The Royal Opera's 2019/20 Season Opens with Don Giovanni

Total Page:16

File Type:pdf, Size:1020Kb

The Royal Opera's 2019/20 Season Opens with Don Giovanni 23 July 2019 The Royal Opera’s 2019/20 Season opens with Don Giovanni Don Giovanni, Act I finale ©2018 ROH. Photographed by Bill Cooper. Kasper Holten’s visually striking production of Mozart’s Don Giovanni opens The Royal Opera’s 2019/20 Season, returning for its third revival since its 2014 premiere. Featuring a spectacular set designed by the award-winning Es Devlin, ingenious video designs by Luke Hall and beautiful costumes by Anja Vang Kragh the production accentuates the beauty and invention of Mozart’s dazzling For all Royal Opera House press releases visit www.roh.org.uk/for/press-and-media tragicomedy and casts the impulsive and charismatic title character as an artist who thrives on an audience enticed by his creative gifts. Don Giovanni is the second of Mozart’s landmark collaborations with librettist Lorenzo da Ponte (after Le nozze di Figaro and before Così fan tutte) and has beguiled and entranced audiences since its premiere in Prague in 1787. Perfectly poised between tragedy and comedy, the opera combines glorious music with fascinating characters, not least the seductive and complex anti-hero. Uruguayan bass-baritone Erwin Schrott returns to The Royal Opera as the seductive Don Giovanni, while Italian bass Roberto Tagliavini makes his Company debut as his long-suffering servant Leporello. Swedish soprano Malin Byström returns as Donna Anna, the role she sang in the production’s premiere in 2014, appearing alongside German tenor Daniel Behle (except 3 and 10 October) and Italian tenor Emanuele d’Aguanno (3 and 10 October; Royal Opera debut) as Don Ottavio, Greek soprano Myrtò Papatanisu as Donna Elvira and Croatian baritone Leon Košavić as Masetto. The role of the Commendatore will be sung on 13, 16, 19 and 28 September and 3 October by British bass Brindley Sherratt and on 22 and 25 September and 8 and 10 October by Greek bass Petros Magoulas in his Royal Opera debut. Louise Alder makes her Royal Opera House main stage debut as Zerlina, following her Royal Opera debut in 2015 at the Sam Wanamaker Playhouse, Shakespeare’s Globe as Eurydice in Rossi’s Orpheus. German conductor Hartmut Haenchen conducts all performances. Don Giovanni opens on 16 September 2019, with subsequent performances on 19, 22, 25 and 28 September, and 3, 8 and 10 October 2019. The Royal Opera presents a Schools’ Matinee performance of Don Giovanni on 13 September 2019, supported by The Taylor Family Foundation. Don Giovanni will be shown live in UK cinemas on Tuesday 7 October with an encore screening on Sunday 13 October. The production will also be broadcast to cinemas around the world. ENDS NOTES TO EDITORS 1. For further information or interview requests please contact Antonia Channer and Ann Richards Page 2 of 4 2. For images or press ticket requests please contact Hannah Last DON GIOVANNI 16, 19 and 25 September and 8 and 10 October 2019 at 7pm 22 September 2019 at 6pm 28 September and 3 October 2019 at 12pm Co-production with Israeli Opera, Gran Teatre del Liceu, Barcelona, and Houston Grand Opera Sung in Italian with English surtitles Credits Music Wolfgang Amadeus Mozart Libretto Lorenzo da Ponte Director Kasper Holten Set designer Es Devlin Video designer Luke Halls Costume designer Anja Vang Kragh Lighting designer Bruno Poet Choreographer Signe Fabricius Performers Conductor Hartmut Haenchen Don Giovanni Erwin Schrott Leporello Roberto Tagliavini* Donna Anna Myrtò Papatanasiu Don Ottavio Daniel Behle (except 3 mat, 10 October) Emanuele d’Aguanno (3 mat, 10 October) Donna Elvira Christine Rice Zerlina Louise Alder Masetto Leon Košavić Page 3 of 4 The Commendatore Brindley Sherratt (13, 16, 19, 28 mat September; 3 mat October) Petros Magoulas* (22 and 25 September, 8 and 10 October) Royal Opera Chorus Orchestra of the Royal Opera House *Royal Opera debut About The Royal Opera The Royal Opera, under the artistic direction of Antonio Pappano, Music Director, and Oliver Mears, Director of Opera, is one of the world’s leading opera companies. Based in the iconic Covent Garden theatre, it is renowned both for its outstanding performances of traditional opera and for commissioning new works by today’s leading opera composers, such as Harrison Birtwistle, Mark-Anthony Turnage and Thomas Adès. About the Royal Opera House The Royal Opera House’s aim is for many more people to enjoy and engage in exceptional ballet and opera. As The Royal Ballet, The Royal Opera and the Orchestra of the Royal Opera House, we bring together the world’s most extraordinary ballet and opera artists in more than 500 performances every year: live events that thrill, move and excite, and that transport people to other worlds though music, dance and theatre. Page 4 of 4 .
