#alessandra wiener

[aveganeverywhere]

Watch "Shepherds, pie construction video tutorial. Super delicious best I’ve ever had. " on YouTube

I make a shepherds pie that is vegan.

[alemicheli76]

"I giochi dell'economia e l'economia dei giochi" di Di Renzo editore. A cura di Alessandra Micheli

Quando di Renzo Editore mi ha proposto la lettura di questo saggio i miei occhi si sono illuminati. Di immenso direte voi? No. Di nostalgia. Perché il prode Neumann studioso da cui è derivata la meravigliosa teoria dei giochi ha contribuito assieme a Wiener e Shannon a spostare la centralità dalle nozioni di materie ed energia a quelle di comunicazione tra parti e di conservazione…

[gramilano]

Sylvia with Martina Arduino, Claudio Coviello and Nicola Del Freo, photo by Brescia e Amisano, Teatro alla Scala 2019

Sylvia opened the 2019-2020 ballet season at La Scala. It is a co-production with the Wiener Staatsballett where it opened in November 2018. There have been no changes to Luisa Spinatelli’s sets and costumes or Manuel Legris’ choreography, which suggests that everyone was pleased with how it turned out in Vienna. However, while the overall evening is extremely pleasing, it is La Scala’s dancers who really make it shine, as certain elements of the staging are odd.

Legris gives the dancers lots (and lots) of steps, but it’s maybe impossible to tell this story clearly to a modern audience, most without a classical education: who’s that woman with the bow, why is the man with silver hair sleeping? Legris cleverly tries to help by using the overture as a prologue portraying the huntress Diana (hence the bow) and her passion for Endymion (he of the silver hair). This is how many words the programme ‘synopsis’ needs to sum up the action of the short five-minute prologue:

Diana, the Goddess of the Hunt, sees a double image of herself in Sylvia, who is bound to the goddess through her love of hunting and by a vow of chastity. However, the goddess is in turmoil. Suddenly it is no longer Sylvia that she sees before her, but Endymion, her obsessive lover, whom she has caused to sleep forever so that she can gaze on his youth and beauty without ever breaking her vow. Diana tries to regain control of herself, but Endymion stands before her, full of passion… The goddess surrenders! But soon the sound of horns mercilessly drags her back into reality. Thanks be to the gods, it is Sylvia that now stands before her! Diana seizes her bow. Let the hunt begin.

Got it? I don’t believe that this prologue helps to explain the subsequent action, and possibly confuses things even more with Endymion only appearing again in the final seconds of the ballet, still sleeping, and Diana disappearing for a couple of hours until mid-third act when Sylvia angers her by entering the Temple of Diana. It’s all the fault of Torquato Tasso who wrote his play Aminta in 1573 about the nymph Sylvia, who prefers a good hunt to a smooch with Aminta, until… oh well, never mind. Things were complicated further when librettists Jules Barbier (who wrote the libretto for Offenbach’s The Tales of Hoffmann) and Baron de Reinach (who principally was a banker!) added in Orion, the hunter; Eros, the god of love; and the multi-tasking Diana who in this ballet is linked with not only hunting but the moon and chastity. So it’s a hotch-potch of Roman and Greek mythology, though presumably the intention was to mirror Diana’s love for Endymion and Sylvia’s for Aminta. It’s a help to read the (long) synopsis before curtain up.

There is also something that smacks of low budget (or badly-made) scenery, with Spinatelli’s meticulously designed backdrops and wings looking slapdash and shabby, though many of the costumes are gorgeous. Jacques Giovanangeli’s lighting was often unflattering to the sets, highlighting the creases in the cloths, and a lazy follow-spot operator occasionally left the dancers in darkness. It’s unfortunate because Spinatelli’s designs of gauzy, mysterious transparency is ideal for a work of myth and illusion.

There are many highlights, which more than compensate for the baffling plot and the flimsiness of the scenery. Léo Delibes’ wide-ranging music is glorious, from the epic and slightly pompous opening, to the cheery bucolic tunes, to the famous pizzicato variation for Sylvia. The orchestra was brilliantly led by American conductor Kevin Rhodes who was more theatrical and effervescent during the applause than even the lead dancers.

Sylvia with Martina Arduino and Claudio Coviello, photo by Brescia e Amisano, Teatro alla Scala 2019

Although Legris has used much of Louis Mérante’s 1876 choreography from the ballet’s Paris premiere, he fills in the gaps with a multitude of steps, and it would be interesting to know the jeté count – there are certainly a lot, and for the whole company too, so it’s a tiring evening for the dancers. But how they dance! The corps de ballet is excellent whether as the fearless huntress companions of Sylvia, the frolicking naiads and fauns, or the peasants enjoying their bacchic feast.

