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Damiani Davide
René MASSIS Agent artistique +33 6 80 57 94 62 +49 160 93835013 [email protected] 132 Boulevard Pereire 75017 Paris - France www.amo-massis.com Davide DAMIANI Baritone Italian baritone Davide Damiani studied voice, double bass, composition and orchestral conducting in Pesaro, Parma and Bologna. In 1992, he was assistant to Chief conductor Gustav Kuhn in Macerata, which earned him engagements in Italy and Europe. He made his debut as a baritone in a production of Don Giovanni in Tel Aviv. As a member of the Vienna Staatsoper company from 1995 to 1999, he performed in Madama Butterfly, Le Nozze di Figaro, L’Elisir d’Amore, Giordano’s Fedora with Placido Domingo and José Cura, Enescu’s Oedipe (recorded on CD) and Verdi’s Jerusalem with José Carreras conducted by Zubin Mehta (and broadcast on television). He has performed in Naples in L’Elisir d’Amore with Luciano Pavarotti ; in Turin, Cardiff, Palm Beach, Toronto and Verona in Don Giovanni ; in Palermo in Manon Lescaut ; in Genoa and Florence in The Rape of Lucretia ; in Ravenna, Catania and Modena in The Rake’s Progress ; in St. Gallen in Don Giovanni, L’Elisir d’Amore, Ariadne auf Naxos ; in Tokyo in Madama Butterfly and La Traviata ; in Tel- Aviv in Lucia di Lammermoor ; in Düsseldorf in Le Nozze di Figaro and Don Giovanni ; in Berlin and Bergamo in La Bohème ; in Cagliari in Granados’ Goyescas (recorded on CD) ; in Bologna in Fabio Vacchi’s Les oiseaux de passage and in Guido Turchi’s Exil ; in Bari in Piccinni’s Didon (recorded on CD) ; in Basel in Falstaff ; in Wexford in Mercadante’s Il Giuramento (recorded on CD) and in Rigoletto. -
Milan and Seregno
MILAN AND SEREGNO LIDA EMILIANA MELETAKI VICTORIA MILIARAKI NIKOLETA XENAKI C’3 MILAN Milan is the capital of Lombardy and the second most populous city in Italy after Rome. It is located in the north- western section of the Po Valley, approximately halfway between the river Po to the south and the foothills of the Alps with the great lakes (Lake Como, Lake Maggiore, Lake Lugano) to the north, the Ticino river to the west and the Adda to the east. MUSEUMS Some of the most popular museums are: • Pinacoteca di Brera • The Last Supper • Fondazione Prada • Museo del Novecento • Mudec • Museo Civico di Storia Naturale di Milano • Museo Poldi Pezzoli • Villa Necchi Campiglio PINACOTECA DI BRERA FONDAZIONE PRADA MONUMENTS/LANDMARKS Santa Maria delle Grazie This church was built between 1466 and 1490 by Giuniforte Solari and later partly modified by Bramante who re- designed the apse, the Tribuna, the Cloister and the Old Sacristy. In the Refectory there is one of the most famous paintings of Leonardo da Vinci: the “Last Supper”. The works of the fresco started in 1495 and finished in 1498. Monumental Cemetery Carlo Maciachini built the Monumental Cemetery between 1863 and 1866 at Porta Volta. Villa Reale (Royal Villa) One of the most important Milanese neo- classical buildings, the Royal Villa, was built in 1790 by Leopoldo Pollak. It has been the residence of Napolen and Josephine and also of Eugene Beauharnais and the General Radetzky. Pilasters and columns decorate all the building that is surrounded by an English- style garden. The insides are finely decorated with candelabras, sculptures, frescoes and other decorations typical of Lombard neo- classicism. -
Ihre Lottocard, Ihr Vorteil Beim Rheingau Musik Festival!
