#Francesco Marullo

[marcogiovenale]

oggi, 13 aprile, a lecce: "asemic poetry", mostra di scritture asemiche @ galleria artpoetry

cliccare per ingrandire Presso la Galleria ARTPOETRY, via G. Candido 3, Lecce, OGGI, venerdì 12 aprile, alle ore 19, sarà presentata da Francesco Aprile la mostra “Asemic writing: la scrittura acefala, lo scrivere, il flusso”, a cura di Salvatore Luperto. L’esposizione allestita da Anna Panareo e dal curatore è costituita da oltre 30 opere. Autori in mostra: Vincenzo Accame – Francesco Aprile –…

[lucfierens]

Noi (Elena Marini - Luc Fierens) ci siamo.

Les enfants terribles della poesia visiva.

#poesiavisiva

Nella Galleria ARTPOETRY, via G. Candido 3, Lecce, venerdì 12 aprile alle ore 19, sarà presentata da Francesco Aprile la mostra “Asemic writing: la scrittura acefala, lo scrivere, il flusso”, a cura di Salvatore Luperto. L’esposizione allestita da Anna Panareo e dal curatore è costituita da oltre 30 opere. Autori in mostra: Vincenzo Accame - Francesco Aprile - Tony Bellucci - Mirella Bentivoglio - Tomaso Binga - Cristiano Caggiula - Giuseppe Calandriello - Italo Carrarini - Marilena Cataldini - Luciano Cattania - Vittorino Curci - Nicolò D'Alessandro - Mauro Dal Fior - Michele De Luca - Liliana Ebalginelli - Luigi Fagioli - Vittorio Fava - Federico Federici - Fernanda Fedi - Luc Fierens - Gino Gini - Marco Giovenale - Alfonso Lentini - Lorenzo Li Greci - Oronzo Liuzzi - Ruggero Maggi - Elena Marini - Egidio Marullo - Adamo Modesto - Rrose Sélavy - Enzo Patti - Giuseppe Pellegrino - Giovanna Sandri - Anna Spagna.

[nuovaletteratura]

Presentazione del libro: Dòdaro. Dal battito creatore alla rifondazione dell’anthropos

Presentazione del libro Dòdaro. Dal battito creatore alla rifondazione dell’anthropos (iQdB Edizioni) Di Francesco Aprile Dialoga con l’autore: Egidio Marullo Caffè GrecoCaprarica di LeccePiazza Vittoria24/11/2023Ore 20:00 A seguire dj-setMarco MerkicDario Doremi (Sax) L’incontro è promosso da Caporale Costruzioni Francesco Saverio Dòdaro (Bari 01/08/1930 – Lecce 09/02/2018), a cui il libro è…

[veredes]

Burbujas | Pedro Hernández

“Desde principios de la década de 1900, el capitalismo financiero comenzó a reemplazar el régimen disciplinario y la rígida compartimentación de la producción industrial en masa con regímenes más aleatorios de especulación y acumulación flexible, produciendo programas que no requerían ningún espacio en particular, sino solo una cantidad rentable metros cuadrados para responder mejor a las variaciones del mercado”.

Francesco Marullo1

Para Francesco Marullo, la traducción arquitectónica de este planteamiento fue el Typical Plan (TP). Analizado por Rem Koolhaas al observar la arquitectura de Nueva York, en especial de su Downtown, y enunciado en el libro S,M,L,XL, se describe como un orden esquemático definido por una retícula que opera y existe de forma independiente del uso final al que el espacio vaya destinado; su flexibilidad permite que, en él, se performen todas las actividades. Su expresión es mínima, “pura objetividad”,2 una suerte de “minimalismo para las masas”:3

[...]

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illustration from san rocco magazine no.7, 2013

‘pure program and almost no form: note on the typical plan and ivan leonidov’ by Francesco Marullo

[salvatorecastellana]

Fonte San Rubinetto - Gruppo Cap from SALVATORE CASTELLANA on Vimeo.