La Scala fields two main casts and they are both strong throughout. Martina Arduino was the opening night Sylvia, followed by Nicoletta Manni. Both are magnificently sure and resilient to the role’s arduous demands – after they enter onstage, the pace never lets up. Manni has an impressive jump, which she can show off continuously in this choreography. She has almost insolent aplomb in many of the trickiest passages, and her long, lithe limbs reveal some exquisite lines. Arduino is softer, especially with her port de bras, and shows more heart, though she too pulls out the big guns for the technical challenges and manages complicated menage sequences with nonchalance. Two very different, but winning, portrayals.

With the fear of running out of adjectives, let’s run down the cast lists. Claudio Coviello as Aminta is a technical marvel and communicative; Marco Agostino in the same role strangely registered less as a character, even though he has a strong jawline and an attractive face, but there were some magical moments, such as when he slows down his pirouettes to a standstill, and an athletic sequence with Manni where they were the mirror image of each other. There were two magnificent Orions: Christian Fagetti then Gabriele Corrado, powerful and assertive both in their dancing and acting and with an abundance of stage presence. There is obviously something odd going on offstage because, gobsmackingly, Corrado, who is one of the company’s most valuable members, doesn’t even have a full-time contract, let alone the role of soloist, yet he consistently performs with excellence in leading roles. I imagine this incongruousness will be corrected soon.

Sylvia Christian Fagetti photo by Brescia e Amisano, Teatro alla Scala 2019 09

Sylvia Maria Celeste Losa photo by Brescia e Amisano, Teatro alla Scala 2019 01

Sylvia Martina Arduino photo by Brescia e Amisano, Teatro alla Scala 2019 14

Sylvia Claudio Coviello photo by Brescia e Amisano, Teatro alla Scala 2019 07

Then we come to Eros. Nicola Del Freo and Mattia Semperboni (who was also superb as the peasant in the opening cast) were formidable. They are very different dancers – Del Freo with legs as strong as steel and secure in every movement; Semperboni, more elastic and with stunning virtuosity – but both brought the house down… thrilling. Endymion, as an added role, has little time to dance as he has only the music of Delibes’s overture and this he divides with Diana, but Corrado and Gioacchino Starace made the most of their limited time. And playing Diana was Maria Celeste Losa has become one of the theatre’s go-to performers when you want a job well done, as indeed is the unfailingly fine Alessandra Vassallo in the alternative cast.

As the gymnastic Faun, there was Federico Fresi who always gives his all and is exciting to watch, and Valerio Lanadei (also a personable Shepherd on the first night) who was spot-on in his approach to the character and his dance. Other names which should be mentioned are Vittoria Valerio, Gaia Andreanò, Antonella Albano, Alessia Auriemma, Eugenio Lepera, Camilla Cerulli, Benedetta Montefiore and Domenico Di Cristo, all perfectly cast in smaller, though challenging, roles.

Sylvia, like Legris’ Le Corsaire at La Scala in 2018, is perfect for a company with numerous talents yet few performances, giving many opportunities for everyone to dance, but the opening scene needs rethinking with some stronger mime to explain what is happening, and Spinatelli’s sets deserve a makeover.

Sylvia Nicola Del Freo photo by Brescia e Amisano, Teatro alla Scala 2019 18

Sylvia Martina Arduino, Claudio Coviello photo by Brescia e Amisano, Teatro alla Scala 2019 22

Sylvia Antonella Albano, Mattia Semperboni, Valerio Lunadei photo by Brescia e Amisano, Teatro alla Scala 2019 17

Sylvia photo by Brescia e Amisano, Teatro alla Scala 2019 10

Sylvia Nicola Del Freo photo by Brescia e Amisano, Teatro alla Scala 2019 08

Sylvia Maria Celeste Losa, Gabriele Corrado photo by Brescia e Amisano, Teatro alla Scala 2019 02

Sylvia Vittoria Valerio photo by Brescia e Amisano, Teatro alla Scala 2019 04

Sylvia Federico Fresi photo by Brescia e Amisano, Teatro alla Scala 2019 03

Manuela Legris’ Sylvia shows La Scala’s dancers on top form Sylvia opened the 2019-2020 ballet season at La Scala. It is a co-production with the Wiener Staatsballett where it opened in November 2018.

