L'italia È Suonata
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Ricordi Storici E Pittorici D'italia Vol
RICORDI STORICI E PITTORICI D'ITALIA VOL. I Ferdinand Gregorovius L’ISOLA D’ELBA I. Nella state il battello a vapore del governo toscano, il Giglio, si reca una volta per settimana nell’isola d’Elba per portarvi la corrispondenza governativa, e passeggieri. Impiega circa cinque ore nel tragitto da Livorno, perchè tocca a Piombino, dove fanno breve fermata. Corre sempre lungo la posta toscana, godendosi la vista dell’ampia e verdeggiante maremma, la quale circoscritta all’orizzonte dai monti sovra cui sorge Volterra, digrada lentamente al mare. Si scorgono torri antiche ad ogni punto di sbarco, piccoli seni, alcune fabbriche e case di campagna, le quali interrompono la monotonia della vasta maremma, popolata di arbusti, e di cespugli di mirto, i quali danno ricovero ad abbondante selvaggina. Ai tempi degli Etruschi sorgevano su questa riviera grandi e popolose città, rinomate per la loro civiltà, da Volterra fin verso Cara e Veia, nella campagna di Roma. Si passa davanti alla antica Cecina, vicino alla costa, dove ancora oggidì trovasi un abitato, il quale ha ritenuto lo stesso nome. Alquanto a mezzogiorno trovavasi l’antica Vetulonia, detta più tardi Populonia, una delle città più possenti dell’Etruria, la quale stendeva la sua signoria sopra tutte le isole del canale toscano. Dessa venne rovinata durante la guerra civile fra Mario e Silla, a tal segno che fin dai tempi di Strabone non rimanevano di essa che un’antica torre, ed alcuni ruderi di tempi, e delle sue mura. Scorgonsi ancora oggidì le sue rovine sur un promontorio di una piccola penisola, la quale si stacca dalla riva, ricoperta da siepi e da cespugli, e fra queste sorge un piccolo forte. -
DISCOVERING LE MARCHE REGION Detailed Itinerary
DISCOVERING LE MARCHE REGION Departure: 16 June - 23 June 2021 (8 days/7 nights) The tour provides an excellent opportunity to experience the life in Italy’s best kept secret tourist destination: Le Marche Region, nestled between the Apennines and the Adriatic Sea. This tour leads you to fascinating hill towns vibrant with daily life surrounded by beautiful countryside. You will leisurely wander through cobbled streets and magnificent town piazze. The relaxed itinerary will allow time to enjoy the life on the Adriatic. The tour starts in Rome. There will be a relaxed walking tour of some of the main sites of Rome followed by an introductory dinner. Then it is off to the City of Pesaro in Le Marche Region, your home for the next 7 nights. From this base, guided day trips are organised to historical towns such as Urbino, Gradara and San Leo. One of the highlights will be a day in the Medieval town of Urbania for a unique cooking demonstration followed by a degustation lunch in an award winning osteria. You will have the possibility to experience the excellent hospitality of this beautiful Region which rivals its neighbours with its abundance of traditional local food and wine. You will enjoy leisurely lunches and special dinners in traditional restaurants and trattorie. This tour gives you the opportunity to enjoy the summer season when the entire Region is alive with music, markets and life. Detailed Itinerary Day 1 Rome (D) Your tour leaders will meet you at the hotel in the centre of Rome at 4.00pm. -
Discovery Marche.Pdf
the MARCHE region Discovering VADEMECUM FOR THE TOURIST OF THE THIRD MILLENNIUM Discovering THE MARCHE REGION MARCHE Italy’s Land of Infinite Discovery the MARCHE region “...For me the Marche is the East, the Orient, the sun that comes at dawn, the light in Urbino in Summer...” Discovering Mario Luzi (Poet, 1914-2005) Overlooking the Adriatic Sea in the centre of Italy, with slightly more than a million and a half inhabitants spread among its five provinces of Ancona, the regional seat, Pesaro and Urbino, Macerata, Fermo and Ascoli Piceno, with just one in four of its municipalities containing more than five thousand