto altro da scrivere, ma ho altro da fare e mi fermo.

[frutescens]

phantom thread by paul thomas anderson

behind the scenes

lighting phantom thread

production notes

daniel day-lewis interview with W

costume design

paul thomas anderson interview with rolling stones

johnny greenwood (composer) interview

johnny greenwood interview 2

supplemental reads

house of woodcock by yuna kim @ all that skate 2018

essay series by omar moore : (1) fashion and fascism (2) a boy’s best friend (3) objectification power and resistance (4) a comedy of manners and etiquette

power and pleasure by declan cochran

soundtrack influences

ricardo muti’s recording of vivaldi’s gloria (1977)

soundtrack of kubrick’s lolita by nelson riddle

nelson riddle’s work with oscar peterson

soundtrack of lean’s the passionate friends by richard addinsell

music of thomas tallis, benjamin britten, and bill evans

[migueldelaguila]

Tomorrow 1/8/2022 first of four upcoming #live performances of #MigueldelAguila's new #QuintetoSinfónico by #ChicagoPhilharmonic #CSO #JenniferGunn #flute #ScottHostetler #oboe #JonathanGunn #clarinet #KeithBuncke #bassoon #DavidGriffin #horn. Performances: 1/8/2022 - two performances: 10AM and 11:45AM 2/12/2022 - two performances: 10AM and 11:45AM Info: https://cso.org/performances/21-22/cso-for-kids/once-upon-a-symphony-maybe-something-beautiful/ Here a clip: https://youtu.be/V4Wkli-k_kQ Performances as part of #OnceUponaSymphony  #MaybeSomethingBeautiful

[musicainextenso]

It was the work of Sergei Prokofiev that first brought me to our editor-in-chief’s attention on Tumblr so many years ago, so it feels right to begin winding down our final season here with a week celebrating his work. I’ve shared a lot of Prokofiev over the past few years, but for me it all comes back to Romeo and Juliet, the first piece of his I really connected with as a teenager. I’ve had Romeo and Juliet on the brain again, since watching the latest film adaptation of West Side Story, another musically brilliant adaptation of Shakespeare’s original play. But one of the things I’ve thought about a lot is how much I cared about Bernardo in the newest version of Bernstein’s masterpiece and how little I ever cared for his Shakespearean counterpart, Tybalt. So in an effort to give Tybalt his due, I thought I’d let Prokofiev do the talking, specifically the “Death of Tybalt,” played here by the Chicago Symphony Orchestra under the baton of Ricardo Muti. 

More to come as the week continues! - Melinda Beasi

[landrysg]

On this day in 1805, Beethoven’s only opera, Fidelio, premiered in Vienna.

Via @EvolutionIsTrue: https://whyevolutionistrue.com/2021/11/20/saturday-hili-dialogue-361/

Beethoven, Fidelio Overture, Ricardo Muti and the Philadelphia Orchestra

[dustedmagazine]

Pierre Boulez — Vol. 19 (St. Laurent Studio)

A colleague on a collector list claims that many of the recordings Pierre Boulez made for Deutsche Gramophon were marred by engineering that drained the life out of them. The truth in this statement becomes crystal clear when comparing his 2000 version of Hector Berlioz’s dramatic symphony, Roméo et Juliette, to the 1974 concert broadcast comprising the 19th volume of Yves St. Laurent’s Boulez series. Not only is this now one of the best offerings in the estimable St. Laurent Studio catalog, it also puts many other better known recordings of Berlioz’s wild and wooly hybrid vision to shame.

