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micro961 · 3 years

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Cantagiro 2021

La finalissima in programma il 4 Settembre a Tivoli Si aprirà a breve il sipario per le serate Finalissime dell’edizione 2021 del Cantagiro in programma sabato 4 e domenica 5 Settembre presso l'antico anfiteatro romano di Tivoli, conosciuto come Anfiteatro di Bleso, sito risalente al II secolo dell'Età Imperiale. Il Comune di Tivoli e il Cantiere Turismo Tivoli hanno accolto e aderito con entusiasmo alla scelta dell'organizzazione della storica kermesse musicale, concedendo il Patrocinio dell’Amministrazione Comunale. Del resto il comune di Tivoli è abituato ad essere al centro dell'attenzione con eventi legati alle numerose ricchezze archeologiche che offre. Situato ad est e facente parte della città metropolitana di Roma, è di per sé una location di inestimabile bellezza: qui si trovano ben due siti Unesco, Villa Adriana e Villa d’Este, il sito FAI di Villa Gregoriana, l'architettura militare di Rocca Pia, Il Santuario di Ercole Vincitore e un centro storico medievale unico. E tanto altro. Una scelta vincente che coniuga bellezza storica e culturale alla qualità della musica e dei nuovi talenti. Anche quest'anno la macchina organizzativa del Cantagiro è stata impeccabile. Il coordinamento gestito dal Direttore generale ed artistico Elvino Echeoni e del Patron Enzo De Carlo ha garantito lo standard qualitativo che contraddistingue l'intera manifestazione canora.

La serata finale sarà presentata da Cristiana Ciacci (figlia di Little Tony nativo proprio di Tivoli) insieme a Marco Zingaretti, con la partecipazione straordinaria di Claudio Lippi e saranno ospiti Davide De Marinis, la Little Tony Family. Durante la serata Cristiana Ciacci presenterà il suo libro “Mio padre Little Tony”, da poco pubblicato, dove racconta la storia della sua famiglia e del rapporto con il noto papà. Come ogni edizione saranno attribuiti i Premi Speciali, Sergio Bardotti e il Premio Little Tony. Si partirà in primis con la finalissima per la categoria New Voice, in programma il 1 Settembre e grandi novità riguarderanno l’ “Accademia del Cantagiro”. Non mancheranno momenti emozionanti, sorprese ed ospiti d'eccezione del panorama musicale italiano che accompagneranno i finalisti fino al momento conclusivo della nomina del vincitore. Il tutto seguito da un'attenta giuria composta da professionisti del settore (discografici, autori, artisti, giornalisti, esperti di comunicazione) che valuteranno le esibizioni dei concorrenti. La stessa modalità verrà applicata per la scelta dei vincitori delle categorie Band e Junior-Baby che si svolgerà nel pomeriggio di domenica 5 Settembre. Tra gli ospiti che si alterneranno durante la manifestazione confermata la presenza del Mago Heldin. Spettacolo, divertimento e soprattutto musica di qualità sono dunque gli ingredienti del successo del Cantagiro e ne distinguono da sempre lo stile. Parlare de “Il Cantagiro” significa tuffarsi nella storia della canzone, dello spettacolo e del costume italiano. Un'idea ancora oggi vincente, concepita nel 1962 da Ezio Radaelli figura indimenticabile del management musicale. Un festival itinerante, una sorta di “Giro d'Italia canoro” che portava alla ribalta talenti e voci reclutati in varie tappe lungo tutta la penisola, con una carovana festosa e gente nelle strade e piazze di tutta Italia.