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[newshirtonlines-blog]

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Classic Women's

Long Sleeved

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Classic Men's

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[isadomna]

Kunigunde of Austria (1465 – 1520)

She was the daughter of Frederick III, Holy Roman Emperor and his wife Eleanor of Portugal. Born in Wiener Neustadt, Kunigunde was the fourth of five children born to the Imperial couple; however, only she and her older brother Maximilian survived to adulthood. She grew up in an informal and open atmosphere, without rigid court etiquette. Contrary to former practice, she learned not only to read, write, and embroider, but also received instruction in riding and hunting, astronomy and mathematics.

Like most daughters of royal families, since her early years Kunigunde was involved in the political intrigues of her time. In 1470 King Matthias Corvinus of Hungary requested her hand; however, Frederick III refused him. At the age of fifteen, Kunigunde made her formal presentation in Vienna during the visit of George, Duke of Bavaria, called "the Rich" to Frederick III's court. After the celebrations she was sent to Burggraf Ulrich III von Graben to Graz for her safety; however, after a plot against the Emperor was discovered, he moved to Linz and sent Kunigunde to Innsbruck with Sigismund, Archduke of Further Austria and ruler of Tirol, Frederick III's first cousin and former guardian.

Kunigunde married Albert IV, Duke of Bavaria-Munich in 1487 against the will of her own father, and served as joint regent for son Wilhelm IV. With her husband she had seven children. In spite of her resignation from court life, she tried to influence the politics of the state as she acted in favour of the rights of her younger sons. She was in close contact with her brother, Emperor Maximilian I, and with other rulers and relatives in Europe. Since 1503 Kunigunde was Duchess over all Bavaria. After the death of Albert in 1508 she later joined the Convent of Püttrich which she favoured and lived there until her death in 1520. (x)

 Alessandra Dietzel played Kunigunde in TV Series “Maximilian: Das Spiel von Macht und Liebe” (2017)  

[zifansky]

Songbook, February 2017

It’s been a long time since I wrote something about my favourite music at the moment. My music taste has been slated, and appreciated, by friends and family, but to be honest, there’s only one person I need to please with my taste in music - and that’s me. 

So, without further ado, here are my current favourites (+ countries of origin). 

(Links included where possible).

The songs are not set in a particular order. 

MAX BARSKIH - TUMANI / МАКС БАРСКИХ - ТУМАНЫ (UKRAINE)

Max Barskih had a fantastic 2016, which ended up with him being chosen as Ukraine’s number 1 musician by Ukrainian radio audiences. Barskih’s video for his number 1 song “Tumani” (meaning “Fogs”), is partnered in his video, which has received over 8 million views since its publication in December 2016, with the song “Navernaya” (Maybe). Barskih is extremely popular in his native Ukraine as well as in amongst other Russian-speaking audiences in the Russian Federation, Belarus, the Baltic states and the Caucuses. 

INNA - GIMME GIMME (ROMANIA)

Inna performs in up to five languages (English, Romanian, Spanish, French and Arabic) and a number of different styles, from electro-pop to reggae to dance. She is quite possibly one of the most versatile performers out there and her music videos are nearly always uplifting, colourful and passionate.  

ALVARO SOLER - SOFIA (SPAIN)

Alvaro Soler has quickly become one of my personal favourite singer-songwriters. Aside from being a multilingual (which goes down very well with me), his Spanish-language songs are relaxing, easy to listen to, cheerful and bring me mentally to a beach in Barcelona on a warm evening in August. No wonder, then, that his debut album is called Eterno Agosto (Eternal August). Soler served as a judge on the Italian version of the X Factor in 2016, becoming the winning judge of the series with his protégé(s), the band Soul System. 

EDIS - DUDAK (TURKEY)

I won’t pretend to know an awful lot about the Turkish music scene, but I do know that I am a big fan of a lot of Turkish musicians. Irem Derici, Murat Dalkiliç and Ayshe are three of my four favourites. Then there is also Edis. So far, I am yet to hear an Edis song I do not like. “Benim Ol” (“Be Mine”), the dramatic “Olmamış mı” and his most recent, “Dudak” (“Lip”) are the three I listen to the most often. The dance routine in “Olmamış mı” (“Is it not?”) is the most impressive one he does, in my opinion, but I’ve linked “Dudak” here, because... he’s on a bridge. And bridges are more important than dance routines. Always.

 MARINA MAXIMILIAN BLUMIN - EFES SAVLANUT (ISRAEL)

Marina Maximilian Blumin is insane - and it’s great. Sometimes singing in Hebrew, sometimes howling in Russian, and sometimes a bit of both in English. If you want to see any of her work, I highly recommend her collaboration with Loco Hot “Nadlan” or her own, “Efes Savlanut” (Zero Patience). 