Rheingau Musik Festival Divertimento 2019 Das Magazin des Rheingau Musik Festivals 2/2019 Gesamtprogramm vom 22.6. bis 31.8.2019 Christiane Karg Fokus-Künstlerin Courage Leitgedanke 2019 2/2019 · www.rheingau-musik-festival.de · 2/2019 Hauptsponsor 2019043912_Helaba Motiv SI Klavier 210x210mm Anzeige fuer Divertimento_39L Wir unterstützen ein herausragendes Musikerlebnis. Über 170 Konzerte vor malerischer Kulisse: Als engagierter Förderer der Kultur freuen wir uns ganz besonders auf das Rheingau Musik Festival. Über die Jahre ist es zu einem faszinierenden Anziehungspunkt für Musik- begeisterte aus aller Welt geworden – mit Stars der internationalen Klassikszene und interessanten Nachwuchs- künstlern. Wir wünschen unvergessliche Konzerterlebnisse auf einem der größten Musikfestivals Europas. Werte, die bewegen. 2019043912_Helaba Motiv SI Klavier 210x210mm Anzeige fuer Divertimento_39L.indd 1 24.04.19 14:12 verschiedenen Seiten und greifen Projekte Wir hoffen, Ihnen mit diesem Festivalmagazin heraus, die vielleicht nicht auf den ersten Blick Lust auf viele musikalische Erlebnisse machen herausstechen: Es sind Konzerte, die uns zu können. Für Konzerte aller Genres sind besonders am Herzen liegen und die wir Ihnen nach wie vor Karten verfügbar, sodass Sie Ihren hiermit näherbringen möchten. persönlichen Festivalsommer zusammen- stellen können. Wir laden Sie ein, gemeinsam Um unseren Leitgedanken „Courage“ kreisen mit uns vertrautes Terrain und musikalisches zahlreiche Konzertprojekte mit Künstlern wie Neuland zu erkunden. Werfen Sie einen fri- Danae Dörken, Saleem Ashkar, Fazıl Say und schen Blick auf unser Programm und lassen Martin Grubinger. Hinzu kommen Ensembles Sie sich inspirieren! wie das Bochabela String Orchestra, das Galilee Chamber Orchestra und das Aurora Viel Freude bei der Lektüre wünscht Ihnen Orchestra, die eine Brücke zwischen Kunst und Gesellschaft schlagen. -
Prime Esecuzioni Assolute Per I Festeggiamenti Dei 150 Anni Dell
Milano Teatro Dal Verme Prime esecuzioni assolute Conservatorio Giuseppe Verdi per i festeggiamenti dei Auditorium Fondazione 150 anni dell’Unità d’Italia Cariplo Lunedì 5, sabato 10 Vacchi e lunedì 12.IX.11 Andriessen ore 21 Franceschini Birtwistle Wenjing Sciarrino Fedele Pärt Antonioni Daugherty Hosokawa Dusapin 4° Nieder Torino Milano Festival Internazionale della Musica 03_22 settembre 2011 Quinta edizione Tredici compositori per i 150 anni dell’Unità d’Italia Grazie alla musica e alle arti l’Italia era un grande paese già alcuni secoli prima del compimento dell’unità politica della quale ricorre quest’anno il centocinquantesimo anniversario. L’edizione 2011 del festival MITO SettembreMusica contiene e importanti riferimenti ai compositori che hanno creato nel passato la nostra inconfondibile identità musicale ma è naturale rivolgere un’attenzione speciale alla creatività che accompagna e spesso anticipa il battito del presente. Con questo scopo il nostro festival, grazie al fondamentale aiuto di Esperienza Italia, ha commissionato ad alcuni dei maggiori compositori del nostro tempo dei nuovi lavori. Gli autori delle nuove musiche sono: l’olandese Louis Andriessen, l’inglese Harrison Birtwistle, l’americano Michael Daugherty, l’estone Arvo Pärt, il francese Pascal Dusapin, il cinese Guo Wenjing, il giapponese Toshio Hosokawa, gli italiani Salvatore Sciarrino, Fabio Vacchi, Ivan Fedele, Fabio Nieder, Francesco Antonioni e Matteo Franceschini. Li ringrazio profondamente a nome mio e delle città di Torino e Milano per avere con le loro opere contribuito a celebrare la grande storia musicale del nostro paese nel centocinquantesimo anniversario della sua unità. Enzo Restagno 2 Lunedì 5 settembre ore 21 Teatro Dal Verme Fabio Vacchi (Bologna 1949) Notte italiana per ensemble 22 min. -
Szcenárium Art Journal of the National Theatre MITEM English, April 2019
