#ensemble la fenice

[cheminer-poesie-cressant]

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Nous naissons sans rien.

Nous mourrons en n'emportant rien.

Seule reste l'œuvre pour un temps incertain.

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(Dans la portée des ombres, extrait)

© Pierre Cressant

(dimanche 6 novembre 2005)

[lesser-known-composers]

Paolo Quagliati (c.1555–1628) - Soavissimi fiori, madrigal from "La sfera armoniosa" 1623

Fanie Antonelou, soprano; Katarina Heutjier, baroque violin;

Ensemble la Fenice, Jean Tubéry

[opera-ghosts]

Verdi - Aida - Ritorna vincitor! - Celestina Boninsegna (Edison, 1911)

Boninsegna was born into a musical and financially comfortable family on 26 February 1877 and, by the age of fifteen was pursuing a course of musical studies at the Pesaro Liceo. She had just finished singing Norina in Don Pasquale at Reggio Emilia’s Teatro Ariosto and her reception was so encouraging that her parents decided, on the advice of several professional musicians, to afford her the formal training that her obvious talent deserved. The Liceo at that time was directed by Pietro Mascagni, who took an immediate interest in Boninsegna, and who, as we shall see, would have a profound influence on her career. On 29 February 1896 she sang in Rossini’s Piccola Messa Sollene at the Liceo with Fiorello Giraud and, a week later, with Alessandro Bonci. Her graduation lesson, on 12 August 1896, drew the following appraisal: “Boninsegna possesses a dramatic soprano voice and sings with great discipline and expression. The voice is of extraordinary equalization”. The next night, under Mascagni’s direction, she gave a recital at the Salon of the Liceo to a sold out house. Diploma in hand, she secured a contract at Fano, and on 25 December, our ‘dramatic soprano’ debuted as Gilda in Rigoletto. The reviewer noted that “Boninsegna, who is just beginning her career, warrants encouragement”. The Teatro Piccinni of Bari presented her as Marguerite in Faust on 28 January 1897 and the chronicle of that theatre declared her performance “excellent”.

Another year of study finally allowed her to make that to which she referred as her ‘official’ debut at the Comunale of Piacenza in December, 1899 as Goldmark’s Queen of Sheba , conducted by Bandini. She then appeared in Lohengrin and, near season’s end, in Yanko by Bandini. His opera proved to be less than successful and was replaced with further performances of Lohengrin. She was immediately engaged by the Dal Verme of Milan for Il Trovatore and Ruy Blas and after a summer vacation returned for Ernani and Petrella’s Ione. The year ended at Cremona with Ruy Blas and Faust.

On 17 January 1901, she opened the season at Rome’s Teatro Costanzi in one of the seven concurrent World Premières of Mascagni’s Le Maschere. The other theatres chosen were Milan’s La Scala, Turin’s Regio, Verona’s Filarmonico, Genoa’s Carlo Felice, Venice’s Fenice and Naples’s San Carlo, which delayed its opening by two nights because of the tenor’s indisposition. Mascagni chose to conduct at Rome and it was at that theatre alone that the opera was successful. Boninsegna sang all twenty performances at the Costanzi, and on the last evening, 24 March, in an on stage ceremony she was fêted to a shower of gifts and affectionate speeches by members of the ensemble. She returned in April to the Dal Verme for Il Trovatore, and after a brief vacation, embarked on her first tour to South America.

Boninsegna arrived in Chile several weeks into the opera season and debuted at Santiago’s Teatro Muncipal as Elvira in Ernani on 20 July. El Mercurio immediately hailed her as the “trump card” in the company’s deck. The newspaper’s critic went on to say:

La Señora Boninsegna is the most sympathetic soprano to have sung here in the last several years. She has an agreeable presence, a fresh voice, sweet in tone and naturally trained. The notes are pure and crystalline and the singing is without affectation. In sum, la Señora Boninsegna is a dramatic soprano of the first rank.

El Mercurio – 8 September – La Gioconda – Boninsegna sang with great sentiment, inspiration, profoundly felt artistry and with a most beautiful voice.

The Mefistofele premiere was a disaster for the tenor, Alfredo Braglia. “Open your eyes, Braglia”. “Learn to sing, Braglia” and “Follow the soprano, Braglia” were hurled at him from every section of the theatre. La Opera in Chile states that Boninsegna’s Margherita and Elena, on the other hand, were the objects of “rhapsodies” and “poetic adjectives” in the press.

On the evening of her Tosca, with Chile’s president in the audience, she and Giraud were asked to sing the National Anthem. The next day, newspapers recorded that they had sung it in “Perfecto Castellano, which we will remember with great affection”. She closed the season at Santiago with Cavalleria Rusticana and at Valparaiso, she sang an “exquisitely limpid Margherita”, a “superb Aida”, and a “triumphant La Gioconda”.

Several of Boninsegna’s Chilean reviews were telegraphed to Milan and in the course of reading them, the Director of Trieste’s Teatro Verdi observed that she had sung in La Juive and that she had received outstanding notices. The theatre was in the midst of preparing the opera, and he decided that it was she whom he wanted for the production. On 25 January 1902, L’Independente stated that Boninsegna “sang a truly lovely and heartfelt Rachel” in the company of Francesco Signorini and Luigi Nicoletti-Korman. After performances of Aida at Trieste, she returned to Chile, where, on 14 June she opened the Santiago season as ‘Aida’ to her usual superlative reviews. She added several operas to her repertoire, including ‘Lautaro’, a new Chilean work, which was severely protested by both press and public. El Mercurio: ‘even the talents of Celestina Boninsegna could not salvage this derivative miscalculation. Senor Ortiz’s opera is an insult to the intelligence of the audience’. The season included visits to Chillan, Talca and Valparaiso.

On Christmas Eve, she debuted at Parma’s Teatro Regio in a new Verdi role, Elena, in ‘I Vespri Siciliani’, and later, she sang the ‘Il Trovatore’ Leonora. Another debut in late January found her at Modena’s Comunale for Aida and Mefistofele, then at Bari, which would be the scene of her greatest failure. On 18 March she debuted in Il Trovatore. Giovine’s Il Teatro Petruzzelli di Bari states “Boninsegna was well applauded for ‘Tacea la notte placida’, but, after the second performance, Aida, Alloro was called in to substitute for Boninsegna, who was unprepared in the role”. I believe that it is from this engagement that a great deal of interesting, but inaccurate information about her has flowed. She took a well-needed break, and on 26 May, returned to the Dal Verme for Il Trovatore, where, she had a much better time of it, appearing seven times with Margherita Julia, Antonio Paoli and Vincenzo Ardito. In November, at Modena, she sang the first Normas of her career, and five months later, at Trieste, the last, according to any evidence that we have.

On 18 October, Boninsegna debuted as Aida at Covent Garden with the Naples San Carlo company. The cast included Eleanora de Cisneros, Francisco Viñas and Pasquale Amato. She had a fine success, and on the  26th she appeared in Un Ballo in Maschera with de Cisneros, Emma Trentini, Viñas and Mario Sammarco. The Times called it a “sterling revival”.

A debut at La Scala now waited. On 18 December, she opened the season as Aida with Virginia Guerrini, de Marchi, Stracciari and Gaudio Mansueto. At some point during the run, the other Italian débutante, Giannina Russ, stepped into the production and this has led to speculation that Boninsegna was ‘protested’ and ‘removed’. Stories surrounding it have created a legend that has become the defining event in her career. She actually sang twelve performances, including, on 29 January 1905, a gala celebration of the tenth revival of the opera at that theatre. Her reviews were excellent, generously praising “the exceptional beauty of her well trained voice, her brilliant top register and sweet mezza voce’” There is not a shred of evidence that she failed to please the Milan public. It is an interesting tale that has no foundation in fact.

