#Opéra de Zurich

[mdameninie]

Un weekend à Zurich

[opera-ghosts]

GERMAINE LUBIN: VIVRE POUR TRISTAN

"I loved Tristan. I can say that in my life I've never had a truer love than Tristan. But I had never seen him appear. And yet I had already sung Isolde. And even with Urlus, the greatest of them all, an artist ineffable for his poetry, for his power. And with my dear comrade Lauritz. But perhaps the Paris Opera was not the right place for me to meet the Tristan of my dreams. Perhaps the Tristan of my dreams could only appear to me on the day when I myself was to become - and that's something else! - the Isolde of my dreams. It was in Bayreuth.

And it's true. I had the feeling there that my whole career, everything I'd learnt, everything I'd experienced, suffered too, and sung, was leading me to this precise point: my identification with Isolde. My encounter with Tristan. I have believed in Greek tragedy, passionately, ever since my Elektra in Paris, and my conversations with Jacques Copeau, and our trip to Greece. Perhaps you have to be prepared to die, to die alive, to pay for such moments. Only Wagner dares to ask so much. I was able to tell myself that I was only alive when I was on stage - Isolde! All that Litvinne, my beloved maestra, had taught me, all that lightening of the singing and the tessitura, which cost so much to learn and practice, when you have to take on such heavy roles, everything was justified there. Victor De Sabata kissed me from the pit every time I did a pianissimo. And all I did was pianissimi! But powerful, timbred pianissimos, not like today's falsettists - I won't tell you who! No, the role didn't seem long to me. If Isolde seems too long to you, how do you expect to take flight, to exhale with the final Lust? You have to be able to start again. When you sing piano, it's easy! It's easier because it's necessary. Isolde's long phrases are whispered arcs, visionary, piano... Tietjen told me that all you could see in these phrases were my blue eyes. Ah, it was Isolde itself that was undoubtedly the vision of my life.

Flagstad, with whom I sang Sieglinde with Furtwängler in Zurich, was without doubt the greatest Brünnhilde.

But Isolde... Isolde was my life. Perhaps also my death..."

(Interview by A. T.)

(Source: "Les Introuvables du Chant Wagnérien", page 13. L'Avant Scène Opéra Nr. 67, Sept. 1984)

[cheesecakeandabottleofwhiskey]

I copied my CV from a PDF and it all lined up to make me laugh ...

