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Gustav Klimt: the Magic of Line
Page 1 OBJECT LIST Gustav Klimt: The Magic of Line At the J. Paul Getty Museum, Getty Center July 3–September 23, 2012 All works by Gustav Klimt (Austrian, 1862–1918) unless otherwise specified 1. The Auditorium of the Old 4. Man in Three Quarter View (Study for Burgtheater, 1888-89 and 1893 Shakespeare's Theater), 1886-87 Watercolor and gouache Black chalk, heightened with white Unframed: 22 x 28 cm (8 11/16 x 11 in.) Unframed: 42.5 x 29.4 cm (16 3/4 x 11 Privatsammlung Panzenböck 9/16 in.) EX.2012.3.19 Albertina, Wien EX.2012.3.27 2. Profile and Rear View of a Man with Binoculars, Sketch of His Right Hand, 5. Head of a Reclining Young Man, Head 1888-89 in Lost Profile (Study for Black chalk, heightened with white, Shakespeare's Theater), 1887 87 on greenish paper Black chalk, heightened with white, Unframed: 45 x 31.7 cm (17 11/16 x 12 graphite 1/2 in.) Unframed: 44.8 x 31.4 cm (17 5/8 x 12 Albertina, Wien 3/8 in.) EX.2012.3.29 Albertina, Wien EX.2012.3.33 3. Man with Cap in Profile (Study for Shakespeare's Theater), 1886-87 6. Reclining Girl (Juliet), and Two Studies Black chalk heightened with white of Hands (Study for Shakespeare's Unframed: 42.6 x 29 cm (16 3/4 x 11 Theater), 1886-87 7/16 in.) Black chalk, stumped, heightened Albertina, Wien with white, graphite EX.2012.3.28 Unframed: 27.6 x 42.4 cm (10 7/8 x 16 11/16 in.) Albertina, Wien EX.2012.3.32 -more- -more- Page 2 7. -
Hermitage Magazine 27 En.Pdf
VIENNA / ART DECO / REMBRANDT / THE LANGOBARDS / DYNASTIC RULE VIENNA ¶ ART DECO ¶ THE LEIDEN COLLECTION ¶ REMBRANDT ¶ issue № 27 (XXVII) THE LANGOBARDS ¶ FURNITURE ¶ BOOKS ¶ DYNASTIC RULE MAGAZINE HERMITAGE The advertising The WORLD . Fragment 6/7 CLOTHING TRUNKS OF THE MUSEUM WARDROBE 10/18 THE INTERNATIONAL ADVISORY BOARD OF THE STATE HERMITAGE Game of Bowls 20/29 EXHIBITIONS 30/34 OMAN IN THE HERMITAGE The State Hermitage Museum, St. Petersburg. Inv. № ГЭ 9154 The State Hermitage Museum, St. Petersburg. Inv. Henri Matisse. 27 (XXVII) Official partners of the magazine: DECEMBER 2018 HERMITAGE ISSUE № St. Petersburg State University MAGAZINE Tovstonogov Russian State Academic Bolshoi Drama Theatre The Hermitage Museum XXI Century Foundation would like to thank the project “New Holland: Cultural Urbanization”, Aleksandra Rytova (Stella Art Foundation, Moscow) for the attention and friendly support of the magazine. FOUNDER: THE STATE HERMITAGE MUSEUM Special thanks to Svetlana Adaksina, Marina Antipova, Elena Getmanskaya, Alexander Dydykin, Larisa Korabelnikova, Ekaterina Sirakonyan, Vyacheslav Fedorov, Maria Khaltunen, Marina Tsiguleva (The State Hermitage Museum); CHAIRMAN OF THE EDITORIAL BOARD Swetlana Datsenko (The Exhibition Centre “Hermitage Amsterdam”) Mikhail Piotrovsky The project is realized by the means of the grant of the city of St. Petersburg EDITORIAL: AUTHORS Editor-in-Chief Zorina Myskova Executive editor Vladislav Bachurov STAFF OF THE STATE HERMITAGE MUSEUM: Editor of the English version Simon Patterson Mikhail Piotrovsky -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
DIE LIEBE DER DANAE July 29 – August 7, 2011