It seems fair to posit that we wouldn’t have the orchestra in quite the form we know it now were it not for Berlioz and his grandiose ideas of what a Gargantuan ensemble might entail. His 1830 Symphonie Fantastique pulled out all the stops in terms of program and orchestral execution, but nine years later, with the choral innovations of Beethoven’s ninth symphony firmly in mind, Berlioz turned his attention, on a vast dramatic scale, to Shakespeare. It’s no overstatement to say that Roméo et Juliette is one of the most radical conceptions of the 19th century, and deeper exposure to its formal, structural and timbral innovations, not to mention its sublimely strange rhetoric, cements that notion. It’s neither symphony nor opera, though it has elements of both genres, but the main roles are suggested by the orchestra rather than sung. The orchestral contribution is where the November 13, 1974 concert with Boulez, contralto Helen Watts, tenor Ian Partridge, bass Jules Bastin and the BBC Symphony Orchestra is absolutely stunning. The opening fugue is meant to suggest the bustling city streets of Mantua, Montagues and Capulets deep in conflict, and from the first bristling phrases, we hear a less analytical and more involved conductor than many of his later recordings suggest, one who presents the combination of danger and the sheer excitement, the joy of living, that Berlioz’s music so often involves. Boulez builds the contrapuntal form until the open fifths in the brass slow the tempo down, the timing both inevitable and flawless, preparing for the prince’s intervention as represented by the low brass recitative.

At the other end of the emotional spectrum, there is the scene where Romeo stands outside of the Capulet residence, his loneliness contrasted with the festivities inside. A conductor like Ricardo Muti renders Romeo’s anguish, as one might expect from the somber Wagner-anticipating harmonic aesthetic, but Boulez finds many more subtleties of expression in the chromatic writing and the constantly morphing orchestration. Listen out for the oboe entrance at 1:58, which is then taken up by the strings in gloriously aching crescendo; the moment prefigures similar felicities in the finest of Boulez’s late-period recordings, also in concert, of the only completed movement from Mahler’s 10th symphony. In no other performance I know are the complexities of Romeo’s humanity at that crucial juncture so vividly portrayed, rendering the ensuing celebratory music inside the Capulet ballroom all the more bitterly poignant. Boulez brings a similar energetic grit to the Queen Mab scherzo, with its dizzyingly high strings and dexterous flute writing in stark relief, all aided by the raw vitality of the concert experience. Then, there is the gorgeous love scene, beginning with double chorus as the Capulets depart from the party, expertly performed if not as stereophonically detailed as in Leonard Slatkin’s recent version, a double chorus feature which transitions into the balcony scene, again represented by orchestra alone. The Beethoven’s Ninth allegiance is particularly evident in the opening sonority, which Boulez realizes in astonishing pianissimo, but the real treat is the delicious blending of layered strings and winds, complete with pizzicato basses, as he slowly combines textural build and subtle tempo fluctuation, ratcheting up the Romanticism to boiling point. Obviously revelling in the composer’s gift for melody, as did Wagner, Boulez doesn’t miss a phrase in what is really a symphonic poem anticipating Franz Liszt’s coinage of the term. In Boulez’s hands, the combined effect of string recitative, winds response, daring harmonic writing and equally innovative juxtapositions in mood and orchestration demonstrates how far ahead of his time the French composer really was. If further proof were needed, the staggering contrast during Romeo’s internal struggle at Juliet’s tomb makes the case. The myriad pauses, sudden shifts in sonority and violent outbursts render the orchestra a unified voice, especially under Boulez’s direction.

None of this is to denigrate the vocalists’ performances. Helen Watts’ rich and dark voice rises majestically above the choral recitative as the plot is elucidated in the prologue, and particularly effective is Bastin’s warm-blooded contribution as Friar Laurence, imbuing the finale with a healthy balance of heft and wisdom. In fact, the finale may be among the most sumptuous versions on record, a fitting foil to the frenetic fugal opening as all forces are united. Here, the instrumental and vocal ensembles’ deployment across the soundstage is as vivid as could be desired, leading to well-deserved applause. Though neither text nor translation is included, they are easily found online. Of course, fans of the St. Laurent Boulez series will not hesitate, but for anyone looking for another version of this relatively unknown and prescient opus to adorn your shelves, alongside those vintage contributions from Charles Munch, Pierre Monteux and Sir Colin Davis, look no further!