Recommended publications
  • Musical Landmarks in New York
    MUSICAL LANDMARKS IN NEW YORK By CESAR SAERCHINGER HE great war has stopped, or at least interrupted, the annual exodus of American music students and pilgrims to the shrines T of the muse. What years of agitation on the part of America- first boosters—agitation to keep our students at home and to earn recognition for our great cities as real centers of musical culture—have not succeeded in doing, this world catastrophe has brought about at a stroke, giving an extreme illustration of the proverb concerning the ill wind. Thus New York, for in- stance, has become a great musical center—one might even say the musical center of the world—for a majority of the world's greatest artists and teachers. Even a goodly proportion of its most eminent composers are gathered within its confines. Amer- ica as a whole has correspondingly advanced in rank among musical nations. Never before has native art received such serious attention. Our opera houses produce works by Americans as a matter of course; our concert artists find it popular to in- clude American compositions on their programs; our publishing houses publish new works by Americans as well as by foreigners who before the war would not have thought of choosing an Amer- ican publisher. In a word, America has taken the lead in mu- sical activity. What, then, is lacking? That we are going to retain this supremacy now that peace has come is not likely. But may we not look forward at least to taking our place beside the other great nations of the world, instead of relapsing into the status of a colony paying tribute to the mother country? Can not New York and Boston and Chicago become capitals in the empire of art instead of mere outposts? I am afraid that many of our students and musicians, for four years compelled to "make the best of it" in New York, are already looking eastward, preparing to set sail for Europe, in search of knowledge, inspiration and— atmosphere.
    [Show full text]
  • 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.
    [Show full text]
  • Italian-American Theatre
    Saggi Italian-American Theatre Emelise Aleandri Artistic Director of «Frizzi & Lazzi», New York An Italian-American actor hesitates before the entrance to a shop in Little Italy at the turn of the century. It is a day in the life of a skilful, practiced ticket-vendor of the Italian-American theatre. To disguise the distress he feels at performing the onerous task that awaits him inside the shop, he assumes the mask of confidence, tinged slightly with arrogance. Summoning up a glib tongue, the actor enters the shop and before the shopkeeper knows what has happened, the actor fires away at him this familiar reprise: «Buongiorno. Come sta? La famiglia sta bene? Lei è un mecenate, lei è un benefattore del- la colonia. Io non so cosa faccia il governo italiano, dorme? Ma quando lo faremo cavaliere? Vuole un biglietto per una recita che si darà il mese en- trante: “La cieca di Sorrento?” Spettacoloso drama [sic]»1. With an unsuspecting shop owner, this spiel would almost always be suc- cessful in selling a ticket, but this one has been through this game before and when he learns that the performance is scheduled for a Thursday evening, he is quick to respond: «Oh! Guarda un po’, proprio giovedì che aspetto visite. Vi pare, con tutto il cuore!»2. But the actor is even quicker and has purpose- fully misinformed the storekeeper: «Mi sono sbagliato, è di venerdì»3. The shopkeeper, stunned, mumbles: «Oh! Venerdì... vedrò»4. Tricked, and now the reluctant buyer of a ticket, the shop owner spits back «Come siete seccanti voi altri teatristi!»5.