Un racconto che parla della nostra acqua: buona, sicura e amica dell’ambiente.

Credits: CLIENT: Gruppo CAP AGENCY: Melismelis

CDP: TheStorytellers EXECUTIVE PRODUCER: Domenico Cricelli CREATIVE PRODUCER: Sara Scamarcia PRODUCTION DIRECTOR: Gabriele Pasca

DIRECTOR: SALVATORE CASTELLANA DOP: FRANCESCO MARULLO 1ADOP: MATTEO CANZANO GAFFER: GAETANO GAGLIARDI FONICA: VIVIANA MARIN MUA: PATRIZIA ANGELO STYLIST: SABINA ADELAIDE CASAZZA

Interpretato da: PIERPAOLO CANDELA LOCATION: BOSCO VERTICALE, Milano

Shooting with Red Scarlet Camera sensore Gemini

[marcogiovenale]

13 aprile, lecce, "asemic poetry": mostra di scritture asemiche @ galleria artpoetry

cliccare per ingrandire Presso la Galleria ARTPOETRY, via G. Candido 3, Lecce, venerdì 12 aprile, alle ore 19, sarà presentata da Francesco Aprile la mostra “Asemic writing: la scrittura acefala, lo scrivere, il flusso”, a cura di Salvatore Luperto. L’esposizione allestita da Anna Panareo e dal curatore è costituita da oltre 30 opere. Autori in mostra: Vincenzo Accame – Francesco Aprile – Tony…

[whileiamdying]

Gigante disponibile in Streaming e in Download qui: https://SMI.lnk.to/gigante Soggetto Piero Pelù e Marco Pellegrino Regia e montaggio: Marco Pellegrino Prodotto da Recordo Con Mattia Rogantini e Letizia Liccati Fotografia: Francesco Marullo Executive producer: Ramona Linzola 1st AD: Caterina Frola Steadycam operator: Marco Artusi Color grading: Francesco Marullo Vfx: Marco Pellegrino Stylist per Piero Pelù: Valentina Parigi Scenografia/costumi: Giovanna Baseggio Elettricisti: Federico Epifanio, Gaetano Gagliardi, Pietro Bontà Focus puller: Filippo Attanasio Gaffer: Raffaele Silvestri Make up: Daniela Decillo Ass. produzione: Matteo Montagna Backstage: Carlotta Stracchi Ringraziamenti: Giorgio Zampollo, Federica Nanni, Chiara Causa, Sergio Casesi, Cesare Castellucci, Andrea Pelù

[nuovaletteratura]

Utsanga.it online i numeri 33 e 34

utsanga.it numeri 33 e 34, settembre/dicembre 2022 con:Francesco Massaro, Egidio Marullo, Carl Heyward, globalartproject, Francesco Aprile, Michael Betancourt, Silvio De Gracia, Ana Montenegro, Francesco Deotto, Lia Petrelli, Terri Witek, Antonio Devicienti, Nico Vassilakis, Volodymyr Bilyk, Antonio Amendola, Cecelia Chapman, Jeff Crouch, John M. Bennett, Texas Fontanella, Mark Young, Santiago…

[francescomassaro]

Body Electric

Performance live Audio/Video di Francesco Massaro (musiche, sax baritono amplificato, elettronica) ed Egidio Marullo (immagini, videopittura).

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In Body Electric gli autori indagano il corpo come mezzo di definizione del sè e come connessione tra l'io ed il mondo.

Tra misticismo, cruda oggettività anatomica e aberrazioni distopiche la trama della narrazione dilata - fino al paradosso di annullarle - le distanze fisiche e cronologiche. Suono e immagine sono legate da un doppio filo di estemporaneità e predeterminazione che lascia allo spettatore lo spazio per la libera associazione delle idee per una esperienza completamente personale.

La performance sarà preceduta dalla proiezione in anteprima dell' opera audio/video "Liminale" (2022) degli stessi autori.