She returned to the comfort of Covent Garden in October for repeats of Un Ballo in Maschera and Aid’ along with a new role for London, the Il Trovatore Leonora. She repeated her success and stayed for a total of thirteen performances. On 13 October, the Times critic wrote “this was a very fine performance of Aida, and that Boninsegna “has never sung the role better in London, perhaps, never as well”. On the 19th of November, she sang in a concert for the benefit of Italian Earthquake Victims, with Melba, Didur, Zenatello, Stracciari and Sammarco.

She debuted at Madrid’s Teatro Real on 16 December as Aida. The next day’s reviews bordered on the ecstatic and additional performances of the opera were immediately scheduled. El Liberal said of a later performance: “the third act resulted in a most tumultuous ovation for Paoli and Boninsegna. The curtain was raised an infinite number of times in honour of these two artists.” El Pais called the fourth act of Il Trovatore a “complete triumph, climaxing in an enormous ovation for the ‘Miserere’.” After appearing in Un Ballo in Maschera and Damnation de Faust she sang the only Siegfried Brünnhildes of her career. Il Palcoscenico observed that at the final curtain, she and the legendary Italian Wagnerian, Giuseppe Borgatti, “were awarded an ovation that was almost indescribable.” She ended her season on 24 February 1906 with scenes from Aida in a benefit concert.

In late April, Boninsegna sang in Aida and Il Trovatore at Lisbon’s Teatro Coliseu and with these performances, her career in Portugal came to an end.

The stage was set for the next big moment. She sailed from Genoa for New York in early December 1906, and on the 21st, debuted at the Metropolitan Opera House as Aida with Kirkby Lunn, Caruso, Stracciari and Plançon. Musical Courier reported:

Boninsegna has a sympathetic and serviceable voice, not large and hardly adequate to the heavy demands of a part like Aida. But, in less strenuous moments, Boninsegna did some singing that showed good schooling and musical intelligence. Her high tones were clear, and she sings in tune and phrases well, on the whole.

Her next performance did not take place until 13 January 1907 when she sang ‘Voi lo sapete’ and the Bolero from I Vespri Siciliani in a concert. On the 21st, she repeated Aida with Homer, Caruso, Scotti and Journet. Musical Courier was a great deal more complimentary:

Boninsegna is certainly a beautiful singer and she has a voice of unusual purity. She is scarcely, perhaps, a sufficiently powerful actress for the part, her methods savored somewhat of conventionality. She sang exquisitely however, and could have taken half dozen encores should she have been so minded.

I have quoted verbatim, so we can only wonder about the meaning of “encores”. She concluded her season with two performances of Cavalleria Rusticana (one in Philadelphia), a concert and a third performance of Aida.

Robert Tuggle, the archivist of the Metropolitan Opera, in his book, The Golden Age of Opera says, “Heinrich Conried…. had great hopes for Celestina Boninsegna, an Italian dramatic soprano whom he featured prominently in his plans and advertising. (She) signed for five months and forty performances” but “was ill throughout her stay …. Without her voice to carry her, Boninsegna in Aida was merely what one colleague recalled as a large woman in chocolate colored underwear”. We are left with another legendary failure that has its roots in circumstances seemingly unrelated to her art.

She returned to Italy in mid season, and, on 26 March debuted at Palermo’s Massimo, again as Aida. Tullio Serafin, who conducted the revival, declared her mezza voce to be “of a beauty rarely, if ever, heard.”

On 5 December she returned in glory to Pesaro for a concert in her honour. Every single piece of music had to be encored and the ovations were so enormous that a second concert was immediately scheduled for two days later, and sold out. In honour of her homecoming, an inscribed ceramic vase was presented to her from the City of Pesaro and placed in the main lobby of the Liceo. So famous had she become that when she stopped for a simple overnight visit in July of the following year, it was reported as news in L’Adriatico.

On 15 November 1908, she returned to Madrid for Aida, Mefistofele, Tosca and Lohengrin. Her receptions were those about which singers dream.

La Epoca – 16 Nov – “I confess frankly, I do not remember seeing at the Real, and I have been attending performances for some thirty five years with regularity, an Aida or an Amneris better than La Boninsegna or La Parsi. Where can adjectives be found to describe their artistry and insights”.

Tosca was withdrawn after one performance. The production, the tenor, Giraud, and the baritone, Francesco Cigada, had been mercilessly protested, but:

Il Teatro – Dated 2 January 1909, reported: “Only the famous Boninsegna with her voice of rare beauty and power was able to allay the storm of boos. ‘Vissi d’arte’ had to be repeated and was acclaimed by all, including generals and other dignitaries’.

On 13 February, she returned to Rome’s Costanzi for Aida with Maria Claessens, Scampini and Viglione-Borghese.

Il Messagero: “Celestina Boninsegna showed a voice of sweetest timbre, not of great volume but of a beautiful equalization in all registers, perfectly schooled to sing the full spectrum of the role. She could not have been more enthusiastically received”.

In April she returned to Spain for a debut at Seville’s Teatro San Fernando. After appearing in Aida and Il Trovatore, the overly optimistic impresario ran out of funds and performances of Tosca, Lohengrin’and Mefistofele were cancelled. In the Autumn Genoa’s Politeama hosted her in Il Trovatore and Aida, and, during the last week in October, she again sailed for the United States on a journey that would have a very different outcome from the first.

Several industrialists and financiers resolved to form a permanent opera company in the city of Boston and launched a subscription drive to fund both the building of the theatre and the cost of the first season. The plan was announced in early 1908; the guarantee was met, and the theatre was ready to do business on 8 November, 1909.

The Boston Opera Company inaugurated its era with La Gioconda. Lillian Nordica, Louise Homer, Florencio Constantino, George Baklanoff and Juste Nivette sang before a sold out house, and the reviews told us that while there was vocal wear in Nordica’s voice, it had been a most memorable event.

On 10 November, Boninsegna debuted as Aida to thunderstorms of applause, according to the Boston American. Her colleagues, Claessens, Enzo Leliva, Baklanoff and Jose Mardones, were similarly greeted by an audience whose happiness at the success of the new company knew no bounds. Of Boninsegna, the Boston Globe reported: “The voice is flexible and uniformly pure in the upper register …. Recall the exquisite upper A closing her aria in Act III before Amonasro’s entrance” There was disagreement in the press about her acting and her appearance. One commentator noted that she was “too tall and commanding in fact to be the Ethiopian slave girl, unless Amneris should be sung by a giantess”. In mid season, the company spent about a month touring the United States ‘Heartland’, with an extended stay in Chicago, where her Aida opened the engagement. The Chicago News noted: “Celestina Boninsegna visualized the title role heroically. She is a fine type of dramatic soprano, who captivated the audience early and kept them to the last’. The Chicago Journal wrote of her Il Trovatore Leonora: “Her singing deserves all praise because of its purity and freshness” and Musical Courier commented that her Valentine in Les Huguenots was “a remarkable vocal performance”. The company returned to Boston in early February and Boninsegna continued to perform until 7 March, when she sang a single Tosca. Thie Boston American, on 8 March said, “Celestina Boninsegna revealed herself as a Tosca compared to whom Farrar’s is a giggly schoolgirl. The second act revealed a queen of tragedy. All the emotions seemed at the command of the singer. She was vocally superb in this act”. Musical America reported that she encored the ‘prayer’. Unquestionably, these engagements had been extremely satisfying.

From Boston, she sailed to South America for the first visit in eight years and her debut at Montevideo was an enormous success. She appeared in seven operas and each one had to be repeated several times during her stay at Uruguay’s capitol. The tour visited Santiago del Estero and Tucuman, Argentina and continued performances into the mid summer.  1911 was to be the most important year in her career. She was invited by Pietro Mascagni to be the spinto prima donna on an extensive tour in South America, intended to showcase his operas. It would forever be known as ‘The Mascagni Tour’. On 15 April, 1911, the Teatro Carlo Felice of Genoa hosted a dress rehearsal of Mascagni’s soon-to-be-premiered opera, Isabeau. The theatre was closed to all but a few and the sessions went on for many hours. At the end of the day, Mascagni expressed his satisfaction, and the following morning, he left for South America with a formidable group of artists.