    [Show full text]
  • The Extraordinary Lives of Lorenzo Da Ponte & Nathaniel Wallich
    C O N N E C T I N G P E O P L E , P L A C E S , A N D I D E A S : S T O R Y B Y S T O R Y J ULY 2 0 1 3 ABOUT WRR CONTRIBUTORS MISSION SPONSORSHIP MEDIA KIT CONTACT DONATE Search Join our mailing list and receive Email Print More WRR Monthly. Wild River Consulting ESSAY-The Extraordinary Lives of Lorenzo Da Ponte & Nathaniel & Wallich : Publishing Click below to make a tax- deductible contribution. Religious Identity in the Age of Enlightenment where Your literary b y J u d i t h M . T a y l o r , J u l e s J a n i c k success is our bottom line. PEOPLE "By the time the Interv iews wise woman has found a bridge, Columns the crazy woman has crossed the Blogs water." PLACES Princeton The United States The World Open Borders Lorenzo Da Ponte Nathaniel Wallich ANATOLIAN IDEAS DAYS & NIGHTS Being Jewish in a Christian world has always been fraught with difficulties. The oppression of the published by Art, Photography and Wild River Books Architecture Jews in Europe for most of the last two millennia was sanctioned by law and without redress. Valued less than cattle, herded into small enclosed districts, restricted from owning land or entering any Health, Culture and Food profession, and subject to random violence and expulsion at any time, the majority of Jews lived a History , Religion and Reserve Your harsh life.1 The Nazis used this ancient technique of de-humanization and humiliation before they hit Philosophy Wild River Ad on the idea of expunging the Jews altogether.
    [Show full text]
  • Overture to Don Giovanni, K. 527—Wolfgang Amadeus Mozart
    Overture to Don Giovanni, K. 527—Wolfgang Amadeus Mozart Mozart’s incomparable musical gifts enabled him to compose at the highest level of artistic brilliance in almost every musical genre. We are privileged to experience his legacy in symphonies, chamber music, wind serenades, choral music, keyboard music—the list goes on and on. But, unquestionably, his greatest contributions to musical art are his operas. No one— not even Wagner, Verdi, Puccini, or Richard Strauss exceeded the perfection of Mozart’s mature operas. The reason, of course, is clear: his unparalleled musical gift is served and informed by a nuanced insight into human psychology that is simply stunning. His characters represented real men and women on the stage, who moved dramatically, and who had distinctive personalities. Of no opera is this truer than his foray into serious opera in the Italian style, Don Giovanni. Mozart’s The Marriage of Figaro, at its première in Vienna in 1786, was a decided success, but nothing like the acclaim that it garnered later, in December of that same year, in Prague. The city literally went wild for it, bringing the composer to the Bohemian capital to conduct performances in January of 1787. A commission for another hit ensued, and Mozart once again collaborated with librettist, Lorenzo Da Ponte—this time basing the opera on the legendary seducer, Don Juan. Italian opera buffa is comic opera, and Mozart was a master of it, but the new opera—given the theme—is a serious one, with hilarious, comic interludes. Shakespeare often made adroit use of the dramatic contrast in that ploy, and so does Mozart, with equal success.
    [Show full text]
  • Star Singers on Stage
    STAR SINGERS ON STAGE CONCERT TOUR 2017/18 CREATING AND MANAGING PRODUCTIONS WORLDWIDE GuliAnd Management is dedicated to all aspects of music performances from concerts to fully staged opera and operetta productions, special events, tours, broadcasts. The founders and partners of GuliAnd have been working together for many years. We have extensive international business network for the sake of successful productions. Our company is one of the most well-known producers of opera events with the new opera star generation in the industry. GuliAnd sets up and promotes individual concerts in theatres, arenas, stadiums and open air venues. In addition, we produce television programs as well as documentaries. It has been our great pleasure to present many colourful events with numerous internationally acknowledged artists in the past years. The PÉCS – PLÁCIDO DOMINGO CLASSICS festival was founded by the city of Pécs and GuliAnd Management in 2017. GuliAnd is registered in the United Kingdom and has an affiliated company in the United States as well as in Hungary. PÉCS2010 EUROPEAN CAPITAL OF CULTURE GuliAnd Management introduced a new tradition with the “Voices” in 2009. Photo© Kaori Suzuki PLÁCIDO DOMINGO’S OPERALIA THE WORLD OPERA COMPETITION hosted by the Astana Opera within the framework of the EXPO-2017 Future Energy programme and under the auspices of the Ministry of Culture and Sports of the Republic of kazakhstan, the 25th edition of the World Opera Competition, including its final, was one of the highlights of Astana’s cultural calendar this summer, held from 24-29 July. ARYSTANBEK MUKHAMEDIULY Minister of Culture and Sports of Kazakhstan BIG STANDING OVATIONS GuliAnd presents this regular events with Plácido Domingo’s Operalia, The World Opera Competition award winning singers at the United Kingdom, Austria, Hungary and Germany.