Prosegue il percorso di scoperta culturale tra linguaggi ed espressioni d’arte di varia estrazione.

Prima dell’avvio di ogni evento/concerto sarà possibile tesserarsi all’entrata.

Non mancate (ma se mancate spargete almeno la voce) e sosteneteci!

Ingresso riservato ai soci

per info e prenotazioni contattare il numero 3294593409

Copertino (Lecce) - Associazione Quarantadue - Piazza del popolo n.42

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BIG BEN

by Francesco Marullo

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The Frozen Leviathan 

Matteo Mannini +  Francesco Marullo

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Giuseppe Verdi Rigoletto

Giuseppe Verdi, Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Orchestra Del Teatro Alla Scala, Coro Del Teatro Alla Scala - Rigoletto ‎ (2xCD, Album, Mono, RE, RM) EMI Records Ltd. The French theatre director Jean-Pierre Ponnelle oversaw this acclaimed production of Verdi's RIGOLETTO in 1990. Starring one of the world's three most adored tenors, Luciano Pavarotti, this operatic tale of court corruption is moving and heart wrenching, a tragedy as only opera can express.

Rigoletto Synopsis

Giuseppe Verdi Rigoletto Lyrics

Giuseppe Verdi's Rigoletto Story (2005) is a film version of Giuseppe Verdi's 1851 opera Rigoletto (libretto by Francesco Maria Piave). Filmed in Siena in 2002, it was directed by Gianfranco Fozzi and produced by David Guido Pietroni and Maurizio De Santis distributed worldwide by Columbia TriStar Home Entertainment and Sony Pictures Home Entertainment.

Cast(edit)

Rigoletto, the Duke's jester (baritone) – Roberto Servile

Gilda, his daughter (soprano) – Inva Mula

Duke of Mantua (tenor) – Marcelo Álvarez

Sparafucile, an assassin (bass) – Andrea Silvestrelli

Maddalena, his sister (mezzo-soprano) – Svetlana Serdar

Giovanna, Gilda's Nurse (mezzo-soprano) – Paola Leveroni

Count Ceprano (bass) – Boschetti Giulio

Countess Ceprano, his wife (mezzo-soprano) – Emilia Bertoncello

Matteo Borsa, a courtier (tenor) – Giovanni Maini

Count Monterone (baritone) – Cesare Lana

Marullo (baritone) Andrea Cortese

Rigoletto Synopsis

Film details(edit)

Film Company: Roadhouse Movie

Label: Columbia TriStar Home Entertainment, Sony Pictures Home Entertainment

Producers: David Guido Pietroni and Maurizio De Santis

Stage director: Vittorio Sgarbi

Film director: Gianfranco Fozzi

Post Production: Christian Verzino

Costume Designer: Vivienne Westwood

Conductor: Keri-Lynn Wilson

Orchestra: Arturo Toscanini Foundation

Runtime: USA: 126 minutes

Country: Italy

Language: Italian

Sound Mix: Celeste Frigo, Mauro Casazza

Certification: Australia:G / UK:U

Bonus: Exclusive comic book inside 'Rigoletto comix' by Enrico Simonato

External links(edit)

Giuseppe Verdi's Rigoletto Story at IMDb

Retrieved from 'https://en.wikipedia.org/w/index.php?title=Giuseppe_Verdi%27s_Rigoletto_Story&oldid=967820827'

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Dyneley HusseySee All Contributors

Music Critic, The Times, London, 1923–46; The Listener, 1946–60. Author of Verdi; Some Composers of Opera.

Alternative Title: Giuseppe Fortunino Francesco Verdi

Giuseppe Verdi, in full Giuseppe Fortunino Francesco Verdi, (born October 9/10, 1813, Roncole, near Busseto, duchy of Parma (Italy)—died January 27, 1901, Milan, Italy), leading Italian composer of opera in the 19th century, noted for operas such as Rigoletto (1851), Il trovatore (1853), La traviata (1853), Don Carlos (1867), Aida (1871), Otello (1887), and Falstaff (1893) and for his Requiem Mass (1874).