Boninsegna inaugurated the season as Aida at the Teatro Coliseo of Buenos Aires on 6 May with Hotkowska, de Tura, Romboli and Mansueto. The greeting for Mascagni as he stepped onto the podium was enormous, and at the end of the evening, he and the soloists received an ovation that lasted so long that the lights had to be lowered in order to clear the theatre (La Prensa). On 2 June, Mascagni conducted the World Premiere of Isabeau with Farneti, Saludas, Galeffi and Mansueto. There was such a crush for tickets that the performance had to be delayed while police attempted to restore order around the opera house. At the conclusion, the audience demonstrated its enthusiasm into the morning hours, first in the theatre and then in the surrounding streets. The newspapers declared it a complete triumph, comparing it to Debussy, Richard Strauss and other non Italian composers. It was called “brilliant”, a “new and fascinating direction” and “Mascagni’s finest achievement”. There were eight performances. Farneti also sang in Lohengrin, La Bohème and Iris, while Boninsegna appeared in Il Trovatore, Cavalleria Rusticana, Mefistofele and Guglielmo Ratcliff. Pagliacci, featuring Galeffi’s defining Tonio, rounded out the repertoire at Buenos Aires. On 21 June the season at the Coliseo ended and the company then toured to Rosario, Rio de Janeiro, São Paolo, Montevideo, Santiago (Chile) and Valparaiso.

At Rio – O Diario de Noticias – 21 July – Mefistofele: “If (Italo) Cristalli is neither better nor worse than the average Italian tenor of our day, Signora Boninsegna is clearly an artist of distinction. Undertaking both roles, Margherita and Elena, she not only rose to Boito’s melodies but also managed to differentiate vocally between the timid peasant and the reigning queen. Margherita sang the first two acts with a slender, lyrical voice, only letting it out in the prison scene, when madness overtakes reason. Elena, on the contrary, was imperial of manner and of declamation”.

The company travelled from Montevideo over the Andes through heavy snow, and, on 1 September, as the train approached Santiago, it was obliged to stop at several towns to hear local bands play the Italian and Chilean National Anthems, in honour, particularly, of Mascagni. The entourage finally reached the Estacion Alameda at about eleven in the evening where it was greeted by local dignitaries and thousands of fans, who had been waiting since midday. The following evening, in a theatre decorated with flowers of every description, Mascagni conducted Iris. Boninsegna’s first role was Aida.

El Mercurio: “Boninsegna was having one of her most inspired evenings and walked off with all of the applause. She only enhanced the impression of previous visits”.

On the evening of the Mefistofele premiere, Boninsegna was asked once again to sing the National Anthem. “An enormous and sentimental ovation ensued”. The tour ended on 24 October at Valparaiso, fittingly enough with Isabeau. When the company embarked for Europe, additional thousands appeared to wave them off, and the Chilean press declared that this season had been the most exciting in memory. Inexplicably, Boninsegna never sang in South America again.

On 10 Feb, 1912, Mascagni conducted another of Boninsegna’s important Italian debuts, Aida at Venice’s Fenice. It was so well received that four announced performances became six. In March, she appeared in Russia for the first time, singing seven roles at Kiev. March also saw her at Pesaro’s Teatro Rossini in the composer’s Stabat Mater and in April she debuted at the Barcelona Liceo as Aida. A week later she sang the Il Trovatore Leonora. Her reviews were generally exceptional, though her height was considered a detriment, especially in Aida.

In the Spring of 1913 she toured to Siena’s Chiesa San Francesco, Firenze’s Chiesa Santa Croce, Bologna’s Teatro Comunale and Ferrara’s Chiesa San Francesco in Verdi’s Messa di Requiem in commemoration of the Centenary of the composer’s birth. At Siena, five performances became six, and, at Florence, the church doors were left open so that overflow crowds could at least hear the music.

Just before the first performance at Ferrara was about to begin, an elderly woman was escorted to the front row and seated. A buzz filled the church as people pointed and whispered. She sat in silence, looking only at the altar, and, at the end, slowly stood and led the huge ovation. When the applause subsided, many rushed to her and were heard to tell her how wonderful it was to see her and to marvel that she had come to the event. “Have you not heard Boninsegna’s recordings? Who, in the World, would not be here if they could?” It is said that four weeks later she attended Aida at the Teatro Verdi, and that, at the end, she returned to the Palazzo Massari on Corso Parto Mare, to the seclusion that had been hers since the death of her husband in 1902, and which would again be hers until her death in 1920. She was Maria Waldmann Massari, who had sung Amneris in the Italian premiere of Aida and the mezzo part in the World Premiere of the Requiem. Maria Waldmann Massari had sung Amneris in the Italian premiere of Aida and the mezzo part in the World Premiere of the Requiem.

On 26 December, Boninsegna had the honour of another opening night at the Costanzi, this time with Le Damnation de Faust. La Tribuna reported: “Celestina Boninsegna, though in a range not totally congenial to her temperament, is an artist of great valour. In the ‘Song of Thule’ she sang with great expression, and in the passionate duet that follows, she won the full appreciation of the audience”. During this period, Boninsegna, programmed a number of concerts, including several with Bernardo De Muro and at least one fascinating outing with her renowned rival, Eugenia Burzio at Florence.

Boninsegna next debuted at St. Petersburg on 23 January in Un Ballo in Maschera and, after a month of performances, toured to Moscow, Kharkov, Odessa and Kiev in what may fairly be described as the last truly prestigious engagements of her career. De Luca joined the company in early February and Francesco Navarrini joined her and Battistini in Ernani during his last tour to Russia. She assumed the roles of Maria di Rohan and Mozart’s Donna Anna for the first and, apparently, the last times.

The road ahead was to be a very bumpy one for our heroine, as it would be for many singers. World War I was waiting on the horizon. For the next four years she appeared sporadically in several Northern Italian cities and towns. Conditions became very difficult and many theatres closed. A contemporary report in Il Teatro Reinach of Parma by Gaspare Nello Vetro describes the situation. Of a La Gioconda performance in 1918, it says: “the evening was exceptional for the performance of the grand Boninsegna, but the revival showed how difficult it is to mount a worthy performance among the male singers, orchestra and chorus in the middle of a war”. The Armistice was signed on 11 November and in early December, at Milan, she sang in a massive concert of celebration for the benefit of the Red Cross.

1919 was her last hurrah but it was a good one, encompassing some sixty performances. She returned to the scene of that early failure, Bari, and sang in Aida, Tosca and La Gioconda. The Petruzzelli chronology states: “La Boninsegna sang with great expression and received long and justly deserved applause in Aida”. She spent most of the year in well known Italian operatic centres, including an extended stay at Milan’s Teatro Lirico in La Forza del Destino and Il Trovatore.

By 1920, she was receiving very equivocal reviews, particularly addressing stress in the middle range. A final trip to the Western Hemisphere was undertaken in the autumn. She sang Il Trovatore and Aida at Havana and Mexico City, and, according to verbal reports, Tosca. Reviews were not kind and it became apparent that she could no longer sustain a career. In January of 1921 she left the opera stage after performances of La Forza del Destino at Modena. Her announced farewell was at Pesaro in a recital dedicated to her honour and in recognition of her achievements. The date was 6 November 1921. However, Charles Mintzer very recently found documentation of a concert at Sassuolo in August of 1938. There may still be more to tell. Before her death in 1947 she taught for a number of years at both Pesaro and Milan.