residents, the Marche, which has always been Italyʼs “Gateway to the East”, is the countryʼs only region with a plural name. Featuring the mountains of the Apennine chain, which gently slope towards the sea along parallel val- leys, the region is set apart by its rare beauty and noteworthy figures such as Giacomo Leopardi, Raphael, Giovan Battista Pergolesi, Gioachino Rossini, Gaspare Spontini, Father Matteo Ricci and Frederick II, all of whom were born here. This guidebook is meant to acquaint tourists of the third millennium with the most important features of our terri- tory, convincing them to come and visit Marche. Discovering the Marche means taking a path in search of beauty; discovering the Marche means getting to know a land of excellence, close at hand and just waiting to be enjoyed. Discovering the Marche means discovering a region where both culture and the environment are very much a part of the Made in Marche brand. 3 GEOGRAPHY On one side the Apen nines, THE CLIMATE od for beach tourism is July on the other the Adriatic The regionʼs climate is as and August. -
Women Pioneers of American Music Program
Mimi Stillman, Artistic Director Women Pioneers of American Music The Americas Project Top l to r: Marion Bauer, Amy Beach, Ruth Crawford Seeger / Bottom l to r: Jennifer Higdon, Andrea Clearfield Sunday, January 24, 2016 at 3:00pm Field Concert Hall Curtis Institute of Music 1726 Locust Street, Philadelphia Charles Abramovic Mimi Stillman Nathan Vickery Sarah Shafer We are grateful to the William Penn Foundation and the Musical Fund Society of Philadelphia for their support of The Americas Project. ProgramProgram:: WoWoWomenWo men Pioneers of American Music Dolce Suono Ensemble: Sarah Shafer, soprano – Mimi Stillman, flute Nathan Vickery, cello – Charles Abramovic, piano Prelude and Fugue, Op. 43, for Flute and Piano Marion Bauer (1882-1955) Stillman, Abramovic Prelude for Piano in B Minor, Op. 15, No. 5 Marion Bauer Abramovic Two Pieces for Flute, Cello, and Piano, Op. 90 Amy Beach (1867-1944) Pastorale Caprice Stillman, Vickery, Abramovic Songs Jennifer Higdon (1962) Morning opens Breaking Threaded To Home Falling Deeper Shafer, Abramovic Spirit Island: Variations on a Dream for Flute, Cello, and Piano Andrea Clearfield (1960) I – II Stillman, Vickery, Abramovic INTERMISSION Prelude for Piano #6 Ruth Crawford Seeger (1901-1953) Study in Mixed Accents Abramovic Animal Folk Songs for Children Ruth Crawford Seeger Little Bird – Frog He Went A-Courtin' – My Horses Ain't Hungry – I Bought Me a Cat Shafer, Abramovic Romance for Violin and Piano, Op. 23 (arr. Stillman) Amy Beach June, from Four Songs, Op. 53, No. 3, for Voice, Violin, and -
Grand Finals Concert
NATIONAL COUNCIL AUDITIONS grand finals concert conductor Metropolitan Opera Carlo Rizzi National Council Auditions host Grand Finals Concert Anthony Roth Costanzo Sunday, March 31, 2019 3:00 PM guest artist Christian Van Horn Metropolitan Opera Orchestra The Metropolitan Opera National Council is grateful to the Charles H. Dyson Endowment Fund for underwriting the Council’s Auditions Program. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON NATIONAL COUNCIL AUDITIONS grand finals concert conductor Carlo Rizzi host Anthony Roth Costanzo guest artist Christian Van Horn “Dich, teure Halle” from Tannhäuser (Wagner) Meghan Kasanders, Soprano “Fra poco a me ricovero … Tu che a Dio spiegasti l’ali” from Lucia di Lammermoor (Donizetti) Dashuai Chen, Tenor “Oh! quante volte, oh! quante” from I Capuleti e i Montecchi (Bellini) Elena Villalón, Soprano “Kuda, kuda, kuda vy udalilis” (Lenski’s Aria) from Today’s concert is Eugene Onegin (Tchaikovsky) being recorded for Miles Mykkanen, Tenor future broadcast “Addio, addio, o miei sospiri” from Orfeo ed Euridice (Gluck) over many public Michaela Wolz, Mezzo-Soprano radio stations. Please check “Seul sur la terre” from Dom Sébastien (Donizetti) local listings. Piotr Buszewski, Tenor Sunday, March 31, 2019, 3:00PM “Captain Ahab? I must speak with you” from Moby Dick (Jake Heggie) Thomas Glass, Baritone “Don Ottavio, son morta! ... Or sai chi l’onore” from Don Giovanni (Mozart) Alaysha Fox, Soprano “Sorge infausta una procella” from Orlando (Handel) -