    [Show full text]
  • Antonio Salieri's Revenge
    Antonio Salieri’s Revenge newyorker.com/magazine/2019/06/03/antonio-salieris-revenge By Alex Ross 1/13 Many composers are megalomaniacs or misanthropes. Salieri was neither. Illustration by Agostino Iacurci On a chilly, wet day in late November, I visited the Central Cemetery, in Vienna, where 2/13 several of the most familiar figures in musical history lie buried. In a musicians’ grove at the heart of the complex, Beethoven, Schubert, and Brahms rest in close proximity, with a monument to Mozart standing nearby. According to statistics compiled by the Web site Bachtrack, works by those four gentlemen appear in roughly a third of concerts presented around the world in a typical year. Beethoven, whose two-hundred-and-fiftieth birthday arrives next year, will supply a fifth of Carnegie Hall’s 2019-20 season. When I entered the cemetery, I turned left, disregarding Beethoven and company. Along the perimeter wall, I passed an array of lesser-known but not uninteresting figures: Simon Sechter, who gave a counterpoint lesson to Schubert; Theodor Puschmann, an alienist best remembered for having accused Wagner of being an erotomaniac; Carl Czerny, the composer of piano exercises that have tortured generations of students; and Eusebius Mandyczewski, a magnificently named colleague of Brahms. Amid these miscellaneous worthies, resting beneath a noble but unpretentious obelisk, is the composer Antonio Salieri, Kapellmeister to the emperor of Austria. I had brought a rose, thinking that the grave might be a neglected and cheerless place. Salieri is one of history’s all-time losers—a bystander run over by a Mack truck of malicious gossip.
    [Show full text]
  • 2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021
    2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021 Please Note: due to production considerations, duration for each production is subject to change. Please consult associated cue sheet for final cast list, timings, and more details. Please contact [email protected] for more information. PROGRAM #: OS 21-01 RELEASE: June 12, 2021 OPERA: Handel Double-Bill: Acis and Galatea & Apollo e Dafne COMPOSER: George Frideric Handel LIBRETTO: John Gay (Acis and Galatea) G.F. Handel (Apollo e Dafne) PRESENTING COMPANY: Haymarket Opera Company CAST: Acis and Galatea Acis Michael St. Peter Galatea Kimberly Jones Polyphemus David Govertsen Damon Kaitlin Foley Chorus Kaitlin Foley, Mallory Harding, Ryan Townsend Strand, Jianghai Ho, Dorian McCall CAST: Apollo e Dafne Apollo Ryan de Ryke Dafne Erica Schuller ENSEMBLE: Haymarket Ensemble CONDUCTOR: Craig Trompeter CREATIVE DIRECTOR: Chase Hopkins FILM DIRECTOR: Garry Grasinski LIGHTING DESIGNER: Lindsey Lyddan AUDIO ENGINEER: Mary Mazurek COVID COMPLIANCE OFFICER: Kait Samuels ORIGINAL ART: Zuleyka V. Benitez Approx. Length: 2 hours, 48 minutes PROGRAM #: OS 21-02 RELEASE: June 19, 2021 OPERA: Tosca (in Italian) COMPOSER: Giacomo Puccini LIBRETTO: Luigi Illica & Giuseppe Giacosa VENUE: Royal Opera House PRESENTING COMPANY: Royal Opera CAST: Tosca Angela Gheorghiu Cavaradossi Jonas Kaufmann Scarpia Sir Bryn Terfel Spoletta Hubert Francis Angelotti Lukas Jakobski Sacristan Jeremy White Sciarrone Zheng Zhou Shepherd Boy William Payne ENSEMBLE: Orchestra of the Royal Opera House,
    [Show full text]
  • ROYAL OPERA HOUSE LIVE CINEMA SEASON 2013/14 In