This has been an exciting journey for me as I hope it has been for the reader. For nearly half a century Boninsegna has been dismissed by vocal historians as an insignificant singer with a singularly unsuccessful career. The pictures that have been painted consistently portray a rather drab succession of mediocre engagements with less than laudatory receptions. That image is certainly not reflective of truth. She had one failure, at Bari, where she was reviewed as “unprepared” in her role. In fact, I am at a loss to know precisely what that means. The Scala and Met myths are exactly that. They are not and never were grounded in fact. What is the truth? She sang well over one thousand performances in a career that spanned twenty-five years. She appeared at most of the important theatres in the Latin World and was rapturously received almost everywhere she sang. Her excursions to London, Boston, Chicago and Russia were unqualified successes and her reputation in Italy was without blemish. When we listen to the manifest glories of her recordings, we don’t wonder for a moment about the extraordinary reviews she received at Madrid, nor about those at Santiago, Rio de Janeiro and Rome. We hear a grandeur that is breathtaking, a presence to which others of her generation could only aspire. When we marvel over the control at the top of the voice we don’t wonder why Boston, Chicago and, yes, even Met audiences were impressed. The clarity and beauty of her tone received unqualified praise in every city at which she appeared and her musicianship was universally admired. Boninsegna was a major talent who was lavishly praised in her own time, just as her recordings are, today. Her very name is, appropriately, a lovely poem. It has been my privilege and honour to revise one small piece of history.

I wish to express my thanks, first to the editor and Tom Kaufman for their encouragement and guidance, and to Juan Dzazopulos, Eduardo Gabarra, Stephen Herx, Charles Mintzer, Robert Tuggle and Peter Wilson for providing a great deal of additional information. I am particularly grateful for the research of the late Charles Jahant, whose archive of information on Boninsegna provided much of the framework for this article.

Various documents have stated that she sang Desdemona, Wally, and Lucrezia Borgia, but I have found no firm evidence of these roles after six years of looking around. If any readers can shed light on these or other roles not chronicled, it would be most appreciated and would help to complete her repertoire. 

[sardies]

Santu Lussurgiu, l’Ensemble Fenice chiude mercoledì il festival Sonos

Ensemble Fenice Santu Lussurgiu. Sette cantanti fondono le loro voci nell’armonia di un ensemble: mercoledì 9 agosto la chiesa di Santa Maria degli Angeli a Santu Lussurgiu ospita l’ultimo dei tre eventi di Sonos – Intrecci culturali, la rassegna curata dall’Associazione LABohème con il Comune e la Pro Loco. Dalle 21,30 è in programma il concerto dell’Ensemble Fenice, formato da Maria Grazia…

[musicmakesyousmart]

Ensemble La Fenice - O Fröhliche Stunden

Alpha Productions

2007

[newsintheshell]

ANIME RECAP: LE NEWS SONO ANCHE DENTRO LE UOVA DI PASQUA QUEST'ANNO

Trailer e annunci su serie e film estivi e autunnali, in arrivo anche su Crunchyroll, Disney+ e Netflix!

Ve lo avevo anticipato e alla fine il nuovo ANIME RECAP è arrivato! Come sempre trovate un po' di tutto, fra promo, locandine, date e annunci di sequel e non.

Stavolta nel mix delle novità più recenti ho incluso anche notizie un pochino più datate, che erano passate in secondo piano, durante la valanga infinita di news del periodo AnimeJapan. Cominciamo subito con un po' di KyoAni goodness. 😍

🔶🔸 SOUND! EUPHONIUM: CONTEST ENSEMBLE

Il nuovo OAV uscirà nei cinema giapponesi il 4 agosto. La terza stagione dell'anime è tuttora confermata per il 2024.

Le prime due stagioni della serie sono su Crunchyroll, mentre il film spinoff Liz e l’Uccellino Azzurro è arrivato in Italia grazie ad Anime Factory.

🔶🔸SPY CLASSROOM

 La serie animata, tratta dalla light novel di Takemachi, tornerà a partire da luglio con una seconda stagione.

🔶🔸 THE RISING OF THE SHIELD HERO

La terza stagione dell'anime sbarcherà su Crunchyroll a partire da ottobre.

VI ricordo che la serie è ora disponibile sulla piattaforma anche doppiata in italiano.

🔶🔸TOKYO REVENGERS

L'arco narrativo del Christmas Showdown, che potete guardare in streaming su Disney+, si è concluso confermando un altro sequel per la serie. Il capitolo Tenjiku non ha ancora un periodo di debutto.

La prima stagione dell'anime è disponibile su Crunchyroll, anche doppiata in italiano.

🔶🔸IL MISTERO DI RON KAMONOHASHI

L'anime tratto dal nuovo manga di Akira Amano (Tutor Hitman Reborn!, ēlDLIVE), edito qua in Italia da J-POP Manga, sbarcherà in tv ad ottobre.

🔶🔸 POLE PRINCESS!!

L'originale webserie targata TATSUNOKO PRODUCTION (Kiratto Pri☆chan, King of Prism) approderà anche al cinema con un film, annunciato per il prossimo inverno.

L'anime è realizzato in computer grafica e attualmente conta 7 episodi più uno che fa da prologo, pubblicati su YouTube.

🔶🔸TEARMOON EMPIRE

La fantasy comedy, basata sulla light novel di Nozomu Mochitsuki, comincerà ad andare in onda a partire da ottobre. 

🔶🔸SWEET REINCARNATION

Nuovo trailer per la serie isekai fantasy slice of life, tratta dalla light novel di Nozomu Koryu, che debutterà in Giappone a luglio.

🔶🔸I'M GIVING THE DISGRACED NOBLE LADY I RESCUED A CRASH COURSE IN NAUGHTINESS: I'LL SPOIL HER WITH DELICACIES AND STYLE TO MAKE HER THE HAPPIEST WOMAN IN THE WORLD 

La commedia fantasy slice of life, dal titolo inutilmente lungo e tratta dalla light novel di Sametaro Fukada, andrà in onda da ottobre.

L'adattamento è diretto dal debuttante Takashi Asami ed è in produzione presso gli studi ZERO-G (Isekai Farming - Vita contadina in un altro mondo) e Digital Network Animation.

🔶🔸PHOENIX: EDEN17

Svelati una prima locandina e un secondo promo per il nuovo adattamento animato de LA FENICE, uno dei classici firmati dal grande Osamu Tezuka.

La webserie targata STUDIO 4℃ (I Figli del Mare, La Fortuna di Nikuko) dovrebbe uscire su Disney+ nel corso dell'anno, ma ad ora non ha una data.

🔶🔸 CLASSROOM FOR HEROES

La serie action school fantasy, basata sulla light novel firmata da Shin Araki, l’autore di GJ Club, verrà trasmessa a partire da luglio.

L'anime è diretto da Keiichiro Kawaguchi, lo stesso regista di Spy Classroom, che fra l'altro come vi ho già detto tornerà anch'esso sempre proprio nella stagione estiva, ma è prodotto presso lo studio ACTAS (Princess Principal).

🔶🔸TENPURU - NO ONE CAN LIVE IN LONELINESS

La trasposizione televisiva della commedia romantica, nata dalla mente Kimitake Yoshioka (illustratore del manga GRAND BLUE di Kenji Inoue), sbarcherà in simulcast su Crunchyroll a luglio.

Il secondo progetto deLa serie è Questo è il secondo progetto per il neonato studio GEKKO e alla regia c'è Kazuomi Koga (Kubo Won’t Let Me Be Invisible). 

🔶🔸KENGAN ASHURA

La seconda stagione della serie, tratta dal manga di Yabako Sandrovich (How heavy are the dumbbells you lift?) e Daromeon, edito in Italia da Planet Manga, arriverà su Netflix a settembre.

🔶🔸ULTRAMAN

Fissato il periodo d'uscita anche per la terza e ultima stagione della serie, che verrà finalmente aggiunta su Netflix dall'11 maggio.

La storia dell'anima parte dall’omonimo manga di Eichi Shimizu e Tomohiro Shimoguchi (Linebarrels of Iron), tuttora in corso e edito qua da noi da Star Comics, ma devia dalla trama originale e dalla seconda stagione ne segue una alternativa. 

Il fumetto si ispira alle gesta dello storico supereroe protagonista della popolare serie tokusatsu anni ‘60 di Tsuburaya Productions e ne costituisce il sequel.

🔶🔸SAND LAND

Film d'animazione tratto dall'omonimo manga one-shot, firmato dal leggendario Akira Toriyama, verrà proiettato nelle sale giapponesi dal 18 agosto.