The American Opera Series May 16 – November 28, 2015
The American Opera Series May 16 – November 28, 2015 The WFMT Radio Network is proud to make the American Opera Series available to our affiliates. The American Opera Series is designed to complement the Metropolitan Opera Broadcasts, filling in the schedule to complete the year. This year the American Opera Series features great performances by the Lyric Opera of Chicago, LA Opera, San Francisco Opera, Glimmerglass Festival and Opera Southwest. The American Opera Series for 2015 will bring distinction to your station’s schedule, and unmatched enjoyment to your listeners. Highlights of the American Opera Series include: • The American Opera Series celebrates the Fourth of July (which falls on a Saturday) with Lyric Opera of Chicago’s stellar production of George Gershwin’s Porgy and Bess. • LA Opera brings us The Figaro Trilogy, including Mozart’s The Marriage of Figaro, Rossini’s The Barber of Seville, and John Corigliano’s The Ghosts of Versailles. • The world premiere of Marco Tutino’s Two Women (La Ciociara) starring Anna Caterina Antonacci, based on the novel by Alberto Moravia that became a classic film, staged by San Francisco Opera. • Opera Southwest’s notable reconstruction of Franco Faccio’s 1865 opera Amleto (Hamlet), believed lost for over 135 years, in its American premiere. In addition, this season we’re pleased to announce that we are now including multimedia assets for use on your station’s website and publications! You can find the supplemental materials at the following link: American Opera Series Supplemental Materials Please note: If you have trouble accessing the supplemental materials, please send me an email at [email protected] Program Hours* Weeks Code Start Date Lyric Opera of Chicago 3 - 5 9 LOC 5/16/15 LA Opera 2 ½ - 3 ¼ 6 LAO 7/18/15 San Francisco Opera 1 ¾ - 4 ¾ 10 SFO 8/29/15 Glimmerglass Festival 3 - 3 ½ 3 GLI 11/7/15 Opera Southwest Presents: Amleto 3 1 OSW 11/28/15 Los Angeles Opera’s Production of The Ghosts of Versailles Credit: Craig Henry *Please note: all timings are approximate, and actual times will vary. -
Reading and Visionary Literature in Pearl, Piers Plowman, a Revelation of Divine Love, and the Book of Margery Kempe
NECESSARY FICTIONS: READING AND VISIONARY LITERATURE IN PEARL, PIERS PLOWMAN, A REVELATION OF DIVINE LOVE, AND THE BOOK OF MARGERY KEMPE A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Hannah Marie Byland December 2017 © 2017 Hannah Marie Byland NECESSARY FICTIONS: READING AND VISIONARY LITERATURE IN PEARL, PIERS PLOWMAN, A REVELATION OF DIVINE LOVE, AND THE BOOK OF MARGERY KEMPE Hannah Marie Byland, Ph. D. Cornell University 2017 When the Dreamer of Pearl first encounters the Maiden, he attempts to describe a giant pearl affixed to her bosom and finds he can only say, “A manneʒ dom moʒt dryʒly demme / Er mynde moʒt malte in hit mesure. / I hope no tong moʒt endure / No sauerly saghe say of þat syʒt.” Just when he hopes to be able to say something about the Maiden, the Dreamer's language fails him and he has to give an approximation of what he sees. In my dissertation, I explore the outcomes of such failures of language in visionary writing. Instead of dwindling into silence in the face of the ineffable, as one might expect, English visionary writing exploits language’s fecundity. Past work on visionary literature separates so-called mystic visions from what are supposed to be their more poetic counterparts, identifying mystic visions as primarily religious texts and poetic dream visions as primarily literary texts. I argue instead that mystic, what I call “waking,” visions and dream visions are inextricably linked through the way they engage the reader in the work of the vision. -