Early years

Verdi’s father, Carlo Giuseppe Verdi, an innkeeper and owner of a small farm, gave his son the best education that could be mustered in a tiny village, near a small town of about 4,000 inhabitants, in the then-impoverished Po Valley. The child must have shown unusual talent, for he was given lessons from his fourth year, a spinet was bought for him, and by age 9 he was standing in for his teacher as organist in the village church. He attended the village school and at 10 the ginnasio (secondary school) in Busseto.

A little later he composed music (now lost) for the town church and the largely amateur orchestra. One of Busseto’s leading citizens, Antonio Barezzi, a merchant and fanatical music enthusiast, became a second father to the young prodigy, taking him into his home, sending him to study in Milan, and in 1836 giving him his daughter Margherita in marriage. Refused by the Milan Conservatory—he was past the admission age and played the piano poorly—Verdi studied privately with Vincenzo Lavigna, an older composer and an associate of La Scala opera house (Teatro alla Scala). Milan was the intellectual and operatic centre of Italy, and in the years 1832–35 Verdi seems to have learned much about literature and politics there as well as counterpoint and the elements of opera. Later, after his great success with Nabucco, he attended literary salons in the city and made lasting friendships with some cultivated aristocrats.

Barezzi’s plan was for Verdi to return to Busseto as music director, but when this post fell open in 1833 a furious political storm developed leading to long delays. Soured by this, Verdi nonetheless took a compromise position and stayed from March 1836 to October 1838, teaching and composing a good deal, though all he published was a set of songs in 1838.

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Needless to say, he had his eye on greater things. The music that he had written during these years must have impressed the right people, for after some difficulty he succeeded in getting an opera, Oberto, conte di San Bonifacio, produced at La Scala in March 1839. Ordinary as the piece may seem today, it succeeded well enough to travel to Genoa and Turin and to gain him a commission for three more operas at Italy’s leading theatre. His rising career was deflected by tragedy: in 1840 his young wife died, following the deaths of two infant children. In addition to this personal grief, Verdi saw his next opera, Un giorno di regno (King for a Day), a comedy, hissed off the stage. This compounded trauma led to a severe depression and either caused or fixed the dour, fatalistic, sometimes harsh aspects of Verdi’s character.

Early career

Verdi overcame his despair by composing Nabucodonoser (composed 1841, first performed 1842; known as Nabucco), based on the biblical Nebuchadnezzar (Nebuchadrezzar II), though the well-known story he told later about snapping out of his lethargy only when the libretto fell open at the chorus “Va, pensiero”—by that time one of his most beloved works—is no longer credited. (The older Verdi embroidered on various aspects of his early life, exaggerating the lowliness of his origins, for example.) Nabucco succeeded as sensationally as Un giorno had failed abjectly, and Verdi at age 28 became the new hero of Italian music. The work sped across Italy and the whole world of opera; within a decade it had reached as far as St. Petersburg and Buenos Aires, Argentina. While its musical style is primitive by the composer’s later standards, Nabucco’s raw energy has kept it alive a century and a half later.

Giuseppe Verdi Rigoletto Lyrics

There followed a period (1843–49) during which Verdi drove himself like a galley slave, as he himself put it, and to the detriment of his health, to produce nearly two operas a year. His aim was to make enough money for early retirement as a gentleman farmer at Sant’Agata, close to Roncole, where his forebears had settled. He purchased land there as early as 1844. To “produce” an opera meant, at that time, to negotiate with an impresario, secure and edit (often heavily) a libretto, find or approve the singers, compose the music, supervise rehearsals, conduct the first three performances, deal with publishers, and more—all this while shuttling from one end of Italy to the other in the days before railroads.