BALBINA - DIE REGENWOLKE (GERMANY)

If there was a woman here to challenge the craziness of Marina Maximilian, Balbina could be the one. Mix Lady Gaga’s style choices with the solemnness of Lana Del Rey and the wordplay of Shakespeare (albeit it, a German variant), Balbina’s (real name Balbina Monika Jagielska) songs are authentic, thought-provoking and somewhat bizarre. “Die Regenwolke” (“The Raincloud”) is the latest of her released music, but if you enjoy it I would also recommend “Nichtstun” (“Doing Nothing”) and “Langsam Langsamer” (“Slowly Slower”). 

[from Langsam Langsamer]

“Dinge die, Dinge Dinge die, dringend sind, machen sich, wichtig; obwohl die nicht, wichtig sind. Was dringend ist, ist lange noch nicht wichtig...” 

SHAKIRA FT. MALUMA - CHANTAJE (COLOMBIA)

Can Shakira do anything wrong? The answer is “no”, which in Spanish, means “no”. Here, she teams up with up and coming Colombian star, Maluma, in quite a sexy (of course it’s sexy, because Shakira), music video about Blackmail. (Chantaje is the Spanish word for that). To be honest, you need not think too carefully about it. Someone is blackmailing someone with their love, Shakira has a pet pig that she takes to the store with her, Maluma fancies Shakira (of course he fancies Shakira, because Shakira) and Shakira’s hips continue telling the truth, the whole truth and nothing but the truth. Just watch it now. Of course I’ve linked it here for you. Because Shakira. 

KENDJI GIRAC - LES YEUX DE LA MAMA (FRANCE)

Kendji Girac rose to fame thanks to his appearance on and subsequent victory in La plus belle voix, the French version of The Voice. After his initial blind audition when he performed Maître Gims’s Bella, during which only Coach Mika turned his seat, Kendji went on to win the series and begin what should be a very successful career for him. 

His origins are fascinating: he comes from a Catalan ‘gitano’ (gypsy) family - his first language is Catalan, not French - and he performs songs in a musical style that pays homage to his gypsy roots. Other than the beautiful song I mention here, Les yeux de la mama (“The eyes of the mother”), other great songs of his include “Cool”, “Color Gitano” (a bilingual French-Spanish song) and “Andalouse”. 

Other songs / musicians that I am currently listening to on repeat are: 

KOWALSKY MEG A VEGA - MIT MONDJAK MÉG (HUNGARY)

ALESSANDRA AMOROSO - COMUNQUE ANDARE (ITALY) JALA BRAT X BUBA CORELLI - KLINKA (BOSNIA-HERZEGOVINA)

MINISTARKE - MOJE JEDINO (SERBIA) 

Ministarke of Serbia

DIOGO PIÇARRA - DIALETO (PORTUGAL)

KRISTIAN KOSTOV - NE SI ZA MEN (BULGARIA)

GOR HAKOBYAN - NA E (ARMENIA)

IVI ADAMOU - TIPOTA DE MAS STAMATA (CYPRUS)

AYUMI - HEY-LA (KAZAKHSTAN)

WIENER BLOND - SUESSER (AUSTRIA)

Wiener Blond from Austria

EGOR KREED - MALO TAK MALO / ЕГОР КРИД - МАЛО ТАК МАЛО (RUSSIA)

Egor Kreed, Russia

RASSELL & EDVARDS GRIEZE & SABĪNE BEREZINA - ZIEMA (LATVIA)

IOWA - 140 (BELARUS)

[kikichounice-blog]

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Numerous actresses and models showed up to the Cannes opening ceremony in their take on pink, including Selena Gomez, who made her Cannes Film Festival debut Dachshund 19 Established 59 wash your wiener shirt . Having taken a break from the spotlight this year, Cannes is also Gomez’s biggest carpet event in 2019 so far. Gomez looked stunning in a belted two-piece Louis Vuitton dress that reminded us all that we’ve “gotta keep an eye out for Selener” during the rest of the year. Actress Elle Fanning and model Alessandra Ambrosio also took their stance on the statement colour. Fanning, who is making history as the youngest jury member at the Cannes Film Festival, shone in a shimmering caped peach-coloured Gucci gown complete with dazzling Chopard earrings and rings. Ambrosio wore a one-shouldered Ralph & Russo dress complete with a feathered trim and a weightless train that offered the former Victoria’s Secret Angel an enchanting silhouette. We are supportive of this new era of pink, and the celebs that are embodying and embracing the colour that was once used to stereotype femininity, to remind us instead that pink is powerful. With the continuous rise of the rosy colour on recent carpets, it will be interesting to see if pink will be a continuing colour trend throughout the rest of the film festival. Here are some of our favourite pink pieces that have kicked off Cannes. You Can See More Product: https://kingteeshops.com/product-category/trending/

[aveganeverywhere]

Had a nice breakfast today. I made sautéed kale with simply a glass pink grapefruit with monk fruit sugar and two vegan sausages from Aldi‘s.