Solo Shows/ PAINTING Galerie MOTUL LE, Chateau Kerduel, 2015 First Glimpse, Edinburgh, Scotland, 2015 Galerie Davimsy, 2015, Paris Galerie Rauchfeld, 2013, Paris LDE&O, 2013, Paris la petite conciergerie, 2012/13, Paris Annette Huster, 2011, Paris Galerie R9, 2011, St. Saveur en Puisaye Galerie Monica de Champfleury, 2011, Paris Galerie Le 5 opéra, 2010, Paris Galerie aeViard, 2009, Venasque Kirchman Gallery, 2008, Johnson City, Texas Galerie Valéria Ruiz, 2007, Paris Culturissimo, ITG, 2006, Paris Espace Bassano, 2006, Paris Galerie Jacques Lévy, 2004, Paris Espace Cinna-Bastille, 2003-2006, Paris Galerie Le Garage, 2002, Lorgues Galerie Jacques Lévy, 2002, Paris Espace Bassano, 2001, Paris Galerie Jacques Lévy, 2000, Paris Annette Huster, 1999, Paris Group Shows / PAINTING Maire, Saint-Didier, 2017 Annette Huster, 2014, Paris Le Medicis, 2014, Paris Galerie Caroline Vachet, 2011, Lyon Annette Huster, 2009, Paris Russell Collection, 2009, Austin, Texas Benini Foundation and Sculpture Ranch, 2008, Johnson City, Texas Kirchman Gallery, 2008, Johnson City, Texas Maison des Arts, 2008, Carcès Annette Huster, 2007, Paris Galerie Valéria Ruiz, 2007, Paris The Benini Foundation & Sculpture Ranch, 2006, Johnson City, Texas 5e Symposium de Peinture de la Place Dauphine, 2006, Paris L’été contemporain, 2005, Draguignan Annette Huster, 2005, Paris Maison des Arts, 2004, Carcès Elan Gallery, 2004, Rockport, Maine Galerie Jean Fournier, 2004, Paris Annette Huster, 2004, Paris Espace Klee, 2003, Paris Galerie Jacques Lévy, 2001,Paris Annette Huster, 1999, Paris Art Fairs / PAINTING Venice Biennale/L’art de l’apparence/l’apparence de L’art, 2011 NEXT/art chicago, 2011 Scope Miami, 2010, Miami Cutlog, 2010, Paris Salon de Montrouge, 2001, Montrouge Scenographies / La tagueuse élégante Drite Warniging, Gothenberg, Sweden 2018 Hotel de Crillon, 2017/19 Le Fournil de Venasque, 2016/2017 La Mousse Gourmande, Pernes les Fontaines, 2016 Violette, Avignon 2016 Liquides Imaginaires, Paris, 2016 Céline Wright, Paris, 2016 Violette, Avignon, 2016 Musée des Beaux Arts de Tournai, Belgique, 2016 Hotel de Crillon, 2016, Paris Maison et Objet, Stand Expressions Ephémères, 2016 B I S O N, Paris, 2015/16 La Mousse Gourmande, Pernes les Fontaines, 2015/16 VEOMA & Co, 2015, Paris Assuroféminin, 2015, Paris Réseau Daubigny, 2014/2015, Paris La Ferronnerie, 2014, Paris Heilmeyer und Sernau, 2014, Berlin Launch, Baby & Co, 2014, Seattle Osiatis, 2014, Paris Banque CIC, Paris, 2014 Le MEDEF, 2014, Paris La Grande Crypte, 2013, Paris American Friends of the Musée d’Orsay, Paris, 2014 Etat Libre d’Orange, 2013, Paris Ken Okada, 2013, Paris #1, The Craftshop, 2013, Paris la petite conciergerie, 2012, Paris marina life, 2012, PARIS and private client living rooms. Performances/ Corona Improv Sessions, Ars Electronica, 2020 All Women’s Networked Jam Session, Ars Electronica, 2020 Upside Down Goats, 2018, Mojave Desert La Cage Royale, London, 2017 GIF, Newcastle, England, 2017 Ecris-moi une lettre sur la beauté, Montreuil, 2017 Cross Reference, Saint Didier, 2017 Be Precise in Your Abandon, Saint Didier, 2017 Instant Pudding! Impromptus, PARIS, 2010 - 2017 La tagueuse élégante and the Dandy, Avignon, 2017 Mathematical Poetry, Avignon, 2017 Pure Improvisation, Théatre Christiane Stroë, Bouxviller, 2016 Liquide Imaginaire, PARIS, 2016 Find Your Island, with Laura Sarah Dowdall, Berlin, 2016 Words, Les Egarés, Jonquières, 2016 Presence Perfect, Festival Territori, Bellinzona, Suisse, 2016 Pourquoi Pas? , Avignon, 2016 DIVA POP, Boutique Céline Wright, Paris, 2016 Calendrier de l’Avent, Tanzhaus Zurich, 2015 Pure Improvisation, Théatre Christiane Stroë, Bouxviller, 2015 Batir Pluri-elles, Bouygues Construction Nord Nord Est, Lille, 2015 Cocotte Power, October Rose, Paris, 2015 Galerie Motul LE, Kerduel, Bretagne, 2015 IMPROXCHANGE, BERLIN, 2015 Going Dutch, The Core Project, Chicago, 2015 (with Sudden Geography) Presence Perfect, Scuola Téatro Dimitri, 2015, Verscio, Switzerland Stay Put and Look at the World, Scuola Téotro Dimitri, 2015, Verscio, Switzerland La Petite Robe Noire, Paris, 2015 La Pause, CGPME 13, 2014, Marseille 20PARIS2014, 2014, Paris Writing the Future, Eating the Dust, (bones), 2014, Paris Celebrate Everyday, La Maison Pernoise, 2014, Pernes les Fontaines Darkness, Baby, Chateau Unang, 2014, Provence A pudding for lunch, or just a drink?, Prickig Katt, 2014, Gothenberg Live your Love, Baby & Co, 2014, Seattle Le Médicis, 2014, Paris Le MEDEF, 2014, Paris Where is the Chicken?, and related ideas, 2013, Venasque Splash, Galerie Rauchfeld, 2013, Paris Galerie Christian Berst, 2013, Paris Courrèges, 2013, Paris Emergences, Hotel du Sauroy, 2013, Paris PerformancesKalendar, Rosskha Museum, 2012, Gothenberg Espace Pierre Cardin, 2012, Paris Solutions RH, 2012, Lyon et Paris Unlimited Bodies, Palais d’Iena, 2012, Paris Carpet Talk, Palais Royal, 2010, Paris Festival International de Théâtre dans la Rue, 2007, Aurillac Residences / Murmurings, Davidson Studio, The Hague, 2021; Dansverk, Gothenburg Sweden, upcoming, Château de Monthelon, Invited Artist with Lara Buffard, 2017 The Banff Centre, CANADA, Invited Artist, 2014 l’Arpège, Le Gros Chesnay, Fillé sur Sarthe, FRANCE, Artist in Residence, 2008 - 2010 Publications / Play x Play, Seymour Magazine, 2014 Implicit in Viruosity, PROVA, Royal College of Art, 2018 Andrew Morrish in Conversation with Anat Ben-David and 20 students, Critical Correspondence, 2019 The World getting Smaller, Imagined Theatres, Emergency, April 2020 What’s the Matter, with Anat Ben-David, Journal of Embodied Research, 2020 Prosody, Prodigy – Language as a Lyrical Tool, Inprofil, Autumn 2020, upcoming What IIIF? Nowhere & Everywhere, Improfil, Autumn 2020, upcoming Passages - Moving with the Minor, Thought in Motion, with David Roussel, Cole Robertson, Agata Kit and others, projected Spring 2021 Education / PhD in Improvisation, Royal College of Art and in private residency. Certificate of Advanced Studies in Performance, Accademia Téatro Dimitri, Stéphanie Lupo, 2015 Improvisation and Performance - Masterclasses with Soraya Djebbar, Yumi Fujitani, Julyen Hamilton, Andrew Morrish, Miquel de Jong, Maya M. Carroll, Heini Nukari, Stéphanie Lupo, SOIF Compagnie, SITI Company NYC (2002 - present) i-Lead Coaching, 2004 - 2008 Dialogue Coach, 2005 Rotary Fellow, DESS, Institut des Relations Internationales du Cameroun, 1983 Georgetown University, Bachelors of Foreign Service, 1982

[ernestineseries]

14 septembre 2020

Mara Winter (flute, USA)

19h30, Zoème - 8 rue Vian, 13006 Marseille | Entrée conseillé : 5€

Mara Winter a poursuivi une spécialisation unique dans la pratique des premières flûtes transversales du Moyen Âge et de la Renaissance. Son implication dans le domaine des musiques expérimentales, improvisées et électroniques lui a donné une perspective captivante sur l'interprétation de la musique d'art occidentale ancienne. D'autre part, sa formation de flûtiste historique a fourni une base technique à ses propres compositions, qui méditent sur les innombrables possibilités sonores d'instruments d'époque placés dans le cadre de l'espace contemporain.

Elle dirige son ensemble Phaedrus, co-dirige l'ensemble Moirai et est membre de Rumorum, tous basés à Bâle, en Suisse. Elle a joué et enregistré avec des ensembles de musique ancienne de renommée internationale, notamment l'Ensemble Leones, l'Ensemble Peregrina, J.S. Bach-Stiftung, La Scintilla (Opéra de Zurich), Il Gusto Barocco, Les Passions de L'Ame, Capriccio Barockorchester, Pacific Musicworks et autres.