DIE LIEBE DER DANAE July 29 – August 7, 2011 the richard b. fisher center for the performing arts at bard college About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space; and in the 220-seat Theater Two, which features a flexible seating configuration. The Center is home to Bard College’s Theater and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, operetta, film, and cabaret; and the Bard Music Festival, which celebrates its 22nd year in August, with “Sibelius and His World.” The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership. The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations. ©2011 Bard College. All rights reserved. Cover Danae and the Shower of Gold (krater detail), ca. 430 bce. Réunion des Musées Nationaux/Art Resource, NY. Inside Back Cover ©Peter Aaron ’68/Esto The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher President Leon Botstein Honorary Patron Martti Ahtisaari, Nobel Peace Prize laureate and former president of Finland Die Liebe der Danae (The Love of Danae) Music by Richard Strauss Libretto by Joseph Gregor, after a scenario by Hugo von Hofmannsthal Directed by Kevin Newbury American Symphony Orchestra Conducted by Leon Botstein, Music Director Set Design by Rafael Viñoly and Mimi Lien Choreography by Ken Roht Costume Design by Jessica Jahn Lighting Design by D. -
Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions
Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions 2013 Kunsthandel Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com My special thanks go to Sabine Ratzenberger, Simone Brenner and Diek Groenewald, for their research and their work on the text. I am also grateful to them for so expertly supervising the production of the catalogue. We are much indebted to all those whose scholarship and expertise have helped in the preparation of this catalogue. In particular, our thanks go to: Sandrine Balan, Alexandra Bouillot-Chartier, Corinne Chorier, Sue Cubitt, Roland Dorn, Jürgen Ecker, Jean-Jacques Fernier, Matthias Fischer, Silke Francksen-Mansfeld, Claus Grimm, Jean- François Heim, Sigmar Holsten, Saskia Hüneke, Mathias Ary Jan, Gerhard Kehlenbeck, Michael Koch, Wolfgang Krug, Marit Lange, Thomas le Claire, Angelika and Bruce Livie, Mechthild Lucke, Verena Marschall, Wolfram Morath-Vogel, Claudia Nordhoff, Elisabeth Nüdling, Johan Olssen, Max Pinnau, Herbert Rott, John Schlichte Bergen, Eva Schmidbauer, Gerd Spitzer, Andreas Stolzenburg, Jesper Svenningsen, Rudolf Theilmann, Wolf Zech. his catalogue, Oil Sketches and Paintings nser diesjähriger Katalog 'Oil Sketches and Paintings 2013' erreicht T2013, will be with you in time for TEFAF, USie pünktlich zur TEFAF, the European Fine Art Fair in Maastricht, the European Fine Art Fair in Maastricht. 14. - 24. März 2013. TEFAF runs from 14-24 March 2013. Die in dem Katalog veröffentlichten Gemälde geben Ihnen einen The selection of paintings in this catalogue is Einblick in das aktuelle Angebot der Galerie. Ohne ein reiches Netzwerk an designed to provide insights into the current Beziehungen zu Sammlern, Wissenschaftlern, Museen, Kollegen, Käufern und focus of the gallery’s activities. -