La prima edizione del 1962 fu vinta da Adriano Celentano; negli anni successivi si aggiudicarono il primo posto artisti del calibro di Massimo Ranieri, Gianni Morandi, Peppino Di Capri, Rita Pavone, Caterina Caselli. Negli anni ’60 Il Cantagiro era l'evento musicale italiano più importante al quale ambivano a partecipare cantanti come Domenico Modugno, Claudio Villa, Lucio Battisti, Gino Paoli e Lucio Dalla. Nel 2005 il marchio è stato rilevato da Enzo De Carlo che ne ha ereditato la gestione ed ha unito lo storico e glorioso trascorso con un rilancio in chiave moderna, unendo i valori storici e culturali con la capacità di rinnovamento e adattamento verso le nuove generazioni. Uno dei valori che distingue ad oggi Il Cantagiro è quello di essere un concorso “reale” dove i concorrenti si sfidano davanti ad un pubblico vero e propongono già dalle semifinali un brano inedito. Una scelta di grande valore culturale, sia per la musica in se stessa, sia per gli autori ed i cantanti che sono così stimolati alla creatività di nuove canzoni e nuove idee.

Un grande obiettivo che mette in luce il futuro della musica italiana . Da qualche anno è costante e partecipata la presenza sui principali canali Social con gli hashtag #iostoconilcantagiro #ilcantagiro2021 #unatempestadiemozioni #ilcantagiro. La manifestazione è affiancata dalla presenza di sponsor/partners “storici”: Siae, Radio Italia Anni 60, Mio, Vip, Eva 3000, Radio RCS, 2duerighe.

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historybehindassassinscreed · 7 years

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In Game:

Lucrezia Borgia was the illegitimate daughter of Rodrigo Borgia, and the younger sister of Cesare Borgia. She was a member of the Templar Order, and later became the Duchess of Ferrara.

In January of 1500, Lucrezia accompanied her brother, Cesare Borgia, in his siege of Monteriggioni. During the battle, the Borgia were able to capture Caterina Sforza and Mario Auditore. Afterwards, Lucrezia returned to Rome with her brother and his generals, holding an Apple of Eden as their prize.

In 1501, she escorted the captive Caterina Sforza to prison cells within the Castel Sant'Angelo. There, Cesare briefly visited Lucrezia, and the two exchanged an intimate moment. After they kissed, Cesare promised Lucrezia that when he ruled all of Italy, she would be his queen.

Soon afterwards, Lucrezia confronted Caterina in her cell, where she jealously demanded to know of Caterina's trip to Rome with Cesare. Caterina only spat an insult in reply, and Lucrezia struck her violently with a metal rod, injuring her hip.

However, after Lucrezia had taken the cell's key from the prison guard and left, the Assassin Ezio Auditore da Firenze arrived to rescue Caterina. He sought Lucrezia out in the castello garden to retrieve the key, where she recognized and greeted him, before alerting the guards to his presence.

Though Lucrezia ran from him, the Assassin eventually caught her and brought her back to the prison chamber, despite her trying to bite him and anger him with tales of how Lorenzo de' Medici had erased the Pazzi family from history for their betrayal. Once the cell was unlocked, Lucrezia tried calling for the guards again, only for Caterina to knock her out by slamming her head against the door frame and then lock her in the prison.

On August 18th, 1503, Lucrezia found out her father had taken possession of her supply of cantarella poison from the Castel Sant'Angelo. When she subsequently heard that Cesare was also meeting with her father that day, she immediately realized Rodrigo's intentions.

Hurrying to the Papal apartments, Lucrezia entered just in time to discover Cesare eating an apple that Rodrigo had left out for him, and was able to warn him of the poison within it before he had eaten too much.

Furious at the attempt on his life, Cesare forced the rest of the apple down Rodrigo's throat, all the while demanding the Pope to tell him the location of the Apple of Eden. Lucrezia, in an attempt to save her father, yelled to Cesare that she knew where it was hidden.

Cesare went on to threaten her instead, seizing her by the throat and rebuking any of her attempts to calm him. Tearfully, she asked him if he had ever loved her, but Cesare only answered that he saw her as his sister and nothing more. At this, she spat in his face, and was only slapped and further choked as he continued to interrogate her.

Ezio, who had watched the scene unfold from outside a window, rushed to Lucrezia's aid, but reached her only moments after she had given in to Cesare's demands. Lucrezia watched as Ezio paid Rodrigo his last respects and closed his eyes, before deciding to inform him of the Apple's location as well.

In 1506, Lucrezia was visited once again by Ezio Auditore, who sought her out inside her palazzo. At first, she calmly asked him if he was there to take her life, but he only answered that he was there for the da Vinci paintings that had been taken by the Borgia during the siege of Monteriggioni.