[alemicheli76]

Review party "Cyberpunk" Autori vari, Mondadori. A cura di Alessandra Micheli

Review party “Cyberpunk” Autori vari, Mondadori. A cura di Alessandra Micheli

All’inizio ci fu la Cibernetica…cosi potrebbe intitolarsi questa recensione su uno dei generi di nicchia meno conosciuto ma al tempo stesso più amati. Leggete attentamente queste parole ci un certo Norbert Wiener «I molti automi dell’epoca presente sono collegati al mondo esterno sia per quanto riguarda la ricezione di impressioni, che per l’esecuzione di azioni. Essi contengono organi…

[kingteeshops]

Dachshund 19 Established 59 wash your wiener shirt

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Dachshund 19 Established 59 wash your wiener shirt

Since last Monday’s Dachshund 19 Established 59 wash your wiener shirt . camp-themed Met Gala, where multiple celebrities embraced florid hues of fuchsia, cerise and Pepto-Bismo, pink continues to rule the red carpet, this time at the 72nd Annual Cannes Film Festival. However, the bright, bold, Barbie pink we saw at the first Monday in May has been replaced with more muted shades of light and pastel pink that emphasize the glamour inherent in the shade, and not just it’s of-the-moment status.

Dachshund 19 Established 59 wash your wiener shirt, hoodie, sweater, longsleeve and ladies t-shirt

Dachshund 19 Established 59 wash your wiener Classic Ladies

Dachshund 19 Established 59 wash your wiener Hoodie

Dachshund 19 Established 59 wash your wiener LongSleeve

Dachshund 19 Established 59 wash your wiener Sweatshirt

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Numerous actresses and models showed up to the Cannes opening ceremony in their take on pink, including Selena Gomez, who made her Cannes Film Festival debut Dachshund 19 Established 59 wash your wiener shirt . Having taken a break from the spotlight this year, Cannes is also Gomez’s biggest carpet event in 2019 so far. Gomez looked stunning in a belted two-piece Louis Vuitton dress that reminded us all that we’ve “gotta keep an eye out for Selener” during the rest of the year. Actress Elle Fanning and model Alessandra Ambrosio also took their stance on the statement colour. Fanning, who is making history as the youngest jury member at the Cannes Film Festival, shone in a shimmering caped peach-coloured Gucci gown complete with dazzling Chopard earrings and rings. Ambrosio wore a one-shouldered Ralph & Russo dress complete with a feathered trim and a weightless train that offered the former Victoria’s Secret Angel an enchanting silhouette. We are supportive of this new era of pink, and the celebs that are embodying and embracing the colour that was once used to stereotype femininity, to remind us instead that pink is powerful. With the continuous rise of the rosy colour on recent carpets, it will be interesting to see if pink will be a continuing colour trend throughout the rest of the film festival. Here are some of our favourite pink pieces that have kicked off Cannes. You Can See More Product: https://kingteeshops.com/product-category/trending/

[gramilano]

Le Jeune homme et la Mort with Roberto Bolle and Nicoletta Manni, photo by Brescia e Amisano, Teatro alla Scala

Serata van Manen – Petit, (Van Manen and Petit Evening) opens at La Scala on 23 January. The evening consists of five gems from Hans van Manen and Roland Petit.

The three van Manen pieces are Adagio Hammerklavier, Sarcasmen and Kammerballett, while the Petit pieces are Le combat des anges (from his ballet  Proust, ou les intermittences du coeur ) and Le Jeune homme et la Mort which brings company étoile Roberto Bolle back to La Scala’s stage.

Here are the first photos of the rehearsals.