    ROYAL OPERA HOUSE LIVE CINEMA SEASON 2013/14 In association with Bank of America Merrill Lynch Season synopsis The ROH Live Cinema Season 2013/2014 opens on Tuesday 17 September with Puccini’s Turandot starring American soprano Lise Lindstrom, one of the leading Turandots of her time, Marco Berti, Eri Nakamura and Raymond Aceto in Andrei Serban’s spectacular classic production. The new production by Principal Guest Artist and Cuban ballet star Carlos Acosta of the classic ballet Don Quixote (Wednesday 16 October) is hotly anticipated and has a new orchestration by conductor Martin Yates. Verdi’s first five-act opera written for the Paris Opéra, Les Vêpres siciliennes (Monday 4 November) is directed by the hugely acclaimed Stefan Herheim who makes his debut at Covent Garden with this monumental work. The star cast includes Olivier Award-winning American tenor Bryan Hymel, Russian soprano Marina Poplavskaya, Uruguayan bass Erwin Schrott and German baritone Michael Volle. It is conducted by Antonio Pappano, Music Director of The Royal Opera. Next up is the ever-popular family Christmas favourite, Tchaikovsky’s The Nutcracker (Thursday 12 December). The beautiful Peter Wright production is classical ballet at its most approachable and visually entrancing with something for everyone to enjoy. Wagner’s Parsifal (Wednesday 18 December) returns to The Royal Opera after a six-year absence in a brand new production by Stephen Langridge. The star-studded cast features Simon O’Neill, René Pape, Gerald Finley, Willard White and Angela Denoke and is conducted by Antonio Pappano. The ballet Giselle, the most famous of the romantic nineteenth century ballets and a signature work in the Company’s repertory follows on Monday 27 January.
    [Show full text]
  • Anathema of Venice: Lorenzo Da Ponte, Mozart's
    Click here for Full Issue of EIR Volume 33, Number 46, November 17, 2006 EIRFeature ANATHEMA OF VENICE Lorenzo Da Ponte: Mozart’s ‘American’ Librettist by Susan W. Bowen and made a revolution in opera, who was kicked out of Venice by the Inquisition because of his ideas, who, emigrating to The Librettist of Venice; The Remarkable America where he introduced the works of Dante Alighieri Life of Lorenzo Da Ponte; Mozart’s Poet, and Italian opera, and found himself among the circles of the Casanova’s Friend, and Italian Opera’s American System thinkers in Philadelphia and New York, Impresario in America was “not political”? It became obvious that the glaring omis- by Rodney Bolt Edinburgh, U.K.: Bloomsbury, 2006 sion in Rodney Bolt’s book is the “American hypothesis.” 428 pages, hardbound, $29.95 Any truly authentic biography of this Classi- cal scholar, arch-enemy of sophistry, and inde- As the 250th anniversary of the birth of Wolfgang Amadeus fatigable promoter of Mozart approached, I was happy to see the appearance of this creativity in science and new biography of Lorenzo Da Ponte, librettist for Mozart’s art, must needs bring to three famous operas against the European oligarchy, Mar- light that truth which riage of Figaro, Don Giovanni, and Cosi fan tutte. The story Venice, even today, of the life of Lorenzo Da Ponte has been entertaining students would wish to suppress: of Italian for two centuries, from his humble roots in the that Lorenzo Da Ponte, Jewish ghetto, beginning in 1749, through his days as a semi- (1749-1838), like Mo- nary student and vice rector and priest, Venetian lover and zart, (1756-91), was a gambler, poet at the Vienna Court of Emperor Joseph II, product of, and also a through his crowning achievement as Mozart’s collaborator champion of the Ameri- in revolutionizing opera; to bookseller, printer, merchant, de- can Revolution and the voted husband, and librettist in London in the 1790s, with Renaissance idea of man stops along the way in Padua, Trieste, Brussels, Holland, Flor- that it represented.
