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'Truth': Representations of Intercultural 'Translations'
eScholarship California Italian Studies Title Sleights of Hand: Black Skin and Curzio Malaparte's La pelle Permalink https://escholarship.org/uc/item/0xr9d2gm Journal California Italian Studies, 3(1) Author Escolar, Marisa Publication Date 2012 DOI 10.5070/C331012084 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Sleights of Hand: Black Fingers and Curzio Malaparte’s La pelle Marisa Escolar La pelle [1949], written towards the end of Curzio Malaparte’s rather colorful political career,1 has long been used as a litmus test for its author, helping critics confirm their belief in a range of divergent and often contradictory interpretations. At one end of the spectrum is the view that he was an unscrupulous “chameleon” who distorted the reality of the Allies’ Liberation of Italy to suit his own interests.2 At the other is the claim that he was a true artist whose representations of the horrors of war absorb historical details into what is a consummately literary work.3 In other words, La pelle has been read either as a vulgar deformation or a poetic transcendence of the historical moment it purports to represent.4 And yet Malaparte’s narrative of the myriad social transformations following the Armistice actually combines concrete historical events (the Allies’ arrival in Naples and in Rome, the eruption of Vesuvius on March 22, 1944, and the battle of 1 Malaparte, born Kurt Erich Suckert, joined the Partito Nazionale Fascista in September 1922 and resigned in January, 1931 just before moving to France. Upon his return to Italy in October 1931, he was expelled from the party (despite having already left it) and sentenced to political exile on Lipari for five years of which he served less than two (Martellini Opere scelte xcii-xciv). -
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 -
Atti Parlamentari
Senato della Repubblica – 1121 – Camera dei deputati XVII LEGISLATURA — DISEGNI DI LEGGE E RELAZIONI — DOCUMENTI — DOC. XV N. 562 VOL. II TEATRO:tìr REGIO TORINO RELAZIONE SULLA GESTIONE 5 Senato della Repubblica – 1122 – Camera dei deputati XVII LEGISLATURA — DISEGNI DI LEGGE E RELAZIONI — DOCUMENTI — DOC. XV N. 562 VOL. II TEATRO'J/fìr REGIO TORINO 6 Senato della Repubblica – 1123 – Camera dei deputati XVII LEGISLATURA — DISEGNI DI LEGGE E RELAZIONI — DOCUMENTI — DOC. XV N. 562 VOL. II TEATRO~r REGIO TORINO FONDAZIONE TEATRO REGIO DI TORINO. Sede in Torino – Piazza Castello, 215 ISCRIZIONE R.E.A. DI TORINO n. 928405 Codice Fiscale n. 00505900019 □ □ □ BILANCIO AL 31 DICEMBRE 2015 RELAZIONE SULLA GESTIONE INTRODUZIONE ll Bilancio consuntivo 2015 che la Sovrintendenza presenta al parere dell’Assemblea dei Fondatori e all’approvazione del Consiglio di Indirizzo si riferisce al sedicesimo esercizio di gestione della Fondazione e presenta quale risultato di esercizio un utile pari a Euro 2.295. A tale risultato si è pervenuti dopo aver imputato a conto economico imposte dell’esercizio per Euro 124.355 e dopo aver calcolato ammortamenti e svalutazioni per Euro 2.324.596. Gli obiettivi che la Fondazione ha perseguito con la gestione dell’esercizio 2015 sono, oltre a quelli indicati nello Statuto e nelle norme vigenti, quelli approvati dal Consiglio d’Indirizzo di concerto con l’assemblea dei Soci Fondatori e riassunti quantitativamente nel conto economico preventivo 2015. L’attività del 2015 si è concretizzata attraverso la produzione e la distribuzione di spettacoli nella sede principale, con il cartellone della Stagione d’Opera e dei Concerti al Teatro Regio, la rassegna The Best of Italian Opera programmata in concomitanza con l’Expo 2015, l’attività al Piccolo Regio. -
Alan Lomax: Selected Writings 1934-1997