Lucrezia refused to give them to him, and suggested that they "comfort" each other. Ezio appeared to agree and seduced her, thus she decided to tell him the locations of the paintings he needed, as well as give him the only one she had kept. However, as they kissed, Ezio tied Lucrezia to the curtains of the room, before swiftly leaving. Lucrezia cried for her guards, but the Assassin was able to escape with the last da Vinci painting she owned, leaving a very annoyed Lucrezia behind.

In Real Life:

Lucrezia Borgia was born on April 18, 1480, the daughter of Rodrigo Borgia (later to become Pope Alexander VI) and his mistress Vannozza Cattanei, who was also the mother of Lucrezia's two older brothers, Cesare and Giovanni. Nobody believed for one moment that the child’s father was Vannozza’s husband, as Vannozza had been Borgia’s favorite mistress for many years. Lucrezia was slender with light blue-green eyes and golden hair, which she later bleached to maintain its goldenness.

Adriana daMila, Rodrigo’s cousin, was said to have raised Lucrezia. While living in a palace in Rome, Lucrezia was educated at the Convent of St. Sixtus on Via Appia. Lucrezia reportedly spoke and wrote several languages, among them Italian, French, Latin, and Greek. She was also taught music, singing, and drawing, which enabled her to move with ease in the highest court circles. Her education is common for a woman of her social stature but uncommon for someone of her gender. Unlike educated women of her time, hers came from within the sphere of intellectuals in court and close relatives. For most women who wanted to be educated, convents were the primary source for knowledge.

She was also rumored to have been sexually abused by her father and brothers.

Lucrezia was married for the first time before entering her teenage years. She was engaged to one nobleman and then another before her father had the engagements dissolved so that he could arrange for her to be married to Giovanni Sforza, 15 years her senior, who was Lord of Pesaro and Count of Catignola. At the time of Lucrezia’s marriage to Sforza, her husband was twenty-seven and she was twelve.

Four years later, Lucrezia's marriage became less politically advantageous, and Pope Alexander VI sought to have it annulled under the pretense of the relationship never having been consummated, although that is a matter of debate. Sforza had also accused Lucrezia of paternal incest.

Giovanni Sforza was offered her dowry in return for his cooperation of the divorce. The Sforza family threatened to withdraw their protection should he refuse. Giovanni finally signed confessions of impotence and documents of annulment before witnesses.

In 1498, while she was living within the San Sisto convent after the end of her marriage, Lucrezia fell in love with one of her father's messengers, Perotto Calderon. Reports of her pregnancy were initially refuted, but in March 1498 a son, Giovanni, was born in secret (he wouldn’t be publically revealed until three years later). Lucrezia was eighteen at the time of her first son’s birth. Rumors circulated around the child, gossip around Rome debating whether he was the product of incest, or whether Lucrezia was truly his mother. His paternity was acknowledged by both Alexander and Cesare in two separate Papal bulls.

(Image source)

Later on that year, in July of 1498, Lucrezia married Alfonso of Aragon, the 17-year-old Duke of Bisceglie and son of the late king of Naples, and they had a child together (Rodrigo of Aragon, who was born in 1499 and predeceased his mother in August 1512 at the age of 12). Unfortunately for Alfonso, by 1500, Pope Alexander and Lucrezia’s brother Cesare sought a new alliance with France, and Lucrezia's marriage to Alfonso was a major obstacle.

On July 15th, 1500, hired killers attacked Alfonso, stabbing him several times. On August 18th, as Alfonso was recovering, Cesare Borgia reportedly sent hired men to strangle Alfonso to death as he lay recovering from his previous stab wounds.

Left a widow at the age of twenty, Lucrezia spent most of her time weeping over the loss of her husband. Tired of watching her mourn, her father and brother sent her to Nepi in the Etruscan Hills. On her return to Rome in November 1500, she began assisting her father as a sort of secretary, often opening and responding to his mail when he was not in residence.