En mars 2020, elle a co-fondé avec Clara de Asís le label Discreet editions, qui fusionne le domaine de la musique ancienne à celui de la composition contemporaine expérimentale.

https://www.mara-winter.com/

https://marawinter.bandcamp.com/

[conficonf]

Hotel L'Echiquier Opéra Paris MGallery by Sofitel

New Post has been published on http://conferencehotels.eu/conference-hotels-paris/hotel-lechiquier-opera-paris-mgallery-by-sofitel/

Hotel L'Echiquier Opéra Paris MGallery by Sofitel

Hotel L’Echiquier Opéra Paris MGallery by Sofitel

38 Rue De L Echiquier75010, ParisFrance

More Infos on Hotel L’Echiquier Opéra Paris MGallery by Sofitel

Located in the center of Paris, near the theaters and cabarets of the Grands Boulevards and the Opéra, the epicenter of French culture and art, the 4-star L’Echiquier Opéra Paris is a modern Art Nouveau style hotel. The newly renovated hotel illustrates the Belle Epoque with woodcuts, mosaic floors and decorative painting. Our rooms and suites welcome you in an environment that is modern yet reflects the ambience of a Parisian apartment.

Room measuring 258 sq. ft. (24 m²) with natural light, a screen, video projector, flipchart, dynamic display and free WIFI.

www.conferencehotels.eu offers you a free and comfortable search for conference hotels in Paris. Here you will find the most popular conference hotels which Paris has to offer and which you can request directly online with the best conditions available.

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Hotel L’Echiquier Opéra Paris MGallery by Sofitel 38 Rue De L Echiquier75010, ParisFrance More Infos on Hotel L’Echiquier Opéra Paris MGallery by Sofitel Located in the center of Paris, near the theaters and cabarets of the Grands Boulevards and the Opéra, the epicenter of French culture and art, the 4-star L’Echiquier Opéra Paris is a […] Find out more on http://conferencehotels.eu/conference-hotels-paris/hotel-lechiquier-opera-paris-mgallery-by-sofitel/ and book online Amsterdam Hotels, Barcelona Hotels, Brussels Hotels, Budapest Hotels, Dubai Hotels, Geneva Hotels, Istanbul Hotels, Lisbon Hotels, London Hotels, Madrid Hotels, Milan Hotels, Paris Hotels, Prague Hotels, Rome Hotels, Vienna Hotels, Zurich Hotels

[blackkudos]

Simon Estes

Simon Estes (born March 2, 1938) is an operatic bass-baritone of African-American descent who had a major international opera career beginning in the 1960s. He has sung at most of the world's major opera houses as well as in front of presidents, popes and internationally renowned figures and celebrities including Bill Clinton, Richard Nixon, Boris Yeltsin, Yasser Arafat, Nelson Mandela and Desmond Tutu. Notably, he was part of the first generation of black opera singers to achieve widespread success and is viewed as part of a group of performers who were instrumental in helping to break down the barriers of racial prejudice in the opera world.

Early life and education

Estes was born in Centerville, Iowa, the son of Ruth Jeter Estes and Simon Estes. His father was a coal-miner and his grandfather was a former slave who had been sold at auction for $500. Named for his father, Estes was called 'Billy' within his family circle to avoid confusion when addressing the two. One of five children, Estes has three sisters and a younger brother. His family was heavily involved in their local Baptist church, and his earliest musical experiences were had there. He remained active with church musical activities and participated in school music programs throughout his youth.

In 1957 Estes entered the University of Iowa, originally with the intent of studying pre-med. He changed his major to psychology and then religion before finally deciding to switch to vocal music through the influence of faculty member Charles Kellis. At the time Estes had been singing in the university's "Old Gold Singers" (he was notably the group's first black singer) and his voice had grabbed Kellis's interest. Kellis became Estes's first voice teacher and it was he who introduced Estes to opera. After finishing his undergraduate studies, Estes pursued further education at the Juilliard School in 1964, a pursuit which was made possible through funds raised in Iowa.

Career

Like many African-American artists of his day, Estes decided to go to Europe where racial prejudice was not as much of a barrier as it was in the United States. In 1965 he made his professional opera debut as Ramfis in Giuseppe Verdi's Aida at the Deutsche Oper Berlin to a warm reception. The following year he scored a major success when he won a bronze medal at Moscow's Tchaikovsky Competition. The competition win led to an invitation from President Lyndon Johnson to perform at the White House in 1966 and several offers for engagements at major opera houses in Europe soon followed.

Estes kept a very busy schedule performing in European opera houses during the late 1960s and the 1970s. He drew particular acclaim for performing leading roles in operas by Richard Wagner. He appeared at such houses as La Scala, Covent Garden, the Opéra National de Paris, the Liceu, the Hamburg State Opera, the Bavarian State Opera, the Vienna State Opera and the Zurich Opera among others. He also sang at several notable music festivals, including the Salzburg Festival and the Glyndebourne Festival. In 1978 he notably became the first black male, African-American or otherwise, to sing a leading role at the prestigious Bayreuth Festival when he sang the title role in Wagner's The Flying Dutchman. The performance was a personal triumph for him and he went on to sing at Bayreuth for the next six consecutive years. He returned to Bayreuth again in 1985 to sing the Dutchman again; a performance that was captured on video and is still considered one of the best recordings of that role.

While Estes's career was thriving in the best European houses, he continued to be spurned by many of the major American houses during the 1970s. His debut with the Lyric Opera of Chicago in 1971 was in the minor role of the Ghost of Nino in Semiramide, and his successive roles at that house were not any bigger. The Metropolitan Opera did not even attempt to engage him in the 1960s; in 1976 he sang a single tour performance of Bellini's "Norma" with the Met at Wolf Trap. More favorable to him was the San Francisco Opera (SFO) with whom he sang several good roles in 1967, including the 4 villains in The Tales of Hoffman and Carter Jones in the United States premiere of Gunther Schuller's The Visitation. He returned to the SFO several times during his career, singing Ramfis in Giuseppe Verdi's Aida (1972), Don Pedro in L'Africaine (1972), Raimondo in Lucia di Lammermoor (1972), The Flying Dutchman (1979), Marke in Wagner's Tristan und Isolde (1980), Amonasro in Aida (1981), and Escamillo in Georges Bizet's Carmen (1981).