ALAN LOMAX ALAN LOMAX SELECTED WRITINGS 1934–1997 Edited by Ronald D.Cohen With Introductory Essays by Gage Averill, Matthew Barton, Ronald D.Cohen, Ed Kahn, and Andrew L.Kaye ROUTLEDGE NEW YORK • LONDON Published in 2003 by Routledge 29 West 35th Street New York, NY 10001 www.routledge-ny.com Published in Great Britain by Routledge 11 New Fetter Lane London EC4P 4EE www.routledge.co.uk Routledge is an imprint of the Taylor & Francis Group. This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” All writings and photographs by Alan Lomax are copyright © 2003 by Alan Lomax estate. The material on “Sources and Permissions” on pp. 350–51 constitutes a continuation of this copyright page. All of the writings by Alan Lomax in this book are reprinted as they originally appeared, without emendation, except for small changes to regularize spelling. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Lomax, Alan, 1915–2002 [Selections] Alan Lomax : selected writings, 1934–1997 /edited by Ronald D.Cohen; with introductory essays by Gage Averill, Matthew Barton, Ronald D.Cohen, Ed Kahn, and Andrew Kaye. -
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. -
Fondazione Teatro Regio Di Torino Bilancio Di Esercizio
FONDAZIONE TEATRO REGIO DI TORINO BILANCIO DI ESERCIZIO 2015 1 2 FONDAZIONE TEATRO REGIO DI TORINO Consiglio d’Indirizzo in carica dal 12 settembre 2014 Piero Fassino Presidente Paolo Cantarella Consigliere Angelica Corporandi D’Auvare Musy Consigliere Filippo Fonsatti Consigliere Cristina Giovando Consigliere Gianbattista Quirico Consigliere Vittorio Sabadin Consigliere Sovrintendente Walter Vergnano Collegio dei Revisori in carica dal 28 novembre 2014 Eugenio Schlitzer Presidente Carlo Messina Revisore Massimo Segre Revisore Revisore legale dei conti Pitagora Revisione S.r.l. 3 4 RELAZIONE SULLA GESTIONE 5 6 FONDAZIONE TEATRO REGIO DI TORINO. Sede in Torino – Piazza Castello, 215 ISCRIZIONE R.E.A. DI TORINO n. 928405 Codice Fiscale n. 00505900019 □ □ □ BILANCIO AL 31 DICEMBRE 2015 RELAZIONE SULLA GESTIONE INTRODUZIONE ll Bilancio consuntivo 2015 che la Sovrintendenza presenta al parere dell’Assemblea dei Fondatori e all’approvazione del Consiglio di Indirizzo si riferisce al sedicesimo esercizio di gestione della Fondazione e presenta quale risultato di esercizio un utile pari a Euro 2.295. A tale risultato si è pervenuti dopo aver imputato a conto economico imposte dell’esercizio per Euro 124.355 e dopo aver calcolato ammortamenti e svalutazioni per Euro 2.324.596. Gli obiettivi che la Fondazione ha perseguito con la gestione dell’esercizio 2015 sono, oltre a quelli indicati nello Statuto e nelle norme vigenti, quelli approvati dal Consiglio d’Indirizzo di concerto con l’assemblea dei Soci Fondatori e riassunti quantitativamente nel conto economico preventivo 2015. L’attività del 2015 si è concretizzata attraverso la produzione e la distribuzione di spettacoli nella sede principale, con il cartellone della Stagione d’Opera e dei Concerti al Teatro Regio, la rassegna The Best of Italian Opera programmata in concomitanza con l’Expo 2015, l’attività al Piccolo Regio. -
LES BRAISES De MARCO TUTINO
présente LES BRAISES de MARCO TUTINO MARCO TUTINO: LES BRAISES (LE BRACI) La production du THÉÂTRE NATIONAL DE SZEGED (Hongrie), d’après le roman de Sándor MÁRAI RÉSUMÉ À l’aube de la deuxième guerre mondiale, dans un château de la campagne hongroise, Henri, un général de l'armée impériale à la retraite, attend la venue de Conrad, son ami de jeunesse et condisciple de l'école militaire. Cela fait 41 ans exactement qu'ils se sont perdus de vue, depuis cette partie de chasse au cours de laquelle Conrad a pointé son fusil vers Henri, avant de disparaître le lendemain, sans aucune explication. À la suite de la chasse, Henri a découvert que sa femme, Christine et Conrad avaient une affaire. Il a tout de suite décidé de se séparer de Christine, et de ne plus jamais lui parler – même quand elle était gravement malade ou avant sa mort. Dès lors, il a vécu