La pellicola è diretta da Toshihisa Yokoshima e in lavorazione presso gli studi SUNRISE, ANIMA e KAMIKAZE DOUGA.

🔶🔸FLUFFY PARADISE

Inizialmente previsto per quest'anno (ma poi sappiamo il casino che è successo con certe serie), il debutto in tv della serie ispirata all’omonima avventura fantasy slice of life di Himawari, è stato spostato, con mia poca sorpresa, al 2024.

L'anime è in cantiere presso EMT Squared (Kuma Kuma Kuma Bear) e ha come regista il debuttante Jun'ichi Kitamura. 

* NON VUOI PERDERTI NEANCHE UN POST? ENTRA NEL CANALE TELEGRAM! *

Autore: SilenziO))) Se usate Twitter, mi trovate lì! 

blogger // anime enthusiast // twitch addict // unorthodox blackster - synthwave lover // penniless gamer // INFJ-T magus

[levysoft]

Einstein on the Beach è un'opera composta da Philip Glass.

È il primo e più lungo spartito per opera di Philip Glass e dura approssimativamente cinque ore (tre ore e mezza su CD) da eseguire senza interruzioni. Data la natura della musica (le lunghe ripetizioni di piccoli elementi, sviluppo e cambiamento molto graduali, motivi ricorrenti) e il lavoro precedente di Wilson molto più lungo, fu desiderio di Wilson che il pubblico fosse libero di andare e venire a suo piacimento.

Il testo musicale divenne il primo di una trilogia collegata tematicamente, seguito da Satyagraha (1980) e Akhnaten (1983), benché il termine trilogia sia un po' ingannevole. "Einstein on the Beach", "Satyagraha" ed "Akhnaten" sono anche conosciuti come le tre opere "ritratto" di Philip Glass. V'è comunque confusione sull'autore di "Einstein on the Beach" essendo una collaborazione tra Wilson e Glass. Essa, effettivamente, è un'opera di Wilson (regista) orchestrata da Glass.

L'opera fu eseguita per la prima volta il 25 luglio 1976, in Francia, dalla Philip Glass Ensemble e fu anche messa in scena ad Amburgo, Parigi, Belgrado, Venezia (Teatro La Fenice nel settembre 1976), Bruxelles, Rotterdam ed al Metropolitan Opera House di New York, durante il 1976.

Il libretto, privo di trama, dell'opera consiste di sillabe solfeggiate, numeri e brevi segmenti di poesia o testo che si sviluppano sui temi della relatività generale, delle armi nucleari, della scienza e della radio in AM. L'opera consiste di nove scene connesse di 20 minuti separate da ciò che Wilson chiamò knee plays. I knees creano il tempo necessario per cambiare lo scenario dei sette sorprendenti allestimenti di Wilson, che furono elaborati attentamente per esercitare un'azione reciproca alla musica. L'opera richiede un'orchestra costituita da sassofono soprano, organo elettrico, flauto, basso clarinetto, sassofono alto ed una o due tastiere addizionali. Sulla scena appaiono vari solisti, due cori (rispettivamente di 14 e 6 persone), ballerini e quattro attori.

[verdiprati]

Mostly Mezzo Mondays: Prina in Vivaldi; Coote, Rice, et al. in Adès; and Caccini’s “Liberazione”

Mostly Mezzo Mondays: a recurring (though not weekly) feature where, on Monday nights, I blog a list of the upcoming broadcasts that have caught my eye on World Concert Hall. My interests: baroque vocal music, art song recitals, and a list of favorite singers.

Sonia Prina sings the title role in a new production of Vivaldi’s Orlando Furioso to be video livestreamed from La Fenice. The director is Fabio Ceresa; more production details here. Tuesday, April 17 on Culturebox.

I’m not familiar with any of the performers in this broadcast of Francesca Caccini’s La liberazione di Ruggiero dall’isola d’Alcina, but I might listen just because we don’t get a whole lot of performances of this early opera by a female composer. Tuesday, April 17 on France Musique.

Just to pick out a couple of mezzo names from the outstanding, mostly British ensemble cast, you can hear Alice Coote and Christine Rice among many others in a deferred broadcast of the Metropolitan Opera revival of Adès’ The Exterminating Angel. Saturday, April 21 on WQXR. 

[tempi-dispari]

New Post has been published on http://www.tempi-dispari.it/2020/06/11/luz-dalla-luce-agli-elementi-della-natura/

Luz… dalla luce agli elementi della natura

riceviamo e pubblichiamo da Raffaella Marino

Una speranza per la musica

Il mondo della musica non si ferma, nonostante le misure restrittive attuate dal governo per far fronte all’emergenza Covid_19, Giovanni Mattaliano compositore, clarinettista, sassofonista e produttore artistico palermitano dà vita, proprio in questo periodo, a un nuovo progetto compositivo “Luz”, dedicato all’anima cubana, ideato per solo clarinetto o con aggiunta di percussioni ma adattato ad ogni tipo di strumento e formazione per il valore simbolico del brano stesso, esiste già infatti l’arrangiamento per orchestra o ensemble di clarinetti, per clarinetto e big band o per flauto solo, editi da SentirArt edizioni.

Una nuova ventata di speranza parte proprio dalla Sicilia e dal suo capoluogo per coinvolgere in un web tour, a partire dal 19 marzo 2020, diversi clarinettisti di fama internazionale. Grazie alla collaborazione con Angelo de Angelis (primo clarinetto dell’Opera di Roma che ne cura la prima assoluta), lo spagnolo Javier Llopis in duo con il percussionista cubano Juan Javier Rodriguez, il portoghese Rui Travasso, l’italo-Americano Giancarlo Bazzano, Sarah Watts dall’inghilterra, i sudamericani Axel Sanchez e Jairo Talaga, il russo Dmitriy Rybalko, i concertisti italiani Salvatore Spera, Kevin Spagnolo, Antonino Anzelmo, il giovane talento jazz Enrico Erriquez, Elisa Marchetti, Alfredo vena, Massimo Santaniello, Salvatore Cocciro, Santo Manenti, Angelo Giodice, Raffaella Signorelli, Maichael Palazzo, Francesco Algeri, Michele Ragusa, Calogero Ciccotta, Roberto Ruggeri, Angelo Giordanella, Mariaelisa Vita, l’esibizione in ensemble in scena con lo stesso Mattaliano e il Calamus, con Carmelo Dell’Acqua, Antonio Capolupo, Mariano Lucci, Giovanni Punzi, sono solo alcuni dei musicisti che hanno sostenuto l’idea del maestro Mattaliano, contribuendo a suonare il pezzo in un vero tour web che continua al momento senza sosta.

Un’operazione che vuole dimostrare, anche a distanza, fuori dai palcoscenici, dalle piazze e dai teatri che la musica continua a vivere presentandosi al pubblico sempre in maniera elegante e raffinata attraverso la più innovativa tecnologia. Luz, in ebraico mandorlo dell’immortalità, dà un chiaro messaggio di speranza e rinascita per tutto il pianeta. La leggenda narra che un mandorlo situato vicino alla città di Luz di origine ebraica, da cui prende il nome è considerata soggiorno dell’immortalità come il mandorlo, così come l’essere umano può rinascere da se stesso, come la fenice dalle proprie ceneri. Il nome Luz, inoltre viene dato anche a una particella corporea indistruttibile, rappresentata simbolicamente come un osso durissimo, particella alla quale l’anima rimarrebbe legata dopo la morte e fino alla resurrezione. Luz non è solo luce e speranza, ma anche immortalità della musica, del pensiero libero di ogni individuo. Con l’augurio che Giovanni Mattaliano e tutti i musicisti che hanno preso parte, possano suonare questa piccola grande gemma, dal vivo, nei più importanti palcoscenici internazionali, tutti uniti in un unico sospiro.