In 1981 Estes was finally offered a contract to sing at the home theare of the Metropolitan Opera in New York City. He accepted, but at the time was cautioned by Leontyne Price, the first African-American to become a leading prima donna at the Met, about the difficult road ahead. Price, who suffered actual threats to her life when she first opened at the Met, explained, "Simon, it's going to be even more difficult for you. Because you are a black male, the discrimination will be greater. You have a beautiful voice; you are musical, intelligent, independent and handsome. With all of these ingredients, you are a threat. It will be more difficult for you than it was for me." However, the Met audience and critics responded favourably to Simon's house debut on January 4, 1982 as Hermann in Wagner's Tannhäuser with Richard Cassilly in the title role and Leonie Rysanek as Elisabeth.

Estes went on to sing in the next six consecutive seasons at the Met, portraying such roles as Amfortas in Wagner's Parsifal and Orest in Richard Strauss's Elektra. In 1985, he sang Porgy in the Met's first production of Gershwin's Porgy and Bess. In 1986, he sang Wotan in the inauguration of the legendary Ring production at the Metropolitan Opera directed by Otto Schenk. He returned to the Met in 1990 to sing Porgy again and for the last time in 1999 to portray Amonasro to Sharon Sweet's Aida. Perhaps his greatest Met moment was singing the role of Amonasro to Price's Aida for her farewell opera performance which was telecast live on national television on January 3, 1985.

He is a National Patron of Delta Omicron, an international professional music fraternity.

Humanitarian work

More recently, Estes has turned his attention to the fight against HIV/AIDS, now the leading cause of death among African Americans. At the forefront of Artists for HIV/AIDS prevention and education, Estes leads a collective voice of artists, who through music and arts, seek to break down socio-economic barriers as well as the stigma associated with the disease.

On July 9, 2010, he performed at the World Cup during the opening "Tribute to South Africa" at the FIFA Gala Concert in Johannesburg, South Africa. There he learned about the increasing problem of malaria in South Africa and decided also to get engaged in the fight against this illness.

In 2013, the Simon Estes Foundation has inaugurated a program called "Iowa Students Care," to engage Iowa students in the cause of eliminating malaria in Africa by raising funds to provide treated bed nets for African children. Its "Eliminate Malaria Campaign" was engaged in partnership with the United Nations Foundation and its Nothing But Nets Campaign, and was endorsed the governor and lieutenant governor of the state of Iowa. Activities include selling a benefit CD called "Save the Children, Save their Lives", and an Iowa Students Care Christmas Concert to be held on December 15 in Ames,Iowa, which will also include the Des Moines Symphony led by Joseph Giunta.

Educator

Estes is currently a visiting Professor of Music at the Des Moines Area Community College (DMACC) Ankeny Campus. Before that, Estes was a professor of Music at Wartburg College in Waverly, Iowa where he gives voice lessons when he is in residence. He has performed in Wartburg's Christmas concert, Christmas With Wartburg, and has been known to go on domestic and international spring tours with Wartburg's concert choir. He is listed on the artist faculty of Boston University and he is also the F. Wendell Miller Distinguished Artist in Residence at Iowa State University in Ames, Iowa. His many honorary degrees include a doctorate from Iowa State University, and he was named a Distinguished Alumnus of the University of Iowa.

Personal life

In 1980, Estes married Yvonne Baer. They had three daughters, Jennifer, Lynne, and Tiffany. After 21 years, the couple divorced. Baer is now a consultant in Zurich. In 2001, Estes married Ovida Stong, a nurse who had cared for his mother in Iowa.

Selected awards and honors

1966 – Bronze Medal, International Tchaikovsky Competition, Moscow

1971 – National Academy of Recording Artists

1988 – United States Constitution Bicentennial Medal

1996 – Iowa Award (Iowa's highest citizen honor, awarded every five years)

2004 – Licia Albanese-Puccini Foundation Award, New York

2012 – Gold Medal of Gran Teatre del Liceu in Barcelona, Spain

Wikipedia

[stylishheath]

This weekend I traveled to Paris. I know what you’re thinking with plane travel taking a backseat this season, but I journeyed to Degas’s Paris … curtesy of the Smithsonian. A few of us were thrilled to receive notices from local museums offering timed tickets to several exhibitions. It’s great to be out an about even for a few hours so, on Friday afternoon I headed to the National Gallery of Art to see Degas at the Opéra. 

My photo of the Paris Opéra taken at sunset from our hotel room in January and a Photochrom Zurich, Paris, Opéra, from Souvenirs de Paris, c. 1889–1990, National Gallery of Art Library, Washington, Department of Image Collections

The Dance Class, begun 1873, completed 1875-176, oil on canvas, Musée d’Orsay- Bequest of Isaac de Camondo, 1911. Jules Perrot was a celebrated dancer and choreographer who is seen in several paintings by Degas.

The Dance Class c. 1873, oil on canvas, National Gallery of Art, Washington

In January I was in Paris and visited the Musée d’Orsay to see this same exhibition. You wouldn’t believe how crowded the gallery was and how difficult it was to maneuver or see the works on display. Fast forward six months to the luxury of “timed passes” and to have only a limited number of people in each room.

This exhibition is curated to highlight Degas fascination with the Paris Opéra. As a music lover and regular visitor to performances, his range of media includes paintings, pastels, drawings, prints and sculptures. He explored all of the public spaces surrounding the opéra such as the auditorium; stage and boxes, the private boxes for the elite, along with dance studios and backstage scenes,

Next, we were off to China for a timed dinner at Graces Mandarin in the National Harbor.