comme un ermite, d’une façon totalement solitaire, n’attendant que le retour incertain de Conrad pour qu’il puisse de lui poser les questions les plus brûlantes de sa vie. À travers la dramatique confrontation de deux hommes devant le tableau d’une empire austro- hongorise agonisante, Les Braises évoque une amitié perdue dans un monde finissant, l’inéluctable avancée du temps où les sentiments les plus violents couvent sous les cendres du passé. Sándor Márai – sur le roman de qui l’opéra de Tutino est basé – est l’un des auteurs hongrois les plus connus au monde. SÁNDOR MÁRAI: LES BRAISES – LE ROMAN « Elegiac, sombre, musical, and gripping, Embers is a brilliant disquisition on friendship, one of the most ambitious in literature… It’s about a milieu and values that were already dying before the outbreak of World War II. -
Rosetta Cucchi
1 ARTISTIC BIO ROSETTA CUCCHI STAGE DIRECTOR and PIANIST Address: Viale Vittoria 161 – 61121 pesaro - ITALY Mail [email protected] [email protected] Website: www.rosettacucchi.com Mob: +39 3357079196 Rosetta Cucchi studied at the ‘G. Rossini’ Conservatoire in Pesaro and DAMS (Disciplina Arte Musica e Spettacolo) University in Bologna. She graduated in Piano and Music History. Master degree at Scuola di Alto Perfezionamento pianistico di Imola. The winner of numerous piano competitions in Italy and abroad, she worked with the RAI Symphony Orchestra in Rome as a pianist and became involved in several RAI opera productions. Her career as pianist of singers like Mariella Devia or Sonia Ganassi or Juan Diego Florez has taken her for recitals to major venues such as La Scala in Milan, Santa Cecilia in Rome, Teatro Real in Madrid and the Japan Opera Foundation in Tokyo and others. Early on she took up a parallel career as director, debuting with Gardel’s IL PASSO DELL’ANIMA at Teatro Bellini in Catania and a successful production of LA SCALA DI SETA by Rossini in Teatro La Maestranza of Siviglia. Known both as inventive producer and as piano player, Rosetta Cucchi has established herself as one of the most innovative Italian opera directors of his generation. Reviewing her staging in 2004 of a unknown Opera by Walter Braunfels PRINZESSIN BRAMBILLA in Wexford Opera Festival Ireland, George Hall from Opera News has written “…The most successful of the three Wexford stagings this year was the work of Rosetta Cucchi, best known hitherto as a pianist and coach but beginning to make her way as a director. -
Two Women Is a 1960 Italian Film Directed by Vittorio De Sica. It Tells the Story of a Woman Trying to Protect Her Young Daughter from the Horrors of War
La Ciociara (1960) Two Women is a 1960 Italian film directed by Vittorio De Sica. It tells the story of a woman trying to protect her young daughter from the horrors of war. The film stars Sophia Loren, Jean- Paul Belmondo, Raf Vallone, Eleonora Brown, Carlo Ninchi, and Andrea Checchi. The film was adapted by De Sica and Cesare Zavattini from the novel of the same name written by Alberto Moravia. The story is fictional, but based on actual events of 1944 in Rome and rural Lazio, during what Italians call the Marocchinate. Loren’s performance received critical acclaim, winning her the Academy Award for Best Actress. Plot Cesira is a widowed shopkeeper, raising her devoutly religious twelve-year-old daughter, Rosetta, in Rome during World War II. In July 1943, following the Allied bombing of Rome, mother and daughter flee to Cesira’s native Ciociaria, a rural, mountainous province of central Italy. The night before they go, Cesira sleeps with Giovanni, a coal dealer in her neighbourhood, who agrees to look after her store in her absence. After they arrive at Ciociaria, Cesira attracts the attention of Michele, a young local intellectual with communist sympathies. Rosetta sees Michele as a father figure and develops a strong bond with him. Michele is later taken prisoner by German soldiers, who force him to act as a guide through the mountainous terrain. After the Allies capture Rome, in June 1944, Cesira and Rosetta decide to head back to that city. On the way, the two are gang-raped inside a church by a group of Moroccan Goumiers – soldiers attached to the invading Allied Armies in Italy. -