ADAGIO HAMMERKLAVIER

Music Ludwig van Beethoven Choreography Hans van Manen Sets and costumes Jean-Paul Vroom Lights Jan Hofstra

Set and costumes from Wiener Staatsballet Production, 2015

Adagio Hammerklavier with Agnese Di Clemente and Gioacchino Starace, photo by Brescia e Amisano Teatro alla Scala (1)

Adagio Hammerklavier with Martina Arduino and Nicola Del Freo, photo by Brescia e Amisano Teatro alla Scala (6)

Adagio Hammerklavier with Martina Arduino and Nicola Del Freo, photo by Brescia e Amisano Teatro alla Scala (4)

LE COMBAT DES ANGES

Music Gabriel Fauré Ballet by Roland Petit from Proust, ou les intermittences du coeur pas de deux Morel et Saint Loup Choreographic supervision Luigi Bonino

Teatro alla Scala production

Le combat des anges with Claudio Coviello and Marco Agostino, photo by Brescia e Amisano Teatro alla Scala (3)

Le combat des anges with Claudio Coviello and Marco Agostino, photo by Brescia e Amisano Teatro alla Scala (4)

Le combat des anges with Claudio Coviello and Marco Agostino, photo by Brescia e Amisano Teatro alla Scala (1)

Le combat des anges with Claudio Coviello and Marco Agostino, photo by Brescia e Amisano Teatro alla Scala (2)

KAMMERBALLETT

Music Kara Karayev, John Cage, Domenico Scarlatti Choreography Hans van Manen Sets and costumes Keso Dekker Lights Joop Caboort

Staging by Opernhaus, Zurich

Kammerballett with Chiara Fiandra and Gioaccihno Starace, photo by Brescia e Amisano Teatro alla Scala (5)

Kammerballett with Alessandra Vassallo and Gabriele Corrado, photo by Brescia e Amisano Teatro alla Scala (7)

Kammerballett with Chiara Fiandra and Gioaccihno Starace, photo by Brescia e Amisano Teatro alla Scala (6)

Kammerballett with Antonella Albano, photo by Brescia e Amisano Teatro alla Scala (1)

Kammerballett with Francesca Podini and Marco Messina, photo by Brescia e Amisano Teatro alla Scala (8)

SARCASMEN

Music Sergei Prokofiev Choreography, sets and costumes Hans van Manen Lights Jan Hofstra

New Teatro alla Scala production

Sarcasmen with Nicoletta Manni and Claudio Coviello, photo by Brescia e Amisano Teatro alla Scala (8)

Sarcasmen with Nicoletta Manni with, photo by Brescia e Amisano Teatro alla Scala (9)

Sarcasmen with Nicoletta Manni and Claudio Coviello, photo by Brescia e Amisano Teatro alla Scala (9)

LE JEUNE HOMME ET LA MORT

Music Johann Sebastian Bach Ballet by Roland Petit Choreographic supervision Luigi Bonino Libretto by Jean Cocteau Sets Georges Wakhevitch Costumes Karinska Lights Jean-Michel Désiré Étoile Roberto Bolle (23, 24, 25, 28, 31 Jan., 1 Feb.)

Teatro alla Scala production

Le Jeune homme et la Mort with Roberto Bolle and Nicoletta Manni, photo by Brescia e Amisano Teatro alla Scala (9)

Le Jeune homme et la Mort with Roberto Bolle and Nicoletta Manni, photo by Brescia e Amisano Teatro alla Scala (8)

Le Jeune homme et la Mort with Roberto Bolle, photo by Brescia e Amisano Teatro alla Scala (7)

Le Jeune homme et la Mort with Roberto Bolle, photo by Brescia e Amisano Teatro alla Scala (6)

Le Jeune homme et la Mort with Roberto Bolle and Nicoletta Manni, photo by Brescia e Amisano Teatro alla Scala (13)

Le Jeune homme et la Mort with Martina Arduino and Claudio Coviello, photo by Brescia e Amisano Teatro alla Scala (3)

Le Jeune homme et la Mort with Martina Arduino and Claudio Coviello, photo by Brescia e Amisano Teatro alla Scala (1)

Le Jeune homme et la Mort with Martina Arduino and Claudio Coviello, photo by Brescia e Amisano Teatro alla Scala (2)

Le Jeune homme et la Mort with Martina Arduino and Claudio Coviello, photo by Brescia e Amisano Teatro alla Scala (4)

CAST

Thursday 23 January 2020 at 8pm

ADAGIO HAMMERKLAVIER

First couple Agnese Di Clemente, Gioacchino Starace Second couple Francesca Podini, Gabriele Corrado Third couple Martina Arduino, Nicola Del Freo