Here we were able to enjoy a refreshing snack, while reviewing our notes and photos from the Degas exhibit.

There “salt and pepper” chicken wings are fabulous and the National Harbor rice is a meal in itself. The rice is loaded with scallops, shrimp, Berkshire pork, green beans, onions and butternut squash…. delicious!!!

Graces Mandarin 188 Waterfront St. Oxon Hill, Maryland

Travel stylishly with timed tickets!! Kathleen

A Timed Entry Weekend This weekend I traveled to Paris. I know what you’re thinking with plane travel taking a backseat this season, but I journeyed to Degas’s Paris ...

[gramilano]

Francesco Lanzillotta © Manuela Giusto

Q&A

When did you start playing an instrument? I was 6 years old, and I started to study cello.

Why did you start playing? My family loves music, and that is why I started to study cello so young.

Which musicians inspired you most when you were young? Stravinsky, Kleiber, Bernstein, Pink Floyd, Supertramp, Otis Redding.

Which musicians (instrumentalists or singers) do you most admire? I admire all the musicians who have courage and want to find the truth in the music. All the musicians who want to do something new, who want to discover new scores, new music, new composers and not only play or conduct what they just know.

What’s your favourite piece to conduct? Le sacre du printemps.

What piece have you never conducted but would like to? Leonard Bernstein’s Mass. Oh my god! I love that composition!

What’s your favourite piece to listen to? It’s hard to say. I choose one for each kind of music I love to listen to: Tanz Suite by Bartók, Fool’s Overture by Supertramp, the Köln concert by Keith Jarrett. And I love my compositions as well 😊

Francesco Lanzillotta, Semperoper Dresden

Francesco Lanzillotta with Mariella Devia in Tokyo

Francesco Lanzillotta at the Bolshoi Theatre

Who is your favourite composer? Beethoven.

Who is your favourite writer? Gabriel García Márquez.

Who is your favourite theatre or film director? Alejandro González Iñárritu.

Who is your favourite actor? Jack Nicholson.

Who is your favourite dancer? Sylvie Guillem.

What is your favourite book? Cien años de soledad.

What is your favourite film? Birdman.

Which is your favourite city? Rome.

Francesco Lanzillotta

What do you like most about yourself? My curiosity.

What do you dislike about yourself? My distraction. Every day I lose something. Every morning when I try to go out of my home, I need to come back not less than three times because I forgot keys, wallet, sunglasses. Sometimes my wife waits for me behind the door because she knows that I’ll be back in a few seconds.

What was your proudest moment? When the Staatskappelle of Dresden told me that they would like me for the new production of their opening season.

When and where were you happiest? In Rome when I became a father for the first time.

Francesco Lanzillota with his wife and daughters

Francesco Lanzillotta with his daughter

Francesco Lanzillotta and daughters

What or who is the greatest love of your life? My wife and my daughters.

What is your greatest fear? To get on the podium with the wrong score. Actually, once I started the first orchestral rehearsal by saying, “Let’s start with Beethoven’s fourth symphony,” and the first violin told me, “Maestro we have to play Beethoven’s eighth symphony.” I  had studied the wrong symphony! That was so funny!

If you could change one thing about yourself, what would it be? My impulsiveness.

What do you consider to be your greatest achievement? To have succeeded in turning my only life into my dream.

What is your most treasured possession? My love for nature and the respect I have for our world.

What is your greatest extravagance? Sometimes after my classical concerts or opera performances, I go to some pubs to play Rhythm and Blues.

Francesco Lanzillotta © Manuela Giusto 02

Francesco Lanzillotta © Manuela Giusto 03

Francesco Lanzillotta © Manuela Giusto

What do you consider the most overrated virtue? Rationality. Sometimes we lose a lot in our life when we think too much instead of following our heart.

On what occasion do you lie? When my football team (AS Roma) loses and someone, for instance during a production, asks me, “Are you sad?” and I have to answer, “No, not at all…”. The truth is that I would like to break the door of the rehearsal room.

If you hadn’t been a conductor what would you have liked to be? A farm owner or a doctor.

What is your most marked characteristic? My optimism.

What quality do you most value in a friend? The capacity to not judge but to advise.

What quality do you most value in a colleague? Culture and simplicity.

Francesco Lanzillotta at the Rossini Opera Festival in Pesaro

Francesco Lanzillotta rehearsing La favorite at the Teatro Massimo in Palermo © Rosellina Garbo

Which historical figure do you most admire? Leonardo Da Vinci.

Which living person do you most admire? Barack Obama.

What do you most dislike? Matteo Salvini.

What talent would you most like to have? To speak one hundred languages.

What’s your idea of perfect happiness? To have my family happy.

How would you like to die? I don’t mind how, but I would like to live enough to see my daughters as adults.

What is your motto? Tutto passa. (Everything passes.)

You can follow Francesco Lanzillotta on Facebook and Instagram.

Francesco Lanzillotta and scores

Biography

Francesco Lanzillotta is considered one of his generation’s most interesting conductors and in recent years has regularly performed in some of the most prestigious Italian opera houses.

He has also collaborated regularly with important orchestral institutions such as Orchestra Nazionale della RAI di Torino, Swiss Italian Orchestra, Orchestra I Pomeriggi Musicali in Milano, Orchestra Haydn in Bolzano, Filarmonica Toscanini in Parma, Orchestra Regionale Toscana in Florence. He was music director of the Orchestra Filarmonica Toscanini for 4 years where he continues a regular partnership for many projects.

He is also strongly committed to twentieth-century music and contemporary music and opera.  He conducted  Il medico dei pazzi by Battistelli at Opéra de Nancy and at La Fenice di Venezia, where he also conducted La voix humaine and Janàček Zápisník zmizelého. 

He inaugurated the Macerata Opera Festival 2015 conducting Rigoletto and in 2017 he was appointed Music Director of the Festival.