Marc Medwin

[animatealaopera]

Complete video of “Aida” with Anna Netrebto at Salzburg Fetival conducted by Ricardo Muti

[mantecadecacao-blog]

Casi como dirigir el tránsito

Ricardo Muti es italiano, director de orquesta, y ante todo, un hombre con un exquisito sentido del humor. Quienes lo han visto dirigir, han disfrutado de la excelencia de su arte (no en vano fue director musical del teatro de la Scala de Milán por casi veinte años). 

Quienes no, pueden comenzar por este video.

MR

[brookstonalmanac]

Birthdays 7.28

Beer Birthdays

None Known

Five Favorite Birthdays

Gerald Manley Hopkins; poet (1844)

Jake Johannsen; comedian (1960)

Beatrix Potter; English writer (1866)

Rachel Sweet; pop singer (1962)

Frankie Yankovic; accordionist, polka bandleader (1915)

Famous Birthdays

Natalie Babbitt; writer, illustrator (1932)

Elizabeth Berkley; actor (1972)

Michael Bloomfield; rock and blues guitarist (1943)

Vida Blue; Oakland A's P (1949)

Ignaz Bosendorfer; piano manufacturer (1796)

Bill Bradley; New York Knicks F/G, politician (1943)

Joe E. Brown; comedian, actor (1892)

George Cummings; rock guitarist (1938)

Jim Davis; cartoonist (1942)

Marcel Duchamp; French artist (1887)

Jonathan Edwards; pop musician, songwriter (1946)

Georgia Engel; actor (1948)

Thomas Heyward Jr.; signer of the Declaration of Independence (1746)

Lori Loughlin; actor (1964)

Ricardo Muti; classical conductor (1941)

Jacqueline Bouvier Kennedy Onassis; U.S. first lady (1929)

Karl Popper; philosopher (1902)

Phil Proctor; comedian, actor (1940)

Sally Struthers; actor (1948)

Earl Tupper; Tupperware inventor (1907)

Rudy Vallee; singer (1901)

William T. Vollmann; writer (1959)

Rick Wright; rock keyboardist (1943)

[gramilano]

Hugo Marchand © James Bort

The Ravenna Festival was founded in 1990 by Cristina Mazzavillani Muti, with a rich programme which includes symphonic and chamber music, opera, drama, dance, ballet, musical theatre, jazz, and ethnic music.

It’s the perfect location for a summer festival as Ravenna is a stunningly beautiful city, with eight UNESCO World Heritage sites including its stunning gilded basilicas encrusted with the famous ancient mosaics, and also because it only takes only quarter of an hour to drive to the beaches and pine forest.

Opening the festival on 5 June this year was Mazzavillani’s husband, Riccardo Muti, conducting the Orchestra Giovanile Luigi Cherubini with Maurizio Pollini, and closing it on 16 July is Daniele Cipriani’s Les Étoiles gala: a mosaic of dance in the city of mosaics.

The dancers come from Korea, France, Italy, Kazakhstan, Russia, Spain, America representing ballet companies also in Hungary and Holland:

Dorothée Gilbert and Hugo Marchand (Paris Opera Ballet) Jacopo Tissi and Alena Kovaleva (Bolshoi Ballet) Bakhtiyar Adamzhan (Astana Opera, Kazakhstan) Tatiana Melnik (Hungarian National Ballet) Constantine Allen, Anna Tsygankova, Young Gyu Choi and Rebecca Storani (Dutch National Ballet) Sergio Bernal (Spanish National Ballet)