[todayclassical]

September 14 in Music History

1722 Birth of composer Joseph Paul Ziegler.

1731 J.S. Bach begins organ recitals in Dresden.

1737 Birth of Austrian composer Johann Michael Haydn.

1748 Birth of composer Johann Paul Schulthesius.

1760 Birth of Italian composer Maria Luigi Carlo Zenobio Salvatore Cherubini. 

1761 Birth of composer Pavel Lambert Masek.

1768 Birth of composer Georg Johann Schinn.

1772 FP of Jommelli: "Cerere placata" Naples.

1833 Death of Irish composer and organist John Andrew Stephenson.

1839 Birth of Czech composer Johann Nepomuk Kral.

1840 Birth of composer George Elbridge Whiting.

1851 Birth of French pianist and composer Gabrielle Ferrari in Paris. 

1866 Birth of New Zealand composer Mentor Crosse in Dunedin.

1869 Birth of American soprano Ellen Beach-Yaw, in Boston, MA. 

1876 Birth of baritone Ernesto Badini.

1882 Birth of composer Harald Fryklof.

1882 Birth of Belgian mezzo-soprano Clair Croiza.

1885 Birth of Italian opera conductor Vittorio Gui, in Rome. 

1885 Birth of American tenor Charles Marshall, in Waterville, ME. 

1887 Birth of Polish violinist Paul Kochanski in Warsaw.

1891 Birth of Polish soprano Ada Nordenova.

1896 Birth of Mexican tenor José Mojica, in Mexico City DF.

1904 Birth of German composer Richard Mohaupt in Breslau.

1910 Birth of Swiss composer Rolf Liebermann, in Zurich. 

1910 Birth of American composer, conductor Lehman Engel.

1911 Birth of American mezzo-soprano Alice Tully. 

1914 Birth of composer Michael Spisak.

1917 Birth of Swiss conductor and violinist Rudolf Baumgartner in Zurich.

1919 Birth of composer Deryck Victor Cooke.

1922 Birth of English conductor and composer Michael Howard. 

1926 Birth of composer and conductor Richard Elsasser.

1936 Death of pianist composer Ossip Gabrilowitsch in Detroit.

1937 Birth of American composer Joseph Jarman.

1942 Birth of composer Kuldar Sink.

1944 Birth of English tenor Martyn Hill in Kent. 

1950 Birth of Argentinian tenor Raul Gimenez in Santa Fe, Argentina.

1951 Birth of Brazilian composer Arrigo Barnabé in Londrina.

1952 FP of Frank Martin's Concerto for Harpsichord, in Venice.

1954 FP of Benjamin Britten's opera The Turn of the Screw, at the Teatro La Fenice in Venice.

1962 Death of French composer Marcel Francois Delannoy in Nantes. 

1964 Death of American composer and pianist Mary Howe in Washington.

1965 Birth of American composer Shawn Patterson in Athol, MA.

1968 Birth of Belgian composer Vincent Ghadimi in Rocourt.

1978 FP of Samuel Barber's Third Essay for Orchestra by NY Philharmonic under Zubin Mehta. 

1994 FP of Richard Danielpour's Cello Concerto, by San Francisco Symphony, conducted by Herbert Blomstedt. Yo-Yo Ma, soloist in San Francisco, CA.

1997 FP of Kaija Saariaho's Graal Théâtre for chamber ensemble, by the Avanti Ensemble and violinist John Storgards, in Helsinki.

2000 Death of Spanish tenor Carlo Del Monte.

2002 FP of David Amram's Flute Concerto Giants of the Night. Louisiana Philharmonic conducted by Klauspeter Seibel, with James Galway the soloist in New Orleans, LA.

[lesser-known-composers]

Philippe Rogier - Da pacem Domine ·

Choeur de Chambre de Namur · La Fenice · Jean Tubéry · Ensemble Doulce Mémoire · Ricercar Consort

[chalabrun]

I. ( Basic Information. ) 

Full Name: Maryam Radmila Mahler

Nickname(s): Yam, Yams

Age: 1,340, physically early 20’s

Date of Birth: March 3, 670 AD

Hometown: Palermo, Sicily

Species: Chiropteran Queen

Current Location: Venice, Italy

Ethnicity: ½ Nubian, ¼ Venetian, ¼ Serbian

Nationality: Italian

Gender: Genderfluid (mainly femme-presenting]

Pronouns: She/Her & they/them

Orientation: Demiromantic, Demisexual (female/femme preference]

Political Affiliation: Moderate

Religion: Shia Muslim

Occupation: Doctor employed at the New Mestre Hospital, collaborative vampire huntress that collaborates with Red Shield on occasion, opera singer at Teatro La Fenice who tours globally during the Autumn-Winter season

Living Arrangements: Resides in Ca’ Dario palazzo on the Grand Canal

Language(s) Spoken: Nubian, Arabic, Greek, Hebrew, Turkish, English, Japanese, Chinese, Italian, Venetian, Serbian, German, some Romanian

Voice: Sibel Kekilli ( ENG. ] ( x. ]

 2. ( Physical. )

Hair Colour: Dark Chestnut 

Complexion: Medium bronze with cool undertones

Eye Colour: Dark amethyst

Height: 5'5"

Weight: 165 lbs

Build: Full-figured

Tattoos: Wrap-around dual tattoos on her right bicep that are word art of her daughters’ and granddaughters’ names

Piercings: Two piercings on each ear (one on the lobe and another on the cartilage] 

Clothing Style: Conservative Muslim, but she tends to pair her hijab with contemporary ensembles such as trousers with long, flattering tops, gowns, high heels( x ]

Scent: Spices, especially those you’d encounter in a Turkish bazaar

 3. ( Health. ) 

Physical Ailments: None

Neurological Conditions: None, likely neurotypical or undiagnosed as of yet

Allergies: None

Addictions: None

Drug Use: None

Alcohol Use: None

Personality: Outwardly, Maryam’s personality can best be described as tomboyish. She’s outspoken, extroverted, charismatic, loves being around other guys, loves taking risks, and is generous and kind. She’s known to be fairly forward and direct, but not unkind. Highly adventurous and energetic, she’s a prime lover of street dancing. Athletic, she despises being inert for too long or similarly restricted. However, this doesn’t mean she doesn’t know how to act at a gala, for she can became elegant and bear an eye-turning presence when she wants to. But after the show is over, she’d rather hang out with her friends.

 4. ( Powers & Abilities. ) 

Skills:

Singing: Like her daughter Diva, Maryam bears an exquisite, operatic voice that is able to awaken the Chiropteran metamorphosis of those who have ingested her blood, its potency total. Her singing voiceclaim is Kimmy Skota.

Sword-fighting: Maryam wields dual kilij, the left in a reverse grip while the right normally. It tends to double the damage she can deal on enemies.

Unamity: Due to Maryam being the first Chiropteran and the first Queen, she has immunity to the blood of both blue & red queens; her Chevalier have the ability to blend among either Red or Blue Chevalier almost seamlessly; unlike her descendants, she doesn’t have to hibernate

Abilities:

Strength: The strength of the Queens is enormous. From being able to hurl opponents dozens of feet and forceful in damaging strength, to cleaving through impregnible Chiropteran flesh cleanly, to dealing mortal wounds, a Queen’s strength is prodigial.

Enhanced speed: Maryam is extremely agile to the point that it seems like she’s teleporting, speeding between points faster than the blink of an eye. This makes her evasion extremely difficult to ontend with.

Enhanced senses: The queens all bear enhanced sight, scent, and smell that excels beyond that of even ordinary vampires

Flight: Or rather, extreme, long distance leaping that mimics flight

Telepathy: The Queens bare a telepathic connection between them, their sister, their child and other descendents, and chevaliers.