During the 2016-17 season he made his debuts with the Tokyo Philharmonic Orchestra, National Opera Theatre of Montpellier, Essen Opera Theatre and at the Rossini Opera Festival of Pesaro with Torvaldo e Dorliska, where he was unanimously acclaimed by the critics.

Among recent engagements: Nabucco at the Deutsche Oper Berlin, La Bohème at La Fenice of Venice, Lucia di Lammermoor at the Opéra de Toulon, Rigoletto at the Dresden Semperoper, L’elisir d’amore at the Macerata Opera Festival, Macbeth at the Zurich Opernhaus, Il Corsaro at the Oper Frankfurt, Carmina Burana in St. Petersburg with the Accademia Nazionale di Santa Cecilia, West Side Story and Risurrezione at the Maggio Musicale Fiorentino, La Favorite at the Teatro Massimo of Palermo, 7 minuti (new Battistelli’s opera) at Opéra National de Lorraine in Nancy, La Traviata at La Fenice of Venice, Le nozze di Figaro at the Bolshoi in Moscow and a new productions of Carmen at the Sferisterio Opera Festival in Mancerata and of Il viaggio a Reims at the Semperoper Dresden. Among future engagements: Pechino Le nozze di Figaro in Beijing, Risurrezione in Florence, Il viaggio a Reims in Valencia, Un ballo in maschera in Budapest, Rigoletto in Hamburg, Tosca in Macerata, Aida in Brisbane.

He is also regularly invited by Tokyo Philharmonic, RAI Orchestra of Turin, and the Czech Philharmonic.

Francesco Lanzillotta and baton

Francesco Lanzillotta answers the Gramilano Questionnaire… Conductors’ Edition Q&A When did you start playing an instrument? I was 6 years old, and I started to study cello.

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Les XX Paul Vidal (French,1863–1931) and Paul Vidal de La Blache (French, 1845-1918) and The "Vidalian” program on Possibilism and Friedrich Ratzel (German, 1844–1904) Lebensraum and Carl Ritter (German, 1779–1859) and Landscape Archaeology

Les XX Paul Vidal (French,1863–1931) and Paul Vidal de La Blache (French, 1845-1918) and The "Vidalian” program on Possibilism and Friedrich Ratzel (German, 1844–1904) Lebensraum and Carl Ritter (German, 1779–1859) and Landscape Archaeology

https://www.facebook.com/juhyung.han.5/posts/1729075880484912

http://blog.naver.com/artnouveau19/221228721554

Paul Vidal (French, 1863-1931) - LA GITANE (Orchestra) https://youtu.be/RTC7J-POf2M

Paul Vidal (French, 1863-1931) - Concertino - Szabolcs Varga trumpet https://youtu.be/pHn7L-d-GmE

Les XX and musicians

"Between 1888 and 1893, Vincent d’Indy worked with Octave Maus and a group of Belgian musicians, including the internationally famous violinist, Eugene Ysaye, to create a dynamic concert series of avant-garde music. Each year the principle French composers o f the day, including Gabriel Faurd, Ernest Chausson, Charles Bordes, Peter (pp.9-10) Benoit, Emanuel Chabrier, Cesar Franck, Julien Tiersot, Chevillard, and Paul Vidal, would travel from Paris to Brussels, to hear world-class performances o f their music and often perform their works to large and appreciative audiences o f the general public. The phenomena was exceptional and in essence paralleled the art exhibitions, which involved many ofthe principle Parisian artists from Van Gogh, to Seurat, Monet, Rodin, Gaugin, Pissaro, Lautrec and Redon, to name but a few."

“Les Vingt and the Belgian Avant-Garde"

A Discussion of the Music Staged Under the Auspices of Les Vingt; its Esthetic Relationship to Music, Art and Literature in Belgium and France, with reference to Le Societe Nationale de Musique, Paris.

Andrew Smith, University of Hartford, 2003, pp. 9-10

Paul Vidal Paul Antonin Vidal (16 June 1863 – 9 April 1931) was a French composer, conductor and music teacher mainly active in Paris. Life and career[edit]

Paul Vidal was born in Toulouse, and studied at the conservatoires there and in Paris, under Jules Massenet at the latter. He won the Prix de Rome in 1883, one year before Claude Debussy. On 8 January 1886, in Rome, Vidal and Debussy performed Franz Liszt's Faust Symphony at two pianos for Liszt himself, an after-dinner performance that Liszt apparently slept through. The following day they played Emmanuel Chabrier's Trois valses romantiques for Liszt.

Vidal conducted at the Paris Opera where he made his first appearance directing Gwendoline in 1894 (he had coached the singers for the Paris premiere in 1893[2]), and later conducted the first performance of Ariane and the Paris premieres of Roma by Massenet, and L'étranger by d’Indy. He co-founded the Concerts de l’Opera with Georges Marty.[1] He was Music Director of the Opéra-Comique from 1914–19, conducting revivals of Alceste, Don Juan (the French version of Mozart's Don Giovanni), Iphigénie en Tauride, L'irato, Le Rêveand Thérèse. He also conducted the premieres of several operas and ballets.[3] He taught at the Paris Conservatoire, where his students included composers Marc Delmas, Jacques Ibert and Vladimir Fédorov. See: List of music students by teacher: T to Z#Paul Vidal. He died in Paris, aged 67.

His brother Joseph Bernard Vidal (1859-1924) was also a composer.[1]

Compositions and pedagogy[edit]

His compositions are virtually forgotten today: they include the operas Eros (1892), Guernica (1895) and La Burgonde (1898); ballets La Maladetta (1893) and Fête russe (1893, arr. - both choreographed by Joseph Hansen, Paris Opera); a cantata Ecce Sacerdos magnus; and incidental music to Théodore de Banville's Le Baiser(1888) and Catulle Mendès' La Reine Fiammette (1898). In collaboration with André Messager, he also orchestrated piano music of Frédéric Chopin into a Suite de danses (1913).