Les Étoiles 16 July 2019 at 21.30 at the Palazzo Mauro de André

Sergio Bernal, The Swan, Les Etoiles 2019 © Malcolm Levinkind

Jacopo Tissi and Alena Kovaleva © Cristiano Castaldi

Constantine Allen

Anna Tsygankova with Jozef Varga in Swan Lake © Graham Spicer

Programme: Les Étoiles, Ravenna 2019

FIRST PART

Diamonds (from “Jewels”) ©The George Balanchine Trust Choreography George Balanchine Music Pyotr Ilyich Tchaikovsky

with Alena Kovaleva and Jacopo Tissi

Esmeralda Choreography Marius Petipa (from Jules Perrot) Music Cesare Pugni

with Dorothée Gilbert and Hugo Marchand

Flames of Paris (pas de deux) Choreography Vasili Vainonen Music Boris Asafyev

with Rebecca Storani and Young Gyu Choi

Le Corsaire (pas de deux Act II)  Choreography Marius Petipa Music Riccardo Drigo

with Tatiana Melnik and Bakhtiyar Adamzhan

Zapateado de Sarasate Choreography Antonio Ruiz Soler Music Pablo de Sarasate

with Sergio Bernal

Swan Lake (Black Swan pas de deux, Act III) Choreography Marius Petipa Music  Pyotr Ilyich Tchaikovsky

with Anna Tsygankova and Constantine Allen

  INTERVAL

Anna Tsygankova with Jozef Varga in Duet © Graham Spicer

Dorothée Gilbert

Bakhtiyar Adamzhan and Tatiana Melnik in Diana and Actaeon, Les Etoiles 2019 © Malcolm Levinkind

Young Gyu Choi © Altin Kaftira

SECOND PART

The Swan Choreography Ricardo Cue Music Camille Saint-Saëns

with Sergio Bernal

Amovéo Choreography Benjamin Millepied Music Philip Glass Costumes Benjamin Millepied and Paul Cox

with Dorothée Gilbert and Hugo Marchand

Diana and Actaeon (pas de deux) Choreography Agrippina Vaganova Music Riccardo Drigo

with Rebecca Storani and Young Gyu Choi

Duet Choreography Christopher Wheeldon Music Maurice Ravel

with Anna Tsygankova and Constantine Allen

Grand Pas Classique Choreography Victor Gsovsky Music Daniel Auber

with Alena Kovaleva and Jacopo Tissi

Don Quixote (pas de deux, Act III) Choreography Marius Petipa Music Ludwig Minkus

with Tatiana Melnik and Bakhtiyar Adamzhan

Défilé Music Riccardo Drigo

Les Étoiles dance gala closes the 2019 Ravenna Festival The Ravenna Festival was founded in 1990 by Cristina Mazzavillani Muti, with a rich programme which includes symphonic and chamber music, opera, drama, dance, ballet, musical theatre, jazz, and ethnic music.

[korrektheiten]

Zuerst:»Verdi-Oper mit N-Wort: Aber Ricardo Muti lehnt politisch korrekte Zensur ab http://dlvr.it/ST24Zj «

[about-life-around-you-2021]

Мути Рикардо | Ариозо https://arioszo.ru/muti-ricardo/

[migueldelaguila]

Preparations for upcoming #ChicagoSymphonyOrchestra’s #CSO short #film debut featuring #QuintetoSinfonico

Premiere: 1 April at 10am CT, hosted by #CCT and the #CSO.

#MaybeSomethingBeautiful, a co-production of #ChicagoChildrensTheatre and the #CSO is Inspired by award-winning book by #IsabelCampoy & #TheresaHowell, which follows young protagonist #Mira who one day decides to paste her drawing of a sun on one of the dark walls of an alley, bringing brightness and smiles to her neighbors. The 13-minute film streams on:

Facebook on 1 April - 10 am C:

https://m.facebook.com/events/279450623586764

and will later be available for free on two streaming platforms:

CSOtv: https://cso.org/tv - and on:

CCTv: https://www.youtube.com/channel/UClI9nwq0sLwmxnSC8xvN9lw

#QuintetoSinfónico was premiered by #Pentaedre #Quintet

[charleymckelvy]

100 YEARS AGO

Mom was a loyal patron of the Chicago Symphony Orchestra and often referred to Ricardo Muti as “the big guy.” One hundred years ago, on May 29, 1921, there came into the world a soul named Hannah Macfarlan. Hannah, who would go on to be the mother of three and grandmother of six, wanted to live to be 100. And she was close, passing as she did on June 4, 2014. She had just turned 93 and was full…