Once again politics determined Lucrezia's marriage to the twenty-four-year-old widower Alfonso d'Este, eldest son of Ercole d'Este, Duke of Ferrara, when Lucrezia was twenty two. She had eight children during this marriage and was considered a respectable and accomplished Renaissance duchess, effectively rising above her previous reputation and surviving the fall of the Borgias following her father's death.

Neither partner was faithful: beginning in 1503, Lucrezia enjoyed a long relationship with her brother-in-law, Francesco II Gonzaga, Marquess of Mantua. Francesco's wife was the cultured intellectual Isabella d'Este, the sister of Alfonso, to whom Lucrezia had made overtures of friendship to no avail. The affair between Francesco and Lucrezia was passionate, more sexual than sentimental as can be attested in the fevered love letters the pair wrote one another. The affair ended when Francesco contracted syphilis and had to end sexual relations with Lucrezia.

Several rumors have persisted throughout the years, primarily speculating as to the nature of the extravagant parties thrown by the Borgia family. Many of these concern allegations of incest, poisoning, and murder on her part; however, no historical basis for these rumors has ever been brought forward beyond allegations made by rival parties

(Image source)

After a long history of complicated pregnancies and miscarriages, on June 14th, 1519 Lucrezia gave birth to her tenth child, named Isabella Maria in honor of Alfonso's sister Isabella d'Este. The child was sickly and – fearing she would die unbaptized – Alfonso ordered her to be baptized straightaway with Eleonora della Mirandola and Count Alexandro Serafino as godparents.

Lucrezia had become very weak during the pregnancy and fell seriously ill after the birth. After seeming to recover for two days, she worsened again and died on June 24th the same year, when she was 39. She was buried in the convent of Corpus Domini.

Sources:

https://www.biography.com/people/lucrezia-borgia-9220136

http://www.nationalgeographic.com/archaeology-and-history/magazine/2017/01-02/lucrezia-borgia-renaissance-italy-scandal-intrigue/

http://www.notablebiographies.com/Be-Br/Borgia-Lucrezia.html

https://www.theguardian.com/books/2004/oct/24/biography.features

#Assassin's Creed #People #AC B

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mastcomm · 5 years

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Is This the Best Opera Singer You’ve (Probably) Never Heard Of?

Though she’s one of Europe’s most acclaimed and sought-after artists, the Swedish mezzo-soprano Ann Hallenberg’s appearances on this side of the Atlantic have been surprisingly few: Her New York debut came just three years ago.

But she will return on Thursday for an ambitious program of early-18th-century arias: “The Swedish Nightingale,” joined by the Venice Baroque Orchestra at Zankel Hall. A richly expressive and candid approach to the quite formal style of that period of music has made her a beloved Baroque diva, and one of the greatest singers you’ve (probably) never heard of.

The avian moniker of the title was initially attached to Jenny Lind, the celebrated 19th-century Swedish soprano who toured America in grand style, presented by P.T. Barnum. Ms. Hallenberg, on the other hand, made an unobtrusive American debut in the mid-1990s in Minnesota with “Solitaire,” a new opera by Björn Hallman, and reappeared a few years later as Dejanira in Cavalli’s “Ercole Amante” at the Boston Early Music Festival, her only appearances on this continent in staged opera to date.

In this century, Ms. Hallenberg appeared in the United States in 2013 to perform Pergolesi’s intimate “Stabat Mater” in the most incongruous space imaginable: the Hollywood Bowl. And, in 2017, New Yorkers at long last got to hear this vocal phenomenon in the dazzling role of the eunuch Vagaus in Vivaldi’s oratorio “Juditha Triumphans.”

The upcoming Zankel concert will feature Ms. Hallenberg, 52, in eight arias from works composed between 1716 and 1738, a remarkably rich period for opera and oratorio. That an artist could achieve renown in this specialized repertoire was unimaginable a century ago, when even Handel’s stage works remained unperformed. But the inauguration of the Göttingen Handel Festival in Germany, in 1920, propelled a momentum that has resuscitated a flood of pieces from the decades before Gluck and Mozart.