Bando ENG 6.1.21 Concorso Soi Seconda Edizione 2021
“1° Concorso di Canto Lirico Virtuale SOI Scuola dell’Opera Italiana Fiorenza Cedolins” Edition 2021 Categories Opera, Operetta, Zarzuela, Classical Musical, Lied-Song even new, unpublished compositions. Competition rules Foreword The competition, in its first edition, was conceived under exceptional circumstances and had, as its main purpose, to keep the interest of students, artists, professionals and fans in the world of singing and Opera alive. Overcoming the hardships of this period, the use of technological tools and the intelligent use of new social communication strategies offered artists the opportunity to invent novel expressive languages, which they can treasure for the continuation of their careers, without neglecting their technical, artistic and professional content. These artistic and professional qualities will therefore be evaluated globally, in terms of vocal, musical, interpretative, stylistic, acting, stage, directorial performance, in the context of an expressive language dedicated to the multimedia artistic universe, with particular attention to creative originality. The aim of the competition is not only the discovery and promotion of new talents, but also the dissemination of opera singing, in its main musical forms, to new audiences, through technological tools and popular and democratic communications, which are widely used especially among the younger generations. Requirements and application for admission Art. 1 – General The competition is open to classical singers of all nationalities who, at the closing date of registration, have reached the age of 18. Art. 2 - Application for admission The Competitor must send the registration form attached to this document, biography, copy of passport or other identity document, audio- video recording, receipt of payment of the registration fee and consent for publication from all contributors of their video, to [email protected] Art. -
Teatro Regio
Teatro Regio abbonamento Ottobre 2014: 21 ore 20 - 22 ore 20 sestetto 24 ore 20 - 26 ore 15 ottetto OTELLO Musica di Giuseppe Verdi Gianandrea Noseda direttore d’orchestra Walter Sutcliffe regia Interpreti: Gregory Kunde / Francesco Anile, Ambrogio Maestri / Roberto Frontali, Erika Grimaldi / María José Siri, Salvatore Cordella / Francesco Marsiglia, Luca Casalin, Seung Pil Choi, Emilio Marcucci, Samantha Korbey Orchestra e Coro del Teatro Regio Coro di voci bianche del Teatro Regio e del Conservatorio Giuseppe Verdi Nuovo allestimento abbonamento Novembre 2014: 23 ore 15 - 25 ore 20 sestetto 27 ore 20 - 29 ore 15 ottetto GIULIO CESARE Musica di Georg Friedrich Händel (Prima esecuzione a Torino) Alessandro De Marchi direttore d’orchestra Laurent Pelly regia Interpreti: Sonia Prina, Jessica Pratt, Sara Mingardo, Maité Beaumont, Jud Perry, Guido Loconsolo Orchestra e Coro del Teatro Regio Allestimento Opéra national de Paris abbonamento Dicembre 2014: 12 ore 20 - 13 ore 20 sestetto 14 ore 15 ottetto Ballet Nacional de Cuba GISELLE Musica di Adolphe Adam Coreografia di Alicia Alonso dall’originale di Jean Coralli e Jules Perrot abbonamento Dicembre 2014: 17 ore 20 - 18 ore 20 sestetto 19 ore 20 - 20 ore 20 - 21 ore 15 ottetto Ballet Nacional de Cuba DON CHISCIOTTE Musica di Ludwig Minkus Coreografia di Alicia Alonso (direzione artistica e coreografica), Marta García e María Elena Llorente dall’originale di Marius Petipa e dalla versione di Aleksandr Gorskij Giovanni Duarte direttore d’orchestra Orchestra del Teatro Regio abbonamento Gennaio