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Dreams anD sexuality A Psychoanalytical Reading of Klimt’s Beethoven Frieze benjamin flyThe This essay presenTs a philosophical and psychoanalyTical inTerpreTaTion of The work of The Viennese secession arTisT, GusTaV klimT. The manner of depicTion in klimT’s painTinGs underwenT a radical shifT around The Turn of The TwenTieTh cenTury, and The auThor attempTs To unVeil The inTernal and exTernal moTiVaTions ThaT may haVe prompTed and conTribuTed To This TransformaTion. drawinG from friedrich nieTzsche’s The BirTh of Tragedy as well as siGmund freud’s The inTerpreTaTion of dreams, The arTicle links klimT’s early work wiTh whaT may be referred To as The apollonian or consciousness, and his laTer work wiTh The dionysian or The subconscious. iT is Then arGued ThaT The BeeThoven frieze of 1902 could be undersTood as a “self-porTraiT” of The arTisT and used To examine The shifT in sTylisTic represenTaTion in klimT’s oeuVre. Proud Athena, armed and ready for battle with her aegis Pallas Athena (below), standing in stark contrast to both of and spear, cuts a striking image for the poster announcing these previous versions, takes their best characteristics the inaugural exhibition of the Vienna Secession. As the and bridges the gap between them: she is softly modeled goddess of wisdom, the polis, and the arts, she is a decid- but still retains some of the poster’s two-dimensionality (“a edly appropriate figurehead for an upstart group of diverse concept, not a concrete realization”2); the light in her eyes artists who succeeded in fighting back against the estab- speaks to an internal fire that more accurately represents lished institution of Vienna, a political coup if there ever the truth of the goddess; and perhaps most importantly, 28 was one. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
Henryk Siemiradzki and the International Artistic Milieu
ACCADEMIA POL ACCA DELLE SCIENZE DELLE SCIENZE POL ACCA ACCADEMIA BIBLIOTECA E CENTRO DI STUDI A ROMA E CENTRO BIBLIOTECA ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU FRANCESCO TOMMASINI, L’ITALIA E LA RINASCITA E LA RINASCITA L’ITALIA TOMMASINI, FRANCESCO IN ROME DELLA INDIPENDENTE POLONIA A CURA DI MARIA NITKA AGNIESZKA KLUCZEWSKA-WÓJCIK CONFERENZE 145 ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA ISSN 0239-8605 ROMA 2020 ISBN 978-83-956575-5-9 CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU IN ROME ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU IN ROME A CURA DI MARIA NITKA AGNIESZKA KLUCZEWSKA-WÓJCIK. ROMA 2020 Pubblicato da AccademiaPolacca delle Scienze Bibliotecae Centro di Studi aRoma vicolo Doria, 2 (Palazzo Doria) 00187 Roma tel. +39 066792170 e-mail: [email protected] www.rzym.pan.pl Il convegno ideato dal Polish Institute of World Art Studies (Polski Instytut Studiów nad Sztuką Świata) nell’ambito del programma del Ministero della Scienza e dell’Istruzione Superiore della Repubblica di Polonia (Polish Ministry of Science and Higher Education) “Narodowy Program Rozwoju Humanistyki” (National Programme for the Develop- ment of Humanities) - “Henryk Siemiradzki: Catalogue Raisonné of the Paintings” (“Tradition 1 a”, no. 0504/ nprh4/h1a/83/2015). Il convegno è stato organizzato con il supporto ed il contributo del National Institute of Polish Cultural Heritage POLONIKA (Narodowy Instytut Polskiego Dziedzictwa Kul- turowego za Granicą POLONIKA). Redazione: Maria Nitka, Agnieszka Kluczewska-Wójcik Recensione: Prof. -
Achenbach 1995 Sigrid Achenbach: Käthe Kollwitz (1867–1945)