szcenárium Art Journal of the National Theatre MITEM English, April 2019 Zsolt Szász: In the Workshop of Director Attila Vidnyánszky Madách Redivivus – Articles on The Tragedy of Man by Géza Balogh, Ildikó Sirató, Nina Király, Miklós Hubay, Ágnes Pálfi Eszter Katona: Federico García Lorca’s Reception in Hungary Márton P. Gulyás: New Mediality in Woyzeck at the National Theatre in Budapest Valdas Vasiliauskas about Eimuntas Nekrošius and Lithuania’s Youth Theatre “We Understand Our Culture Better Through the Other’s” – Interview with Nina Király AUTHORS Aurylaitė, Kristina (1970) translator, Vytautas Magnus University Balogh, Géza (1936) stage director, theatre historian, board member of UNIMA Durkóné Varga, Nóra (1965) translator, English teacher Hubay, Miklós (1918–2011) playwright, translator, dramaturg Katona, Eszter (1976) reader at Department of Hispanic Studies, University of Szeged Király, Nina (1940–2018) theatre historian, co-worker at the National Theatre in Budapest P. Gulyás, Márton (1980) film aesthete Pálfi, Ágnes (1952) poet, editor of Szcenárium Pinczés, István (1953) stage director, translator Sirató, Ildikó (1966) head of Theatre History Collection at National Széchényi Library, reader at Pannon University Szász, Zsolt (1959) puppeteer, dramaturg, stage director, managing editor of Szcenárium Vasiliauskas, Valdas (1951) theatre critic, editor, politician Vértes, László (1966) translator, interpreter Vidnyánszky, Attila (1964) stage director, general manager of the National Theatre in Budapest Támogatók PUBLISHER -
Ballet Nice Méditerranée En Sol La Sylphide
14 SAISON 15 JOURNAL DE L’OPÉRA NICE CÔTE D’AZUR N° 33 > AVRIL • MAI • JUIN 2015 BALLET NICE MÉDITERRANÉE EN SOL JEROME ROBBINS LA SYLPHIDE CHORÉGRAPHIE AUGUSTE BOURNONVILLE VERSION DE DINNA BJØRN > OPÉRA LA JUIVE HALÉVY > CONCERT MAHLER SCHOENBERG, BEETHOVEN SCHUMANN, BRAHMS BARTÓK, BOULEZ, SCHOENBERG, DEBUSSY > JEUNE PUBLIC AGÔN SOMMAIRE 4 OPÉRAS LA JUIVE a saison de l’Opéra Nice Côte d’Azur 2014-2015 en cours nous CRISTINA PASAROIU a déjà valu de grands moments comme les représentations de LUCA LOMBARDO « Turandot » ou « Peter Grimes », la performance de Barbara Hen- JEAN-LUC BALLESTRA dricks pour l’ouverture de la saison symphonique et celle de l’illus - tre pianiste Nelson Freire, ou encore l’interprétation intégrale des symphonies de Brahms sous la direction de notre chef d’orchestre 12 CONCERTS Philippe Auguin. A cela s’ajoute le succès jamais démenti des AVRIL « concerts en famille » du dimanche matin où les parents peuvent PETER MATTEI amener gratuitement leurs enfants. Parmi les grands moments, on AVRIL aura garde d’oublier les spectacles donnés par notre Ballet Nice SUNNYI MELLES Méditerranée, dirigé par le célèbre danseur étoile Éric Vu-An, qui MAI nous ont permis d’applaudir au moment des fêtes de Noël, en tant KRYSTIAN ZIMERMAN que chorégraphe, cette autorité du monde de la danse qu’est JUIN Claude Bessy. Sa présence et le spectacle qu’elle nous a pré- HOMMAGE À PIERRE BOULEZ senté, reprenant une chorégraphie de Gene Kelly, furent, oui, un MICHAEL BARENBOIM vrai cadeau de Noël ! CONCERTS EN FAMILLE MUSIQUE DE CHAMBRE Dans -
56 Stories Desire for Freedom and the Uncommon Courage with Which They Tried to Attain It in 56 Stories 1956
For those who bore witness to the 1956 Hungarian Revolution, it had a significant and lasting influence on their lives. The stories in this book tell of their universal 56 Stories desire for freedom and the uncommon courage with which they tried to attain it in 56 Stories 1956. Fifty years after the Revolution, the Hungar- ian American Coalition and Lauer Learning 56 Stories collected these inspiring memoirs from 1956 participants through the Freedom- Fighter56.com oral history website. The eyewitness accounts of this amazing mod- Edith K. Lauer ern-day David vs. Goliath struggle provide Edith Lauer serves as Chair Emerita of the Hun- a special Hungarian-American perspective garian American Coalition, the organization she and pass on the very spirit of the Revolu- helped found in 1991. She led the Coalition’s “56 Stories” is a fascinating collection of testimonies of heroism, efforts to promote NATO expansion, and has incredible courage and sacrifice made by Hungarians who later tion of 1956 to future generations. been a strong advocate for maintaining Hun- became Americans. On the 50th anniversary we must remem- “56 Stories” contains 56 personal testimo- garian education and culture as well as the hu- ber the historical significance of the 1956 Revolution that ex- nials from ’56-ers, nine stories from rela- man rights of 2.5 million Hungarians who live posed the brutality and inhumanity of the Soviets, and led, in due tives of ’56-ers, and a collection of archival in historic national communities in countries course, to freedom for Hungary and an untold number of others. -