Can the Undead Speak?: Language Death As a Matter of (Not) Knowing
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 1-12-2017 10:15 AM Can the Undead Speak?: Language Death as a Matter of (Not) Knowing Tyler Nash The University of Western Ontario Supervisor Pero, Allan The University of Western Ontario Graduate Program in Theory and Criticism A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Tyler Nash 2017 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Language Interpretation and Translation Commons Recommended Citation Nash, Tyler, "Can the Undead Speak?: Language Death as a Matter of (Not) Knowing" (2017). Electronic Thesis and Dissertation Repository. 5193. https://ir.lib.uwo.ca/etd/5193 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. CAN THE UNDEAD SPEAK?: LANGUAGE DEATH AS A MATTER OF (NOT) KNOWING ABSTRACT This text studies how language death and metaphor algorithmically collude to propagate our intellectual culture. In describing how language builds upon and ultimately necessitates its own ruins to our frustration and subjugation, I define dead language in general and then, following a reading of Benjamin’s “The Task of the Translator,” explore the instance of indexical translation. Inventing the language in pain, a de-signified or designated language located between the frank and the esoteric language theories in the mediaeval of examples of Dante Alighieri and Hildegaard von Bingen, the text acquires the prime modernist example of dead language appropriation in ἀλήθεια and φύσις from the earlier fascistic works of Martin Heidegger. -
Pittsburgh Symphony Orchestra 2018-2019 Mellon Grand Classics Season March 15 and 17, 2019 JURAJ VALČUHA, CONDUCTOR LUKÁŠ
Pittsburgh Symphony Orchestra 2018-2019 Mellon Grand Classics Season March 15 and 17, 2019 JURAJ VALČUHA, CONDUCTOR LUKÁŠ VONDRÁČEK, PIANO SERGEI RACHMANINOFF Concerto No. 3 in D minor for Piano and Orchestra, Opus 30 I. Allegro ma non tanto II. Intermezzo: Adagio — III. Finale: Alla breve Mr. Vondráček Intermission OTTORINO RESPIGHI The Fountains of Rome I. The Valle Giulia Fountain at Dawn II. The Triton Fountain at Morning III. The Trevi Fountain at Noon IV. The Villa Medici Fountain at Sunset (Played without pause) OTTORINO RESPIGHI The Pines of Rome I. The Pines of the Villa Borghese II. Pines near a Catacomb III. The Pines of the Janiculum IV. The Pines of the Appian Way (Played without pause) March 15-17, 2019, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA SERGEI RACHMANINOFF Concerto No. 3 in D minor for Piano and Orchestra, Op. 30 Sergei Rachmaninoff was born in Oneg (near Novgorod), Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. He composed his Third Piano Concerto in 1909, and it was premiered at Carnegie Hall in New York by the New York Philharmonic with conductor Walter Damrosch and Rachmaninoff as the soloist on November 28, 1909. The Pittsburgh Symphony first performed the concerto at Syria Mosque with conductor Fritz Reiner and Rachmaninoff again as the soloist in January 1941, and most recently performed it with conductor Gianandrea Noseda and pianist Denis Kozhukhin in January 2016. The score calls for pairs of woodwinds, four horns, two trumpets, three trombones, timpani, percussion and strings. -
Il Recupero Dell'antico Nell'opera Di Ottorino
SCUOLA DI DOTTORATO IN STORIA E CRITICA DEI BENI ARTISTICI , MUSICALI E DELLO SPETTACOLO XXII CICLO IL RECUPERO DELL’ANTICO NELL’OPERA DI OTTORINO RESPIGHI E L’ARCHIVIO DOCUMENTARIO ALLA FONDAZIONE “GIORGIO CINI” DI VENEZIA Coordinatore: prof. ALESSANDRO BALLARIN Supervisore: prof. ANTONIO LOVATO Dottoranda: MARTINA BURAN DATA CONSEGNA TESI 30 giugno 2010 2 A Riccardo e Veronica 3 4 INDICE PREMESSA ………………………………………..…………………………..……. p. 9 I. IL FONDO “OTTORINO RESPIGHI ” ………………………………………… » 13 1. Configurazione originaria del fondo ………………………………………… » 14 2. Interventi di riordino …………………………………………………………. » 16 3. Descrizione del contenuto ……………………………………………………. » 20 II. RITRATTO DI OTTORINO RESPIGHI ……………………………..