Telekinesis: Blue Queens possess limited telekinetic abilities, able to do minor feats such as shattering glass windows

Shape-shifting: Chiropteran Queens, while they don’t possess the ability to shift into a chiropteran form, are able to change their physical appearance into almost anyone

Psychological overpowering: Blue queens possess an overbearing, psychologically damaging presence that can critically engender enemies to feel great fear if they choose, though rarely does Maryam rxude it in herself

Blood attributes:

Regeneration: With a high regeneration factor, wounds heal with extreme swiftness and rarely are truly fatal

Anti-aging: Maryam physically stopped aging when she reached the human age of 20

Producing chevaliers: When directly ingested, a Queen’s blood in the body of a human who has experienced drastic blood loss will turn into a Chevalier

Power drainage: Upon producing chevalier, a Queen must enter a hibernation cycle lasting 30 years with intervals of a few years of consciousness before hibernating again. Because Maryam has never produced Chevalier of her own, she has never hibernated before

Conceiving: When a Queen becomes pregnant, her blood loses its potency for a time. This is so that that the opposite twin–a red and blue one conceived every generation–doesn’t perish while in the mother’s womb

 5. ( Quirks and Aspirations. ) 

Goals: Predominantly she aspires most to be as good a mother and grandmother she can be, and to continue pushing boundaries singing; to fight and battle evil, injustice, 

Fears: The supernatural, losing herself to her monstrosity, harm and/or death befalling her family, becoming a monster, grievously sinning enough to be unable to return to her faith should it be too severe

Hobbies: Baking, knitting, sewing, swordsmanship, dance (bellydancing, street, samba], singing (operatic or casual], reading, needlework, travel, exploring, hanging with her clique in Rio’s streets, personal study, studying the Qu'ran

Habits: Playing with the fringes of her hijab or clothing

 6. ( Favorites. ) 

Weather: Sunny and warm

Colour: Blue, white, blue pastels

Music: Indie, traditional, classical, pop, punk, Spanish pop, hip hop, rap

Movies: Bollywood, old MGM era ones, 40’s-50’s- and early sixties-era ones, Old Hollywood, old Italian movies

Sport: Badmitton, volleyball, tennis, soccer, jareed

Beverage: Turkish black coffee, light teas, fruit juices and smoothies

Food: Mediterranean

Animal: Jackrabbit

Flower: Tuberose

Season: Summer

Scent: Lilac and honeysuckle

 7. ( Relationships. ) 

Father: Stefan Bellini, Proto-Chavelier

Mother: Amanirenas, Proto-Queen 

Sibling(s): None

Children: Alphonsa and Petra Mahler, Saya Otonashi and Diva Goldsmith

Mate: Nathan Mahler, Red Chevalier (deceased], Takashi Hinori, Red Chevalier (deceased]

Pet(s): None

8. ( Personality and Astrological. )

Zodiac Sign: Pisces

MBTI: ENFJ, Warm, empathetic, responsive, and responsible. Highly attuned to the emotions, needs, and motivations of others. Find potential in everyone, want to help others fulfill their potential. May act as catalysts for individual and group growth. Loyal, responsive to praise and criticism. Sociable, facilitate others in a group, and provide inspiring leadership.

Enneagram: Type 9w1, the Peacemaker (the Dreamer], Nines are accepting, trusting, and stable. They are usually creative, optimistic, and supportive, but can also be too willing to go along with others to keep the peace. They want everything to go smoothly and be without conflict, but they can also tend to be complacent, simplifying problems and minimizing anything upsetting. They typically have problems with inertia and stubbornness. At Their Best: indomitable and all-embracing, they are able to bring people together and heal conflicts.

Temperament: Sanguine, The sanguine temperament is traditionally associated with air. People with this temperament tend to be lively, sociable, carefree, talkative, and pleasure-seeking. They may be warm-hearted and optimistic. They can make new friends easily, be imaginative and artistic, and often have many ideas. They can be flighty and changeable; thus sanguine personalities may struggle with following tasks all the way through and be chronically late or forgetful. Pedagogically, they can be best reached through awakening their love for a subject and admiration of people

Moral Alignment: True Neutral, A neutral character does what seems to be a good idea. She doesn’t feel strongly one way or the other when it comes to good vs. evil or law vs. chaos. Most neutral characters exhibit a lack of conviction or bias rather than a commitment to neutrality. Such a character thinks of good as better than evil-after all, she would rather have good neighbors and rulers than evil ones. Still, she’s not personally committed to upholding good in any abstract or universal way. Some neutral characters, on the other hand, commit themselves philosophically to neutrality. They see good, evil, law, and chaos as prejudices and dangerous extremes. They advocate the middle way of neutrality as the best, most balanced road in the long run. Neutral is the best alignment you can be because it means you act naturally, without prejudice or compulsion. Neutral can be a dangerous alignment when it represents apathy, indifference, and a lack of conviction.

Primary Vice: Wrath also known as “rage”, may be described as inordinate and uncontrolled feelings of hatred and anger. Wrath, in its purest form, presents with self-destructiveness, violence, and hate that may provoke feuds that can go on for centuries. Wrath may persist long after the person who did another a grievous wrong is dead. Feelings of anger can manifest in different ways, including impatience, revenge, and self-destructive behavior, such as drug abuse or suicide.

Primary Virtue: Temperance, restraint, temperance, justice. Constant mindfulness of others and one’s surroundings; practicing self-control, abstention, moderation and deferred gratification. Prudence to judge between actions with regard to appropriate actions at a given time. Proper moderation between self-interest, versus public-interest, and against the rights and needs of others.

Element: Water, Water people are emotional, intuitive, deeply creative, empathetic, spiritual and psychic. Water allows people to emotionally connect with others. And yet, water people are so sensitive that they often have a hard time unplugging from life’s chaos. Consequently, many water people suffer from addiction as they grapple for distraction from life’s pain. Thus, water people tend to be secretive and private.

TIMELINE

1.     Maryam born to her mother, Amanirenas, & Stefan in Palermo, Sicily near the beginning of Arab rule of the island in 670 AD.

2.     From a young age, Stefan took his family to the Veneto region of Italy for mercantile reasons around 680 AD

3.     Around 695 AD, due to her brightness & proficiency with languages, a Roman-born Algerian scholar named Cassius took her on as his student

4.     Due to Maryam being the first Chiropteran, when Cassius learned of her status he voluntarily decided to become her first Chevalier

5.     In the spring of 702 AD did both, with her parents’ blessing, sojourn to Alexandria, Egypt to further her studies in an internship to the Library of Alexandria where both became novice scholars; they converted to Islam at their mentors’ behest later that year

6.     Not wanting to arouse suspicion, in 705 AD Cassius & Maryam left and decided to travel throughout the Maghreb and Levant, staying at various schools to study for a few years before moving on again

7.     By the 800’s AD, Cassius remained in Algeria while Maryam journeyed on alone to Byzantium where she impressed Empress Theodora and became her son’s, Michael II, private tutor for several years

8.     There, she became a close confidant of the Empress and was granted permission to study at various Orthodox monasteries throughout Constantinople when not tutoring her son

9.     By 860, Maryam was forced to leave the city as Varangians were plundering it and other monastaries

10.  From there, she fled to Macedonian Greece where, in 940 AD, she opened up a healing practice in collaboration with Greek Orthodox nuns in Athens, Greece

11.  The practice was successful for a good decade before Maryam vanished and left Greece for Cyprus in 1050 AD

12.  However, while she was able to live in relative anonymity for decades as an acclaimed herbalist who used various pseudonyms, in 1191 she was forced to defend herself and various people from the invading Crusaders under Richard I on England and was subsequently captured

13.  From there, when it was discovered she was immortal, she fooled them into believing she was an angel of the lord, and in 1200 she was taken to England

14.  Allowed to fight in wars, she became a ward of King John who hired her as a glorified soldier, predominantly fighting in wars against the French

15.  After the signing of the Magna Carta, she disappeared for a time before fighting anonymously during the First Barons’ War & the Second, until she reappeared some time later as a loyal vassal of Henry III and dubbed Lady Miriam

16.  In 1233, a Bavarian diplomat of Holy Roman Emperor Frederick II named Lord Nathan Mahler came to England. To Maryam’s surprise, he was a chevalier of her mother’s

17.  In the winter of 1235, after nearly two years of courtship she married Mahler, Maryam was allowed to move to Sicily, in Palermo, with Nathan and they had two daughters: Alphonsa & Petra Mahler