LE COMBAT DES ANGES

Saint Loup Claudio Coviello Morel Marco Agostino

KAMMERBALLETT

Woman in black Alessandra Vassallo Woman in brown Chiara Fiandra Woman in yellow Francesca Podini Woman in orange Antonella Albano Man in black Marco Messina Man in brown Gabriele Corrado Man in yellow Domenico Di Cristo Man in orange Gioacchino Starace

SARCASMEN

Nicoletta Manni, Claudio Coviello

LE JEUNE HOMME ET LA MORT

Le Jeune homme Roberto Bolle La Mort Nicoletta Manni

Friday 24 January at 8pm

ADAGIO HAMMERKLAVIER

First couple Agnese Di Clemente, Gioacchino Starace Second couple Francesca Podini, Gabriele Corrado Third couple Martina Arduino, Nicola Del Freo

LE COMBAT DES ANGES

Saint Loup Claudio Coviello Morel Marco Agostino

KAMMERBALLETT

Woman in black Alessandra Vassallo Woman in brown Chiara Fiandra Woman in yellow Francesca Podini Woman in orange Antonella Albano Man in black Marco Messina Man in brown Gabriele Corrado Man in yellow Domenico Di Cristo Man in orange Gioacchino Starace

SARCASMEN

Nicoletta Manni, Claudio Coviello

LE JEUNE HOMME ET LA MORT

Le Jeune homme Roberto Bolle La Mort Nicoletta Manni

  Saturday 25 January 2020 – at 8pm

ADAGIO HAMMERKLAVIER

First couple Agnese Di Clemente, Gioacchino Starace Second couple Alessandra Vassallo, Emanuele Cazzato Third couple Maria Celeste Losa, Marco Agostino

LE COMBAT DES ANGES

Saint Loup Domenico Di Cristo Morel Gabriele Corrado

KAMMERBALLETT

Woman in black Antonella Albano Woman in brown Chiara Fiandra Woman in yellow Giulia Lunardi Woman in orange Stefania Ballone Man in black Andrea Risso Man in brown Emanuele Cazzato Man in yellow Endi Bahaj Man in orange Edoardo Caporaletti

SARCASMEN

Nicoletta Manni, Claudio Coviello

LE JEUNE HOMME ET LA MORT

Le Jeune homme Roberto Bolle La Mort Nicoletta Manni

  Tuesday 28 January 2020 – at 8pm

ADAGIO HAMMERKLAVIER

First couple Agnese Di Clemente, Gioacchino Starace Second couple Alessandra Vassallo, Emanuele Cazzato Third couple Maria Celeste Losa, Marco Agostino

LE COMBAT DES ANGES

Saint Loup Domenico Di Cristo Morel Gabriele Corrado

KAMMERBALLETT

Woman in black Antonella Albano Woman in brown Chiara Fiandra Woman in yellow Giulia Lunardi Woman in orange Stefania Ballone Man in black Andrea Risso Man in brown Emanuele Cazzato Man in yellow Endi Bahaj Man in orange Edoardo Caporaletti

SARCASMEN

Martina Arduino, Nicola Del Freo

LE JEUNE HOMME ET LA MORT

Le Jeune homme Roberto Bolle La Mort Nicoletta Manni

  Friday 31 January 2020 – at 8pm

ADAGIO HAMMERKLAVIER

First couple Agnese Di Clemente, Gioacchino Starace Second couple Francesca Podini, Gabriele Corrado Third couple Martina Arduino, Nicola Del Freo

LE COMBAT DES ANGES

Saint Loup Claudio Coviello Morel Marco Agostino

KAMMERBALLETT

Woman in black Alessandra Vassallo Woman in brown Chiara Fiandra Woman in yellow Francesca Podini Woman in orange Antonella Albano Man in black Marco Messina Man in brown Gabriele Corrado Man in yellow Domenico Di Cristo Man in orange Gioacchino Starace

SARCASMEN

Nicoletta Manni, Claudio Coviello

LE JEUNE HOMME ET LA MORT

Le Jeune homme Roberto Bolle La Mort Nicoletta Manni

  Saturday 1 February 2020 – at 8pm

ADAGIO HAMMERKLAVIER

Firsti couple Agnese Di Clemente, Gioacchino Starace Second couple Francesca Podini, Gabriele Corrado Third couple Martina Arduino, Nicola Del Freo

LE COMBAT DES ANGES

Saint Loup Claudio Coviello Morel Marco Agostino

KAMMERBALLETT

Woman in black Alessandra Vassallo Woman in brown Chiara Fiandra Woman in yellow Francesca Podini Woman in orange Antonella Albano Man in black Marco Messina Man in brown Gabriele Corrado Man in yellow Domenico Di Cristo Man in orange Gioacchino Starace