Although Ms. Hallenberg started out singing roles like Rossini’s Rosina (in “Il Barbiere di Siviglia”) and Isabella (in “L’Italiana in Algeri”), and even Bizet’s Carmen — which she performed over 50 times earlier in her career — the time was right for her emergence as an early-music “Swedish Nightingale.” In 2003, she replaced Cecilia Bartoli at the Zurich Opera on just one day’s notice as Bellezza in Handel’s “Il Trionfo del Tempo e del Disignanno.”

That last-minute triumph came a year after I first encountered Ms. Hallenberg’s artistry. On a day off from the Berlin Staatsoper’s “Festtage,” during which 10 Wagner operas were being performed, I attended Handel’s “Hercules” at the Konzerthaus. The poster outside announced that the mezzo originally scheduled for Dejanira had been replaced by Ms. Hallenberg. Her thrilling account of the demanding role — a hero’s jealous wife, driven to madness — alerted me to a new star.

Despite the work’s title, Dejanira is the one who dominates the action, evolving through seven arias from impatient wife to imperious virago to despairing murderer. Biting into Thomas Boughton’s text with relish, Ms. Hallenberg revealed all those conflicting facets through her regal presence and opulent, seamless voice, which rose from earthy lows to brightly ringing highs. One of the most remarkable features of that evening was her fluent coloratura, which, in “Begone, my fears,” was free of the intrusive aspiration to which so many singers resort in the hope of coping with the demanding roulades found so often in Handel.

After those high-profile substitutions, Ms. Hallenberg was embraced by an important champion: the pioneering American conductor Alan Curtis, who, with financial support from the mystery novelist (and Baroque enthusiast) Donna Leon, was recording some lesser-known Handel operas. Soon listeners around the world were discovering Ms. Hallenberg in the title roles of “Ezio” and “Tolomeo,” and on a whimsical disc accompanying “Handel’s Bestiary,” a charming book by Ms. Leon.

All told, Ms. Hallenberg has quite possibly sung more of Handel’s music than anyone since the 18th century: at least 20 works onstage, in concert or on disc. Her “Hidden Handel” collection of previously unrecorded arias, with Mr. Curtis, particularly glows with her infectious enthusiasm. Though she doesn’t appear so often in staged opera, her portrayals of the title roles of “Ariodante” and “Agrippina” (an early masterpiece currently enjoying a run at the Metropolitan Opera) have been acclaimed. Ms. Hallenberg’s splendid recording of arias drawn from 10 rarities, all featuring Agrippina as a character, is an ideal supplement to the Met’s production.

Nearly all examples of opera seria composed during the first half of the 18th century, including Handel’s, are mostly constructed from “da capo” building blocks. Da capo arias contain three discrete sections, with the first part returning after a contrasting middle — not verbatim, but with decorations showcasing a singer’s prowess.

All but one of the eight da capo arias Ms. Hallenberg will perform at Zankel were written for castrati. As mutilating young boys for musical ends mercifully died out in the late 1800s, Ms. Hallenberg’s exceptionally wide-ranging, ruby-color mezzo, with its serene legato and jaw-dropping coloratura, has inevitably made her a go-to artist for revivals of such long-unperformed works.

The celebrated castrato with whom Ms. Hallenberg has been especially associated is Carlo Maria Michelangelo Nicola Broschi — known as Farinelli. Over the past decade, she has toured extensively with Christophe Rousset and Les Talens Lyriques performing arias composed for that singer (recently the subject of Claire van Kampen’s play “Farinelli and the King”). For her tribute program, Ms. Hallenberg has donned fanciful masculine 18th-century theatrical garb, including a golden helmet crowned by an explosion of long blue feathers.

Anyone undertaking music written for Farinelli must marshal an instrument capable of sustaining the longest lines and negotiating the most elaborate fireworks. One recent Farinelli exhumation in which Ms Hallenberg participated was as Farnaspe in Veracini’s long-ignored “Adriano in Siria,” which contains the exceptionally demanding “Amor, dover, rispetto,” available on a live recording of the opera’s modern premiere.