Budapest Guide English.Pdf
Contents 5 Handy information 5 City transport 11 Museums, Churches 14 14 Cultural Avenue 22 Sights, Sightseeing 26 11 Antiques road show 36 42 26 Music, Theatres, Events 38 Beyond Budapest 40 Medicinal baths, Caves 42 40 Leisure 44 Shopping 47 38 Restaurants, Entertainment 49 44 Maps 6, 24–25, 51, 55 Legend « Tram ó Opening hours 6, 24–25, 51, 55 « Suburban railway % Admission ç Bus é Budapest Card è Castle bus accepted 49 ë Publisher: Tourism Office of Budapest Trolleybus A1 Map coordinate the official tourism marketing organization of Budapest Publication manager: László Paszternák 1 Metro 1 1 Site of museum © All rights reserved G Edited by Turizmus Kft. · Editor: Brigitta Vajk · Design: András Nász 2 Metro 2 on map 3 Metro 3 G1 Site of bath, Translation: CHFI Bt. Cover: Future Card Stúdió · Maps: TOPOGRÁF Photos: Tourist Office of Budapest photo archives ≥ Phone number cave on map The publisher does not accept responsibility for damages arising from any changes in information contained in this publication. ¥ Fax [1] Photo Publication closed: November 2005 Printing: PAUKER Printing House Co. www.budapestinfo.hu 3 Dear Readers I would like to welcome you to Budapest, a city which not only greets its guests with a rich history and unique cultural heritage, but also where we, the residents, can witness day by day its resurgence. That tourism is one of the most important economic branches of Budapest is evident in the rise in the number of tourists visiting the capital, and the growth of the quantity and quality of tourism services. Year on year several new hotels spring up in Budapest, numerous old buildings are reconstructed, and new cultural and tourism establishments are born. -
Barbora Kohoutková
BARBORA KOHOUTKOVÁ Barbora Kohoutková started ballet training at a very early age. She was chosen at the age of 4 by a pre-ballet school of the National Theater in Prague and got accepted to the Prague Dance Conservatory when she was 10 years old. Barbora started her professional career at the age of 17 in Helsinki as a Principal Dancer with the Finnish National Ballet (1996-2002). Before becoming a guest principal dancer she worked with the Bavarian State Ballet – Munich (2002-2003), Boston Ballet (2003-2004) and Hamburg Ballet-John Neumeier (2004-2008). In her career she has danced the most important roles of almost the entire classical repertoire in its original form and in productions by Ben Stevenson, Natalia Makarova, Rudolf Nureyev, Vladimir Bourmeister, Sylvie Guillem, Wayne Eagling, Toer van Schayk, Bruce Marks, Frederick Ashton, Mikhail Fokine… Besides the classical repertoire she also performed in choreographies by George Balanchine, Jiri Kylian, John Cranko, John Neumeier, Jorma Uotinen, Sir Kenneth MacMillan, Heinz Spoerli, Mark Morris… As a guest artist she has been performing in Essen, Helsinki, Milano, Moscow, Munich, Prague, Rome, St. Petersburg, Tokyo (World Ballet Festival 2002 and 2004), … Sadly, due to injuries, she had to cut short her beautiful career at the early age of 28. After having undergone multiple surgeries and stoically enduring much physical suffering, Barbora had to retire from the stage and began a rewarding career as a Ballet Master and teacher, occasionally still performing as a guest Principal. During the season 2009- 2010 she worked as Ballet Master at the National Theater in Prague. -
New National Theatre, Tokyo 2019/2020 Season
PRESS RELEASE (FEB 2019) NEW NATIONAL THEATRE, TOKYO NEW NATIONAL THEATRE, TOKYO 2019/2020 SEASON BALLET & DANCE THE NATIONAL BALLET OF JAPAN New National Theatre, Tokyo (NNTT) announced the 2019/2020 Ballet & Dance Season, the final season under the Artistic Director, Noriko OHARA, which features 38 performances of 6 ballet works including 5 full-length narrative ballet, and 11 performances of 3 dance pieces. The Final Season for Noriko OHARA as Artistic Director of Ballet and Dance at the New National Theatre, Tokyo Noriko OHARA became the Ballet Mistress of the company in 1999, Assistant Director in 2010 before assumed office as the Artistic Director in September 2014. During these 20 years ever since the company was founded, she has nurtured and led the dancers for The National Ballet of Japan to become the leading company