SARCASMEN

Nicoletta Manni, Claudio Coviello

LE JEUNE HOMME ET LA MORT

Le Jeune homme Roberto Bolle La Mort Nicoletta Manni

  Wednesday 5 February 2020 – at 8pm

ADAGIO HAMMERKLAVIER

First couple Agnese Di Clemente, Gioacchino Starace Second couple Alessandra Vassallo, Emanuele Cazzato Third couple Maria Celeste Losa, Marco Agostino

LE COMBAT DES ANGES

Saint Loup Domenico Di Cristo Morel Gabriele Corrado

AMMERBALLETT

Woman in black Antonella Albano Woman in brown Chiara Fiandra Woman in yellow Giulia Lunardi Woman in orange Stefania Ballone Man in black Andrea Risso Man in brown Emanuele Cazzato Man in yellow Endi Bahaj Man in orange Edoardo Caporaletti

SARCASMEN

Martina Arduino, Nicola Del Freo

LE JEUNE HOMME ET LA MORT

Le Jeune homme Claudio Coviello La Mort Martina Arduino

  Friday 7 February 2020 – at 2.30pm – Young People and Over65

ADAGIO HAMMERKLAVIER

First couple Agnese Di Clemente, Gioacchino Starace Second couple Alessandra Vassallo, Emanuele Cazzato Third couple Maria Celeste Losa, Marco Agostino

LE COMBAT DES ANGES

Saint Loup Domenico Di Cristo Morel Gabriele Corrado

KAMMERBALLETT

Woman in black Alessandra Vassallo Woman in brown Chiara Fiandra Woman in yellow Francesca Podini Woman in orange Antonella Albano Man in black Marco Messina Man in brown Gabriele Corrado Man in yellow Domenico Di Cristo Man in orange Gioacchino Starace

SARCASMEN

Woman in black Antonella Albano Woman in brown Chiara Fiandra Woman in yellow Giulia Lunardi Woman in orange Stefania Ballone Man in black Andrea Risso Man in brown Emanuele Cazzato Man in yellow Endi Bahaj Man in orange Edoardo Caporaletti

SARCASMEN

Nicoletta Manni, Claudio Coviello

LE JEUNE HOMME ET LA MORT

Le Jeune homme Nicola Del Freo La Mort Marta Romagna

  Friday 7 February 2020 – at 8pm

ADAGIO HAMMERKLAVIER

First couple Agnese Di Clemente, Gioacchino Starace Second couple Francesca Podini, Gabriele Corrado Third couple Martina Arduino, Nicola Del Freo

LE COMBAT DES ANGES

Saint Loup Claudio Coviello Morel Marco Agostino

KAMMERBALLETT

Woman in black Alessandra Vassallo Woman in brown Chiara Fiandra Woman in yellow Francesca Podini Woman in orange Antonella Albano Man in black Marco Messina Man in brown Gabriele Corrado Man in yellow Domenico Di Cristo Man in orange Gioacchino Starace

SARCASMEN

Martina Arduino, Nicola Del Freo

LE JEUNE HOMME ET LA MORT

Le Jeune homme Claudio Coviello La Mort Martina Arduino

  Saturday 8 February 2020 – at 8pm

ADAGIO HAMMERKLAVIER

First couple Agnese Di Clemente, Gioacchino Starace Second couple Francesca Podini, Gabriele Corrado Third couple Martina Arduino, Nicola Del Freo

LE COMBAT DES ANGES

Saint Loup Claudio Coviello Morel Marco Agostino

KAMMERBALLETT

Woman in black Alessandra Vassallo Woman in brown Chiara Fiandra Woman in yellow Francesca Podini Woman in orange Antonella Albano Man in black Marco Messina Man in brown Gabriele Corrado Man in yellow Domenico Di Cristo Man in orange Gioacchino Starace

SARCASMEN

Martina Arduino, Nicola Del Freo

LE JEUNE HOMME ET LA MORT

Le Jeune homme Claudio Coviello La Mort Martina Arduino

Photo Album: Rehearsal photos of La Scala’s new mixed bill with Roberto Bolle, Manni, Coviello, Arduino and company Serata van Manen – Petit, (Van Manen and Petit Evening) opens at La Scala on 23 January.

[aveganeverywhere]

My newest recipe

[aveganeverywhere]

I love simply eggless. I stirred some up with baby kale baby spinach salt pepper and nutritional yeast.