……..... » 31 1. L’infanzia e le prime opere …………………………………………………... » 32 2. I primi passi verso il recupero dell’antico …………………………………… » 35 3. L’incontro con Elsa …………………………………………………………... » 38 4. Le trascrizioni di musiche antiche e Casa Ricordi …………………………... » 40 5. Il “periodo gregoriano” ……………………………………………………... » 42 6. L’incontro con Claudio Guastalla …………………………………………… » 44 7. Le opere ispirate al gregoriano ……………………………………………… » 46 8. La nomina all’Accademia d’Italia e il Manifesto…………………………….. » 48 9. La fiamma e l’elaborazione dell’Orfeo ………………………………………. » 53 10. Lucrezia ……………………………………………………………………... » 58 III. IL CONTESTO ………………………………………..………………...……… » 63 1. Il recupero dell’antico ………………………………………………………... » 63 1.1 La rinascita del gregoriano …………………………………………. » 64 1.2 Angelo De Santi, Giovanni Tebaldini e Lorenzo Perosi ……………. -
Anna Laura Trombetti Budriesi Una Cittá E Il Suo "Re": Storia E Leggenda1 [A Stampa in Bologna Re Enzo E Il Suo Mito, a Cura Di A
Anna Laura Trombetti Budriesi Una cittá e il suo "re": storia e leggenda1 [A stampa in Bologna re Enzo e il suo mito, a cura di A. I. Pini - A. L. Trombetti Budriesi, Deputazione di Storia Patria per le Province di Romagna (Documenti e Studi, vol. XXX), Bologna 2001, pp. 19-48 © dell'autrice - Distribuito in formato digitale da "Reti Medievali"] Dopo aver molto sperato nei mesi o negli anni passati lo dico anch'io che mi sono rassegnato. Il popolo di Bologna al ponte di Sant'Ambrogio non ha avuto solo un altro giorno di gloria ma, eh sì! ha fatto leggenda della storia. Con questa lucida constatazione messa in bocca a Enzo, che vede la propria vicenda umana ormai al termine proiettata in un futuro ove si fondono e si confondono storia e leggenda, Roberto Roversi chiude il poema Enzo Re, importante tappa della moderna mitizzazione, a livello artistico, della figura del Re prigioniero. Nei versi immediatamente precedenti il personaggio della Carestiamorte gli aveva predetto: Un quadro di famiglia all'ultima illustrazione. Poi a voi resterà il fiato grosso giorno per giorno appena sufficiente per l'invecchiamento. Ci sarà ancora qualche piccola soddisfazione forse nel ventre di una donna o in una canzone scritta o nell'ultimo tramonto. Sarà un momento. Ma niente da raccogliere che non sia vento2. Vaticinata condanna senza appello, presagio di giorni uguali con qualche barlume di luce, ma nulla, in fondo3. 1 Con il titolo "Bologna re Enzo e il suo mito" ho ideato e proposto alcuni eventi di carattere storico e artistico ispirati alla figura del re di Sardegna e alla sua prigionia a Bologna, nella storia e nel mito. -
The Role of Music in European Integration Discourses on Intellectual Europe
The Role of Music in European Integration Discourses on Intellectual Europe ALLEA ALLEuropean A cademies Published on behalf of ALLEA Series Editor: Günter Stock, President of ALLEA Volume 2 The Role of Music in European Integration Conciliating Eurocentrism and Multiculturalism Edited by Albrecht Riethmüller ISBN 978-3-11-047752-8 e-ISBN (PDF) 978-3-11-047959-1 e-ISBN (EPUB) 978-3-11-047755-9 ISSN 2364-1398 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover: www.tagul.com Typesetting: Konvertus, Haarlem Printing: CPI books GmbH, Leck ♾ Printed on acid free paper Printed in Germany www.degruyter.com Foreword by the Series Editor There is a debate on the future of Europe that is currently in progress, and with it comes a perceived scepticism and lack of commitment towards the idea of European integration that increasingly manifests itself in politics, the media, culture and society. The question, however, remains as to what extent this report- ed scepticism truly reflects people’s opinions and feelings about Europe. We all consider it normal to cross borders within Europe, often while using the same money, as well as to take part in exchange programmes, invest in enterprises across Europe and appeal to European institutions if national regulations, for example, do not meet our expectations.