in Japan. This season's line-up sums up this company's best works thus far. The season will open in October with Kenneth MACMILLAN's "Romeo and Juliet", an exemplar of the dramatic ballet tradition. This will be followed by "Manon" in February and March. Both works will showcase the company's expressive richness and depth. Christmas season will feature Wayne EAGLING's "The Nutcracker and the Mouse King". Technically a very demanding piece, this dreamy fairy tale has real visual appeal which audiences of all ages will enjoy. Then, our "New Year Ballet" will feature what has been called "music for the eyes" in the form of George BALANCHINE's "Serenade", as well as pas de deux from "Raymonda" and "Le Corsaire". -
Theater Und Philharmonie Essen Gmbh T 02 01 81 22-200 F 02 01 81 22-201
Junge Menschen brauchen Die wichtigsten Daten zum Kartenkauf Kultur. Egal, wie reich ihre Eltern sind. TicketCenter der Theater und Philharmonie Essen GmbH T 02 01 81 22-200 F 02 01 81 22-201 www.philharmonie-essen.de Deshalb sorgt Evonik in Essen dafür, dass Kinder und Jugendliche aus allen Schichten Zugang zu Theater und Philharmonie bekommen. So leisten wir einen wichtigen Beitrag zum Zusammenhalt in unserer Stadt. Und das von Herzen gern. www.evonik.de 2020 | Philharmonie Essen | Huyssenallee 53 | 45128 Essen 2019 Philharmonie Essen PHILHARMONIE ESSEN 2019 | 2020 INHALT Grußwort des Intendanten Die Abonnements Die Konzerte Haus & Service Hein Mulders 2 1 Sinfonische Höhepunkte 42 Das gesamte Programm in Das Team der Theater und 2 Große Orchester 44 chronologischer Reihenfolge 72 Philharmonie Essen 226 Unsere Partner 4 3 Große Chorwerke 46 Impressum/Bildnachweis 227 4 Große Stimmen 48 Philharmonie entdecken Kartenverkauf 230 Themenreihen 5 Lied 50 Education in der Philharmonie Wissenswertes 1 In Residence: 6 Piano Recital 52 – generationenübergreifend 210 zum Konzertbesuch 232 Ivor Bolton 6 7 Kammermusik 54 Allgemeine Geschäfts- 2 Beethoven-Jahr 8 8 Alte Musik bei Konzerte unserer Partner bedingungen der TUP 234 3 Künstlerporträt: Kerzenschein 56 Klavier-Festival Ruhr 2019 214 Saalpläne 236 Isabelle Faust 12 9 Sonntagsabonnement Pro Arte Konzerte 215 Abonnement-Bedingungen 238 4 Bruckner Sinfonien 13 Meisterwerke 58 Einzelkonzerte weiterer 5 Kunst5 10 Sonntagsmatinee Veranstalter 216 Konzertkalender „Unendliche Geschichten“ – Philharmonie Debüt 60 Die gesamte Spielzeit Die TUP-Festtage 2020 14 11 Orgel 62 Die Philharmonie als auf einen Blick 239 6 NOW! Transit 18 12 Jazz 64 Veranstaltungszentrum: Miteinander ist einfach. -
Words Into Movement: the Ballet As Intersemiotic Translation Karen
Words into Movement: The Ballet as Intersemiotic Translation 1 Karen Bennett Centre for Comparative Studies University of Lisbon In 1959, Roman Jakobson, in his famous article “On Linguistic Aspects of Translation”, extended the concept of translation from the merely verbal to include transfer between different sign systems. On the basis of this, most ballets, which generally derive their aesthetic structure and narrative content from some preceding text, may legitimately be considered as examples of intersemiotic translation. Indeed, many classical ballets are based upon not one but two prior texts - a musical score, which largely determines the form and emotional thrust of the choreography, 1 and a canonical or popular work of literature of which the score is itself a ‘translation’; hence there is a dual transfer involved. This is the case in the three versions of Romeo and Juliet that I wish to look at here, all of which are simultaneously based upon Prokofiev’s score and Shakespeare’s play. If we define ballet as translation into kinesthetic/visual medium of a work previously encoded in verbal or musical form, then the tools used in the discipline of Translation Study may be validly applied to these works. The objective of this paper, therefore, is to examine some of the constraints operating upon three different ballet versions of Romeo and Juliet, produced at different moments during the twentieth century, which I will do so with reference to the categories suggested by André Lefevere in his 1985 article “Why Waste our Time on Rewrites?” These are, in his order, 1 Published in Teatro e Tradução: Palcos de Encontro, Maria João Brilhante & Manuela Carvalho (Eds) Lisbon: Colibri, 2007 (pp.125-138).