Originalveröffentlichung in: Doosry, Yasmin ; Lauterbach, Christiane ; Pommeranz, Johannes (Hrsgg.): Die Frucht der Verheißung : Zitrusfrüchte in Kunst und Kultur ; Germanisches Nationalmuseum, Nürnberg, 19. Mai - 11. September 2011, Nürnberg 2011 Achenbach 1995 Sigrid Achenbach: Käthe Kollwitz (1867–1945). Zeichnungen und seltene Graphik im Berliner Kupferstichkabinett (Bilderhefte der Staatlichen Museen zu Berlin – Preußischer Kulturbesitz, 79–81). Berlin 1995. Adams/Adams 1987 Len Adams/Yvonne Adams: Meissen portrait figures. London 1987. Alberg 1984 Werner Alberg: Die „Madonna con santi“. Darstellungen der venezianischen und florentinischen Malerei. Diss. Bochum 1984. Alberti 1912 Leon Battista Alberti: Zehn Bücher über die Baukunst. Übersetzung von Max Theuer. Wien/Leipzig 1912 (ca. 1432). Albertus Magnus 1867 Albertus Magnus: Alberti Magni ex ordine praedicatorum de Vegetabilibus libri VII, historiae naturalis pars XVIII. Ed. Criticam ab Ernesto Meyero coeptam absolvit Carolus Jessen. Berlin 1867. Albrecht 2008 Peter Albrecht: Die Absatzstrategien im Bereich Handel. In: Kaufhold/Leuschner/Märtl 2880, S. 736–792. Alciati 1577 Andrea Alciati: Emblemata. Antwerpen 1577. Allen/Hubbs 1980 Sally G. Allen/Joanna Hubbs: Outrunning Atalanta: Feminine Destiny in Alchemical Transmutation. In: Signs 6, 1980, Nr. 2, Studies in Change, S. 210–229. Alpers 1998 Svetlana Alpers: Kunst als Beschreibung. Holländische Malerei des 17. Jahrhunderts. Köln 2. Aufl. 1998 (1983). Alzheimer/Rausch/Reder/Selheim 2010 Heidrun Alzheimer/Fred G. Rausch/Klaus Reder/Claudia -
Universidad Pedagógica Nacional Facultad De Bellas Artes Aprendizaje De Lenguas Extranjeras (Inglés) a Través Del Teatro
Universidad Pedagógica Nacional Facultad de Bellas Artes Aprendizaje de Lenguas Extranjeras (Inglés) a través del Teatro. Universidad Pedagógica Nacional Facultad de Bellas Artes Proyecto de Grado Licenciatura en Artes Escénicas EL APRENDIZAJE DE UNA LENGUA EXTRANJERA (INGLÉS) A TRAVÉS DEL TEATRO Estudio de caso en el campo del teatro bilingüe: Grupo The E Theater de la Universidad Nacional de Colombia Presentado por: Camilo Suárez Ramos Asesor: Literato. Hernando Parra Rojas Bogotá D.C., Octubre de 2012 Camilo Suárez Ramos Proyecto de Grado en Artes escénicas 2 Universidad Pedagógica Nacional Facultad de Bellas Artes Aprendizaje de Lenguas Extranjeras (Inglés) a través del Teatro. EL APRENDIZAJE DE UNA LENGUA EXTRANJERA (INGLÉS) A TRAVÉS DEL TEATRO Estudio de caso: Grupo The E Theater de la Universidad Nacional de Colombia Camilo Suárez Ramos Proyecto de Grado en Artes escénicas i Universidad Pedagógica Nacional Facultad de Bellas Artes Aprendizaje de Lenguas Extranjeras (Inglés) a través del Teatro. FORMATO RESUMEN ANALÍTICO EN EDUCACIÓN - RAE Código: FOR020GIB Versión: 01 Fecha de Aprobación: 10-10-2012 Página ii de 144 1. Información General Tipo de documento Trabajo de grado Universidad Pedagógica Nacional. Biblioteca Facultad de Acceso al documento Bellas Artes Aprendizaje de una lengua extranjera (inglés) a través de Titulo del documento teatro. Autor(es) Suárez Ramos, Camilo. Director Parra Rojas, Hernando. Publicación Bogotá. Universidad Pedagógica Nacional. 2012. 136 p. Unidad Patrocinante Lenguas extranjeras, teatro, aprendizaje, -
Punitive Damages and Collective Actions in Europe