18.  In 1244, when they believed Alphonsa & Petra were old enough, they moved to the Emirate of Granada, settling down in Granada where Maryam became a tutor at a university & Nathan feigning being a descendant of himself to work for the Holy Roman Emperor once more

19.  This was continued until 1450 when Maryam was abducted and taken by men who mistook her as a vassal of the Sultan due to her learnedness

20.  Sailed from Granada to Bulgaria, they were stopped by Turkish Akinici on their way to market and, once Maryam explained herself, she was taken to Sultan Mehmed II’s court in Edirne

21.  There, he heard her out, and upon learning her relationship with Nathan Mahler, was permitted to remain in his city under his jurisdiction and protection

22.  By 1453, she volunteered to fight along side him in the conquest of Constantinople, being one of the infantry that entered the city

23.  In the winter of 1455, after taking up temporary residence in the now Istanbul, she wrote a letter to Nathan and learned her daughters and he were fine & planned to sojourn to Venice to hopefully meet with her again

24.  In spring 1456, Maryam made it to Venice and there they settled down. Maryam occasionally went with Mehmed II at his behest on campaigns throughout the Balkans, proving herself an invaluable warrior and even tutor to his children when the occasions arose

25.  Mehmed II was one of the few who learned of she and her family’s immortality, they believing it a boon of Allah instead of curse, this affirmed when she was at his deathbed in 1481

26.  In the mid-1500’s Maryam left Constantinople for the isle of Burano in the Veneto where she decided to settle down & make lace while Alphonsa & Petra moved to Bavaria where they settled down with their husbands and took up careers as a teacher and nurse, respectively

27.  Sometime in the 1500’s, Maryam heard word of the Dutch journeying to Japan and decided to join them, disguised as a sailor. Once there, she met Takashi Hinori, a chevalier of her mothers she hadn’t met before; they fell in love and she conceived shortly after

28.  Driven by panic, over having twins again, Maryam left Japan at night and after several months, realized she couldn’t raise them—afraid of what Nathan would think. Using a female Chiropteran with a pouch, the Chiropteran flew away to deliver them to her parents but wound up getting frozen solid and were found by Joel Goldschmidt centuries later intact

29.  By the mid-1500’s, she would sojourn around southern Asia before returning to Europe by the early 1600’s

30.  In the early 1600’s, things began to look up when Maryam, acquiring a German printing press through her contacts in the Holy Roman Empire, opened up a print shop in Murano, Italy

31.  This continued for a good few decades until the Italian plague swept over Venice in 1629 & Maryam worked as a nurse at nearby hospices, all through its 3 years

32.  Deciding to leave once the plague had concluded, by the mid-1700’s Maryam had come to Austria to begin being taught classical instruments & composition under the tutelage of classics masters

33.  She oft traveled between Austria, Hungary, Romania, and her native Serbia and did throughout the 1700’s, sometimes conscripting herself in native wars to help fund her education

34. TBA

[amten]

RT @Natituzzi: Enjoy the music of my favorite English composer, Henry Purcell (1659-1695). This is a chaconne from his semi-opera King Arthur, played by the Ensemble La Fenice, conducted by Jean Tubéry. https://t.co/8xDgapOHA7 https://t.co/DMnee9pvdI

Enjoy the music of my favorite English composer, Henry Purcell (1659-1695). This is a chaconne from his semi-opera King Arthur, played by the Ensemble La Fenice, conducted by Jean Tubéry. https://t.co/8xDgapOHA7 pic.twitter.com/DMnee9pvdI

— Nati (@Natituzzi) October 11, 2019

via Twitter https://twitter.com/ngranner October 27, 2019 at 12:01AM

[alainlesourd-14]

Cum dederit, extract from Nisi Dominus Antonio Vivaldi (1678-1741) (excerpt)

Excerpt from the concert "Italian Music for the Sun King, A concert for Mazarin" given in November 2010 at the Chapel of the Trinity in Lyon, as part of the Baroque Music Festival, directed by Eric Desnoues Counter-tenor: Philippe Jaroussky Ensemble La Fenice, Direction: Jean Tubéry Director: Benjamin Bleton aka Karl More © Karl More Productions - Lyon Baroque Music Festival 2010

[berezina]

King Arthur (1691) (Henry Purcell / John Dryden) [Vox Luminis; Ensemble La Fenice; Jean Tubéry, conductor]

[tmnotizie]

ANCONA – Al concerto FORM con il bus. La Fondazione Orchestra Regionale delle Marche e Conero Bus lanciano una nuova speciale iniziativa per la stagione sinfonica in corso, a favore della mobilità sostenibile e per la comodità degli spettatori: la possibilità di andare a vedere un concerto con il trasporto pubblico. Ma non c’è solo la comodità del viaggio in questa proposta perché, durante il tragitto di andata (partenza da Ancona), è prevista una introduzione a cura del musicologo Cristiano Veroli sul programma della serata, tra riflessioni, informazioni e curiosità sulle musiche che verranno eseguite. 

“La sound experience promossa dall’Orchestra Filarmonica Marchigiana – afferma Carlo Pesaresi, presidente FORM – viene così arricchita da momenti di socialità, conoscenza e approfondimento di argomenti di natura musicale e culturale”. 

Il progetto si sviluppa su tre concerti, con la possibilità di acquistare anche una singola uscita. Si parte da Ancona diretti a Jesi, per il concerto al Teatro Pergolesi del 22 marzo, quindi destinazione Roma il 30 marzo e Osimo il 13 aprile. 

“Con questa iniziativa Conerobus – dichiara il presidente della società per la mobilità intercomunale di Ancona e provincia Muzio Papaveri – conferma il proprio impegno di azienda al servizio dei cittadini in ogni occasione: non solo negli spostamenti quotidiani, ma anche nei momenti dedicati allo svago e alla cultura. Vogliamo che gli utenti possano sempre contare su di noi, grazie all’erogazione di un servizio attento e professionalmente all’altezza delle diverse situazioni”

Un’ora prima del concerto, il servizio di Conero bus parte da piazza Cavour ad Ancona e si dirige al Teatro Pergolesi di Jesi per permettere agli spettatori di assistere al concerto “Virtuoso”, in massima tranquillità e comodità e quindi rientrare a casa, senza lo stress di guidare nella notte o cercare il posto auto. “Virtuoso” è dedicato ai valori del virtuosismo inteso come capacità di trasmettere al pubblico, attraverso grandi doti tecniche e interpretative, le emozioni racchiuse in una composizione musicale incantando l’orecchio e l’animo dell’ascoltatore.

Protagonisti della serata due grandi virtuosi italiani, l’eclettica violoncellista Miriam Prandi e il contrabbassista e direttore Enrico Fagone, impegnati nell’esecuzione di un variegato e accattivante programma di musiche composte da Gentile, Čajkovskij, Bottesini e Mozart. Il costo complessivo per questo primo concerto è di 25 euro (biglietto A/R del bus e biglietto per il concerto).

Più strutturato il viaggio a Roma che prevede una sosta più lunga e la possibilità di visitare una mostra prima di assistere a “Choralia”, in cui la FORM, diretta da Marco Berrini, si esibisce con il complesso corale Vox Poetica Ensemble di Fermo, unito per l’occasione al Vocalia Consort di Roma.

Anche la trasferta di Osimo comprende l’ingresso alla mostra: in questo caso del writer inglese più famoso al mondo, Bansky. Al Teatro La Nuova Fenice poi ci sarà una entusiasmante esperienza di suono attraverso vari generi e stili musicali che traccia una singolare “storia del violino” da Bach ai Queen passando per Mendelssohn, Čajkovskij, Ravel, Gershwin: perfettamente congeniale all’eclettica personalità del grande violinista serbo Stefan Milenkovich e alla sua inimitabile capacità comunicativa. 

L’organizzazione tecnica del viaggio è curata da Geosfera Viaggi. Per informazioni e acquisto dei biglietti rivolgersi al numero 071/8853148 (info@geosferaviaggi.it). Il viaggio viene organizzato con un minimo di 20 partecipanti ed è obbligatoria la prenotazione.