Though masterpieces were unlikely to emerge from a schedule like this, Verdi’s next two operas were, amazingly, just as wildly successful: I Lombardi alla prima crociata (1843; The Lombards on the First Crusade) and Ernani (1844). The latter became the only work of the “galley-slave” period to gain a steady place in the opera repertory worldwide. His other operas had varying receptions. A list made in 1844 of possible subjects for librettos shows Verdi’s high-minded concern for literary and dramatic values. It included King Lear, a project he would return to and abandon several times in later years. In the 1840s he drew on Victor Hugo for Ernani, Lord Byron for I due Foscari (1844; The Two Foscari) and Il corsaro (1848; The Corsair), Friedrich von Schiller for Giovanna d’Arco (1845; Joan of Arc), I masnadieri (1847; The Bandits), and Luisa Miller (1849), Voltaire for Alzira (1845), and Zacharias Werner for Attila (1846).

Only with Macbeth (1847), however, was Verdi inspired to fashion an opera that is as gripping as it is original and, in many ways, independent of tradition. Just as the biblical theme had contributed to the grandeur of Nabucco, so the tragic theme of Shakespeare’s drama called forth the best in him. Verdi knew the value of this work and revised it in 1865, excising some of its crudities; but its greatest number, the harrowing sleepwalking scene of Lady Macbeth, could be left just as it was written in 1847.

By that time he was receiving lucrative commissions from abroad—from London (I masnadieri) and Paris (Jérusalem, a thorough revision of I Lombardi, 1847). La battaglia di Legnano (1849; The Battle of Legnano), a tale of love and jealousy set against the Lombard League’s victory over Frederick Barbarossa in 1176 ce, was Verdi’s emphatic response to the Italian unification movement, or Risorgimento, which spilled over into open warfare in 1848, the year of revolutions. Greeted ecstatically at the time, this opera later faded.

It is often said that in the earlier operas, too, choruses and other numbers calling for liberation or revolt were taken metaphorically as revolutionary rallying cries, and evidently this did happen on isolated occasions. However, it was only after unification in 1861, when the conte di Cavour, seeking to involve as many important Italians as possible, persuaded the composer to stand for the Chamber of Deputies—which he attended faithfully but soon resigned from—that Verdi came to be widely celebrated as a national hero. “Va, pensiero,” the song of the enslaved Hebrews in Nabucco, assumed the status of an unofficial national anthem. That the vision of Verdi as “singer of the Risorgimento” owes less to historical fact than to patriotic nostalgia should not be thought to diminish its significance; adapted to words about the downtrodden masses, “Va, pensiero” could still be heard at Italian communist rallies in the 1990s.

Quick Facts

born

October 9, 1813 or October 10, 1813 Le Roncole, Italy

died

January 27, 1901 Milan, Italy

notable works

movement / style

[marcogiovenale]

'utsanga': online i numeri 33 e 34

‘utsanga’: online i numeri 33 e 34

utsanga.it : sono online i numeri 33 e 34, settembre/dicembre 2022, con:Francesco Massaro, Egidio Marullo, Carl Heyward, globalartproject, Francesco Aprile, Michael Betancourt, Silvio De Gracia, Ana Montenegro, Francesco Deotto, Lia Petrelli, Terri Witek, Antonio Devicienti, Nico Vassilakis, Volodymyr Bilyk, Antonio Amendola, Cecelia Chapman, Jeff Crouch, John M. Bennett, Texas Fontanella, Mark…

[dunkelwort]

A private notebook of winds - Palermo

A private notebook of winds – Palermo

A private notebook of winds at Scritture Asemiche – Libri d’Artista dalla Collezione dell’Accademia di Belle Arti di Palermo, Francesco Aprile curator, Accademia di Belle Arti di Palermo, 05/12-15/01/2020. Martina Stella, Egidio Marullo, Carlo Monastra, Federico Federici, Marco Giovenale, Salvatore Salamone, Giancarlo Pavanello, Francesco Aprile, Nicolò D’Alessandro, Cristiano Caggiula and…