The aria covers well over two octaves, often descending to unusual repeated low acuti, and requires near-superhuman agility to negotiate an astonishing run of 136 consecutive 16th notes! Another florid Farinelli showpiece, “Son qual nave che agitate,” composed by the castrato’s brother, Riccardo Broschi, will close the program at Zankel.

One striking feature of Ms. Hallenberg’s artistry is her rare ability to transform a da capo aria into a musical and dramatic jewel. Like her mezzo predecessor Janet Baker, Ms. Hallenberg uses the embellishments of the repeat for more than just vocal display. The listener experiences the journey from A to B and back to A as revealing the complex depths of a character.

In the celebrated “Alto Giove” from Porpora’s “Polifemo,” Ms. Hallenberg raptly intones Aci’s ravishing prayer of thanksgiving to Jupiter for bestowing on him the shepherdess Galatea. For the contrasting middle section, she brightens her manner to dote on the precious gift of his mistress, while in the repeat of the A section she urgently adds graceful ornaments to intensify Aci’s avowal, culminating in a softly ecstatic cadenza of blissful gratitude.

Not that there’s any lack of flamboyance in the decorations she adds; they always display an inventive stylishness likely conceived alongside a live-in collaborator: her husband, the musicologist Holger Schmitt-Hallenberg. Their grandest achievement together has been the two-disc collection “Carnevale 1729” (2017), which sprang from the idea of bringing together selections from operas that premiered in Venice during a single Carnival season, excavated by Mr. Schmitt-Hallenberg.

The spellbinding results make up one of the most satisfying vocal recitals of recent decades. Unknown but bewitching pieces by Geminiano Giacomelli and Giuseppe Orlandini are placed back to back, each splendidly showcasing Ms. Hallenberg’s seemingly effortless bravura. Some selections are dotted with more perfect trills than other singers will voice during their entire careers.

To suggest that Ms. Hallenberg’s artistry has been limited to the heroes and heroines of the Baroque, however, would be unfair. Over the past few years, for example, John Eliot Gardiner has made her a favorite, leading her in works by Mahler, Berlioz, Schumann and even Verdi’s Requiem. Her fame may not yet equal that of her former classmates in Sweden, Nina Stemme and Peter Mattei. But Ms. Hallenberg’s instantly identifiable mezzo and keen, searching musical intelligence will hopefully, finally, be widely embraced by the American public, just as Jenny Lind was.

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frontiera-rieti · 7 years

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È stato inaugurato lo scorso sabato il Centro pastorale “San Michele Arcangelo”, a Contigliano, e a tagliare il nastro, affiancato dal vescovo Domenico, dal parroco mons Ercole La Pietra e dal sindaco Angelo Toni, è stato il vescovo emerito Delio Lucarelli, che quasi dodici anni fa raccolse la sfida di dotare la comunità di un luogo di aggregazione per la formazione umana e cristiana.

Un lungo percorso, in cui non sono mancati difficoltà e ostacoli, sfiorato nel suo breve discorso di accoglienza dalla signora Simonetta Di Pietro, che ha parlato a nome della comunità parrocchiale, e subito ripreso in chiave amministrativa dal Primo cittadino, che poco prima di attraversare la soglia ha confessato l’orgoglio di avere la struttura nel proprio comune.

L’ingresso dei convenuti è avvenuto attraverso il bel giardino interno, dal quale prendono luce le aule per il catechismo e le altre attività, disposte su due ali. Un corridoio centrale conduce nel grande salone già sperimentato con i due incontri pastorali diocesani dello scorso settembre e dello scorso anno. Ad accogliere il corteo il canto del coro diocesano, rafforzato da una piccola compagine strumentale di archi e fiati, affidata a giovani e talentuosi musicisti.

Nel salone gremito di popolo, il vescovo Domenico ha presieduto il rito di benedizione del centro, lasciando a mons Lucarelli, coadiuvato da padre Ezio Casella, direttore dell’Ufficio Liturgico diocesano, il gesto dell’aspersione.

Concluso il momento liturgico, i temi della storia e delle prospettive del Centro pastorale sono tornati negli interventi di approfondimento svolti da mons Ercole e dall’architetto Paolo Lancia, progettista del centro, conclusi dal discorso di mons Pompili, che ha preso inizio dalla posizione “geografica” dell’edificio, collocato tra una casa di riposo e il campo sportivo.