He is perhaps better known today through his keyboard harmony exercises, Basses et Chantes Données which was a favorite teaching tool of his pupil, the legendary pedagogue Nadia Boulanger, and subsequently many of her students including Narcis Bonet who has republished a selection of these exercises under the title Paul Vidal, Nadia Boulanger: A Collection of Given Basses and Melodies”.

https://en.wikipedia.org/wiki/Paul_Vidal

Paul Vidal de La Blache (Pézenas, Hérault, 22 January 1845 - Tamaris-sur-Mer, Provence-Alpes-Côte d'Azur, 5 April 1918) was a French geographer. He is considered to be the founder of modern French geography and also the founder of the French School of Geopolitics. He conceived the idea of genre de vie, which is the belief that the lifestyle of a particular region reflects the economic, social, ideological and psychological identities imprinted on the landscape. Works[edit]

Vidal de la Blache produced a large number of publications; including 17 books, 107 articles, and 240 reports and reviews.[6] Only some of these have been translated into English. His most influential works included an elementary textbook Collection de Cartes Murales Accompagnées de Notices along with Histoire et Geographie: Atlas General and La France de l'Est. Two of his best-known writings are Tableau de la Géographie de la France (1903) and Principles of Human Geography (1918).

The "Vidalian" program The Tableau de la Geographie de la France was a summary of Vidal's methods, a manifesto whose production required a dozen years of work. It surveyed the entire country, taking note of everything he had observed in his innumerable notebooks. He took an interest in human and political aspects, geology (an infant discipline at the time, little connected with geography), transportation, and history. He was the first to tie together all those domains in a somewhat quantitative approach, using numbers sparingly, essentially narrative, even descriptive—not far removed, in some ways from a guidebook or a manual for landscape painting.

Influenced by German thought, especially by Friedrich Ratzel whom he had met in Germany, Vidal has been linked to the term "possibilism", which he never used but which summed up conveniently his opposition to the determinism of the sort that was defended by some nineteenth century geographers. The concept of possibilism has been used by historians to evoke the epistemological fuzziness that, according to them, characterized the approach of Vidal's school. Described as "idiographic", this approach was seen as blocking the evolution of the discipline in a "nomothetic" direction that would be the result of experimentation, making it possible to unlock laws or make scientific demonstrations.

"Vidalian" geography is based on varied forms of cartography, on monographs, and on several notable concepts, including "landscapes" (paysages), "settings" (milieux), "regions", "lifeways" (genres de vie), and "density". Many of the master's students, particularly in their dissertations,[7] produced regional geographies that were both physical and human (even economic). The context chosen for these descriptions was a region, whose contours were not always very firmly fixed scientifically. Undoubtedly because this approach was more structured, many of Vidal's successors, and still more those of Martonne, specialized in a geomorphology that became gradually stronger, but that also, by its narrowness, weakened French geography. https://en.wikipedia.org/wiki/Paul_Vidal_de_La_Blache

Possibilism in cultural geography is the theory that the environment sets certain constraints or limitations, but culture is otherwise determined by social conditions.[1][2]In Cultural ecology Marshall Sahlins used this concept in order to develop alternative approaches to the environmental determinism dominant at that time in ecological studies. Theory by Strabo in 64 BC that humans can make things happen by their own intelligence over time. Strabo cautioned against the assumption that nature and actions of humans were determined by the physical environment they inhabited. He observed that humans were the active elements in a human-environmental partnership.

The controversy between geographical possibilism and determinism might be considered as one of (at least) three dominant epistemologic controversies of contemporary geography. The other two controversies are 1) the "debate between neopositivists and neokantians about the "exceptionalism" or the specificity of geography as a science [and 2)] the contention between Mackinder and Kropotkin about what is—or should be—geography".[3]

Possibilism in geography is, thus, considered as a distinct approach to geographical knowledge, directly opposed to geographical determinism.

https://en.wikipedia.org/wiki/Possibilism_(geography)

Friedrich Ratzel (August 30, 1844 – August 9, 1904) was a German geographer and ethnographer, notable for first using the term Lebensraum ("living space") in the sense that the National Socialists later would.

Life[edit] Ratzel's father was the head of the household staff of the Grand Duke of Baden. Friedrich attended high school in Karlsruhe for six years before being apprenticed at age 15 to apothecaries. In 1863, he went to Rapperswil on the Lake of Zurich, Switzerland, where he began to study the classics. After a further year as an apothecary at Moers near Krefeld in the Ruhr area (1865–1866), he spent a short time at the high school in Karlsruhe and became a student of zoology at the universities of Heidelberg, Jena and Berlin, finishing in 1868. He studied zoology in 1869, publishing Sein und Werden der organischen Welt on Darwin.

After the completion of his schooling, Ratzel began a period of travels that saw him transform from zoologist/biologist to geographer. He began field work in the Mediterranean, writing letters of his experiences. These letters led to a job as a traveling reporter for the Kölnische Zeitung ("Cologne Journal"), which provided him the means for further travel. Ratzel embarked on several expeditions, the lengthiest and most important being his 1874-1875 trip to North America, Cuba, and Mexico. This trip was a turning point in Ratzel’s career. He studied the influence of people of German origin in America, especially in the Midwest, as well as other ethnic groups in North America.

He produced a written work of his account in 1876, Städte-und Kulturbilder aus Nordamerika (Profile of Cities and Cultures in North America), which would help establish the field of cultural geography. According to Ratzel, cities are the best place to study people because life is "blended, compressed, and accelerated" in cities, and they bring out the "greatest, best, most typical aspects of people". Ratzel had traveled to cities such as New York, Boston, Philadelphia, Washington, Richmond, Charleston, New Orleans, and San Francisco.

Writings[edit] Influenced by thinkers including Darwin and zoologist Ernst Heinrich Haeckel, he published several papers. Among them is the essay Lebensraum (1901) concerning biogeography, creating a foundation for the uniquely German variant of geopolitics: Geopolitik.