Punitive damages and collective actions in Europe Vienna, 26 – 28 June 2014 European Lawyers' Union (UAE) XXVIII Congress Contact details: Michael Poduschka Mobile: 0043726253555 Email: [email protected] Walfischgasse 5, 1010 Wien Wien | Linz | Perg Punitive damages and collective actions in Europe Agenda for Friday 27 June 2014 – Kinsky Palace (Simultaneous interpretation services in English, German and French) 08.30 a.m.: Registration 09.00 a.m.: Welcoming and opening remarks Michael Poduschka (RA), Head of the UAE Regional Delegation for Austria and Attorney in Vienna, Linz and Perg Bruno Telchini (Avv), President of the European Lawyers' Union and Attorney in Bolzano, Italy Georg Kodek (Univ. Prof. Dr., LLM (Northwestern University), Judge at the Austrian Supreme Court of Justice, Professor at the Vienna University of Economics and Business (Institute for Civil and Corporate law). 10.00 a.m.: First session Punitive damages and collective actions in the USA and from the EU point of view Moderator: Claude Bontinck (Me), Honorary President of the UAE, Attorney in Brussels René Richardt (RA), Gansel Rechtsanwälte, Berlin. Graduated from Freie Universität Berlin (Faculty of Law) with focus on International Private Law and Comparison of Law; studied also at University of Connecticut, School of Law, Hartford, USA. Jacek Garstka, DG Justice, European Commission, Brussels. 11.30 a.m.: Coffee break 12.00 a.m.: Second session Punitive damages and collective actions in Austria Moderator: Andreas Riedler (Univ. Prof. Mag. Dr.), Professor of Civil Law at the University of Linz, Head of the Institute for Civil Law (Stv), Head of the Institute for Studies in Multimedia Law in Linz Peter Hadler (Mag.), Judge and President of the Vienna Commercial Court (Court before which are brought most of the collective actions in Austria) Georg Kathrein (SC Dr. -
Getränkekarte
DAS ORIGINAL. SEIT 1832. THE ORIGINAL. SINCE 1832. DIE ERFOLGSSTORY DER ORIGINAL SACHER-TORTE Staudacher, Erwin Wurm, Heimo Zobernig, Gottfried Helnwein THE SUCCESS STORY OF THE ORIGINAL Since then we have commissioned a limited edition Original Sacher- BEGANN REIN ZUFÄLLIG und Friedrich von Amerling haben exklusiv für die Sacher SACHER-TORTE BEGAN PURELY BY CHANCE: Torte with special packaging designed by a different renowned Austrian Als 1832 am Hof des Fürsten Metternich der Kocheleve Franz „Artists’ Collection“ das Holzkistchen künstlerisch veredelt. Die One day in 1832, the chef de cuisine at the court of Prince Metternich artist, such as Hermann Nitsch, Gustav Peichl alias “Ironimus”, Sacher in Vertretung des erkrankten Küchenchefs ein Dessert für Original Sacher-Torten werden somit in einer streng limitierten had fallen ill just when high-ranking guests were expected. And so, it Christian Ludwig Attersee, Xenia Hausner, Herbert Brandl, Arnulf besonders anspruchsvolle Gäste kreieren sollte, war die Original Stückanzahl zu echten, österreichischen Kunstwerken, deren was up to the young apprentice cook, Franz Sacher, to create a dessert Rainer, Hans Staudacher, Erwin Wurm, Heimo Zobernig, Gottfried Sacher-Torte geboren. Bereits einige Jahre später erfreute sie Reinerlös jedes Jahr einem anderen wohltätigen Zweck that would satisfy discerning palates – the Original Sacher-Torte was Helnwein and Friedrich von Amerling, each year. sich internationaler Beliebtheit. Auch Kaiserin Elisabeth schätzte zugutekommt. born. Within a few years it had conquered the world. Pastry lovers die Torte des k. u. k. Hoflieferanten Eduard Sacher sehr. Nur die from the countries of the Austro-Hungarian Monarchy, the rest of A PIECE OF CULINARY HISTORY … im Hause Sacher produzierte Torte darf durch ein seit 1962 EIN STÜCK ZEITGESCHICHTE – Europe and across the ocean in America treated themselves to the ORIGINAL SACHER-TORTE verbrieftes Recht als „Original“ bezeichnet werden.