«Questa collocazione – ha spiegato il vescovo – nasce da circostanze contingenti, ma suggerisce una stessa intenzione e cioè la cura delle generazioni. Così come negli anni ’60 alcune signorine consacrate pensarono di edificare uno spazio per accogliere le persone anziane e, più di recente, l’amministrazione comunale decise di realizzare un centro sportivo per i ragazzi; analogamente dal 2006 – sotto l’impulso del vescovo Delio e del parroco mons. Ercole – si ebbe l’idea di costruire un Centro pastorale».

Un’impresa non facile e che senza una decisa volontà rischiava di lasciare sul territorio l’ennesima opera “incompiuta”. Un pericolo superato grazie all’«intervento rilevante della CEI tramite l’8 per 1000 per circa il 40 % del totale; quello della diocesi che ha contribuito per oltre il 50%; quello rimanente della parrocchia. Se si tiene presente che l’importo complessivo supera i due milioni di euro – ha sottolineato Pompili – ci si rende conto di chi e di quanto dobbiamo ringraziare».

Superate le difficoltà di ieri, il vescovo ha quindi indicato il compito di oggi: «custodirne l’idea-madre che è quella di farne un centro educativo» contrastando «motivazioni spurie che fanno perdere di vista l’obiettivo».

In questo senso, don Domenico ha indicato alcune linee guida, senza le quali il luogo appena avviato ufficialmente smarrirebbe la sua vocazione. La prima è che questo centro s. Michele Arcangelo sia uno spazio di incontri e di formazione per l’intero territorio della chiesa reatina. «Questa casa è a pieno titolo la casa della diocesi, in particolare per la formazione dei laici» e il suo salone è il luogo ideale per «curare le diverse dimensioni della vita ecclesiale: l’evangelizzazione e la catechesi, la liturgia e la carità».

«Senza questa valorizzazione in chiave diocesana – ha ribadito mons Pompili – lo spazio sarebbe sovradimensionato rispetto alle necessità di una singola parrocchia. Per questo è pure inevitabile che sia la diocesi stessa a farsi carico delle spese di ordinaria e straordinaria amministrazione dello stabile». Ma tutto questo ha un senso se il Centro pastorale diventa una possibilità offerta a tutti gli uffici pastorali di svolgere il proprio impegno. Il che non toglie che il centro sia l’abituale contesto in cui la parrocchia di Contigliano possa ritrovarsi: «per il catechismo, ma anche per le diverse attività pastorali, potendo usufruire di questo spazio così elegante ed accogliente: non solo le aule, ma anche la cappella, valorizzando tutte quelle attività che rendono possibile la vita comunitaria». Un terzo punto indicato dal vescovo «è che questo centro divenga uno spazio utile anche per incrementare le attività della Caritas diocesana e per sviluppare alcuni servizi relativi ai beni culturali, specie dopo l’evento del terremoto».

Tenendo fede a questa impostazione, il Centro Pastorale sarà quel che deve essere: «non uno spazio anonimo, occasionalmente utilizzato per qualche attività, ma la casa della comunità diocesana e parrocchiale. Credo che in questo modo il Centro pastorale avrà futuro e potrà diventare nel tempo un riferimento per tanti».

Inaugurato a Contigliano il Centro Pastorale San Michele Arcangelo / LE FOTO ---------------------- Per le sue peculiarità, l'edificio sarà uno spazio di incontri e di formazione per l’intero territorio della chiesa reatina. È stato inaugurato lo scorso sabato il Centro pastorale “San Michele Arcangelo”, a Contigliano, e a tagliare il nastro, affiancato dal vescovo Domenico, dal parroco mons Ercole La Pietra e dal sindaco Angelo Toni, è stato il vescovo emerito Delio Lucarelli, che quasi dodici anni fa raccolse la sfida di dotare la comunità di un luogo di aggregazione per la formazione umana e cristiana.

#Chiesa di Rieti #Parrocchie

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