Ratzel’s writings coincided with the growth of German industrialism after the Franco-Prussian war and the subsequent search for markets that brought it into competition with Britain. His writings served as welcome justification for imperial expansion. Influenced by the American geostrategist Alfred Thayer Mahan, Ratzel wrote of aspirations for German naval reach, agreeing that sea power was self-sustaining, as the profit from trade would pay for the merchant marine, unlike land power.

Ratzel’s key contribution to geopolitik was the expansion on the biological conception of geography, without a static conception of borders. States are instead organic and growing, with borders representing only a temporary stop in their movement. It is not the state proper that is the organism but the land in its spiritual bond with the people, who draw sustenance from it. The expanse of a state’s borders is a reflection of the health of the nation.

Ratzel’s idea of Raum (space) would grow out of his organic state conception. His early concept of lebensraum was not political or economic but spiritual and racial nationalist expansion. The Raum-motiv is a historically-driving force, pushing peoples with great Kultur to naturally expand. Space, for Ratzel, was a vague concept, theoretically unbounded. Raum was defined as where German peoples live, and other weaker states could serve to support German peoples economically, and German culture could fertilize other cultures. However, it ought to be noted that Ratzel's concept of raum was not overtly aggressive, but he theorized simply as the natural expansion of strong states into areas controlled by weaker states.

The book for which Ratzel is acknowledged all over the world is Anthropogeographie. It was completed between 1872 and 1899. The main focus of this monumental work is on the effects of different physical features and locations on the style and life of the people.

Quotations[edit]

"A philosophy of the history of the human race, worthy of its name, must begin with the heavens and descend to the earth, must be charged with the conviction that all existence is one—a single conception sustained from beginning to end upon one identical law." "Culture grows in places that can adequately support dense labor populations." Selected bibliography[edit]

Here are his other notable writings:

Wandertage eines Naturforschers (Days of wandering of a student of nature, 1873–74) Vorgeschichte des europäischen Menschen (Prehistory of Europeans, 1875) Die Vereinigten Staaten von Nordamerika (The United States of North America, 1878–80) Die Erde, in 24 Vorträgen (The Earth in 24 lectures, 1881) Völkerkunde (Information on peoples, 1895) Die Erde und das Leben (The Earth and life, 1902) https://en.wikipedia.org/wiki/Friedrich_Ratzel

Carl Ritter (August 7, 1779 – September 28, 1859) was a German geographer. Along with Alexander von Humboldt, he is considered one of the founders of modern geography. From 1825 until his death, he occupied the first chair in geography at the University of Berlin.

Format of the Work

At the time of his death, Ritter had produced an astonishing amount of geographical literature contained in his “Erdkunde” alone. It amounts to 21 volumes comprising 19 parts which can be roughly divided into 6 section

1. Africa (I) 1822

2. East Asia (II-VI) 1818-1836

3. West Asia (VII-XI) 1837-1844

4. Arabia (XII-XIII) 1846-1847

5. Sinai Peninsula (XIV-XVII) 1847-1848

6. Asia Minor (XVIII-XIX) 1850-1852

Ritter's masterwork, the 19-volume Die Erdkunde im Verhältniss zur Natur und zur Geschichte des Menschen (Geography in Relation to Nature and the History of Mankind), written 1816–1859, developed at prodigious length the theme of the influence of the physical environment on human activity. It is an encyclopedia of geographical lore. Ritter unfolded and established the treatment of geography as a study and a science. His treatment was endorsed and adopted by all geographers.

The first volume of Die Erdkunde was completed in Berlin in 1816, and a part of it was published in the following year. The whole of the first volume did not appear until 1832, and the following volumes were issued from the press in rapid succession. Die Erdkunde was left incomplete at the time of Ritter's death, covering only Asia and Africa.

Many of Ritter's writings were printed in the Monatsberichte of the Berlin Geographical Society, and in the Zeitschrift für allgemeine Erdkunde. His Geschichte der Erdkunde und der Entdeckungen (1861), Allgemeine Erdkunde (1862), and Europa (1863) were published posthumously. Some of his works have been translated into English by W. L. Gage: Comparative Geography (1865), and The Comparative Geography of Palestine and the Sinaitic Peninsula (1866)

Political abuse of his work Ritter's writings thus also had implications for political theory. His organic conception of the state could be abused to justify the pursuit of Lebensraum, even at the cost of another nation's existence, because conquest was seen as a biological necessity for a state’s growth. His ideas were adopted and transformed into an expansionist ideology by the German geostrategist Friedrich Ratzel. It is to be doubted, however, whether Carl Ritter can be held responsible for this interpretation, which was developed under the influence of Darwinism, which was to become a leading and popular ideology in Germany only after Ritter's death.

1848: Ashkenazi Jew, Karl Marx (a Crypto-Jew, real name Moses Mordecai Levy), publishes, “The Communist Manifesto.” Interestingly at the same time as he is working on this, Karl Ritter of Frankfurt University is writing the antithesis which goes on to form the basis for Freidrich Wilhelm Nietzsche’s, “Nietzscheanism.” This, “Nietzecheanism,” is later developed into Fascism and Nazism and will be used to foment the first and second world wars. Marx, Ritter, and Nietzsche are all funded and under the instruction of the Rothschilds’. The idea behind this scheme is that those who direct the overall conspiracy could use the differences in so-called ideologies to enable them to divide larger and larger factions of the human race into opposing camps so that they could be armed and then brainwashed into fighting and destroying each other, and particularly, in destroying all political and religious institutions. This is essentially the same plan put forward by

Hitchcock, Andrew Carrington (2012-04-14). The Synagogue Of Satan - Updated, Expanded, And Uncensored (p. 32). Andrew Carrington Hitchcock. Kindle Edition.

Quote from 'Myron C Fagan'. Not reliable, as it contradicts many historic sources

https://en.wikipedia.org/wiki/Carl_Ritter

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Edouard 7 Paris Opera

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