    [Show full text]
  • 02-23-2020 Cosi Fan Tutte Mat.Indd
    WOLFGANG AMADEUS MOZART così fan tutte conductor Opera in two acts Harry Bicket Libretto by Lorenzo Da Ponte production Phelim McDermott Sunday, February 23, 2020 PM set designer 3:00–6:35 Tom Pye costume designer Laura Hopkins lighting designer Paule Constable The production of Così fan tutte was revival stage director made possible by generous gifts from Sara Erde William R. Miller, and John Sucich / Trust of Joseph Padula Additional funding was received from the The Walter and Leonore Annenberg Endowment Fund, and the National Endowment for the Arts Co-production of the Metropolitan Opera and English National Opera In collaboration with Improbable general manager Peter Gelb jeanette lerman-neubauer Sunday matinee performances at the Met are music director Yannick Nézet-Séguin sponsored by the Neubauer Family Foundation 2019–20 SEASON The 202nd Metropolitan Opera performance of WOLFGANG AMADEUS MOZART’S così fan tutte conductor Harry Bicket in order of vocal appearance ferrando skills ensemble Ben Bliss* Leo the Human Gumby Jonathan Nosan guglielmo Ray Valenz Luca Pisaroni Josh Walker Betty Bloomerz don alfonso Anna Venizelos Gerald Finley Zoe Ziegfeld Cristina Pitter fiordiligi Sarah Folkins Nicole Car Sage Sovereign Arthur Lazalde dorabella Radu Spinghel Serena Malfi despina continuo Heidi Stober harpsichord Jonathan C. Kelly cello David Heiss Sunday, February 23, 2020, 3:00–6:35PM RICHARD TERMINE / MET OPERA A scene from Chorus Master Donald Palumbo Mozart’s Così Musical Preparation Joel Revzen, Liora Maurer, fan tutte and Jonathan
    [Show full text]
  • Come Rossini Trasformò Il Liberatore Degli Ebrei in Moïse
    sabato 6 dicembre 2003 21 AUTOGRAFO DI BEETHOVEN VENDUTO PER 1,7 MILIONI DI EURO POVERO URBANI, I CONSIGLIERI DELLA BIENNALE BOCCIANO IL DECRETO AFFOSSA-ENTE Un manoscritto autografo di Ludwig Stefano Miliani van Beethoven - la partitura di 31 pagine dello Scherzo, tratto dal Un chiaro, netto, inconfuntabile e unanime «schiaffo» cinque punti decisivi: la creazione della Consulta (quella indicato dall’attuale maggioranza, boccia il governo su Nel caso il ministro faccia orecchie da mercante? «Ci quartetto di archi dell'Opus 127 (metaforico, s’intende) al progetto governativo di riforma che vuole obbligare l’ente veneziano a decidere insieme tutta la linea. Perché esprimere «perplessità» sui punti muoveremo», risponde Martella. composta nel 1825 - è stato venduto della Biennale di Venezia. Da parte del consiglio d’ammi- ad altre istituzioni come, per esempio, Quadriennale di chiave è un modo educato e formale per dire «no grazie», Oltre ai cinque «no» al decreto, il cda ha deciso di nomi- all'asta da Sotheby's a Londra per nistrazione dell’ente al completo, inclusi gli esponenti che Roma per l’arte e Cinecittà Holding per il cinema; i rispediamo i concetti di fondo del decreto al mittente, nare De Hadeln il 22 dicembre perché il mandato del quasi 1,2 milioni di sterline (1.685 rappresentano la maggioranza. È il segno che le proteste e triumvirati (il collegio di direzione); «la mancanza di perciò dobbiamo parlarne. Urbani, a meno di un’esplici- direttore del settore del cinema scade il 30 e ha sfornato milioni di euro). L’anonimo le mobilitazioni danno i loro frutti.
    [Show full text]